Montgomery's transit system isn't segregated anymore. It barely exists.
Amid all the partisan sniping, talking-head screeching and judicial decisions, there are two indisputable facts that go far toward explaining the true tragedy of the Florida recount.
Fact one: In this election, punch-card voting machines recorded five times as many ballots with no presidential vote as did the more modern optical-scanning systems. A New York Times analysis of forty-eight of the state's sixty-eight counties found that 1.5 percent of the ballots tallied under the punch-card method showed no vote at the top of the ticket, while only 0.3 percent of the ballots counted by the newer machines registered no vote for the President. An Orlando Sun-Sentinel examination concluded that counties using the best optical-scanning method recorded presidential votes on more than 99 percent of the ballots, and counties using the old punch-card devices counted presidential votes on only 96.1 percent of the ballots.
Fact two: Punch-card machines were more widely used in areas where low-income and African-American citizens vote. Two-thirds of the state's black voters reside in counties using punch cards, while 56 percent of white voters do.
Put these two undeniable facts together and the conclusion is inescapable: A statistically significant slice of the Florida electorate was disfranchised by voting technology. That is, a disproportionate number of voters done in by the error-prone punch-card machines were low-income and black Floridians, who generally favored Al Gore over George W. Bush. Presumably, some no-vote ballots actually did not include a vote for President. But given the closeness of the election--decided by .008 percent--it is likely that presidential votes missed by the punch-card machines would have decisively affected the contest. Bush "won"--among other reasons--because of voting-machine discrimination.
This crucial part of the tale has been overwhelmed by dimple-mania and the usual campaign back-and-forth. But ten days after the election, the Sun-Sentinel reported that "Florida's different vote-counting machines resulted in more GOP votes." For example, Brevard County, the home of space-shuttle launches, spent $1 million on more advanced machines in 1999, moving from punch-card tabulators to optical scanning machines that read pen-marked ballots (and that immediately return to the voter a ballot with a problem). Under the new system, the voting machines in this Bush-leaning county found presidential votes on 99.7 percent of the ballots. In 1996 the county's punch-card machines read presidential votes on 97.2 percent. Which means Bush, thanks to the upgrade, likely banked an additional 453 votes for his statewide total--practically his post-recount victory margin. The paper noted that the twenty-five counties that used the punch-card machines went for Gore over Bush 51.8 percent to 46 percent and produced 144,985 ballots with unrecorded presidential votes. Had the people who cast these ballots entered voting booths equipped with the more efficient machines, Gore no doubt would have collected hundreds--if not thousands--more votes than Bush.
There have been allegations that black Floridians encountered racial intimidation at voting sites. (The Justice Department has initiated an informal assessment, not an investigation.) And Bush benefited from the all-too-routine bias by which minority areas receive poorer government services. Unfortunately not just for Gore but for the victims of this quiet bias in Florida, this inequity was unaddressed by the Florida circuit court and the US Supreme Court, partly because the Gore campaign didn't raise it.
The Gore legal challenge focused on 14,000 or so supposedly no-vote punch-card ballots in Miami-Dade and Palm Beach counties, not the statewide problem, and called for a manual review only of those ballots. The Veep's lawyer did not argue that the county-by-county patchwork voting system operated less effectively for blacks, a constituency that Democrats rely on to win elections. In his ruling against Gore, Circuit Judge N. Sanders Sauls noted that the record "shows error and/or less than total accuracy in regard to the punch-card voting devices utilized in Dade and Palm Beach Counties." But Sauls declared that Gore's legal team had not established "a reasonable probability" that the statewide results would turn out differently if those ballots were counted in a better fashion. Either Gore's attorneys screwed up big by not making this point more obvious--which they might have done had they filed contests based on the wider issue--or Sauls misread the math. As for the US Supreme Court, it displayed no eagerness to adjudicate such a touchy and fundamental voting-rights matter as systematic disfranchisement through technology. Its decision--in which it told the state Supreme Court to try again--indicates that the Court wanted to approach the Florida case narrowly, at least in the first go-round.
If a system is decisively skewed to one group's advantage, does that amount to theft? Or is that just the way it is? Clearly, a more equitable vote-counting system in the state--punch-cards for all or optical-scanners for all--would have yielded a different final count. This is an injustice that no court has confronted, on which Bush may well ride into the White House, and that should not be forgotten.
A quarter-million people thronged Abraham Lincoln's Memorial that day. In the sweltering August humidity, executive secretary Roy Wilkins gravely announced that Dr. William Edward Burghardt Du Bois--NAACP founding father and "senior intellectual militant of his people"--had died in exile the day before.
It's easy to forget. What we now think of, monolithically, as the civil rights movement was at the time a splintering half-dozen special-interest groups in ill-coordinated pitched camps. Thurgood Marshall, never known for tact or political correctitude, called the Nation of Islam "a buncha thugs organized from prisons and financed, I'm sure, by some Arab Group." The NOI viewed the Urban League as a black front for a white agenda. A fringe figure gaining notoriety for his recent Playboy interview with an obscure journalist named Alex Haley, Malcolm X irreverently dismissed both "the farce on Washington" and the young minister just moments away from oratorical immortality, the Rev. Dr. Martin Luther King Jr., as "Bishop Chickenwings."
If the legacy of Du Bois's long life was unclear then, what can it all mean now? What possessed him to renounce the widely coveted citizenship for which those gathered there that day--inspired in part by his example--were marching? What can a scholarly biography of the patron saint of African-American intellectuals--written by a tenured professor for a prestigious publishing house, impatiently awaited by specialists and educated generalists alike--what can all this mean to 101 million eligible nonvoters "entirely ignorant of my work and quite indifferent to it," as Du Bois said in his time, much less to 30 million African-Americans beyond the Talented Tenth and those few old-timers in Harlem who remember Du Bois as being, mostly, a remarkably crotchety old man?
With these mixed feelings of pleasure, gratitude, frustration and momentous occasion, I read the monumentally ambitious sequel, seven years in the making, itself a National Book Award finalist, to David Levering Lewis's Pulitzer Prize-winning Biography of a Race, 1868-1919.
"I remember well," Du Bois wrote, famously, "when the shadow swept across me." He was born "a tangle of New England lineages"--Dutch, Bantu, French Huguenot--within living memory of the Fourteenth Amendment and The Communist Manifesto, one generation removed from slavery. And though he laid claim to both his African and European heritage, still it was a peculiar sensation. "One ever feels his two-ness--an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder." Yet Du Bois knew full well that had he not felt, very early on, this double-consciousness, he might easily have become just another "unquestioning worshiper at the shrine of the established social order."
Willie D. charted his course as early as his teens, inaugurating his writing and public-speaking careers with articles in the Springfield Republican and a high school valedictory address on abolitionist Wendell Phillips. He arrived at the Harvard of Santayana and William James, who thought him easily among the most gifted of his students, already notorious for the "arrogant rectitude" others would resent all his life. He graduated cum laude, honing his prose with a rigorously liberal education in Latin, Greek, modern languages, literature, history and philosophy. But for a graduate student in sociology during the 1890s, Max Weber's Berlin, not Cambridge, was the place to be. And it was there, chain-smoking fluent German, celebrating both his 25th birthday and "his own genius," that W.E.B. Du Bois spelled out his life's ambition: "to make a name in science, to make a name in literature, to raise my race." Only because his scholarship ran out did Du Bois return to America for the consolation prize: Harvard's first African-American PhD.
Atlanta, after Europe and the North, came as a shock. Not that the recent lynching was in itself any great surprise. Du Bois simply wasn't prepared, passing by the local grocer, to see the souvenirs of severed fingers on display out front. Headquartered at Atlanta University, for the next twelve years he taught history and economics. By the time Frederick Douglass died in 1895, the Tuskegee model of black higher education was dominant, and Booker T. Washington its leading lobbyist. That same year Washington, whose power had been growing since 1885, had delivered his famous Atlanta Exposition speech: "In all things purely social," he said, holding up both hands, digits spread wide, "we can be as separate as the [five] fingers"--he paused dramatically, clenching each hand into a fist--"yet as the hand in all things essential to mutual progress." Convinced that Washington's appeasement had paved the way for Plessy v. Ferguson in 1896, Du Bois and other black intellectuals felt sold down the river. Du Bois's scathing review of Washington's Up From Slavery (1901), declaring war on merely vocational training of a "contented and industrious peasantry," was collected in The Souls of Black Folk (1903). Du Bois and Washington came, notoriously, to ideological blows. It was the beginning of the end for Booker T. Washington.
Yet there was no personal animus between them. Shrewdly, Washington tried to hire Du Bois away to Tuskegee, even taking him along on one of his fundraising junkets. But once at Andrew Carnegie's office, Washington--who knew where his bread was buttered and that Du Bois could be counted on not to keep his mouth shut--left him waiting downstairs. "Have you," Washington asked, "read Mr. Carnegie's book?" W.E.B. allowed he had not. "You ought to," said Booker T. "Mr. Carnegie likes it."
Around 1909, certain Niagara Movement radicals and Jewish abolitionist holdovers formed a coalition that became the NAACP. Du Bois moved to New York, where, as editor of The Crisis for the next twenty-five years, his word was gospel.
Meanwhile, Marcus Garvey addressed a Harlem crowd of 2,000 in 1917, preaching black economic independence and resettlement. He even offered, to the resurgent Klan's delight, to transport them back to Africa. Now, the masses might be fooled by the plumed and gold-braided pretensions and Napoleonic pageantry of
the Emperor Marcus Mosiah Garvey--self-proclaimed High Potentate and Provisional President-General of all Africa, Commander in Chief of the Black Star Line, an entire fleet of three dubiously seaworthy vessels--with his back-to-the-motherland schemes, his dukes and duchesses of Uganda and Niger, his knight commanders of the Distinguished Order of Ethiopia and the Nile. But Du Bois, who had just returned from Firestone's Liberia as diplomatic envoy, knew better. (Besides, everybody who was anybody knew that what Garvey's Universal Negro Improvement Association really stood for was "Ugliest Negroes in America.") As far as Du Bois was concerned, Garvey was either a lunatic or a traitor. Whereas, it seemed to Garvey--who saw Du Bois's NAACP as the National Association for the Advancement of Certain People--that the lunacy was for blacks to expect equality in America. In the end, his daring, energy and charisma were surpassed only by his ignorance of finance. Du Bois sounded the rallying cry: "Garvey Must Go." The FBI agreed. And if deportation on the grounds of being an undesirable alien wouldn't hold up in court, mail fraud would do nicely. Arrested in 1922, tried and convicted in 1923, Garvey took up residence at Atlanta Federal two years before Malcolm X was born.
Remember, back before they were Jim Crowed into academic ghettos, when history was literature and vice versa? When nonspecialists read Macaulay, Michelet? Poet, short-story writer, essayist and novelist as well as historian, Du Bois was by no means master of all the genres he assayed. But he electrified African-American literature as writer during the twentieth century's first decade. Then, as editor, he paved the way for younger writers during subsequent decades. Biography, however, is a late development in the tradition. What advances have eminent African-Americans like David Levering Lewis made in that "most delicate and humane of all the branches of the art of writing"? And do his tomes amount to a "masterpiece of the biographer's craft"?
With their cast of legendary characters, colorful set locations, gripping storylines and virtuoso draftsmanship, they certainly aspire to it. For analytical rigor, judicious gossip and subtle insight into the social, political and economic "roots and ramifications" of "racial, religious, and ethnic confrontation, and assimilation in America" between Reconstruction and the civil rights movement, Lewis is fully equal to the task of his formidable subject. And his lucid, downright old-fashioned good writing, so full of fine flourishes and phrases, is mostly innocent of academic jargon. So much so that for years--visiting the same archives, examining the same documents and cross-examining the same witnesses while working my way carefully through these volumes, underlining passages in mechanical pencil, leaving yellow flags on every other page--I kept trying to figure out my misgivings.
And then it hit me. The problem here is not one of length--Boswell's massive Life of Samuel Johnson still startles, 200 years later--but scale, of Turgenev's "right relation" among a dozen or so vivifying narrative elements beyond character and what used to be called "plot." All of these together in a constant juggle of transitions--abstract to concrete, poetic to prosaic, description to dialogue, sentence length and rhythm--can create compelling momentum. Any one of these, overrelied upon in a fact-filled narrative of 1,500 pages, can be lethal. "With the 20th century," said Virginia Woolf,
a change came over biography, as it came over fiction and poetry.... the author's relation to his subject is different. He is no longer the serious and sympathetic companion, toiling slavishly in the footsteps of his hero.... Moreover, he does not think himself constrained to follow every step of the way.... he sees his subject spread about him. He chooses; he synthesizes; in short, he has ceased to be the chronicler; he has become an artist.
Cautious of overstepping the bounds of the historically permissible, the distinguished professor has crafted a straightforward chronicle. Far too often, characters are molded not organically from suggestive situation but by accretion of meticulous archival detail--endless lists of academic pedigree heaped, all at once, in static inventories of naturalistic description--then left to atrophy in the reader's mind. A compelling narrative begins where the dossier leaves off. And a good biographer is a historian, but a good historian isn't necessarily a biographer. The progression from one to the other is no more formally inevitable than that from short-story writer to novelist. But don't get me wrong. The aesthetic quibble is really by way of illustrating how close this life might have come to greatness, to the artistry of all that Lytton Strachey left out in tending toward that "becoming brevity...which excludes everything that is redundant and nothing that is significant," and which, "surely, is the first duty of the biographer."
Du Bois's influence on African-American literature, as both writer and editor, is hard to exaggerate. Between Phyllis Wheatley, the publication of Souls, the silence of Charles Chestnutt and the death of Paul Laurence Dunbar from drunken disillusionment in 1906, dozens of poets, authors and pamphleteers emerged, boycotting the happy-blacky-nappy, banjo-strumming, watermelon-eating, darky dialect of previous eras. Of this work, says James Weldon Johnson in the classic history Black Manhattan, "Some was good, most was mediocre, much was bad, and practically all of it unknown to the general public." As late as 1914, with the exception of Johnson's Autobiography of an Ex-Colored Man, there wasn't much in the way of African-American literature, and Du Bois thought things looked bleak. By 1920, New York was America's greatest city, and Harlem--a two-square-mile city within the city where a quarter-million African-Americans boasted more poets, journalists, musicians, composers, actors, dramatists and nightclubs than any other spot on earth--became the world-famous capital of black America. It seemed to Du Bois that a renaissance of American Negro literature was now due.
His lover/literary editor Jessie Fauset, to put the arts on equal footing with social policy, urged an editorial shift in the pages of The Crisis. In short order, she published Langston Hughes's "The Negro Speaks of Rivers" in 1921 and prose poetry by Jean Toomer, later collected in Cane (1923). For the first time in history--just when Du Bois feared he'd have no worthy successors--a literature of African-Americans, by African-Americans and for African-Americans and anyone else who cared to listen was not only a possibility but a reality. The Harlem Renaissance was under way.
One prodigy Du Bois particularly delighted in was pinky-ringed young poet Countee Cullen. Companionable, uncombative, anxious for the kind of credibility a tidy résumé and Harvard degree could confer, Cullen idolized Du Bois to a degree perhaps predictable in a cautious orphan risen from impoverished obscurity to international fame by the age of 22 yet lacking, in the final analysis, the kind of intellectual and artistic daring that could sustain it. Du Bois, for his part, perhaps projected onto Cullen some of the paternal pride and ambition long buried with the infant son he'd loved and lost. And so he married off his only daughter. Langston Hughes rented a tuxedo, an organist played Tannhäuser and sixteen bridesmaids wore white. The only problem--aside from the fact that Countee Cullen was gay--was that the girl admired but didn't love him. It was a match made in Hell, a dramatic example of how "spectacularly wrongheaded" Du Bois could be.
For a decade or more, the Harlem Renaissance promised 10 million African-Americans "taken for granted by one political party and despised by the other, poor and overwhelmingly rural, frightened and disunited," the illusion of an era of freedom, justice and equality undreamed of since Reconstruction. To his immense credit, Du Bois was not lulled into submission, mistrusting the impulse toward "salon exotica" and a smattering of prizes for prodigies. Then as now, the means of production--the Hollywood studios, the recording studios, the theaters--were for the most part white-owned. As early as 1926, he warned about "the politics of patronage," challenging that African-Americans would get the art that they deserved--or were willing to pay for: "If a colored man wants to publish a book, he has to get a white publisher and a white newspaper to say it's great; and then [black people] say so." (Ain't a damn thang changed.) By 1934 it had become embarrassingly clear that civil rights would not follow logically from "forceful prose" and a demonstration of artistic excellence on the part of a few Ivy League Negroes. The movement was dead, "scuttled," as chief publicist Alain Locke put it, as much from within as from without, by faddish market swings and stock speculations of Zora Neale Hurston Niggerati, on the one hand, and the liberal Negrotarians on the other.
For Du Bois, as for most African-Americans, the Depression hit harder and faster and lasted longer than for the country at large. The royal wedding had wiped out his savings, and his Crisis salary hadn't been paid for months. He was broke.
Du Bois became increasingly radicalized during the 1930s and '40s. As he saw it, the NAACP, by focusing almost exclusively on legal strategy, was beginning to work "for the black masses but not with them." In 1934, out of sync with the mainstream leadership, he left in disgust. He returned to Atlanta University, reading Das Kapital and writing Black Reconstruction in America (1935). Du Bois, who first visited the Soviet Union in 1926, returned in 1936. Home from History's frontlines a self-professed "Bolshevik," even though, as a Socialist, he combined "cultural nationalism, Scandinavian cooperativism, Booker Washington and Marx in about equal parts," Du Bois remained unconvinced that the Communist Party, which never attracted more than a few hundred black members, was their last best hope. In any case, African-Americans did not "propose to be the shock troops of the Communist Revolution."
During the McCarthy era, the black leadership, bending in the prevailing ideological winds, began to distance itself from the left. Back in New York, involved in nuclear disarmament activity declared subversive by the US government, Du Bois was arrested and tried as an unregistered agent of a foreign power. He was acquitted in 1951, but the State Department confiscated his passport, prohibiting travel abroad. It was the last straw.
The prophet was without honor only in his own country. So when the government embargo was lifted in 1958, Du Bois went on lecture tours of Eastern Europe and the Soviet Union, becoming a kind of poster boy in the Communist effort to discredit the States. He was awarded the Lenin Peace Prize in 1959, and in Red China, his birthday was declared a national holiday by Chou En-lai. Did the party use Du Bois? Or did Du Bois use the party to further his own agenda? Both, most likely.
In 1960, seventeen African states, including Kwame Nkrumah's Ghana, gained independence. At Nkrumah's invitation, Du Bois exiled himself, renouncing his American citizenship. He officially joined the Communist Party in 1961. Shrunken now and a bit stooped, his memory not quite as sharp as it once was, the scholar-citizen spent his last days in a spacious house with a view of flowering shrubs in Accra's best neighborhood, an honored guest of state, surrounded by busts of Lenin and Chairman Mao and an impressive library of Marxist thought, editing the Negro encyclopedia and receiving visitors the world over. At last, on August 27, 1963, the visionary whose long life--spanning Reconstruction, Plessy v. Ferguson, two World Wars, Brown v. Board of Education and now the civil rights movement--had been the literal embodiment of the nineteenth century's collision with the twentieth, died in Accra, where he was accorded an elaborate state funeral.
The bioepic ends, as it began 1,500 pages ago in Volume I, with the death of W.E.B. Du Bois. A living institution, he was "productive, multiple, controversial, and emblematic." His influence--as cultural ambassador, as writer and editor, as activist whose spectrum of social, political and economic thought seems refracted in phenomena as varied as Ho Chi Minh, the Negritude of poet-statesmen Aimé Césaire and Léopold Senghor as well as the Black Power movement that peaked after his death--is ubiquitous.
A difficult man as capable of coldness to old friends as he was reluctant to admit mistakes, a prickly Brahmin who walked with kings but failed to acquire the common touch, Dr. Du Bois emerges a kind of tragic hero as flawed as he was gifted. At times you wonder whether he wasn't his own most formidable enemy. But whatever his blind spots, he was only too well aware, looking backward, that battling racism real and imagined at every turn had twisted him into a far less "human" being than he might otherwise have been.
Fifteen years and two computer crashes in the research and writing, these volumes were a lifetime, literally, in the making. As a boy born in Little Rock two decades before the civil rights movement began, Lewis had a portentous encounter with the great man. Fisk man and author of books on South Africa and the Dreyfus Affair, he's now a professor of history at Rutgers. And just as Renaissance scholarship would be incomplete without When Harlem Was in Vogue, the twenty books and 100 articles of W.E.B. Du Bois's eighty-year publishing career, so handsomely anthologized in Nathan Irvin Huggins's Library of America Writings, are indispensably complemented by what is, if not a masterpiece of biography, then almost certainly the standard social, political and intellectual history of his life and times.
A land-claim suit is pitting Oneidas against other upstate residents.
What ought to be read--and why--are questions that have a unique urgency in a multicultural milieu, where each group fights, legitimately, for its own space and voice. In the past couple of decades, battles over the Western canon have been fought strenuously in intellectual circles--one such flash point was Allan Bloom's The Closing of the American Mind and the debates that ensued. These skirmishes have much to do with the fact that America is undergoing radical change. The Eurocentric place once acknowledged as the heart of its culture has ceased to be so. Alternative groups, from different geographies, have brought with them the conviction that public life with a myriad of cores rather than a single one is far more feasible today.
It strikes me as emblematic that the voices most sonorous in the battlefield over the fate of literature are often Jewish, from those of the two Blooms, Allan and Harold, to that of Cynthia Ozick. This is not a coincidence: After all, the Jews are known as "the people of the book." For the Talmudic rabbis, to read is to pray, but so it is, metaphorically, among secular Jews...or, if not to pray, at least to map out God's cosmic tapestry. Among the most deeply felt Jewish expressions of book-loving I know is a letter to the legendary translator Samuel ibn Tibbon, a Spanish Jew of the illustrious translation school of Toledo in the twelfth century, written by his father. In it the elder Tibbon recommends:
Make your books your companions, let your cases and shelves be your pleasure grounds and gardens. Bask in their paradise, gather their fruit, pluck their roses, take their spices and their myrrh. If your soul be satiate and weary, change from garden to garden, from furrow to furrow, from prospect to prospect. Then will your desire renew itself and your soul be filled with delight.
But to turn Tolstoy's Anna Karenina into a companion, to satiate one's soul with it--ought that to be a Jewish pastime? I'm invariably puzzled at the lack of debate among Jewish intellectuals, especially in the Diaspora, on the formation of a multinational literary canon made solely of Jewish books. Why spend so many sleepless nights mingling in global affairs, reorganizing a shelf that starts in Homer and ends in García Márquez, yet pay no attention whatever to those volumes made by and for Jews?
The idea of a Jewish literary canon isn't new. Among others, Hayyim Nakhman Bialik, the poet of the Hebrew renaissance and a proto-Zionist, pondered it in the early part of the twentieth century. He developed the concept of kinus, the "ingathering" of a literature that was dispersed over centuries of Jewish life. Bialik's mission was to centralize it in a particular place, Israel, and in a single tongue, Hebrew. And a handful of Yiddish and Jewish-American critics, from Shmuel Niger to Irving Howe, have addressed it, although somewhat obliquely. Howe, for instance, in pieces like "Toward an Open Culture" and "The Value of the Canon," discussed the tension in a democratic culture between tradition and innovation, between the blind supporters of the classics and the anti-elitist ideologues. But in spite of editing memorable volumes like A Treasury of Yiddish Stories, he refused to see Jewish literature whole.
The undertaking never achieved the momentum it deserves--until now. A number of books have appeared in English in the past few months that suggest the need for a debate around a modern Jewish library. The Translingual Imagination (Nebraska), by Steven Kellman, a professor at the University of Texas, San Antonio, while partially concerned with Jewish literature, addresses one crucial issue: the polyglotism of authors like Sh. Y. Abramovitch, the so-called grandfather of Yiddish letters, whose conscious switch from Hebrew into Yiddish didn't preclude him from translating many of his novels, like The Mare, back into the sacred tongue. The presence of multilingualism in the Jewish canon, of course, is unavoidable, for what distinguishes the tradition is precisely its evaporative nature, for example, the fact that it emerges wherever Jews are to be found, regardless of tongue or geographical location. This complicates any attempt at defining it in concrete ways: What, after all, are the links between, say, Bruno Schulz, the Polish fabulist and illustrator responsible for The Street of Crocodiles, and Albert Cohen, the French-language author of the masterpiece Belle du Seigneur?
Also recently released is a book by Robert Alter, author of the influential The Art of Biblical Narrative and translator of Genesis. It is titled Canon and Creativity (Yale) and attempts to link modern letters to the biblical canon to stress issues of authority. Alter is attracted to the debate of "canonicity" as it is played out in academia and intellectual circles today, but he isn't concerned, not here at least, with purveying the discernible edges of Jewish literature historically. Far more concerned--obsessed, perhaps--with the continuity between Jewish authors from the Emancipation to the present is Ruth Wisse, a professor of Yiddish at Harvard, whose volume The Modern Jewish Canon will legitimize the debate by bringing it to unforeseen heights. For purposes of mitigated objectivity, I must acknowledge up front that together with Alter and Wisse and four other international Jewish critics, I am part of a monthslong project at the Yiddish Book Center to compose a list of the hundred most "important" (the word cannot fail to tickle me) Jewish literary books since the Enlightenment. So I too have a personal stake in the game. But sitting together with other candid readers in a room is one thing. It is another altogether to respond to the pages--at once incisive and polemical--of one of them whose views have helped to form my own.
Wisse is a conservative commentator of the Jewish-American and Israeli scenes and, most significant to me, an intelligent reader of strong opinions whose work, especially her study of Itzjak Leib Peretz and her monograph The Schlemiel as Modern Hero, I have long enjoyed. In her latest work she ventures into a different territory: From specialist to generalist, she fashions herself as a Virgil of sorts, thanks to whom we are able to navigate the chaotic waters of Jewish culture.
Probably the most estimable quality of The Modern Jewish Canon is simply that it exists at all. It insinuates connections to document the fact that Jews have produced a literature that transcends national borders. Albert Memmi's Pillar of Salt and Philip Roth's Operation Shylock might appear to be worlds apart, but Wisse suggests that there is an invisible thread that unites them, a singular sensibility--a proclamation of Jewishness that is clear even when it isn't patently obvious.
This is a crucial assertion, given that Jewish communities worldwide often seem imprisoned in their insularity: Language and context serve to isolate them from their counterparts in other countries and continents. For example, American Jews, for the most part, are miserably monolingual. (I doubt Jews have been so limited linguistically at any time in the past.) They insist on approaching their own history as starting in the biblical period but then jump haphazardly to the Holocaust, and thereon to the formation of the State of Israel in 1948. The Spanish period, so exhilarating in its poetic invocations, is all but ignored, and so is the importance of Jewish communities beyond those of Eastern Europe. Why are the echoes from the Tibbon family to Shmuel Hanagid, Shlomo ibn Gabirol, Moses ibn Ezra and medieval Spanish letters in general so faint? The power of these poets, the fashion in which they intertwined the divine and the earthly, politics and the individual, the struggles of the body and the soul, left a deep imprint in Jewish liturgy and shaped a significant portion of the Jewish people through the vicissitudes of the Ottoman Empire and northern Africa. Even the Dreyfus Affair is little known or regarded, as is the plight of the Jews in Argentina from 1910 to the bombing of their main cultural building in Buenos Aires in early 1994. And where the verbal isolation is not a problem, the insular perspective still applies: For instance, only now is Israel overcoming its negation of Diaspora life, which has deformed Israeli society and resulted in an institutionalized racism against those co-religionists whose roots are not traced to Yiddishland.
Wisse displays genuine esteem for high-quality literary art. She trusts her instincts as a savvy reader and writes about what she likes; no affirmative action criteria seem to apply in her choices--and for hewing to her own perspective, she ought to be commended. The common traits she invariably ascribes to what is a varied corpus of Jewish literature always point to Russia and Europe. Her encyclopedism is commendable in that it surveys a vast intellectual landscape, but it has clear limitations. She is well versed in English, Hebrew and Yiddish letters. But what about Sephardic culture? Ought she to exclude all that she is unfamiliar with?
The study is divided into ten chapters of around thirty pages each, ordered chronologically according to the birth dates of authors. She starts in the right place--with Sholem Aleichem, the author of the most beloved of all Jewish novels and my personal favorite, Tevye the Dairyman. And she ends with Israeli literature. In the interim, she mixes excerpts, critical commentary and historical perspective in exploring the work of Kafka, S.Y. Agnon, Isaac Babel, Isaac Bashevis Singer and scores of other luminaries, some of questionable value in my eyes (Jerzy Kosinski, for instance) and others often overpraised (here I would include Ozick). The contributions of critics such as Dan Miron, Chone Shmeruk, Lionel Trilling and Howe are acknowledged by Wisse in these pages, their perspectives still fresh and inviting.
It may be ungenerous to accuse Wisse of a certain nearsightedness; after all, to capture the essence of a literature written in a plethora of tongues and cultures, a literature that is by definition "undefinable," any potential cataloguer would need to be versed in each and every one of them. But The Modern Jewish Canon suffers another serious shortcoming, entirely within control: It is too dry a read. For a treatise that aspires to connect the various Jewish Weltanschauungen and juxtapose a rainbow of imaginations, each responding to different stimuli, from the eighteenth century to this day, Wisse offers little by way of narrative enchantment. She is a scholar and writes as such. Scarce effort is made to turn words into metaphors, to twist and turn ideas and allow them to wander into unexplored regions. The reader finds himself lost in a sea of "objective impersonality." Too bad, for shouldn't a book about the beauties of a polyphonic literature aspire to that on its own?
Wisse herself announces: "Modern Jewish literature...promises no happy merger into universalism at the end of the day." And yet some form of universalism is what she is attempting to describe, extending connective tissue between literary works where, at least superficially, there seemed none before. In that sense the achievement is impressive. Immediately after finishing the book, I took up pencil and paper to shape a list of what would be my own choice of books. In one of her last pages Wisse, who concentrates on novelists, includes a list of almost fifty titles, "meant to serve as a reference guide." Included are Yaakov Shabtai's Past Continuous, Piotr Rawicz's Blood From the Sky, Pinhas Kahanovitch's The Family Mashber, and Anne Frank's Diary of a Young Girl. But I found myself asking, Where are Marcel Proust, Elias Canetti and Moacyr Scliar? And that, precisely, is one thing a book of this sort should do: force readers to compose a response to the invisible questionnaire the author has quietly set before our eyes.
Future generations will find The Modern Jewish Canon proto-Ashkenazic and hyper-American, a sort of correlative to the Eurocentrism that once dominated American letters. They will kvetch, wondering why the Iberian and Levantine influence on today's Jewish books--from the poetry of the crypto-Jew João Pinto Delgado, to the inquisitorial autobiography of Luis de Carvajal the Younger, to even the Sephardic poetry that came out of the Holocaust--was so minimized in the English-language realm. Kvetch is of course a Yiddish word--or, as Leo Rosten would have it, a "Yinglish" one--but fretting and quarreling are Jewish characteristics regardless of place, and they inhabit the restless act of reading as well. The idea of a Jewish canon, modern and also of antiquity, hides behind it an invaluable fact: that Jews are at once outsiders and insiders, keepers of the universal library but also of their own private ones. Books have always served as their--our--companions for renewal and delight. The content of that private library might be up for grabs, but not its endurance.
The attempt to see Jewish literature whole, as expressing a singular sensibility, has never had the momentum it deserves--until now.
Afew days before the election, I accompanied a friend to the dentist's office. It was one of those situations in which appearance takes over more complex realities of who we are. I was a middle-aged black woman assisting an elderly white man. That he's a wild old radical who browbeats the mad law professor in me with Russian ideologues and German philosophers probably wasn't what most people saw as we toddled down the street arm in arm on cane. In the vast warren of the medical center, we become even more invisible in a waiting room filled with physically fragile patients, many of whom had been brought there by female caretakers of color.
Perhaps because of some such condescension, we became privy to a loud conversation floating out the not-quite-closed door of the office next to which we were sitting. One of the doctors was chatting with a patient, expressing his general pique at the world in familiar, often contradictory clichés. He was upset at the loss of standards in schools. He pitted merit against equality and paired merit with white, Jewish and Asian students. He insisted that "we are not all equal" and concluded that affirmative action was inherently immoral. A few minutes later he blamed white liberals for abandoning standards and praised as standard-bearers those blacks who support vouchers. "The problem is" minorities who teach their children to hate white people. He said that "blacks are out of control" and that black leaders "are not taking responsibility." He cited Al Sharpton, Marion Barry and Louis Farrakhan as typical black leaders, and he rattled on against substance abuse in the inner cities and guns in the hands of young blacks who will never make it into the middle class, because they don't study and don't have good table manners.
"Bite down," he said as he finished with a paean of support for "zero tolerance" policies, standardized testing and George W. Bush.
George W. Bush! I shook my head wonderingly. If only he were black. It's one of those things we black people think about a lot: If only this or that one were black. Can you imagine, we tell each other.
Just think where a black man who spent more than half his adult life as a substance abuser would be--a black man who had a conviction for drunk driving and a notoriously bad attitude. Is it too obvious to point out that George Bush and Dick Cheney--who has two convictions for drunk driving--share a certain equality of status with Marion Barry?
Just think where a sneering black frat brother who committed gross grammatical butcheries and called Greeks Grecians would be. What fun Abigail Thernstrom could have questioning why unqualified upper-class whiners like that should be admitted to "first tier" universities like Yale and Harvard. (I guess we're supposed to feel better that Cheney flunked out of Yale on his own merits.)
Just think of where a black businessman with a "winning" personality but a losing financial record would be when he showed up to buy that team franchise. Assuming he could get a job way down in the corporate food chain, you can bet they wouldn't let him anywhere near the cash register.
Imagine a black politician who was so loudmouthed that his own family called him "bombastic," who proffered opinions about nations whose names he hadn't bothered to learn or badly mispronounced and who created an international incident by falsely accusing the Russian Prime Minister of stealing from the IMF. If you're thinking Al Sharpton, think again.
Imagine a black leader who began his campaign for office at a university that historically advocated racial separatism as God's law and that published materials describing Judaism as heretical and Catholicism as a "cult." I do wonder how it is that George W. can wander through so much of Louis Farrakhan's metaphysical territory and still come out looking like someone whose morals so many Americans say they can look up to.
I do not draw such analogies simply to relativize. The more important point, I think, is one related to what I sometimes call innocence profiling. If George W. Bush were black, he would be a classic suspect profile. If he were Driving While Black, there are people who would have forgiven police if they had decided to shoot at his drunkenly weaving car on that dark Maine highway (as New Jersey troopers shot at that van full of perfectly sober, cooperative college students). If he had been black, we might have heard Mayor Rudolph Giuliani describing him as "no altar boy" (as he described Patrick Dorismond, a security guard "accidentally" shot and killed by the NYPD).
But of course, George W. Bush is not black, and thus it is, perhaps, that the New York Times instead ran an article describing him as having tamed his "inner scamp" and entered "midlife redemption"--even as the article goes on to describe the supposedly redeemed man-who-would-be-Commander-in-Chief as having behaved so insultingly and inappropriately toward Queen Elizabeth at a state dinner in 1991--five years after he says he gave up alcohol--that a horrified Barbara Bush promised the Queen to seat him far away from Her Majesty, "for fear of him saying something."
The lesson of equality is, at its heart, related to the question of double standards: There are still too many examples in American society of the degree to which we have zero tolerance for disreputable black behavior and seemingly unlimited indulgence when whites behave the very same way.
Anyway, back at the medical center, the dentist's door flew open. "Next!" called out the doctor.
"Now set the teeth...," growled my dear old friend and lefty warrior as he marched into the office to face needles, drills...and more. "It won't be so bad," smiled the dentist unsuspectingly.
But my friend had been quoting Shakespeare's Henry V. "Teach them how to war..." he went on and winked at me. The door shut softly behind them.
If you stand in Tiananmen Square and keep your eyes open on a normal day, you will see the tour groups with their "keep together" flags, and the long line waiting to see the mummified Mao in his mausoleum, and the crowd around the entrance to the Forbidden City. Souvenir salesmen ply their trade where once the students massed around the Goddess of Democracy. And then you notice the militia vans endlessly circling, and the buses parked off to one side. It's a big space to police, and its vast openness makes it impossible to close off. Every few days, a group of supporters of the Falun Gong movement will suddenly unfurl their banners and wave them until the forces of order arrive, sweep them up and carry them away.
You have "little trace," exclaimed Gershom Scholem in a letter he sent to the great Jewish political philosopher Hannah Arendt, of "love for the Jewish people." It was the early 1960s, and Scholem, one of Israel's most prominent intellectuals, was responding to her analysis of Adolf Eichmann's trial. Scholem's attack was spurred by several assertions Arendt had made, including her allegation that the Jewish officials in the ghettos--the Judenrat--expedited the extermination machine; if they had not collaborated with the Nazis, Arendt wrote, fewer Jews would have been killed.
Scholem's criticism expressed the prevailing view held by Israel's elite. Not surprisingly, Arendt was censored in Israel, and it took thirty-six years before an Israeli press agreed to translate her writings. Although the recent appearance of Eichmann in Jerusalem in Hebrew has rekindled an age-old debate, it seems that Israelis can now relate to the Holocaust in a more mature way.
Corners of the Jewish establishment in the United States may not be ready to cope with similarly forceful criticism, though, judging from the response to Norman Finkelstein's The Holocaust Industry. A review put forth in the New York Times tossed it aside as "an ideological fanatic's view of other people's opportunism, by a writer so reckless and ruthless in his attacks that he is prepared to defend his own enemies, the bastions of Western capitalism, and to warn that 'The Holocaust' will stir up an anti-Semitism whose significance he otherwise discounts." There are two major problems with this line of criticism. First, it summarily dismisses Finkelstein's arguments without any attempt to engage his disturbing accusations. Second, instead of concentrating on the book, the reviewer goes after the author, implying that Finkelstein, the son of survivors, represents a neoteric breed of anti-Semite. In this way, it resembles the assault on Arendt.
On the book's first page Finkelstein distinguishes between the actual historical events of the Nazi holocaust and "The Holocaust," a term denoting an "ideological weapon." He notifies the reader that The Holocaust Industry deals only with the ideological component, which is used to cast both Israel and "the most successful ethnic group in the United States" as victims. Victim status, in turn, says Finkelstein, enables the Zionist state, which has "a horrendous human rights record," to deflect criticism, and US Jewish organizations (the American Jewish Committee, the American Jewish Congress and others) to advance dubious financial goals.
Others have already shown that the holocaust has served to justify pernicious acts. Tom Segev, a leading Israeli journalist, said as much over a decade ago in his book The Seventh Million. In the early 1980s, Israeli scholar Boaz Evron observed that the holocaust is often discussed by "a churning out of slogans and a false view of the world, the real aim of which is not at all an understanding of the past, but the manipulation of the present." Thus, Finkelstein's contribution to the existing literature involves his concentration on US Jewish organizations. He attempts to go beyond Peter Novick's The Holocaust in American Life [see Jon Wiener, "Holocaust Creationism," July 12, 1999], which focused in part on abuses committed by Jewish organizations and intellectuals, by providing a much more radical critique. Finkelstein strives to show how the organizations have "shrunk the stature of [Jewish] martyrdom to that of a Monte Carlo casino."
The major claim of the first chapter, "Capitalizing the Holocaust," is that until the 1960s "American Jewish elites 'forgot' the Nazi holocaust," their public obliviousness induced by a fear of being accused of "dual loyalty." Finkelstein urges the reader to keep in mind that the United States opposed Israel's 1956 invasion of Egypt and did not become an ardent champion of the Jewish state until the mid-1960s. Accordingly, he avers, Jewish elites were apprehensive about accentuating the holocaust for fear that this would be interpreted as favoring Israel over the United States.
The reader is also reminded that after World War II, Germany became "a crucial postwar American ally in the US confrontation with the Soviet Union." It was, I believe along with the author, a sad moment in Jewish history when organizations like the American Jewish Committee and the Anti-Defamation League "actively collaborated in the McCarthy-era witch hunt." The crux of Finkelstein's argument in this context is that Jewish organizations "remembered" the holocaust only after the United States and Israel had formed a strategic cold war alliance. They suddenly realized that "The Holocaust" (in its capitalized form) could be employed as an ideological tool.
Finkelstein does not hesitate to use blunt language rather than euphemism; and although he usually applies words in a precise manner, at times he gets carried away in his analysis. For instance, at the very end of the first chapter, after discussing the dissolution of the longstanding alliance between American Jews and blacks, he claims that "just as Israelis, armed to the teeth by the United States, courageously put unruly Palestinians in their place, so American Jews courageously put unruly Blacks in their place." The book offers no support for the sentence's second clause; the analogy it sets up, too, is erroneous and can easily be used to discredit Finkelstein and thus his more serious charges.
The book's principal weakness, however, develops in its second chapter, "Hoaxers, Hucksters and History." Finkelstein dedicates this portion of the book to undermining two "central dogmas" that "underpin the Holocaust framework: (1) The Holocaust marks a categorically unique historical event; (2) The Holocaust marks the climax of an irrational, eternal Gentile hatred of Jews."
My criticism has nothing to do with Finkelstein's analysis of the second dogma, whose paradigmatic example is Daniel Goldhagen's Hitler's Willing Executioners. The main thesis underlying Goldhagen's book--which has been acclaimed in some quarters but derided in many others--is that ordinary Germans were no less anti-Semitic than National Socialist Party members. Goldhagen's theory serves the notion that Jews can always fall prey to Gentiles, which makes them the quintessential and eternal victims. And if "'all people collaborated with the Nazis in the destruction of Jewry,'" then, as Boaz Evron points out, "everything is permissible to Jews in their relationship to other people." Together with Ruth Bettina Birn, an international expert on Nazi war crimes, Finkelstein examined Goldhagen's references one by one, and in their book A Nation on Trial they concluded convincingly that Hitler's Willing Executioners is not worthy of being called an academic text.
My problem, rather, lies with Finkelstein's attempt to demonstrate that the holocaust was not a unique historical event. I disagree with Elie Wiesel, who for a "standard fee of $25,000 (plus a chauffeured limousine)"--in Finkelstein's aside--insists that "we cannot even talk about it," and I follow Finkelstein's admonition that it's helpful to compare it with other historical events. Yes, Finkelstein is right that Communists, not Jews, were the first political casualties of Nazism, and that the handicapped were the first genocidal victims. He is also correct that Gypsies were systematically murdered. But these facts do not prove that the holocaust was unique only "by virtue of time and location," in his formulation. Even though mass genocide has occurred elsewhere, death trains, gas ovens and Auschwitz have not. The holocaust, including the horrific experience of European Jewry, was unique.
Finkelstein's error is in conflating two issues: the uniqueness of the holocaust, on the one hand, and how this uniqueness is interpreted and put to use in manipulative ways, on the other. He fails to recognize that one need not debunk the uniqueness of an event in order to compare it and criticize its use and abuse.
Nonetheless, when it comes to analyzing how "The Holocaust" has been employed to advance political interests, Finkelstein is at his best. He shows how "The Holocaust" demagogues draw a link between "uniqueness" and "Jewish chosenness" and demonstrates how both are used to justify Israel's rightness, regardless of the context. His most notable contribution is in the third chapter of his book, "The Double Shakedown," where he couches as an exposé his view that "the Holocaust industry has become an outright extortion racket." The chapter deals with a few specific cases but mainly focuses on the circumstances leading to the compensation agreement between Switzerland and a number of Jewish organizations. In this disturbing affair the devil is in the details, and Finkelstein has done his homework.
The empirical evidence he supplies is alarming. He documents how Jewish organizations have consistently exaggerated numbers--of slave laborers or the amount of "victim gold" purchased by the banks--in order to secure more money. This sort of inflation was recently repeated in an October 23 letter written by Burt Neuborne--the lead counsel in the Swiss banks case--to The Nation. Neuborne claimed, for instance, that if one takes into account that there were "more than 2 million wartime accounts" whose records have been destroyed, then the $1.25 billion compensation provided by the Swiss "barely scratches the surface of the stolen funds." Neuborne fails to mention the findings published by the Independent Committee of Eminent Persons, also known as the Volcker Committee, in its Report on Dormant Accounts of Victims of Nazi Persecution in Swiss Banks (1999). The committee established that approximately 54,000 dormant accounts had a "possible or probable" relationship to Holocaust victims, and of these only half had any real likely connection. Considering that "the estimated value of 10,000 of these accounts for which some information was available runs to $170-200 million," even Raul Hilberg, author of the seminal study The Destruction of the European Jews, infers that the "current value of the monies in the dormant Jewish accounts is far less than the $1.25 billion paid by the Swiss."
Hilberg himself has accused some Jewish organizations of "blackmail," and Finkelstein describes in detail how this economic strong-arming was carried out. While the high-powered lawyers representing the organizations haggled with the Swiss, the Jewish lobby launched an extensive campaign. This drive included the publication of studies--supported by the Simon Wiesenthal Center--that accused Switzerland of "knowingly profiting from blood money" and committing "unprecedented theft," and claimed that "dishonesty was a cultural code that individual Swiss have mastered to protect the nation's image and prosperity." Using its leverage, the lobby utilized these allegations in the House and Senate banking committees in order to orchestrate a "shameless campaign of vilification" against Switzerland, in Finkelstein's words. Simultaneously, it convinced officials in a number of states, including New York, New Jersey and Illinois, to threaten the Swiss banks with economic boycott. Finally, the banks bent in response. Call it what you will, ingenious lobbying or conspiracy theory, Finkelstein manages to disclose how this well-oiled machine has utilized abhorrent methods to fill its coffers.
The World Jewish Congress has amassed "roughly $7 billion" in compensation moneys. One reads that former Secretary of State Lawrence Eagleburger earns an annual salary of $300,000 as chairman of the International Commission on Holocaust-Era Insurance Claims, while ex-Senator Alfonse D'Amato is paid $350 an hour plus expenses for mediating Holocaust lawsuits--he received $103,000 for the first six months of his labors. Most of the attorneys hired by the Jewish organizations earn around $600 an hour and their fees in total have reached several million. One lawyer asked for "$2,400 for reading Tom Bower's book, Nazi Gold." These attorneys might be demanding a smaller fee than is common to such litigation, but even a small percentage of a billion dollars is a lot of money. One should keep in mind that Finkelstein's mother received $3,500 for spending years in the Warsaw ghetto and in labor camps--the same amount D'Amato made in ten hours' work. These numbers plainly suggest that the "struggle," as much as it may be about paying damages to victims, has elements of an out-and-out money grab.
Finkelstein's analysis here boils down to three major criticisms: First, US Jewish organizations have been using shady methods to squeeze as much money as they can from European countries; second, while these organizations "celebrate" the "needy victims," much of the money gained in the process does not reach the victims but is used by organizations for "pet projects" and exorbitant overhead salaries; and third, that Jewish organizations' ongoing distortion of facts and emotional manipulation foments anti-Semitism. While his arguments are convincing, his attempt to be provocative leads to carelessness. His claim that the "Holocaust may turn out to be the greatest theft in the history of mankind" is preposterous, especially considering the history of imperialism. And yes, the "Holocaust industry" probably engenders some anti-Semitism; but Finkelstein should also clearly state that any misbehavior by Jewish organizations does not, and never can, provide an excuse for it.
Finkelstein does not spend all of his ire on his critique of Jewish organizations; he forcefully condemns US double standards as well. Why, for example, was a Holocaust museum built on the Washington Mall while there is no similarly high-profile museum commemorating crimes that took place in the course of American history? "Imagine," he says, "the wailing accusation of hypocrisy here were Germany to build a national museum in Berlin to commemorate not the Nazi genocide but American slavery or the extermination of Native Americans." Along the same line, the United States pressures Germany to pay compensation for its use of slave labor, but few in government dare mention compensation for African-Americans. Swiss banks are asked to pay back money taken from Jews but are allowed to continue profiting from the billions of dollars deposited by tyrants like Mobutu and Suharto at the expense of indigenous populations.
Informing Finkelstein's analysis is a universal ethics, which echoes Arendt's important claim that Eichmann should have been sentenced for his crimes against humanity rather than his crimes against the Jews. His book is controversial not entirely because of his mistakes or his piercing rhetoric but because he speaks truth to power. He, and not the Jewish organizations he criticizes, is following the example set by the great Jewish prophets.
Gore says he prays when crises loom.
He asks just what would Jesus do.
And then he does that very thing
(If focus groups would do it too).
So whose side's Jesus on, folks? Whose side's Jesus on?
Who's got the Savior's brawn, folks? Yes, whose side's Jesus on?
And Bush says faith-based treatment's best
For those adrift or drug-addicted.
Salvation's just for Christians, though.
No Jews. Yes, heaven's still restricted.
So whose side's Jesus on, folks? Yes, whose side's Jesus on?
Who's got the Savior's brawn, folks? Yes, whose side's Jesus on?
The other side, warns either side,
Would of the Savior's blessings rob us.
And Lieberman? Well, he can say
That Jesus wouldn't work on Shabbes.
So whose side's Jesus on, folks? Yes, whose side's Jesus on?
The battle lines are drawn, folks. Yes, whose side's Jesus on?
The high point of liberal faith that the color line might be permanently breached may have been the 1963 March on Washington for Jobs and Freedom. From a participant's perspective it is difficult to forget the sea of 200,000 black and white demonstrators behind the figures of Martin Luther King Jr., Walter Reuther, A. Philip Randolph and other prominent civil rights leaders, arms confidently linked, marching toward an egalitarian future. In the wake of Southern freedom rides and lunch-counter sit-ins to break the racial barriers to public accommodations (while early Northern urban insurgencies began protesting economic oppression), in quick succession Congress passed the Civil Rights and Voting Rights acts. By 1965 many were convinced that the long-deferred dream of equality and justice was at hand. But as it turned out, the movement was not equal to its dream. The decade that began with Brown v. Board of Education, the Supreme Court decision against school segregation, and ended with Congressional enactment of legislation that seemed to fulfill the betrayed promise of the Civil War and Reconstruction turned out to be the last great outpouring of racial unity in the twentieth century. The reassertion of the racial divide became the story of the next thirty-five years. Even as antipoverty programs, affirmative action and war-fueled prosperity helped expand the black middle class, housing and school segregation worsened, and, because of the deindustrialization of most major cities, black and Latino unemployment became intractable. In the wake of the misery of many black ghettos we have seen the return of racial thinking, especially eugenics, that hated doctrine developed at the apex of the British Empire by Darwin's cousin Francis Galton, among others. Far from earlier belief--shared by scientists, human rights advocates and many political leaders--that there is only one human species, race has made a roaring comeback on the left as much as the right. Moreover, on both sides of the ideological divide science has been mobilized to reassert the legitimacy of race as a "natural" division within the species, not only in the United States but also in other advanced industrial societies.
Paul Gilroy, whose Black Atlantic broke through the nation-specific context of race politics, has written a powerful, albeit minoritarian defense of the position that racial thinking--not just racism--is a key obstacle to human freedom (an aspiration, he sadly notes, that has virtually disappeared from political discourse). In his analysis of the origins and uses of racial thinking Gilroy spares from his critique neither black pride nor black separatism, let alone racism's most virulent forms, fascism and colonialism. He argues, provocatively, for an alternative to antihumanist identity politics that would veer toward defining community as a geographical as much as a racial concept, what he calls "planetary humanism." He also propounds an unabashed cosmopolitanism to replace nationalism as a solution to racial oppression. The result is that he has offered one of the most impressive refutations of race as an anthropological concept since the publication of Ashley Montagu's Man's Most Dangerous Myth: The Fallacy of Race more than fifty years ago. But where the older work rode the crest of a wave of early postwar antiracial thinking propelled by the general recognition that the crimes of Hitlerism were a consequence of racial populism, Gilroy's attempted revival comes at a time when identity politics, with its ideology of separatism, seems to have displaced forms of universal humanism. Communitarianism, which holds that people have the right to circle the wagons around their territory and impose their group's values on strangers, has reached all corners of political discourse, including the White House. In these times the frequently invoked slogans of human rights enjoy only strategic currency.
Gilroy traces racial thinking to three major sources: First, "raciology," discredited in its blatant, authoritarian manifestation, lives on in the guise of pseudoscientific claims that the black body has biologically rooted attributes of superior strength, beauty and endurance; second, the various movements to counter oppression by affirming racial solidarity on the basis of a separate black identity; and third, colonialism and slavery's systematic deracination of the black self and its consequent denial that blacks should be considered part of universal humanity, which has occasionally but spectacularly given rise to genocidal activities in the name of racial purity.
According to Gilroy, the persistence of raciology is partly attributable to the growing cultural importance of visual thinking, which increasingly influences our conceptions of truth. The dominance of image over writing has had a profound influence over what we take as reliable knowledge. Photography, film and television have altered how we understand the world. Despite overwhelming scientific theory and practice maintaining that there are no fundamental biological differences, physically or intellectually, within the human species, Gilroy contends, the manipulated images of advertising and other artifacts of consumer society apparently belie these judgments. Citing Spike Lee's alliance with a leading advertising agency, DDB Needham, to promote a bland version of multicultural blackness as an example of how raciology has walked through the back door of commercialized black identity, Gilroy accuses some leading black cultural figures of complicity with a crass version of market capitalism to advance their own interests.
Gilroy begins by marshaling evidence, culled from the scientific and technological revolutions of molecular biology and computer science, to support his contention that the concept of essential racial difference has lost its scientific basis even as attempts are made, by means of pseudobiological arguments, to support the view that humanity is divided by inherent, natural differences. "There is no raw, untrained perception dwelling in the body," nor, he believes, is there an inherent black physical superiority. Citing advances in medical imaging that reveal the body on a "nanoscale," he argues that the human body is increasingly understood by science as code and information and, echoing Frantz Fanon, one of his major interlocutors, should not be "epidermalized." In other words, we are not defined by skin color or intrinsic biological traits but by the "patterned interaction" between human organisms and the ecosystem within which we live and develop.
Against Race reserves some of its harshest gibes for identity politics and its companion, "multicultural blackness." Gilroy's criticism ranges from the fairly well-traveled issue of how consumerism shapes identity to how identity may lead to genocide. One of his milder illustrations is that in a society in which the marketplace assumes pride of place, the "car you drive, the clothes you wear" and other items of consumption define who we are. We are identical with our visible signs. But this is only a preliminary consideration to the far more frightening geopolitical tendency to link identity to warring constituencies who sometimes try to exterminate one another, such as Tutsis and Hutus in Rwanda. To underline the horror of the conflation of physical appearance and national identity, Gilroy gives an example of the large-scale killing of Tutsis because their identity card marked them, "or they did not have their card with them...and were therefore unable to prove they were not a Tutsi." Some were killed because soldiers believed "they were too tall" to be Hutu. In calling this an example of the history of "unspeakable barbarity," Gilroy remarks on "how the notion of fixed identity operates easily on both sides of the chasm that usually divides scholarly writing from the disorderly world of political conflicts." He notes that scholarship is often unable to go beyond what it perceives as primal difference, just as political actors seem incapable of seeing the Other as anything but evil.
Contrasting the music of Bob Marley, whom he takes, virtually without reservation, as an authentic black voice for universal human freedom, with hip-hop, especially in its recent incarnations, as a misogynous, cynical and exploitative product of Tin Pan Alley, Gilroy enters the vociferous debate about black popular culture. He chides critics who perpetuate the myth derived from hip-hop's earlier character as a local and rebellious musical expression and who insist that, in the face of massive evidence to the contrary, hip-hop is "marginal" and oppositional to mainstream culture. For Gilroy the leading figures of the genre, Tupac Shakur, Biggie Smalls and others, rode to their popularity on some of the more regressive masculinist sentiments even as they retain rebellious images in the guise of glorifying the figure of the gangsta. These views are not likely to endear Gilroy to those who find hope in the fragments of social critique that remain in the music. I believe he overstates the case. For all of its commercial uses, "avant-garde" hip-hop remains quite subversive to the dominant theme of the American Celebration.
This leads to perhaps the most controversial sections of the book: Gilroy's attempt to demonstrate the link between the fascist politics of racial identity and black nationalism, especially the views of Marcus Garvey, who in the 1920s and early 1930s organized and led a mass Back to Africa movement that attracted hundreds of thousands of followers.
Reflecting recent scholarship, Gilroy denies that fascism was a singular, exceptional event limited to the time of Hitler and Mussolini. Instead, he connects its appearance in the interwar period--and persistence after the defeats of the German and Italian armies and the collapse of their governments--to the history of colonialism and to the contradictions between the universalistic, humanistic claims of Enlightenment culture and the militarism that marked its sordid record of conquest.
Invoking the bloody history of Western imperialism's subordination of colonial peoples in the name of civilizing the "barbarians," Gilroy makes the explicit connection to Hitler, whose rise to power was not merely a reflection of German resentment at its humiliation by the Allies and the legacy of colonialism. Germany's drive for European and African conquest was based on Hitler's doctrine of racial purity and superiority. More than a dictator, he was an impressive ideologue whose ideas attracted substantial support among Germans and have had enduring influence in the emergence of contemporary ultrarightist movements, some of which, like those in France and Italy, have won considerable popular following. The core of fascism is biological essentialism manifested in the marriage of racial identity with nationalism, ideas that won the admiration of Garvey and some other black nationalists. Moreover, like many nationalisms, Garvey's was anti-Semitic, and Gilroy shows that he admired Hitler.
Not that Gilroy equates black separatism with fascism. But he places considerable weight on the deracination of the Jews by fascism as the major modern form of racism and as a precursor to the calumnies that followed their extermination. His point is that the Holocaust and the Rwanda tragedy--indeed, all genocidal acts grounded in racial purity and racial separatism--contain the potential for unspeakable barbarity because they entail the denial of the Other's claim to humanity. Once the Other has been endowed with essential qualities that may be coded as subhuman--or evil--there may be no question of observing its fundamental rights. Thus, for Gilroy, black anti-Semitism is not only wrong, it is self-defeating.
In promulgating his viewpoint Gilroy relies on the authority of three thinkers who, as it turned out, vainly fought for the notion of human liberation: Frantz Fanon, the West Indian psychoanalyst who decried all attempts to link humans to their skin color and never tired of reminding the metropolis of its obligation to live up to the promise of the Enlightenment; Martin Luther King Jr., who, despite the violence and humiliation suffered by American blacks, insisted that the task of the civil rights movement was to secure entrance into American society but who also recognized toward the end of his life that rights are not enough and integration into an unjust society is not desirable. King became the principal tribune of the indivisibility of freedom and, in its pursuit, lost his life while participating in one of the monumental struggles of the Southern labor movement. The last thinker, Richard Wright, is Gilroy's model of a cosmopolitan intellectual who removed himself to France rather than bear witness to the disintegration of the promise of freedom in his own country. Wright is the exemplar of the intellectual exile, yet he remained rooted to the problems and pain of blacks in his native land. Disdaining what he called "tribalism," Wright used his celebrity to make a spirited case that the newly independent African states should embark, despite all, on the road to modernity.
Gilroy's reach is dazzling, his analysis acute and insightful, but in the end he recognizes that, lacking a political constituency for his planetary humanism, his ideas remain not a program but a utopian hope. Significantly, in the last chapter he invokes Theodor Adorno, who, in his years in California, made shrewd but ungenerous commentary on various aspects of US popular culture. Gilroy's sharp criticisms of black elites--especially the middle class, who, even as they distance themselves from the black working class have embraced a mixture of black separatism and assimilation into the dominant market culture--do not lead him to consider global class politics as a practical way to achieve the cosmopolitan movement he would create, any more than Adorno could see beyond the "the totally administered society" he abhorred. At the end of the day, Against Race remains the brilliant jeremiad of an out-of-step intellectual whose main weapon is criticism. There are few who do it better.