The Family Carnovsky

The dread shadow of Nazism falls upon the Carnovsky family, three generations of Jews who believe themselves totally assimilated into German society. David, who has prospered in "enlightened, civilized" Berlin and considers himself "more German than the Germans", cannot rationalize the momentous events engulfing him. His son Georg, a famous doctor, taught by his father to be "Jewish at home, a German in the street", is stripped of his practice, his possessions, and ultimately his illusions. And his young son Jegor is pulled between his love for the fatherland and the Jewishness he scorns. A tragedy of torn loyalties, this powerful and panoramic novel has become one of the classics of our time.

In the Polish city of Lodz, the brothers Ashkenazi grew up very differently in talent and in temperament. Max, the firstborn, is fiercely intelligent and conniving, determined to succeed financially by any means necessary. Slower-witted Jacob is strong, handsome, and charming but without great purpose in life. While Max is driven by ambition and greed to be more successful than his brother, Jacob is drawn to easy living and decadence. As waves of industrialism and capitalism flood the city, the brothers and their families are torn apart by the clashing impulses of old piety and new skepticism, traditional ways and burgeoning appetites, and the hatred that grows between faiths, citizens, and classes. Despite all attempts to control their destinies, the brothers are caught up by forces of history, love, and fate, which shape and, ultimately, break them. First published in 1936, The Brothers Ashkenazi quickly became a best seller as a sprawling family saga. Breaking away from the introspective shtetl tales of classic nineteenth-century writers, I. J. Singer brought to Yiddish literature the multilayered plots, large casts of characters, and narrative sweep of the traditional European novel. Walking alongside such masters as Zola, Flaubert, and Tolstoy, I . J. Singer’s premodernist social novel stands as a masterpiece of storytelling.

Philip Roth's fictional alter-ego returns in Zuckerman Unbound, "...masterful, sure in every touch." (The New York Times) The sensationalizing sixties are coming to an end, and even writing a novel can make you a star. The writer Nathan Zuckerman publishes his fourth book, an aggressive, abrasive, and comically erotic novel entitled Carnovsky, and all at once he is on the cover of Life, one of the decade's most notorious celebrities. This is the same Nathan Zuckerman who in Philip Roth's much praised The Ghost Writer was the dedicated young apprentice drawing sustenance from the great books and the integrity of their authors. Now in his mid-thirties, Zuckerman, a would-be recluse despite his fame, ventures out on the streets of Manhattan, and not only is he assumed to be his own fictional satyr, Gilbert Carnovsky ("Hey, you do all that stuff in that book?"), but he also finds himself the target of admirers, admonishers, advisers, and would-be literary critics. The recent murders of Robert Kennedy and Martin Luther King, Jr., lead an unsettled Nathan Zuckerman to wonder if "target" may be more than a figure of speech. Yet, streetcorner recognition and media notoriety are the least disturbing consequences of writing Carnovsky. Against his best interests, the newly renowned novelist retreats from his oldest friends, breaks his marriage to a virtuous woman, and damages, perhaps irreparably, his affectionate connection to his younger brother and his family. Even when finally he lives out the fantasies of his fans and enjoys an exhilarating night with the beautiful and worldly film star Caesara O'Shea (a rather more capable celebrity), he is dismayed the following morning by the caliber of the competition up in the erotic big leagues. In some of Zuckerman Unbound's funniest episodes Zuckerman endures the blandishments of another New Jersey boy who has briefly achieved his own moment of stardom. He is the broken and resentful fan Alvin Pepler, in the fifties a national celebrity on the TV quiz show "Smart Money." Thrust back into obscurity when headlined scandals forced the quiz show off the air, Pepler now attaches himself to Zuckerman and won't let go--an "Angel of Manic Delights" to the amused novelist (who momentarily sees him as his "pop self"), and yet also the likely source of a demonic threat. But the surprise that fate finally delivers is more devilish than any cooked up by Alvin Pepler, or even by Zuckerman's imagination. In the coronary-care unit of a Miami Hospital, Nathan's father bestows upon his older son not a blessing but what seems to be a curse. And, in an astonishingly bitter final turn, a confrontation with his brother opens the way for the novelist's deep and painful understanding of the deathblow that Carnovsky has dealt to his own past.

A collection of essays dealing with stereotypes in language and in literary texts, especially those associating race with sexuality and pathology (organic disease or madness). The introduction (pp. 15-38) gives a psychological explanation of the need to create stereotypes of the Other and give them mythic negative characteristics in order to categorize and control the world. Negative stereotypes of Jews are discussed in ch. 6 (pp. 150-162), "The Madness of the Jews"; ch. 7 (pp. 162-174), "Race and Madness in I.J. Singer's 'The Family Carnovsky'"; ch. 8 (pp. 175-190), "Sigmund Freud and the Jewish Joke."