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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November 8, 2012

The Magical power of “Negroes” and other Beautiful People

Viola Davis as magical

One Facebook friend reports polls concluding that Romney voters focused on the economy, while Obama voters responded to his “caring” persona. This is valuable intel, for it reminds us of the Magical Negro archetype described here: http://en.wikipedia.org/wiki/Magical_Negro. As Wiki tells it, this archetype is a throwback to the “noble savage” who emerges in the European age of expansion.

(This one of those “back to basics” blogs, basic tactics for political support that are cross-cultural and universal in their efficacy.)

But more, we should reflect upon the power of the Beautiful People, and the mass appeal they exercise. Why? Is it simply that “beauty” is a supremely rare quality that mesmerizes us in all times and places? Or is it something more primal, which returns us back to the emotions of early childhood and our dependency on mothers and fathers for care and protection?  After all, Mitt Romney projected a “caring” persona, as Anne Romney emphasized in her RNC account of their marriage, noting her husband’s constant attentions to needy neighbors and even strangers. But all the demonstrated compassion in the world is not enough to compensate for the image constructed by Democrats that Romney was the (uncaring) tool of Wall Street and the Big Money.

In prior blogs, I have written much about populism and its embedded antisemitism, how many ideologues continue to blame Hollywood “Jews” for corrupting the masses and either converting them to the Democratic Party and to the Left in general, or conversely, fastening the “mass” psyche to the material goodies promised by capitalist economies. Both claims are nonsensical, for such “Jewish” titans as Laemmle, Mayer, Goldwyn, or the Warner brothers adapted themselves to immigrant tastes and prejudices. The history of the Hollywood film is replete with bloodsucking bankers and other capitalist villains, valiantly opposed by the muscular Common Man. (For the femme fatale as a repudiation of the idea of progress, see https://clarespark.com/2011/04/27/james-m-cains-gorgon-gals-2/, retitled “Film Noir, decoded.”)

All tyrants use visual images (including architecture) to consolidate support and to divert mass rage away from themselves; pictures are deployed to evoke parental imagos.  The tyrant’s friends are beautiful—as lovely as the nursing Mother to her clamorous infant, or as her glittering earrings are to her toddler who pulls on them, while enemies are as repulsive as the angry father wielding a cane or whip (think of the omnipresent Big Brother) or old crones—women who no longer expect to please men, and who have nothing to lose by stirring the pot.

Female Chartist

And so, fed by a diet of idealized/demonized images, we continue the process that psychoanalysts describe as “splitting.” Our love objects, whether politician or other celebrity, can switch with alarming frequency from ministering angel to terrifying demon. Don’t look to popular culture for “integration, “ i.e., a less distorted view of The Loved/Hated One.

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