Charles Baudelaire, “My Little Melancholy Monkey”

Unknown-1

In a journal entry in the spring of 1856, Charles Baudelaire wrote at the top of his journal page the following title: “Self-Purification and Anti-Humanity.”   Directly under this title, he writes that “in the act of love,” there is “a great resemblance to torture or a surgical operation.”   In the spirit of irony and contradiction that Baudelaire revels in, he follows up this dark and counter-intuitive claim with an erotic reflection: “Presently he asked permission to kiss her leg, and, profiting by the occasion, he kissed that beautiful limb in such a position that her figure was sharply outlined against the setting sun!”   Baudelaire translates his conflicted understanding of sexuality into a series of animal nicknames that affirms an erotic-slash-poetic sensibility:

“Pussy, kitten, catkin, my cat, my wolf, my little monkey, big monkey, great big serpent, my little melancholy monkey.”

However, after reveling in these names, Baudelaire claims that “such excessive use of animal nicknames testifies to a satanic aspect of love. Have not demons the forms of beasts? The camel of Cazotte – camel, devil, and woman.”   Since Baudelaire suggests that the use of such erotic language (a blurring of lines between man and animal) is satanic, he seems to be negating them. However, as we can see from the title of this entry, Baudelaire also suggests that these animal nicknames and their negation while suggesting “anti-humanity,” have something to do with “self-purification.”   The affirmation and negation of the animal nickname is the affirmation and negation of eroticism.

In lieu of this exercise, Baudelaire sets forth a poetic principle: “When I have inspired universal horror and disgust, I shall have conquered solitude.” In other words, he sees his reflections on the nexus of eroticism and animal life as inspiring “horror and disgust” while, at the same time, enabling him, through negation, to “conquer solitude” and become a true artist. By becoming double (by affirming and negating eroticism), he becomes a modern artist.   Even though he negates the man animals, he knows he is a man animal.   This is – apparently – the secret of Baudelaire’s poetic consciousness.  And this secret sets him apart.

Even though he has negated the nickname, he still sees himself as a “little melancholy monkey.”  His use of “horror” doesn’t make him angelic or simply “anti-human.” It doesn’t purify him either.  The animal challenges his desire to conquer solitude. By being a “little melancholy monkey,” he can only experience solitude. He can’t – like everyone else – be fully human. He can only attempt to purify himself and this is what makes him melancholic. He is, sadly, bound to the “little monkey.”   He is vulnerable (little) and cannot escape animal life (monkey). But he must hide this shameful truth by way of negation.   He knows, however, that his negation is not real.

But there is more.  And this comes out with the word “my.”  Despite his “mastery of solitude,” he is still loved by someone. He is not alone and perhaps, for that reason, he isn’t – according to his definition – a real artist. Despite his irony, he belongs – like an animal of sorts – to the other.  Most likely, it was his Haitian born mistress, Jeanne Duval, who said that he is “my little melancholy monkey.”   And it is only his bitterness about her possession of him – which he also loves – that gives him a melancholic sense of self which he cannot separate….from animal life.  His solitude and his pain…which comes with being human is…interrupted by animal life and the love that attends it.

On Screened and Unscreened Death, Jewish Bodies, and “The Son of Saul”

Unknown

Like many of his early films, Quentin Tarantino’s The Hateful Eight includes countless scenes of bodies being blown to pieces. Nearly all of his plots satisfy a desire for revenge. But what I, like many others, find is that his films leave me with an empty feeling. Although some of his plots have a historical referent (such as the Holocaust – Inglorious Basterds (2009) – or slavery – Django Unchained (2012), one isn’t struck by the evil of history.   There are endless dead and wounded bodies that parade in front of the viewer but they are detached from history. We are struck by something visceral but empty.   These deaths are screened.

I found the opposite to be the case in the recent Holocaust film, The Son of Saul (2015)   In the film, the relation of the dead bodies we see on the screen with the evils of real history is prescient and unscreened. But more importantly for me, as a Jew, was the relation of these bodies to what Michael Wyschogrod would characterize as the Jewish body and its theological meaning.   For Wyschogrod, violence against the Jewish body has theological significance and in The Son of Saul violence against the Jewish body was at the forefront of the entire film.  Seeing the multiplication of dead Jewish bodies – at the beginning of the film the pace of dead bodies being created is preponderant and returns throughout the film – struck deeply at my sense of being a Jew in history and how that existence is deeply precarious and threatened.

To understand what is at stake, we need to have a deeper understanding of what the Jewish body means for Jews and for Jewish theology.   For the Jewish tradition, the Jewish body is not merely a cultural product or accident. According to the 20th century Jewish theologian Michael Wyschogrod – in contrast to a Medieval Jewish thinker like Moses Maimoindes who saw Judaism more in terms of beliefs and doctrine – one cannot think about God without thinking about the body of the Jewish people. The “being” of the Jewish people is not metaphysical; it is embodied:

The being of Israel is embodied being. Jewish theology can therefore never become pure self-consciousness…Only the Jewish people in its totality (as opposed to this or that individualized mystical experience of being – my note) is the essence of the Jewish people, and that includes not only its understanding segments but also the mute and heavy masses who have suffered for the covenant with a minimum of understanding….whose significance is understood very little.(26, Body of Faith)

Wyschogrod notes how some people may deride “delicatessen Jewishness,” since “there are those for whom their Jewishness means gefilte fish, bagels with lox and cream cheese, or the smell of chicken simmering in broth”(ibid). But “those who think such things with derision do not understand Jewish existence as embodied existence.”   Wyschogrod asks Jews to pay close attention to the Jewish body and Jewish mannerisms. Even though “there is no small significance of those who hate the people of Israel and hate the particular physique of the Jewish people, whose characteristics they caricature,” we should not lose sight of the embodiment of Jewishness.

Wyschogrod points out how, as a result of anti-Semitism and millennia of exile, some Jewish writers (who he calls “self-hating”) have caricatured the Jewish body making it appear weak or effeminate. He associates this kind of caricature with pathology and suggests that we go beyond it in our search for the “truth” of the Jewish body. He associates this truth with a “theology of the Jewish body”:

But caricature often points to otherwise unperceived truths and pathology is often rooted in reality, which pathology distorts but also reflects. The truth we seek is the theology of the Jewish body.   (28)

He sees the truth of the Jewish body in terms of the covenants in the Bible:

We are entitled to speak of such a theology because the divine covenant is with a biological people, the seed of Abraham, Isaac, and Jacob. The biological being of this people therefore comes first. Whatever truth arises out of the covenant between God and Israel it is not a disembodied truth. (ibid)

Reading this, I wonder, does Wyschogrod see the destruction of the Jewish body as a challenge to an “embodied” faith?   In the face of death, he argues that the majority of the Jewish people – historically – have chosen neither nihilism nor fantasy.   Nonetheless, the Jew is haunted by the anti-Semite’s view – which is expressed most clearly in the violence against the Jewish body – that the Jew is not loved by God and that his body is not elected:

Israel…knows that it is loved, and it is this awareness that has enabled it to survive thousands of years of persecution without internalizing the anti-Semite’s view of the Jews. Self-hatred is not absent from Jewish consciousness. No group can totally avoid some degree of internalization when it is hated for so long and so profoundly. But Jews suffer much less than other persecuted groups, with the degree of self-hatred of Jews being often proportional to the degree of alienation from the Jewish tradition. (12)

This insight speaks to what I saw in the film.

Throughout the film, the main character, Saul, was looking for a Rabbi to say Kaddish over a boy who, apparently, was his son.   In the very beginning of the film, after we see countless bodies against a recurring blurriness that goes in and out of focus (a brilliant device which evinces the struggle to see the dead Jewish body). Amidst all of the dead bodies that are gassed (a scene never disclose in Holocaust cinema until now), the body of the boy is heard, coughing. Saul sees this and notices how the body of the boy is dragged to the side and is choked to death by a Nazi doctor. Following this, Saul goes on a journey from place to place, to find a Rabbi to bless his son after he gives him a proper burial.

The twist of the film is that the Rabbi he finds isn’t really a Rabbi and he never gets to bury his son (whose body, in the latter half of the film, is in a bag, concealed). He loses the bag with his son’s body near the end of the film (while he is being chased after escaping the camp). However, in the very end, he finally smiles when he sees a boy who he takes – according to one reading – to be a sign that his “son” has been received by God.   This is a delusion. However, it shows us that Saul – despite all the madness – keeps to his tradition and wants to give the dead body the respect the Jewish tradition gives to the dead.   The body may be his “son’s” or it may be a symbol. Either way, it evokes the question of tradition as a question of embodiment.

Although one may be distraught by the fact that he didn’t respect the body of every single Jew he saw, the fact of the matter is that his preferential love for his son speaks to the tradition that Wyschogrod writes about. In The Body of Faith, Wyschogrod notes that the election of Abraham is authentic because it is preferential.   While the love of all humanity is abstract, the love for Abraham, Isaac, and Jacob is concrete and embodied. Blaise Pascal knew this when he wrote that his god is the God of Abraham, Isaac, and Jacob.   In this sense, while The Son of Saul was a horrific film which gave the viewer an unscreened experience of death and history by way of an endless display of dead Jewish bodies, it also demonstrated what Wsychogrod sees as the embodied faith of the Jewish people.   Since Saul’s passion was to clean his son’s body, find a Rabbi to say Kaddish over it, and to bury it in the earth, his love for this specific Jewish child expressed his love for the Jewish people – the people who he had to witness being killed on a daily basis.   The film isn’t redeemed by his passion to bury his son’s body in a proper, traditional manner; but it does shows us how any commitment to Judaism after the Holocaust must countenance the death of Jewish bodies. It must rethink the meaning of the Jewish body in the assault against Judaism.

While Eli Weisel figured the “death of God,” with the (texted) image hung body of the Jew in his novel Night, The Son of Saul suggests a visualization of the Jewish body that is much more visceral and compelling. It shows us that post-Holocaust Judaism is not simply a set of doctrines that must be affirmed in the wake of the Holocaust or that we should, as Emil Fackenheim suggests, commit ourselves to a 614 commandment and continue the Jewish tradition despite Hitler’s efforts to destroy Judaism. Rather, it suggests that Judaism starts and ends with the Jewish body.   It also suggests, like Michael Wyschogrod, that the “truth” of the Jewish body – though visualized on the screen – may only be discovered through a Jewish theology.

(That, at least, is how I read it. Because, I, like Wyschogrod, see Judaism as embodied and not disembodied, all of those dead bodies on the screen are not the bodies I see in this or that Tarantino film. Those bodies remind me that my history and my life are tied to the bodies of a people, my people. And I realize that the question of my faith is not tied to this or that doctrine alone; it is fundamentally tied to the Jewish body.)

 

 

Jews, Italians, New Yorkers: Abe Vigoda’s Embodiment of Jewishness, Family, and Existential Commitment

images-1

Whenever I saw Abe (“Avraham ben Moshe”) Vigoda on TV or in this or that film performance, I felt as if I was seeing a member of my family. He had something familiarly New Yorkish and….Jewish in his disposition and bearing.   And it recently struck me that what always drew me to him was the fact that he reminded me of my maternal grandfather.   He was a six foot four Jew who, like Vigoda, was born and raised in Brooklyn.   His parents, like Vigoda’s, were Jewish immigrants. And, like Vigoda, he was a hardworking mensch.   But what struck me most about Vigoda was the fact that whenever I saw him I started thinking about Jewishness in America.   Vigoda’s Jewishness – like my grandfather’s – was at times clear while others times ambiguous. But after watching Vigoda’s videos over the last few days, I have found how this cultural overlap speaks not just to something cultural but also to something existential and, for lack of a better word, Biblical.

The fact that Vigoda was casted in The Godfather as an Italian character speaks to the ambiguity of Jewish American identity.

His performance reminded (and reminds) me of the lore I heard from my grandfather and what I saw in different family members vis-à-vis the overlap of Italianess and Jewishness in New York City. It also spoke to difference. My grandfather told me that, growing up in Brooklyn, he was a part of group of Jews who played stickball and how, at times, his gang fought with Italians. The relationship, he told us, was uneasy. But I also learned that there was admiration between the groups. My relatives expressed similar types of experiences, too.  That aside, my father’s best friend and mentor (Dave Kaplan), also born and raised Brooklyn, would speak with an accent and a disposition that was a mix of Italian and Yiddish. And my father – who was born and raised in Manhattan – would imitate him as if to show me that, to be Jewish, a Jew needs to act in this ambiguous manner.   I remember how Dave Kaplan told me that this way of speaking and acting was Jewish. It was confusing for me because, since I was raised in upstate New York, I found no cultural correlate except for these two New Yorkers.   This was my first dose of the Judaism versus Jewishness thing.   And, as a kid, it gave me a lot to think about.

While my father and Dave displayed a kind of Jewishness, that was more oriented in “making the deal” or capturing the attention of listeners to this or that story (Kaplan always told us that his father was a wandering storyteller and that’s where he got the knack to tell stories all the time….about everything imaginable; he’d start nearly every conversation with the words “Get this…” and with a prophetic touch “I can see it now”), my grandfather’s version of the New York Jew was much different. It had a lot in common with what I saw in Abe Vigoda. My grandfather’s Jewishness could be found in his way of dealing with family, people, and responsibility.

When I came across the pilot of Fish, which cast Vigoda as the lead, it all made sense.   In this episode, I saw his embodiment of cultural ambiguity, family, finitude, and existential responsibility. Most importantly, his performance brings out a kind of Biblical sense of commitment that is emblematic.

In the pilot, Vigoda plays as a man who should be retired but who, because of his wife’s prompting, has agreed to take on the role of being a father to several foster children. As one can see from this clip, the responsibility is enormous. Vigoda is able to show the weariness that comes with taking it on. In a key scene with his wife, we see this weariness and the challenge he must take on if this is to work: “You made a commitment….you have to honor your commitment…You made a commitment when you joined the police force…you made a commitment when you married me”(9:23-9:40).   This commitment, to be sure, evokes the biblical theme of the covenant.   And it suggests a kind of existential responsibility that is not the kind of responsibility we find in Friedrich Nietzsche or in Jean-Paul Sartre so much as in the pages of the Bible which display individuals and a people which has a hard time with keeping commitments but, despite it all, manages to keep them.

And this is the Jewish moment. Vigoda, in his hesitancy, embodies, simultaneously, a resistance to and a deep sense of responsibility to the concept of family and taking care of strangers. It is this weariness, which he gradually works through, that is most touching. And it is touching because it is the same kind of struggle we see throughout the Bible (Torah).     He embodies this tension between cynicism (just giving up) and the joy that comes with helping orphaned or abandoned children to have a sense of trust and hope that being a part of a family can foster. This is something Vigoda shares with my grandfather; who taught me in how one must, despite all the odds, keep the family together. I realize now that this is not something that New York Jews do (it is not just a cultural practice); it also has a covenantal dimension.

In his book The Body of Faith: God in the People Israel, the Jewish theologian, Michael Wyschogrod (who died recently) argues that the covenantal relationship that the Jewish people have with God is embodied.   The Jewish body, for Wyschogrod, is marked by this relationship (which includes the constant hesitancy, ups and downs, and weariness that are all part and parcel of this relationship).     And as Meir Soloveichik argues in an essay about Wyschogrod for First Things, the relationship that God enters into Abraham and the Jewish people is familial. In making such a claim, Wyschogrod challenges Maimonides reading of Judaism. Maimonides reads Judaism in terms of an intellectual – and non-anthropomorphic – relationship with God while Wyschogrod insists on characterizing the relationship with God by way of terms that are anthropomorphic and anthropathic.

Maimonides, Wyschogrod insists, introduced extraneous influences into Judaism, partly in an attempt to reconcile Jewish religion with Aristotelian philosophy. Wyschogrod argues that Judaism concerns not a philosophical doctrine but rather God’s unique and preferential love for the flesh-and-blood descendants of Abraham. The election of the Jewish people is the result of God’s falling in love with Abraham and founding a family with him. And, out of passionate love for Abraham, God continues to dwell among the Jewish people. Maimonides, in Wyschogrod’s account, deviated from the biblical view to accommodate Aristotle’s philosophy.

By seeing the relationship with Abraham in terms of “falling in love” and “founding a family with him,” Wyschogrod suggests a more literal and less philosophical/allegorical reading of the covenant.

Although Vigoda is ambiguously Jewish in this episode (in Barney Miller, The Godfather, etc), Wyschogrod would argue that there is still an embodiment of Jewishness in the struggle he has with commitment.   Wyschogrod’s comments are, of course controversial, but they give a lot of food for thought.   They also speak to the question I have always had about Jewish embodiment as a child.

As a child, I always wondered: who embodies Jewishness? Was it my father, David Kaplan (his mentor), my Grandfather, my soft-spoken Rabbi in upstate New York ((I haven’t mentioned him, and I should have; he was a Jew from New York who had lost his New York accent and adopted a more intellectual approach to Jewishness), or Abe Vigoda?

Now I have a clearer sense of how it may be the case that the embodied commitment to family and others – which, in my family goes back generations – may have a biblical (and not just a cultural) dimension.   The fact that several people I know (and don’t know) have said that they can’t believe that Abe Vigoda died because they thought he would “live forever” is very telling. I can’t help but read this comment in terms of a kind of eternal steadfastness to staying in there and trying to keep the wife and the kids happy. Wyschogord is correct: family life does have a Jewish theological dimension.   The question, today, with so many disaffected Jews is whether they can keep or want to keep the family together. Regardless of their decision, they must struggle with it. This is something we find in Jewish American writers like Philip Roth, Shalom Auslander, and Gary Shteyngart (amongst countless others) or in an actor like Seth Rogen.  Embodiment matters for many Jewish comedians.

Thank you Abe Vigoda for giving me a sense of my Jewishness and how it is embodied. Like my grandfather, you were a model for this Jew born in (what my dad and David Kaplan called) “the sticks” and in front of a television. I could never be a New Yorker like them, but I could, at the very least, make family commitment (in the larger sense) the existential foundation of my embodied Jewish-American existence.

A Worn Out Prophet: On Charles Baudelaire’s Vision of Apocalypse

images

Walter Benjamin once said of Charles Baudelaire that his “genius fed on melancholy.” The “main accent of his modernity,” according to Benjamin, can be found in Baudelaire’s “spleen” or anger at the city and humanity. Reading Baudelaire’s journals, one can get a strong sense of how angry he is.  But, to be sure, his vision of Progress and Modernity is not just bitter; it is Apocalyptic. While Baudelaire looked to create a poetry that parried the shock of the city, he did so by creating more shocks:

What can be more absurd than Progress, since man, as the event of each day proves, is forever the double and equal of man – is forever, that is to say, in the state of primitive nature!   What perils have the forest and the prairie to compare with the daily shocks and conflicts of civilization? (May 13, 1856)

Baudelaire believes that the only way to address this shock is through attacking someone or something.     After engaging – in the same entry – in an attack on the greatest literary icon of his era – Victor Hugo – Baudelaire becomes dire and apocalyptic. He attacks religion and then humanity:

This man is so little of a poet, so little spiritual, that he would disgust even a solicitor. Hugo, like a priest, always has had his head bowed – bowed so low that he can see nothing except his own navel….And what is not a prayer? To shit is a prayer according to the rabble, when they shit…Man – all mankind, that is to say – is so naturally depraved that he suffers less from universal degradation than from the establishment of reasonable hierarchy.

After noting mankind’s depravity he claims that the “world is about to end.”   For Baudelaire, the world has gone down the tube because “we will perish by that which we have believed to be our means of existence.” Progress, in his apocalyptic view, will have “atrophied in us all that is spiritual, that no dream of the utopians will be comparable to the result.”

Society, according to Baudelaire, will destroy itself. “Humanity,” like “an avenging ogre,” “will tear their last morsel from those who believe themselves to be the legitimate heirs of revolution. And even that will not be the worst.”

What is worse than this kind of revenge and self-destruction?

Baudelaire writes that there will be “universal bestiality,” “gluttonous precocity,” and a “pitiless wisdom” which condemns everything “even the crimes of the senses.” Nothing will be outside the judgment of “utter ridicule” (which recalls his claim, in his essay “Essential Laughter” that laughter is satanic).   In this society, everything will be for sale. And “that age is perhaps very near; who knows if it has not already come and if the coarseness of our perceptions is not the sole obstacles which prevents us from appreciating the atmosphere in which we breathe.”

Reflecting on what he just said and what it means for himself, Baudelaire admits that he has within himself the “absurdity of a prophet.”   He also admits that he is bitter, disillusioned, wearied and defeated by the world:

Lost in this vile world, elbowed by the crowd, I am like a worn-out man, whose eyes see, in the depths of the years behind him, only disillusionment and bitterness, ahead only a tumult in which there is nothing new, whether of enlightenment or suffering.

Baudelaire, who prides himself on being a poet who turns his perceptions into symbols, sees his vocation and elitism as meaningless. In “his days of anger,” he wonders about why art matters?

Exhilarated by his own nonchalance and dandyism, proud that he is less base than the passers by, he says to himself, as he contemplates the smoke of his cigar: What does it matter to me what becomes of these perceptions?

These thoughts are seemingly nihilistic. And, if we follow his tact, by making shocking statements about the world and himself, he redeems himself from the shocks of the city.   He must, in other words, create an Apocalypse of words in order to save himself from the Apocalypse of reality. By reducing himself to nothing and practically giving up on his vocation (by shocking himself with his self-destruction and self-abasement), he may, ironically, be saved from the abyss of modernity. Only by being bitter and attacking everything sacred or meaningful can he be saved from the destruction that is growing around him. By doing this, he feels a certain kind of freedom….a freedom that can only be won by way of negation.

 

The Chimp as a Metaphor for Jewishness in Shalom Auslander’s “Bobo the Self-Hating Chimp” – Part II

 

Unknown

It goes without saying that the question of man’s relationship to apes has created major historical challenges and changes over the last three centuries. Although it is the case that the material culture must be deeply examined to understand these challenges and shifts, it is the act of imagining an ape with human features that needs the most thought. The ape-man is a staple in fiction and film. The important differences of genera that can be seen throughout different media must be noted. The most apparent difference to note is basic: that while man-apes are figured as cute and adorable, others are frightening. This difference is often pronounced and is commonplace. But the tension between which can be articulated by way of a comical figure is rare.   And this tension has, in the hands of Franz Kafka and Shalom Auslander, become a comical figuration of modern Jewish self-consciousness.   In its tension with a fictional people (in this or that ape-man fiction), this odd figure for Jewish consciousness takes on Yiddish and urban notes. Sometimes these notes are dark, other times they are light.

We see one of these figurations in Kafka’s “Report to an Academy.” Kafka’s story gives us a chimp who is at odds with himself; in his “report,” he acknowledges that he remembers how he was wounded when he was sundered from this people. Through the sexual other, he is aware of his broken existence. However, he betrays these memories and this knowledge by giving them a lower status in his report to the academy (about what he has learned in his journey to becoming an ape – adopting language, dress, custom, consciousness, reasoning, and freedom).

Kafka’s ape is aware that he is free – which is based on denial – and this is more important to him than his shame at betrayal.   As Kafka discloses at the end of his story, this shame is linked to his awareness of his sexual “other” (who serves as a mirror of his real self). He sees this otherness through his mate not at night but during the day when everything is clear. From these realizations, the reader can see that he is a divided man-ape. This consciousness mitigates the comical nature of his situation at the academy: namely, that he is an ape who knows that he is acting “as if” he is human and has escaped his past.   We all know that his existence is based on denial and that this is not a laughing matter. In fact, many of us would like that he remember and rebel against the academy. And this is, as I noted elsewhere, a metaphor for Kafka’s Jewishness which he didn’t take a stand on, but was deeply aware of – as can be seen in his journals and diaries.  Kafka had to hide this awareness in his man-animal parables. The smallness of his man-animal characters – as in “Josephine the Mouse Singer, Mouse Folk” – illustrates this very well.

In contrast to Kafka’s “Report from the Academy,” we see the figure of a Jewish ape-man’s consciousness in a more concrete, contemporary, and comical form in Shalom Auslander’s “Bobo the Self-Hating Chimp.”   While Ausladner carries over Kafka’s figure of the Jewish ape-man, he makes it more obvious and comical that he is Jewish. And by making it more obvious, he is free to create a distinct figure of modern cynical, Jewish self-consciousness and existence – one that is situated in a ridiculous American variant of the capitalist, cultural system.   More importantly, four words, for Auslander, sum up the core of this consciousness in four words: God, Death, Shame, and Guilt.

Right off the bat, Auslander focuses on the initial event of discovery at the Monkey House (the area where the public sees the monkeys, so to speak, on display).

As 9:37 in the otherwise ordinary mourning of May 25, Bobo, a small chimpanzee in the Monkey House of the Bronx Zoo, achieved total conscious self-awareness:

God.

Death.

Shame.

Guilt. (11, Beware of God: Stories)

But instead of leaving us in shock, as Kafka does, Auslander couches this revelation in a comical language:

Each one dropped like a boulder onto his tiny primitive skull. He grabbed his head in his hands and ran shrieking around the Monkey House, overturning water bowls and tearing branches off the trees. (11)

The monkey runs after fellow monkeys in a comical manner and then experiences, for the first time, a kind of transport above his body: “It was as if he had been somehow transported to the top of the tallest tree in the forest and was looking down upon himself below”(12).   Now, like Kafka’s ape-man, he sees “a brute, a beasts, a dim, half-finished creature”(12). His “newly acquired skills” (of consciousness, shame, etc), however, are not there to built but to destroy (they are a “weapon”).

When he notices his “bright red erection,” “shame filled his soul.” Shame, asks the narrator, “That was new.” Seeing him in this state, the other monkeys start crying and screaming.   And they “point at Bobo’s hideous primitive penis.” Following this, the narrator brings in the teachers of the ape children and notes that instead of “explanation,” they give the kids a “Denial”(12).

He’s just happy, children! Tried one teacher.

“Happy, yay!” clapped the other. (12)

What is most interesting in this comic portrayal is how his consciousness is based on shame and a sense that he is at odds with not just the other monkeys but the teachers as well. He lives in a shameful truth that can’t even be noticed or discussed by the educators of the community. This shock informs Bobo’s “self-hatred.”

This mayhem is also noticed by the “Management” of the “Monkey House.” They shut down the facility clear the “innocents away” and “sedate” Bobo. The narrator of this short story notes how this internal state means nothing to the Management who cannot know it and how are too busy “restoring” the Monkey House so that more people will come and patronize them.   He jokingly notes how there is a new décor: “Chimpanzee Bay, a freshwater pool that was built to look like an ocean, complete with a Deluxe WaveMaker 3000. Judging by the crowds pressing their faces to the glass on opening day, it didn’t seem to bother anyone that chimpanzees can’t actually swim”(13).   It is the consciousness of this by the reader, the narrator, and Bobo, which creates the effect of an aggravated man-ape consciousness.   Our frustrations give us a kind of bitter cynical consciousness, that is inseparable from – as we saw in the opening of the story – God, Shame, Death, and Guilt.

Turning to a more comic note, the narrator points out how the Management gave Bobo a wide array of drugs – ranging from Viagra to Paxil – to deal with his PTSD (14). Like Kafka’s Ape-Man, Auslander’s wants “out”(14). But while Kafka’s ape sees his desire to leave (or move) in terms of a past ape memory (and thus falsely), Auslander’s ape-man does not. He knows that the Management has made him into an animal without any freedom whatsoever.

The narrator stages the mental rebellion of Bobo against the Management. He articulates Bobo’s thoughts against the humans; namely, that the Lab Technician, for instance, should acknowledge that he and humans – like the Lab Technician – share an “awareness of our own mortality and unique self-perception”(15). But this thought is not heard. Like Kafka’s bug in “The Metamorphosis,” when he speaks, his thought come out as odd noises.

They don’t care about his thoughts. This is his private shame.

Bobo :isn’t a fool.” He knows that the public wants a cute ape: a “Curious George,” “Megillah Gorilla” or a “Monchichi.” They don’t want the bitter ape, the apte-as-self-hating-artist. Perhaps in order to increase his sense of alienation and humiliation or perhaps because that’s the way “life” is, he notices that his “Judeo-Christian” sense of the words “right and wrong” sets him apart from the other apes (16).   And this prompts him to apologize to a female chimp – Esmerelda – for “objectifying” her for sexual reasons.   But, as in Woody Allen’s Annie Hall, she doesn’t care and goes off for the alpha male ape, Mongo.

The guilt at this clearly puts Auslander’s Bobo in the realm of the schlemiel that Woody Allen dwelled in for half his career.   Bobo – like Allen’s schlemiel in many films – watches his sexual failure in a comical way:

Bobo watched with contempt as Mongo humped away at Esmerelda, his ridiculous testicles bouncing this way and that like terrified children on the back of a runaway camel in the African Safari Park. “Help! They screamed to shout. “Get us out of here!” Bobo knew how they felt. Look at us, Bobo thought, shaking his head sadly. A bunch of fucking monkeys. Where is our dignity? Where is our pride? Where is our pants? (18)

Following this, Bobo retreats away from the cruel world. He retreats into the world of art. After Mongo has sex with Esmerelda and “shits” next to Bobo, Bobo takes the shit and flings it against the wall making art:

By the end of the first week, he was creating sweeping tableaus which he saw as scathing attacks on chimpanzee culture and primitive mores. His Self-Portrait was a devastating attack on racism, his Unhuman Stain a poignant plea for self-respect and dignity, his Life in Monkey House a searing assault on political power and corporate gain. (19)

The observers love this shit-art, so the Management gets him real paints. His paintings start to change. They grow “darker with each passing day”(19) because he starts “wrestling with existence and the meaning of death”(19).

But, as Auslander wittingly conveys, this art can’t keep him from thinking of Esmerelda and his sexual failure.   He portrays – in his mind – Esmerelda and Mongo as “mutually….selfish.” They want to breed, but he, he wants to create art. He is, as Kafka might say, a “hunger artist.”   But this only leads him to the deepest cynicism. And the schlemiel turns into a serious, self-hating character: “you’re an angry little monkey aren’t you? Yes, you are!”

After this cynicism takes hold of him, he stops painting and becomes suicidal.   He sees everything fall apart around him. So he “stood up and walked calmly to the edge of Chimpanzee Bay.”   He just gives up on existence. He wants nothing to do with it.

Everyone watches him commit suicide but they have no idea what he is doing. And while he is dying, Mongo mounts Esmerelda: at this moment, sex and death are in a clearly figured tension. The reader gets a deep sense of this cynicism and, in effect, shares it with Bobo.

However, there seems to be hope. A chimp named “Kato” notices the death and his struck by: “God. Death. Shame. Guilt.” Auslander, using the same opening sentences as he did with Bobo (describing the awareness of these words and their meaning) jokingly suggests that the cycle will now overtake the next free monkey-man-subject, Kato:

“Look at us,” Kato thought, “a bunch of fucking monkeys”(21).   The only difference is that he pulls Bobo’s body out of the water.   Bu tit is too late. He is the only one who is “mourning.” And this fills his soul with “shame.” However, the last words of the story ironically suggest that the “new” awareness of shame.

As a cynic, we can say that this awareness is not new at all. It is not only typical of a man of conscience – which is spurred by God. Death. Shame. Guilt and the “Judeo-Christian” – but it is typical of an existence that is consistently inhumane and injustice.   To be sure, it is the disclosure that the world doesn’t care about monkeys-with-consciousness that typifies his more obvious figuration of a particular kind of Jewishness and a general sense of a world that consistently prompts cynicism.   Is it this consciousness that is, for both Kafka and Auslander, inevitable.   Regardless of how comical it is, it is the disconnect between Jewishness and the world that gives birth to a kind of cynical consciousness that Auslander is figure in this and in a book like Hope: A Tragedy. The schlemiel takes part in this endeavor but when it becomes cynical, the world seems to displace the possibility of going beyond self-hate.   And on this note, we should end with a question: between Auslander and Kafka’s figures of the man-animal, how does the figure of the schlemiel of writers like Sholem Aleichem or I.B. Singer fare? And how does this pertain to the writer and the reader? While Aleichem and Singer foreground the battle between goodness and a society that can do without it, Kafka and Auslander describe the consciousness that is caught up in this realization.   They are both – as Arendt says of Kafka and Chaplin in an essay on Kafka – like “men of good will.”   But  it is their depiction which makes the difference.  One depiction – which we find in Auslander and Kafka – can prompt an increased sense of a split consciousness and cynicism while the other – which we see in Aleichem and Singer – can give hope or at least a sense of what is at stake in the tension between goodness and…The Management.

 

 

 

 

 

 

 

The Chimp as a Metaphor for Jewishness in Shalom Auslander’s “Bobo the Self-Hating Chimp” – Part I

images

Reading Kafka’s “Report to an Academy” and Shalom Auslander’s “Bobo the Self-Hating Chimp” side by side has prompted me to think more about what we can learn from a writer who uses a hybrid human-chimp as a metaphor for Jewishness. While Kafka’s attempt to do this is troubled by the times he lived in (which thought of the mixing of “races” as a form of “pollution” – and, lest we not forget, Jews were, mistakenly, thought to be members of race), Auslander’s evocation of the Jew as a chimp seems less troubling for us today because we love animals. Even so, for literature to be affective it must (for better of for worse) trouble us. The question, for today’s Jewish and non-Jewish reader of these short stories, is what exactly is troubling and why. What can the frustrations and problems of these Jewish kinds of animals teach Jews about who they are or may be? The main issue that is at stake in both Kafka and Auslander’s stories is the troubling relationship of the modern Jew to his or her Jewish community and history. While their issues differ, they both bring us back to the relationship of the individual to the community and its shared history as a fundamental point of interest for modern Jews.

Sander Gilman, in his book, Franz Kafka: The Jewish Patient, argues that the discourse of mixing man and animal overlapped, in some points and places in Europe, with an anti-Semitic and racist discourse: namely, the fear that Jews would taint the racial “purity” of Germans.   Gilman claims that Kafka was quite aware of this fear and that it influenced his writing. The Jew who converts and intermarries, for the anti-Semite, will end up creating children who are “mishling” (a being who is an admixture of races).   Gilman also claims that, on the completely other end of the spectrum, there was a fear in the Jewish community that by assimilating Jewishness was threatened. Both, for their own reasons, wanted to keep Jewishness distinct.

For the anti-Semite, a Jew will always be a Jew. Nodding to Kafka’s “Metamorphosis,” Gilman argues that “the transformation of the Jewish body” by way of either assimilation, conversion, exercise, or language acquisition, etc was “desirable but inherently impossible. The model for Kafka was that of religious conversion.” And when, in stories like “The Report to the Academy,” the “ape becomes ‘human’, that is, he acquires a human manner of seeing the world with his acquisition of language….he remains marked by a sexual passion for his ‘kind.’(13). The more Kafka’s characters try to change, says Gilman, “the more they reveal themselves as fundamentally defective.”   This, argues Gilman, “reflects both a Jewish and anti-Semitic accusations against Jewish assimilation.”

While, today, writers like Gloria Anzaldua, celebrate the “mixture of races, rather than resulting in an inferior being, provides hybrid progeny, a mutable, more malleable species for the gene pool,” or what she calls, in Spanish, the “mesitza,” the “old world Mishling” (an anti-Semitic term for a Jewish “half breed”) was despised.     What we get in Kafka and Auslander’s story is a sense of the regret and shame at having chosen or having become different from their community. But, while there is a shame or regret, it also discloses how fundamental the dialogue between being a modern person and a member of a Jewish community are for them. And while Auslander sees the community in more resentful terms, Kafka sees it in different terms which evince a desire to embrace it while “escaping” it.

In Kafka’s “The Report to the Academy,” the main character, an ape who has become “human,” speaks to an academy:

You have done me the honor of inviting me to give your Academy an account of the life I formerly led as an ape. (Kafka: The Complete Stories, 250)

Unfortunately, he can’t “comply with your request” to the “extent you desire.” Nonetheless, he does give a revealing account. In his account, the reader can see that he wishes to please his audience by saying that he was, before “escaping,” “stubbornly set on clinging” to his “origins.” He had to “give up being stubborn” was his “supreme commandment,” to which he “submitted himself.”   He lived a “forced career” as a human but “I felt more comfortable in the world of men and fitted it better.” The world of apes, read the world of the Jewish people, made him feel very uncomfortable.   But although he feels comfort amongst humans “a strong wind that blew out after me out of my past.” Over time “it began to slacken.” Now, his (Jewish) past is only a “gentle puff of air.”   And now all he feels is a “tickling of the heels.”

He goes on to recall how he learned different human customs. But he also notes how he was hunted and shot. He recalls his “large, naked red scar,” which earned him the name “Red Peter, a horrible name, utterly inappropriate”(251).   He was also hit in the hip (251).   And, to this day, he tells the Academy, he limps.

He also recalls how he was put in a cage and subdued and yearned to be free. And although he was “hopelessly sobbing, painfully hunting for flees, apathetically licking a coconut, beating my skull against the locker” he was still “amenable to training.” In other words, he acknowledges the pain, but frames it all as a part of a positive process.

The attentive reader can see that what troubles him is that his freedom was forced. He remembers the abuse that drove him away from his people and his very body. However, he acts “as if” that doesn’t matter. He makes a distinction between the desire to escape and embracing (and understanding) freedom. The latter is superior to the former.

No, freedom was not what I wanted. Only a way out; right or left or any direction; I made no other demand; even should the way out prove to be an illusion….To get out somewhere, to get out! (254)

While this desire is deemed lower than freedom, Kafka, in countless other places, discusses the desire to move and leave. It is, in other words, primary for him.   And this desire to move is something that is not associated with society (The Academy) so much as with his past and his people. It is the last remnant of his past.

After describing how he learned to do things like a human being, he goes into a monologue of praising modernity and suggests that by changing his behavior he has grasped the true meaning of freedom:

That progress of mine! How the rays of knowledge penetrated from all sides into my awakening brain! I do not deny it: I found it exhilarating. (258)

But, immediately after saying this, he makes an small confession:

But I must confess: I did not overestimate it, not even then, much less now. With an effort which up till now has never been repeated I managed to reach the cultural level of an average European.   In itself that might be noting to speak of, but it was something insofar as it has helped me out of my cage and opened a special way out for me, the way of humanity. (258)

By saying that he didn’t “overestimate” it, he is telling the academy that his accomplishment is not as great as it seems to himself. There are traces that trouble him; but as the above cited passage shows, even after noting this he still acts “as if” he does think it to be the best thing in the world he ever experienced.

His real confession comes at the end of the text. What troubles him is his sexual partner – “a little chimpanzee” – who he comes home to every night after “performing.”   He may have sex with her at night but, “by day I cannot bear to see her; for she has the insane look of the bewildered half broken animal in her eye; no one else sees it, but I do, and I cannot bear it”(259). What he is saying – in this confession – is that he sees himself in this “bewildered half broken animal” and this makes him feel shame (against Gilman, I’d argue that this is not simply a moment that draws on the anti-Semitic fear of creating a Mischling but an existential experience of what Freud would call the uncanny; the return of the repressed, however, is a return of Jewishness as something shared).

But after saying this he suppresses his emotion and memory and acts as if nothing he said was real: “In any case, I am not appealing for any man’s verdict.”

All he is doing, he says, is “making a report” and “imparting knowledge.”

This movement is telling since it suggests that, if in looking at the “bewildered half broken animal” Kafka is giving the modern condition of Jewishness a figure, Jewishness is based on an acknowledgement and a denial that one is European, French, American, German, etc and living the life of an Enlightened (and “free”) individual. What he knows, as a Jew, is something that the academy will never know. He has this knowledge because he is a Jew who was torn away from his people. He has the wounds of this rupture and the memories that go along with it – which he must deny if he is to be ” free” – but they all come back to him when he sees one of his own kind.  He remembers that he is not truly free and, before her and the memory she evokes, he can’t move or escape.  Like many of Kafka’s characters, he wants to move but can’t.   And, if we read Kafka by way of Jewishness, it is his betrayal of Jewishness which stops him in his tracks.

The shame of this character and his memory of being torn away from his people – who appear to be “bewildered and half broken”- finds a different kind of figuration in Shalom Auslander’s story. But, even so, the shame comes in relation to the community.   The difference, as I will argue in the second part of this essay, has to do with Auslander’s explicit reference to religious ideas and a kind of shame that separates Bobo from his fellow species.  And this suggests a different kind of education, one less cultural (The Academy) and one that is more religious.

 

….to be continued.

 

 

 

 

 

The Schlemiel and Schlemiel Theory Appear in “Wordplay: The Crossword Blog of The New York Times”

Unknown-2

On January 13th Wordplay: The Crossword Blog of the New York Times brought up the schlemiel and hyperlinked “who else might cause a spill at the cafeteria” to this blog post on Schlemiel Theory.   The article is entitled “Fire Suppressing Compound” and subtitled “Jeffrey Wechsler gets tripped up.”   The author of the article, Deb Amlen, points out how Jeffrey Wechsler, who constructed the last New York Times crossword, gave a clue that made her think of the schlemiel:

Jeffrey Wechsler returns with a set of spoonerized versions of BEATLES songs, and they are funny. I didn’t catch on at first, and tried to fit SCHLEMIEL into 18 Across, because who else might cause a spill at a cafeteria? Fortunately for us, the answer is TRAY DIPPER, reversed from “Day Tripper.”

The irony that Amlen articulates in the subtitle is that, in theory, the schlemiel is the one who “might cause a spill at a cafeteria” (based on the celebrated joke of the schlemiel who spills soup on the schlimazel).   The right word, “tray dipper,” is a “spoonerized” version of the Beatles song (“day tripper”).   But she’s really the one who “tripped up” insofar as she missed the clue.  (I would, too.)

What I love most about the subtitle is that it also suggests – at least for me – that the schlemiel should have been in the crossword. He tripped up by not having it there and is, in the end, a schlemiel!   But, ironically, the word and the link to Schlemiel Theory (on the “Essentially…Existential” schlemiel) made it into the commentary of the crossword.   I find it amusing that it ends up in the commentary. After all, the Jewish tradition loves commentary. And the schlemiel is often in the margins. Even so, when the schlemiel trips he must fall somewhere and I’m very happy to see that he fell into the New York Times “Wordplay” blog!

 

* On a personal note, my dad will be proud of this slip-and-fall. He’s been doing the New York Times crossword since I was in diapers.