The Hidden Jew as Critic

Jan. 10 2020

 In November, the theater critic John Simon, known for his erudition, prose style, and biting, sometimes cruel, reviews, died at the age of ninety-four. While obituaries noted that he was born in Serbia as Ivan Simmon and came to the U.S. in 1941, Jonathan Leaf reports hearing a very different story about his early life from Simon’s close friend and fellow critic Howard Kissel: that Simon was born to a Jewish father who barely escaped Europe, and that he had a half-brother who remained behind and perished in the Holocaust. Leaf believes this closely guarded secret may shed some light on Simon’s notoriously selective tastes:

People hide their Jewish roots because they are ashamed of their Jewishness. I suspect that Simon’s experiences had persuaded him that Jewishness was a particularly dangerous kind of weakness, and in his vanity, as well as for perceived reasons of self-protection, he chose to identify himself with his oppressors. That which was Aryan was good, and in his mind he was not only its advocate but a kindred soul.

Perhaps not surprisingly, Simon first made his name as a critic through his promotion of the erstwhile art-house Nazi, the Swedish film director Ingmar Bergman. Simon’s writing about Bergman is startling for its fatuousness. There can be little doubt that Bergman was capable of great filmmaking: one has only to think of movies like Summer with MonikaWild Strawberries, or Autumn Sonata. Yet these were not the films that Simon praised. Rather, he celebrated the worst of Bergman’s tedious exercises in pomposity and pretentiousness, deservedly forgotten motion pictures like The Silence and Hour of the Wolf.

In [his writings on these films], Simon was establishing a template, a pattern of taste that would carry through the rest of his career. Whatever was admired by the most recondite of European highbrows, he admired. Whatever was liked by New York Jews, he despised.

Thus, Barbra Streisand was “the sort of thing that starts pogroms.” . . . Annie Hall was “so shapeless, sprawling, repetitious, and aimless as to seem to beg for oblivion.” Everything that David Mamet wrote after his first two one-act plays was “the same thing rehashed over and over, and no longer news.” (This included American Buffalo and Glengarry Glen Ross.) Simon was rueful that political correctness had made it impolitic to call something a “faggoty Jewish musical.” . . . Any actress with Nordic looks was likely to be judged as superlative. Thus, Uma Thurman was “scintillating.”

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Read more at Tablet

More about: David Mamet, Film, Holocaust, Literary criticism, Theater, Woody Allen

Salman Rushdie and the Western Apologists for Those Who Wish Him Dead

Aug. 17 2022

Ayatollah Ruhollah Khomeini, the founder and supreme leader of the Islamic Republic of Iran, issued a fatwa (religious ruling) in 1989 calling for believers to murder the novelist Salman Rushdie due to the content of his novel, The Satanic Verses. Over the years, two of the book’s translators have been stabbed—one fatally—and numerous others have been injured or killed in attempts to follow the ayatollah’s writ. Last week, an American Shiite Muslim came closer than his many predecessors to killing Rushdie, stabbing him multiple times and leaving him in critical condition. Graeme Wood comments on those intellectuals in the West who have exuded sympathy for the stabbers:

In 1989, the reaction to the fatwa was split three ways: some supported it; some opposed it; and some opposed it, to be sure, but still wanted everyone to know how bad Rushdie and his novel were. This last faction, Team To Be Sure, took the West to task for elevating this troublesome man and his insulting book, whose devilry could have been averted had others been more attuned to the sensibilities of the offended.

The fumes are still rising off of this last group. The former president Jimmy Carter was, at the time of the original fatwa, the most prominent American to suggest that the crime of murder should be balanced against Rushdie’s crime of blasphemy. The ayatollah’s death sentence “caused writers and public officials in Western nations to become almost exclusively preoccupied with the author’s rights,” Carter wrote in an op-ed for the New York Times. Well, yes. Carter did not only say that many Muslims were offended and wished violence on Rushdie; that was simply a matter of fact, reported frequently in the news pages. He took to the op-ed page to add his view that these fanatics had a point. “While Rushdie’s First Amendment freedoms are important,” he wrote, “we have tended to promote him and his book with little acknowledgment that it is a direct insult to those millions of Moslems whose sacred beliefs have been violated.” Never mind that millions of Muslims take no offense at all, and are insulted by the implication that they should.

Over the past two decades, our culture has been Carterized. We have conceded moral authority to howling mobs, and the louder the howls, the more we have agreed that the howls were worth heeding. The novelist Hanif Kureishi has said that “nobody would have the [courage]” to write The Satanic Verses today. More precisely, nobody would publish it, because sensitivity readers would notice the theological delicacy of the book’s title and plot. The ayatollahs have trained them well, and social-media disasters of recent years have reinforced the lesson: don’t publish books that get you criticized, either by semiliterate fanatics on the other side of the world or by semiliterate fanatics on this one.

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Read more at Atlantic

More about: Ayatollah Khomeini, Freedom of Speech, Iran, Islamism, Jimmy Carter