Required Reading for Rick Sanchez and Jon Stewart

What to make of Rick Sanchez’s bizarre and self-destructive anti-Semitic outburst? Well, Jon Stewart, who was the Jewish synecdoche in his rant, made some gentle fun of it and Rick Sanchez on his show Monday night. Yes, he made Sanchez look foolish, but Sanchez had already done that on his own. At the end, he pretty much lets him off the hook by stating, “I’m not even sure Sanchez believes what he’s saying.” There were some follow-up columns today, word of an apology and the whole affair seems ready to fade as its Friday to Monday lifespan expires.

Capitalism and the JewsBut missing in the ensuing fallout has been the more delicate question, not of whether Rick Sanchez believed what he was saying, but why, throughout the ages have similar charges been levelled at Jews and believed in the first place? Why is it that the refrain of “Jews control (fill in the blank: CNN, the media, the banks, all of capitalism)” has such durability?

There are two parts to that answer, and the first is the acknowledgement that Jews have been very succesful in the media and in Western capitalism generally. Prominently successful? Definitely. Disproportionately successful? Perhaps. And at times that success has made Jews a target for groups that are dissatisfied and under duress (and when your show is getting the shove for Eliot Spitzer’s comeback, you’re definitely under duress). While that explanation satisfies the sociological explanation of how one group comes to blame another, it sidesteps a more delicate question: Why are Jews more or more prominently successful in capitalist societies?

That is the question at the heart of Jerry Muller’s suddenly all-too-timely Capitalism and the Jews which is being featured on October 25 as a part of our Hyman S. & Freda Bernstein Jewish Literary Festival. The title itself is provocative because the Jewish community has been reluctant to discuss its own success so publicly. Muller writes in his introduction, “some Jews regard the public discussion of Jews and capitalism as intrinsically impolitic, as if conspiratorial fantasies about Jews and money can be eliminated by prudent silence.” In its willingness to look studiously at the history of Jews and the rise of capitalism, this book reminds me a lot of An Empire of Their Own: How the Jews Invented Hollywood by Neal Gabler, which tackled the history of the Jewish moguls who established the film industry as an economic and cultural force in American life.

While Gabler structured his book around the biographies of the Hollywood moguls and the studios they created, Muller breaks his study into four sections: “The Long Shadow of Usury,” which examines the rise of capitalism and Jews’ early roles in it; “The Jewish Response to Capitalism” which further explains the success of Jews in modern capitalist societies and the communal response to this dominant ism; “Radical Anticapitalism” which looks at what Muller calls “the dialectic of disaster; anti-Semitism led Jews to prominent positions in Communist movements, and their very salience in a movement that threatened existing society provided new fuel for anti-Semitism.” Finally, Muller looks at the sometimes lethal mix of capitalism and nationalism — and the important ways in which nationalistic kinship can both shape and be shaped by economic development and disaster.

Of course, a logical exposition of the history and consequences of Jews and capitalism should be all that’s needed to put to rest these silly conspiracy theories and fury-fueled anti-Semitic rants.

Then again, maybe Jon Stewart should have Jerry Muller on his show. They’d have a lot to talk about.

LitFest ’09 Update: Dancing in the Dark with Fred Astaire and Ginger Rogers

I have two words for you: Google Alerts. These babies are the best way to make sure you get the complete lowdown on what sources are picking up on your programs and talent. They also let you know who has a fabulous publicist. And who, you ask, is the literary talk of the town this week? Morris Dickstein.

In the last few days, Morris Dickstein’s book Dancing in the Dark has hit the stores. His publicist has clearly been hard at work, too. Just check out all these reviews and blurbs that have appeared on the Literary Festival’s Google Alerts:

-The Wall Street Journal “High Spirits at Low Ebb” by Robert K. Landers

The Boston GlobeFight and flight” by Saul Austerlitz

The New YorkerIt Happened One Decade” by Caleb Crain

Los Angeles TimesDancing in the Dark book review” by Richard Schickel

The Washington PostArt for Hard Times” by Jonathan Yardley

So what does this tell us? Well, yes, Morris Dickstein has a great publicist. But it also tells us that this is RELEVANT. Over the last several months, there have been a lot of talk about how “this financial climate” is very reminiscent of the Great Depression. We have all been feeling a little down and out. But here comes Morris Dickstein, reminding us of a very important lesson: good things can come from this.

Not to say the Great Depression wasn’t a difficult time in history, but Morris Dickstein reminds us of all the incredible arts and culture that came out of it. Fred Astaire exploded onto the Hollywood scene, jazz music established itself with the music of Cole Porter and John Steinbeck helped change America’s attitude toward literature. And these are just three of the big names Morris Dickstein discusses in his book.

The discussion has formally begun; what are we going to learn about “this climate” from the Great Depression? What should we expect in the arts in the coming years, and how is our culture going to change?

These questions and more will be explored at Down Economy, Outstanding Art: A Panel Discussion on October 21 at the Washington DCJCCMorris Dickstein will join panelists Philip Kennicott (culture critic at The Washington Post), Laura Katzman (scholar and curator of New Deal art, professor at JMU) and moderator Murray Horwitz (former VP of Cultural Programming at NPR and founding Director of AFI Silver Theatre) in a full discussion and exploration of the topics raised in Dancing in the Dark and what we can learn and expect in the future.


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