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A history of Mel Brooks as a ‘disobedient Jew’

(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.

The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.

Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him. 

The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood. 

Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.” 

Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press

Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.

Our conversation was edited for length and clarity. 

Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.

Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.

As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.

That’s right. And what’s the crime that he accuses the Jews of? “Dont be boring! Dont be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”

His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.

One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft. 

Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)

You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?  

Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”  

You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”

That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.

You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.

On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.

For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?

Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.

What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?  

“The Producers” had a lot of pushback, but for a lot of other reasons.

I guess people had enough to deal with when he staged a musical comedy about Hitler.

Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.

What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?

The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.

And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.” 

Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s. 

I guess I have to go back and watch it for the 14th time with a different point of view.

That’s the fun part of my job.

You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?

Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money. 

Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.

Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”

Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.

You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together? 

Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans. 

Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.

Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures. 

You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes. 

I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.  

Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.

There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”

An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)

“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?

To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001. 

Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women. 

There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.

What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.

It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history. 

The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish. 

It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.


The post A history of Mel Brooks as a ‘disobedient Jew’ appeared first on Jewish Telegraphic Agency.

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From Alfred Dreyfus to Josh Shapiro: How the ‘dual loyalty’ charge shadows Jewish public life

(JTA) — When Pennsylvania Gov. Josh Shapiro wrote in his new memoir that Kamala Harris’ vice-presidential vetting team asked whether he had ever been a “double agent” for Israel, many Jewish leaders heard something painfully familiar.

“These questions were classic antisemitism,” Deborah Lipstadt, the former U.S. special envoy on antisemitism, wrote on X, a view shared by, among others, Jonathan Greenblatt, the CEO of the Anti-Defamation League; Abraham Foxman, the ADL’s former leader, and Josh Gottheimer, the Democratic congressman from New Jersey.

These critics agreed that the question put to Shapiro echoed the “dual loyalty” charge: that Jews — especially those with visible ties to Israel — have divided allegiances, loyal first to their people and only conditionally to the countries they serve.

Other Jewish commentators insisted that the questions put to Shapiro by the Harris team were routine, similar to those asked of anyone being vetted for top security clearance. “So please,” Shaul Magid, visiting professor of Modern Jewish Studies at Harvard Divinity School, wrote on Facebook. “Can we just calm down and stop looking like hysterical conspiracy theorists.”

But as the reactions rolled in, so did a quieter, more complicated debate — one that goes to the heart of American Jewish identity. Does the normative American Jewish attachment to Israel — Israeli flags in synagogues, Zionist education in day and Hebrew schools, pride in the young American Jews who serve in the Israeli military — invite accusations of dual loyalty? And if so, should Jews do a better job of explaining how their often fierce attachment to Israel does not compromise their loyalty to America? Should they even have to?

Shapiro, 52, has been open about his connections to Israel, which represent a not unusual arc for a day-school-educated Jew of his generation: a high-school volunteer program affiliated with the IDF, a six-month stint working at the Israeli Embassy in Washington after college, and outspoken views during the Gaza war that combined criticism of Israeli government policy with condemnation of some pro-Palestinian protests.

Those ties, Jewish leaders argue, are well within the American Jewish mainstream — and far from evidence of disloyalty. “No one ever accused Irish Americans of dual loyalty for caring deeply about Ireland,” Foxman wrote. “This reflects something very troubling about our political culture.”

In his memoir, “Where We Keep the Light,” Shapiro wonders whether he was singled out as “the only Jewish guy in the running,” and says he told Harris’ team the questions were offensive. After the New York Times reported the exchange this week, Harris’ team sought to control the damage, telling CNN that every finalist was asked whether they had ever acted as an agent of a foreign government — a standard question on federal vetting forms. Minnesota Gov. Tim Walz, who was ultimately chosen, was pressed about his multiple trips to China, where he lived for a year after college, these sources told CNN.

“The crux of vetting is asking uncomfortable and even farfetched questions,” one person close to the process said. “The point isn’t that you believe it — it’s that it’s on the record.”

Jeffrey Salkin, a rabbi and columnist for Religion News Service, rejects that equivalence. Writing about the episode, he contrasted Walz’s questioning about China with Shapiro’s experience. Walz, Salkin argued, was asked about what he did, writes Salkin. Shapiro was asked about who he is.

“For Jews, dual loyalty is the oldest antisemitic charge in the book,” Salkin wrote. “The crime is all within the imagination of the accuser.”

The charge predates the creation of Israel, going as far back as Exodus when the pharaoh warns that the growing number of Israelites in Egypt “may join our enemies in fighting against us.”

The charge was revived in the modern era, when Jews were gradually granted full citizenship in exchange for renouncing their ties to a Jewish national identity. In 1789, speaking on behalf of Jewish emancipation in the French National Assembly, the Count of Clermont-Tonnerre proclaimed famously that “Je​​ws should be denied everything as a nation, but granted everything as individuals,” warning: “The existence of a nation within a nation is unacceptable to our country.”

The promises of emancipation were nearly revoked in 19th-century France, when Alfred Dreyfus was falsely convicted of treason amid mass cries of “Death to the Jews.” Later, Hitler rose to power behind the myth that Germany could have won the First World War if it had not been “stabbed in the back” by disloyal Jews and communists.

“You don’t need Israel to have the dual loyalty charge,” Pamela Nadell, the American University historian and author of “Antisemitism, an American Tradition,” said in an interview. “Think about the ‘Protocols of the Elders of Zion’ and the idea that Jews are more loyal to their people than to any state, that they are a kind of fifth column.”

In that light, Nadell said, asking a Jewish governor who has sworn an oath to the U.S. Constitution and the Commonwealth of Pennsylvania whether he had ever been an Israeli “double agent” suggested the vetter is either “utterly clueless” or something worse.

“It suggests the interviewer either didn’t understand the weight of what she was saying — or actually believes the dual loyalty charge,” said Nadell.

And yet despite the deep roots of the charge, Zionism and Israel have added new fuel to an old accusation. In the years before Israel’s founding, American Jewish leaders fiercely debated Zionism and whether a Jewish state in Palestine “would imperil our position here,” as the Reform movement’s Pittsburgh Platform put it in 1885.

Thirty years later, Louis Brandeis, the Supreme Court justice and Zionist leader, sought to quash such doubts by asserting, “Multiple loyalties are objectionable only if they are inconsistent.… Every American Jew who aids in advancing the Jewish settlement in Palestine, though he feels that neither he nor his descendants will ever live there, will likewise be a better man and a better American for doing so.”

That proposition was deeply tested in the 1980s, when Jonathan Pollard, a Navy intelligence analyst, received a life sentence for passing classified information to Israel. Richard Cohen, then a columnist for the Washington Post, called the Pollard case a “nightmare-come-true for American Jews. In Pollard, the Israelis created an anti-Semitic stereotype — an American Jew of confused loyalties who sold out his country.”

In his 1996 book “Jewish Power,” J.J. Goldberg cites sources saying that the Joint Chiefs of Staff urged a life sentence for Pollard — the first for an American convicted of espionage — as a warning to the thousands of American Jews working in the federal government.

But despite a vocal “Free Pollard” movement that preceded his release in 2015, most Jews see Pollard as an outlier, and recoil at the idea that ordinary expressions of Jewish peoplehood invite suspicion.

That idea has gained renewed urgency in the post-Oct. 7 climate. A June 2024 ADL study found that 51% of Americans agree with the statement that Jews are more loyal to Israel than their home countries. College students report being accused of caring more about Israel than the United States simply for identifying as Zionists.

In a fact sheet on the dual loyalty charge, the ADL acknowledges that many Jews have an emotional attachment to Israel, citing a 2013 Pew study showing that 87% of American Jews said that caring about Israel is either “essential” or “important” to “what being Jewish means to them.”

“But the observation that Israel is important to many American Jews becomes anti-Semitic when it is used to impugn Jewish loyalty or trustworthiness,” according to the ADL.

Magid has written how Jews sometimes leave themselves vulnerable to the dual loyalty charge, either by claiming that Israel is their true “home” — perhaps a religious assertion that can be heard as a statement of allegiances — or when American Jewish families signal that they’d rather their children serve in the IDF than the U.S. military. “If Jews reflexively claim that the accusation of ‘dual loyalty’ is anti-Semitic, we too easily ignore that it was, and remains, one of the great challenges of Jews in modernity,” writes Magid.

For Rabbi Nolan Lebovitz, the senior rabbi at Valley Beth Shalom in Encino, California, the answer is not to deny dual loyalty — but to redefine it. In his recent book, “The Case for Dual Loyalty: Healing the Divided Soul of American Jews,” Lebowitz argues for embracing Jewish peoplehood alongside American patriotism, calling it a “double helix” binding Jews in Israel and the diaspora. Once Jews accept the notion that they are part of a global people, he writes, there is no contradiction in being loyal to what both America and Israel represent.

“The State of Israel stands as the strongest symbol of Jewish Peoplehood,” Lebowitz wrote in an email exchange. “While the presence of the flag of Israel in our congregation and schools represents the ideal that we are connected to our Jewish brothers and sisters in Israel, the flag also represents the bond that we share with our brothers and sisters in places such as Australia’s Bondi Beach. All American Jews should maintain a loyalty to our country, the United States, and loyalty to our people across the world.”

The historian Gil Troy, who was raised in Queens and now lives in Israel, also insists that loyalty to America and the Jewish people is not contradictory — and that Jews face suspicions not placed on other groups.

“The accusation says much more about the accuser than the accused,” Troy said in an interview. “Which is the oldest story in the book with antisemitism.”

Troy, a senior fellow in Zionist thought at the Jewish People Policy Institute, recalls growing up with the hypothetical question, “If the U.S. and Israel were to go to war, which side would you be on?” His answer, then and now, is “it’s inconceivable.”

“Again and again, although I had to ultimately choose an address, my liberalism, my Americanism, my Zionism, have converged much more than they’ve clashed, and if anything, one has reinforced the other,” said Troy, who moved to Israel in 2010.

Troy’s assertion is similar to that of Ruth Wisse, the Yiddishist and conservative thinker, who in a video last year for the Tikvah think tank said she “never could understand this concept of dual loyalty.”

“It becomes a conflict when the two countries … that you stand for are in conflict,” she said. “But in the case of Israel and America, which share the same basic values, and in fact, stem from very much the same traditions, it’s really a doubled loyalty. The people who feel most loyal to America should be those who feel most protective of Israel, which is the greatest ally that America has, certainly in the Middle East, and possibly … the entire world.”

For now, anyway. For many Jews, cracks are showing in that vaunted relationship, whether it is liberal Jews who warn that Israel is drifting toward the illiberal, undemocratic right, or conservative Jews warning that the Democratic party is being coopted by an increasingly anti-Israel left. (Jonathan Tobin, editor-in-chief of the conservative Jewish News Syndicate, suggested that Shapiro may have told the vetting story in order to distance himself from Israel’s critics and “to save the soul of a party that has been badly compromised by Jew-hatred since Oct. 7.”)

Both sides have looked on anxiously as President Donald Trump has threatened or shredded alliances with other allies around the world.

Whether the questions put to Shapiro were normal vetting, clumsy phrasing or something darker, the reaction to them reveals how fragile the boundary remains between Jewish peoplehood and American belonging. More than 200 years after emancipation promised Jews full acceptance as individuals, the old suspicion still flickers — ready to be rekindled whenever Jewish identity and power become visible at the same time.

The post From Alfred Dreyfus to Josh Shapiro: How the ‘dual loyalty’ charge shadows Jewish public life appeared first on The Forward.

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More than 8,500 people have donated to support Mississippi synagogue damaged in arson attack

Zach Shemper never expected to spend Shabbat on the bimah of one of the largest congregations in America, but that’s where the president of Mississippi’s largest synagogue, which was damaged in an arson attack two weeks ago, found himself on Friday night.

After the fire at Beth Israel in Jackson, Shemper was invited to Central Synagogue in Manhattan  — and then, hours later, was speaking before another congregation hundreds of miles away — carrying a story he never expected to tell before returning on Saturday to Jackson, where a winter storm forced the shul to cancel Sunday school.

Shemper, 45, said the trip to New York came together with startling speed. After learning that Central Synagogue had helped raise a substantial donation for Beth Israel, he called Rabbi Rick Jacobs, the head of the Union for Reform Judaism, and asked him to reach out to Central’s senior rabbi, Angela Buchdahl. Within minutes, Buchdahl called on Tuesday to invite Shemper to speak before Central’s congregation — and the thousands more who tune in to its weekly livestream. By Friday, he was on the plane.

For a small Southern congregation with fewer than 150 member households, the invitation signaled how quickly a local antisemitic attack had become a national Jewish concern.

Beth Israel was targeted earlier this month by Stephen Spencer Pittman, authorities say, a 19-year-old whose interest in Christianity and fitness may have led him to antisemitic messages online. The fire destroyed the synagogue’s library and offices, burned Torah scrolls and books, and sent smoke and soot through the sanctuary.

“It’s not like I signed up for this,” Shemper said in an interview. “For a small congregation in Jackson, Mississippi — it’s amazing what’s happening.”

Shemper’s New York trip also included a meeting with Jonathan Greenblatt, the CEO of the Anti-Defamation League, who met him at his hotel for about an hour before services. They spoke, Shemper said, about antisemitism, security and “the strength of the Jewish people.”

Central Synagogue — a flagship Reform congregation whose reach extends far beyond New York — has its own history with fire. In 1998, a blaze severely damaged its landmark building on Lexington Avenue, forcing the congregation to rebuild — a history Shemper referenced as he stood before the congregation.

During the Friday night service, Shemper participated in the Torah procession and was given an aliyah, a ritual gesture of public honor and solidarity.

Speaking from the bimah, Shemper said the attack in Jackson was meant to do more than cause physical damage. “They’re meant to strike fear in an entire community, to make it want to hide, to make it feel isolated and alone.”

Buchdahl framed the congregation’s response as an expression of Jewish peoplehood that transcends geography, a theme she returned to in her sermon that evening. She cited Shemper’s visit as a reminder that Jewish communities remain bound to one another, and that when one is attacked, others are called to walk alongside it.

Early Saturday morning, Shemper flew to Florida, where he addressed the Palm Beach Synagogue, a Modern Orthodox congregation.

“Within 15 minutes of my arrival, they had me on the pulpit speaking,” he said. After services, he stayed for a luncheon and a question-and-answer session before heading back to the airport.

The rebuilding effort

Shemper said he has been careful about how he describes the financial response to the fire. More than 8,500 people have donated so far, he said — unsolicited.

“We haven’t asked anybody for anything,” Shemper said. “Everything that’s been given to us has been from the kindness of strangers — Jews and not — reaching out and saying, ‘How can we help?’”

The focus now, he said, is on rebuilding. Engineers have determined that the sanctuary walls are structurally sound. But the ceiling throughout the building will need to be replaced because of smoke damage, and much of the rest of the structure — including administrative offices and the library — will have to be demolished. The timeline, he said, is likely one-and-a-half to three years.

In the meantime, Beth Israel will be housed at nearby Northminster Baptist Church, a return of a favor decades in the making. In the 1960s, when Northminster was being built, Beth Israel hosted the church’s services.

In the immediate aftermath of the fire, many churches reached out to offer their spaces. The shul thought they would move every few months so as not to overstay their welcome. But Northminster’s congregation had other ideas.

“They came back to us and said, ‘We’d like to house you for the interim,’” Shemper said. “My initial response — after crying — was to say no. But we were wandering Jews for many years. We’d rather do less of that these days.”

Any donations that exceed the cost of restoring the building, Shemper said, will be placed into an endowment to support Jewish life in Jackson for generations to come.

“If the kindness keeps coming,” he said, “we’ll be able to support four or five generations. Maybe more.”

Despite the upheaval, Shemper said the fire has ignited something unexpected.

“There’s been a spark of Jewish identity with Jews all over the world,” he said. “We’re focusing on seeing the light through the darkness. We’re moving forward.”

The post More than 8,500 people have donated to support Mississippi synagogue damaged in arson attack appeared first on The Forward.

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Drunk with power, Donald Trump follows the dictates of Athenian commanders — and a certain Jewish philosopher

The strong do what they can, the weak suffer what they must.

This phrase has been invoked by political pundits and leaders, including the Canadian Prime Minister Mark Carney, over the past few days as the world was plunged into Donald Trump’s fever dream of the conquest of Greenland. Yet what they neglected to mention is the quotation’s source and context in which it was uttered.

But both are crucial if we are to fully appreciate the troubling relevance of the phrase and the somber light the German-Jewish thinker Leo Strauss cast on it.

The phrase first crops up in the History of the Peloponnesian War, the ancient Athenian historian Thucydides’ account of one of the most consequential events in the history of the West. In the midst of their war against Sparta, an Athenian fleet lands on the small island of Melos, which they have been ordered to annex or annihilate. The dialogue that follows is entirely the creation of Thucydides, who strips away what he believed were the pleasant fictions we tell to blind ourselves to the reality of human nature.

Despite the Melian delegation’s appeals, the Athenian commanders are unmoved. “Nature always compels men to rule over anyone they can control,” they tell the Melians.“We did not make this law…but we will take it as we found it and leave it to posterity forever, because we know that you would do the same if you had our power as would anyone else.”

Yet the Athenians are tragically blind to the corollary: Human beings will always resist and rebel against those who try to invade them. When the Melians refused to submit, the Athenians were as good as their word; upon breaching the city walls, they slaughtered the men and sold the women and children into slavery. Shortly later, full of their conviction that might makes right, the Athenians decide to invade Sicily — an act of hubris which leads to a catastrophic defeat and a fate like the one they meted out to the Melians.

These world-altering events bring us to Leo Strauss, the man who Harold Bloom once described as a “political philosopher and Hebraic sage.” Born into an Orthodox Jewish family in 1899, by the 1930’s Strauss had won the reputation as a brilliant and not always orthodox political theorist. With the rise of Nazism, Bloom had the means and foresight to quit his native country in 1937. He became something of an itinerant intellectual, finding a series of academic appointments at Columbia University, University of Chicago, and the New School while writing many of his best-known books, including Natural Right and History and Thoughts on Machiavelli.

Over time, Strauss also became known as the éminence grise of neo-conservatism, the hawkish postwar ideology that viewed foreign policy through the harsh lens of political realism and has been credited with influencing the Bush Administration’s cataclysmic decision to invade Iraq. For his critics, it hardly helped that Strauss was influenced by the writings of the Nazi-adjacent and antisemitic legal theorist Carl Schmitt, who favored strong executive authority and believed that the politics of a nation and policies of the state must respond to the distinction between friend and enemy.

An advocate of “reading between the lines,” Strauss basically sets the traditional interpretation of Thucydides and the significance of the Melian dialogue on its head. Most students of Thucydides believe he sides with Pericles, the Athenian leader who, in his famous funeral oration, declares his city as the school for all of Greece. And why not? Thanks to its openness to ideas and debate, Athens excelled in the arts and sciences. No less important, thanks to its sense of civic responsibility, the city’s citizen army excelled in military prowess and power.

That this shining example of democracy should, at the end of a two-decade war, have been defeated and occupied by brutish if not barbaric Sparta marks one of history’s great tragedies. And yet, Strauss suggests we misunderstand the nature of the tragedy. The Periclean vision is inspiring, he allows, but it was also the reason why Athens lost the war. Strauss claims that Thucydides knew this as well. Just like his contemporary Plato, the ancient historian instead thought the best of all models was the closed society of Sparta rather than the open society of Athens.

By “best,” what Strauss meant is that cities like Sparta are best positioned to maintain the endurance and stability of the state and those who look to it for their security. In turn, this requires such states to embrace what he called the “Athenian thesis” which boils down to the claim made by the Athenian commander at Melos: The strong, indifferent to justice or moderation, do what they can while the weak suffer what is meted out to them. After all, Athens was itself an expanding empire that absorbed other cities into its alliance whether they wished to join or not.

Of course, we have no idea what Strauss would have thought about Donald Trump’s efforts to slap tariffs on islands inhabited only by penguins and annex other islands inhabited by people who have made clear they have no desire to become American. But I suspect that Strauss would remind us that the relentless pursuit of power and property is not unique to narcissistic sociopaths. Instead, states are almost always and necessarily driven by the will to expand. And therein lies the true tragedy.

 

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