The Clare Spark Blog

February 3, 2015

Jews not killed for “just being Jews”?

SammyrunThis blog continues https://clarespark.com/2015/01/18/is-antisemitism-rational-or-irrational/. I add to the prior blog that such historians as Deborah Lipstadt (in Beyond Belief) have alleged that Jews were killed for “just being Jews.” This is true insofar as all Jews, including the most assimilated or atheistic, are viewed by their enemies as a illegitimately powerful “race” inexplicably surviving and thriving for thousands of years. But as a statement directed at a broad audience, it requires a more complex and contextualized elaboration. (This blog will be different from my previous discussions of antisemitism thanks to my son-in-law Maimon Chocron, whose emphasis on Jewish survival and astonishingly rapid upward mobility, seen as “unnatural” by antagonists, sent me off in unanticipated new directions.)

Briefly, “the Jews” (preferring “individual rights” over “stability”) always represented a threat as declared by rulers/demagogues: intellectual combativeness, revolutionary socialism, finance capitalism/the power of money (for Hitler, the real force behind the Soviet Union), modernity, Woman, globalism, the madness induced by urban life, the “anti-race” (Hitler) which means they were internationally cohesive and allegedly not loyal to their “nations” of temporary residence, or worse, “unnatural” and hostile to Nature itself, and to the natural order of things.

And the natural order of things is “The Great Chain of Being,” in which each of us knows her or his place. “It ain’t natural” to defy, let alone “dominate” the Great Mother Nature (see https://clarespark.com/2015/03/21/great-goddess-feminism-the-phyllis-chesler-model/). “Natural harmony,” like “the [tightly woven] social fabric,” must be preserved, at all costs. No wonder Jack the Ripper was surmised to have been a “low class Polish Jew” Aaron Kosminski (as reported in The Independent).

Aaron Kosminski: 19th C image

Aaron Kosminski: 19th C image

In other words, whereas peasants from Southeastern and Central Europe could immigrate to America and gradually climb up the class ladder, Jews seemed to their envious fellow-immigrants to be uncanny; how was it possible to go from poverty to great riches and cultural power in one generation? This is memorialized in Budd Schulberg’s popular novel What Makes Sammy Run. They must be greedy crooks, right? as shown in Once Upon a Time in America (http://en.wikipedia.org/wiki/Once_Upon_a_Time_in_America). After all, Budd’s father, B. P. Schulberg was not an immigrant. Wikipedia doesn’t even see him as Jewish: http://en.wikipedia.org/wiki/B._P._Schulberg. For a very recent review of Schulberg’s novel (understandably condemned by the CP for anti-Semitism), see http://inverarity.livejournal.com/265552.html.

Moreover, Herman Melville invited eternal damnation in Moby-Dick when he referred to the pure and placid face of Nature that only masked “the charnel house within.” For this blasphemy (and others) he was furtively read as a Jew or “Hebraic” by leading critics, such as Henry A. Murray and Charles Olson, while one more daring Princeton professor titled his book Melville’s Quarrel With God. To argue with God is tantamount to deicide.

Evan B. Harris, White Whale and Shells

Evan B. Harris, White Whale and Shells

For these reasons, I rank “intellectual combativeness” (a.k.a. the close reading of texts and political moods) to be the key to Jewish success in America. Returning to “Hollywood,” first generation immigrants read the populist/progressive mood that prevailed in their adopted country, saw that upper-class Protestants were busily uplifting the masses to stave off socialism in America, and such as Samuel Goldwyn and Louis B. Mayer made movies that catered to popular taste—a backwoods, country taste that Budd Schulberg would hold up to ridicule in A Face in the Crowd, or that Ben Urwand would mock in Sergeant York. See https://clarespark.com/2012/07/03/andy-griffiths-greatest-performance/.

Jon Lomberg's harmonious Great Chain of Being

Jon Lomberg’s harmonious Great Chain of Being

For such reasons, I view antisemitism as both rational and irrational. Jews, as either capitalists or communists, are seen as strange and unfair competitors (the pseudo-“rational” component of antisemitism), while the feelings of Jew haters (the irrational part), contain the residues of ancient, medieval, and modern hostilities.

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July 3, 2012

Andy Griffith’s greatest performance

I was very critical of A FACE IN THE CROWD, but on its own terms as an example of left-liberal interpretation of native American fascism, and in light of its excellent performances, I must single out Andy Griffith, who outdid himself as Lonesome Rhodes. R.I.P. Andy Griffith. (These paragraphs are taken from a prior blog, https://clarespark.com/2009/12/16/perceptions-of-the-enemy-the-left-looks-at-the-right-and-vice-versa/.)

“As for those artists who once were reds in the 1930s, many of them shifted to populism/progressivism when they saw that the Communist Party wanted to control their work. Budd Schulberg and Elia Kazan, both anathematized for “naming names” are two examples. I was particularly disturbed by their film, A Face in the Crowd (1957), that pinned fascism on the media-worshipping mass audience that had elevated the loutish “Lonesome Rhodes,” whose meteoric career had been aided and abetted by a female sentimental liberal–a stand-in for the moral mother, perhaps the figure who had driven Schulberg and Kazan into the arms of the 1930s authoritarian Left.

In other words, though Schulberg and Kazan professed themselves to be progressives, they replicated the aristocratic explanation for fascism as “the revolt of the masses,” bamboozled by the new mass media (radio and television), and shadowed by anti-progressive old money, particularly as embodied in immoral and hidebound Southern politicians. Patricia Neal, Lee Remick, and Walter Matthau were outstanding too, as was the direction by Kazan, and the brilliant screenplay by Schulberg.

Here are some quotes from the screenplay: Lonesome Rhodes (the demagogue who has risen from the People): “You made me, Marcia. You made me, Marcia, I owe it all to you.” [Marcia, the arty, sentimental Liberal]:”I know it.” Marcia, explicitly linked to “marshes” (i.e., quagmires) and ever the guilty mother, finally aware of the duplicity of her monstrous birth, opens the microphone to expose Lonesome’s secret contempt for the TV audience (the common folk) who adore him and who would turn the State over to his fascist backers. [Lonesome Rhodes is ruined:] “It was the sound man. I’ll get that dirty stinking little mechanical genius [who did this to me].” [Marcia:] “It was me.” The Muckraker’s last words rectify the sentiment of Lonesome’s banner (“There’s nothing so trustworthy as the ordinary mind of the ordinary man.”) [Muckraking journalist to Marcia:] “You were taken in. But we get wise to him [the Lonesome/Hitler type]; that’s our strength.” Mama’s boy, a.k.a. Lonesome’s last words wailed from a balcony (and the night) as Marcia and the muckraker depart: “Marcia, don’t leave me…come back.”

Shot in black and white, the film nods at film noir, with the femme fatale played by Patricia Neal. That “Marcia” destroyed her monstrous birth is missing from Nicholas Beck’s “bio-bibliography” of Schulberg (2001), where Lonesome is supposed to be the agent of his own destruction (p.59, fn4, quoting Donald Chase). This movie was the inspiration for Paddy Chayefsky’s Network. See https://clarespark.com/2011/07/07/network-and-its-offspring/.”

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