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Secular Jewish culture embraces several related phenomena; above all, it is the international culture of secular communities of Jewish people, but it can also include the cultural contributions of individuals who identify as secular Jews. Derived from philosophy of Moses Mendelssohn^[1], since the early 19th century the international community of Jewish people is generally considered to be an ethnoreligious rather than solely a religious grouping. Judaism guides its adherents in both practice and belief, so that it has been called not only a religion, but an orthopraxy.^[2] This makes it difficult to draw a clear distinction between the cultural production of members of the Jewish people, and culture that is specifically Jewish. Furthermore, not all individuals or all cultural phenomena can be easily classified as either "secular" or "religious", a distinction native to European Enlightenment thinking and foreign to most of the history of non-European Jews.^[3]

Culture, in its etymological meaning, retains the linkage to the land of origin, the people named for its last pre-Roman vestige, study of Jewish texts, practice of community charity, and Jewish history. The term "secular Jewish culture" therefore refers to many aspects, including: Religion and World View, Literature, Media, and Cinema, Art and Architecture, Cuisine and Traditional Dress, attitudes to Gender, Marriage, and Family, Social Customs and Lifestyles, Music and Dance.^[4] "Secular Judaism," is a distinct phenomenon related to Jewish secularization - a historical process of divesting all of these elements of culture from their religious beliefs and practices.^[5]

Secular Judaism arose out of the Haskalah, or Jewish Enlightenment, which was itself driven by the values of the European Enlightenment. The history of Jewish secularization was an under-studied subject until late-20th century. In recent years, however, it has become its own academic field of study, encompassing Jewish Studies, History, Literature, Sociology, and Linguistics. Historian David Biale^[6] has traced the roots of Jewish secularism back to the premodern era. He, and other scholars highlight the Dutch philosopher Baruch Spinoza, who was dubbed "the renegade Jew who gave us modernity" by scholar and novelist Rebecca Newberger Goldstein^[7] in an intellectual biography of him. Today, the subject of Jewish secularization is taught, and researched, at many North American and Israeli universities, including Harvard, Tel Aviv University, UCLA, Temple University and City University of New York which have significant Jewish alumni. Additionally, many schools include the academic study of Judaism and Jewish culture in their curricula.

Throughout history, in eras and places as diverse as the ancient Hellenic world, in Europe before and after the Age of Enlightenment, in Islamic Spain and Portugal, in North Africa and the Middle East, in India and China, and in the contemporary United States and Israel, Jewish communities have seen the development of cultural phenomena that are characteristically Jewish without being at all specifically religious. Some factors in this come from within Judaism, others from the interaction of Jews with host populations in the Diasporas, and others from the inner social and cultural dynamics of the community, as opposed to religion itself. This phenomenon has led to considerably different Jewish cultures unique to their own communities.

History[link]

There has not been a political unity of Jewish society since the united monarchy. Since then Israelite populations were always geographically dispersed (see Jewish diaspora), so that by the 19th century the Ashkenazi Jews were mainly in Eastern and Central Europe; the Sephardi Jews were largely spread among various communities in the Mediterranean region; Mizrahi Jews were primarily spread throughout Western Asia; and other populations of Jews were in Central Asia, Ethiopia, the Caucasus, and India. (See Jewish ethnic divisions.)

Although there was a high degree of communication and traffic between these communities — many Sephardic exiles blended into the Central European Ashkenazi community following the Spanish Inquisition; many Ashkenazim migrated to the Ottoman Empire, giving rise to the characteristic Syrian-Jewish family name "Ashkenazi"; Iraqi-Jewish traders formed a distinct Jewish community in India; many of these populations were cut off to some degree from the surrounding cultures by ghettoization, by Muslim laws of dhimma, and traditional discouragement of contact with polytheistic populations.

Medieval Jewish communities in Eastern Europe continued to display distinct cultural traits over the centuries. Despite the universalist leanings of the Enlightenment (and its echo within Judaism in the Haskalah movement), many Yiddish-speaking Jews in Eastern Europe continued to see themselves as forming a distinct national group — " 'am yehudi", from the Biblical Hebrew — but, adapting this idea to European Enlightenment values, they assimilated the concept as that of an ethnic group whose identity did not depend on religion, which under Enlightenment thinking fell under a separate category.

Constantin Măciucă writes of "a differentiated but not isolated Jewish spirit" permeating the culture of Yiddish-speaking Jews.^[8] This was only intensified as the rise of Romanticism amplified the sense of national identity across Europe generally. Thus, for example, members of the General Jewish Labour Bund in the late 19th and early 20th centuries were generally non-religious, and one of the historical leaders of the Bund was the child of converts to Christianity, though not a practising or believing Christian himself.^{[citation needed]}

The Haskalah combined with the Jewish Emancipation movement under way in Central and Western Europe to create an opportunity for Jews to enter secular society. At the same time, pogroms in Eastern Europe provoked a surge of migration, in large part to the United States, where some 2 million Jewish immigrants resettled between 1880 and 1920. By 1931, shortly before The Holocaust, 92% of the World's Jewish population was Ashkenazi in origin. Secularism originated in Europe as series of movements that militated for a new, heretofore unheard-of concept called "secular Judaism". For these reasons, much of what is thought of by English-speakers and, to a lesser extent, by non-English-speaking Europeans as "secular Jewish culture" is, in essence, the Jewish cultural movement that evolved in Central and Eastern Europe, and subsequently brought to North America by immigrants. During the 1940s, the Holocaust uprooted and destroyed most of the European Jewish population. This, in combination with the creation of the State of Israel and the consequent Jewish exodus from Arab lands, resulted in a further geographic shift.

Defining secular culture among those who practice traditional Judaism is difficult, because the entire culture is, by definition, entwined with religious traditions: the idea of separate ethnic and religious identity is foreign to the Hebrew tradition of an " 'am yisrael". (This is particularly true for Orthodox Judaism.) Gary Tobin, head of the Institute for Jewish and Community Research, said of traditional Jewish culture:

The dichotomy between religion and culture doesn’t really exist. Every religious attribute is filled with culture; every cultural act filled with religiosity. Synagogues themselves are great centers of Jewish culture. After all, what is life really about? Food, relationships, enrichment … So is Jewish life. So many of our traditions inherently contain aspects of culture. Look at the Passover Seder — it's essentially great theater. Jewish education and religiosity bereft of culture is not as interesting.^[9]

Yaakov Malkin, Professor of Aesthetics and Rhetoric at Tel Aviv University and the founder and academic director of Meitar College for Judaism as Culture^[10] in Jerusalem, writes:

Today very many secular Jews take part in Jewish cultural activities, such as celebrating Jewish holidays as historical and nature festivals, imbued with new content and form, or marking life-cycle events such as birth, bar/bat mitzvah, marriage, and mourning in a secular fashion. They come together to study topics pertaining to Jewish culture and its relation to other cultures, in havurot, cultural associations, and secular synagogues, and they participate in public and political action co-ordinated by secular Jewish movements, such as the former movement to free Soviet Jews, and movements to combat pogroms, discrimination, and religious coercion. Jewish secular humanistic education inculcates universal moral values through classic Jewish and world literature and through organizations for social change that aspire to ideals of justice and charity.^[11]

In North America, the secular and cultural Jewish movements are divided into three umbrella organizations: the Society for Humanistic Judaism (SHJ), the Congress of Secular Jewish Organizations (CSJO), and Workmen's Circle.

Cuisine and traditional dress[link]

Jewish shop (Le Marais, Paris)

A Bundist demonstration, 1917

Jewish cooking combines the food of many cultures in which Jews have traveled, including Middle Eastern, Mediterranean, Spanish, German and Eastern European styles of cooking, all influenced by the need for food to be kosher. Thus, "Jewish" foods like bagels, hummus, stuffed cabbage, and blintzes all come from various other cultures. The amalgam of these foods, plus uniquely Jewish contributions like tzimmis, cholent, gefilte fish and matzah balls, make up Jewish cuisine.

People, education, economy[link]

People and education[link]

See main article Jewish political movements.

A range of moral and political views is evident early in the history of Judaism, that serves to partially explain the diversity that is apparent among secular Jews who are often influenced by moral beliefs that can be found in Jewish scripture, and traditions. In recent centuries, secular Jews in Europe and the Americas have tended towards the liberal political left, and played key roles in the birth of the 19th century's labor movement and socialism. While Diaspora Jews have also been represented in the conservative side of the political spectrum, even politically conservative Jews have tended to support pluralism more consistently than many other elements of the political right. Some scholars^[12] attribute this to the fact that Jews are not expected to proselytize, derived from Halakha. This lack of a universalizing religion is combined with the fact that most Jews live as minorities in diaspora countries, and that no central Jewish religious authority has existed since 363 CE. (See also list of Jews in politics, which illustrates the diversity of Jewish political thought and of the roles Jews have played in politics.)

Economic participation[link]

In the Middle Ages, European laws prevented Jews from owning land and gave them powerful incentive to go into other professions that Europeans were not willing to follow.^[13] During the medieval period, there was a very strong social stigma against lending money and charging interest among the Christian majority. In most of Europe until the late 18th century, and in some places to an even later date, Jews were prohibited by Roman Catholic governments (and others) from owning land. On the other hand, the Church, because of a number of Bible verses (e.g., Leviticus 25:36) forbidding usury, declared that charging any interest was against the divine law, and this prevented any mercantile use of capital by pious Christians. As the Canon law did not apply to Jews, they were not liable to the ecclesiastical punishments which were placed upon usurers by the popes. Christian rulers gradually saw the advantage of having a class of men like the Jews who could supply capital for their use without being liable to excommunication, and so the money trade of western Europe by this means fell into the hands of the Jews.

However, in almost every instance where large amounts were acquired by Jews through banking transactions the property thus acquired fell either during their life or upon their death into the hands of the king. This happened to Aaron of Lincoln in England, Ezmel de Ablitas in Navarre, Heliot de Vesoul in Provence, Benveniste de Porta in Aragon, etc. It was often for this reason that kings supported the Jews, and even objected to them becoming Christians (because in that case they could not be forced to give up money won by usury). Thus, both in England and in France the kings demanded to be compensated for every Jew converted. This type of royal trickery was one factor in creating the stereotypical Jewish role of banker and/or merchant.

As a modern system of capital began to develop, loans became necessary for commerce and industry. Jews were able to gain a foothold in the new field of finance by providing these services: as non-Catholics, they were not bound by the ecclesiastical prohibition against "usury"; and in terms of Judaism itself, Hillel had long ago re-interpreted the Torah's ban on charging interest.^{[citation needed]}

Medicine, science, and academia[link]

The strong Jewish tradition of religious scholarship often left Jews well prepared for secular scholarship. In some times and places, this was countered by banning Jews from studying at universities, or admitted them only in limited numbers (see Jewish quota). In medieval and early modern times, Jews were disproportionately prevalent among court physicians.^{[citation needed]} Even in recent times, Jews have been poorly represented among land-holding classes, but far better represented in academia, professions, finance, and commerce. The strong representation of Jews in science and academia is evidenced by the fact that 167 persons known to be Jews or of Jewish ancestry have been awarded the Nobel Prize, accounting for 22% of all individual recipients worldwide between 1901 and 2004.

Literature, media, and performing arts[link]

In some places where there have been relatively high concentrations of Jews, distinct secular Jewish subcultures have arisen. For example, ethnic Jews formed an enormous proportion of the literary and artistic life of Vienna, Austria at the end of the 19th century, or of New York City 50 years later (and Los Angeles in the mid-late 20th century). Many of these creative Jews were not particularly religious people. In general, Jewish artistic culture in various periods reflected the culture in which they lived.

Literature[link]

Literary and theatrical expressions of secular Jewish culture may be in specifically Jewish languages such as Hebrew, Yiddish or Ladino, or it may be in the language of the surrounding cultures, such as English or German. Secular literature and theater in Yiddish largely began in the 19th century and was in decline by the middle of the 20th century. The revival of Hebrew beyond its use in the liturgy is largely an early 20th-century phenomenon, and is closely associated with Zionism. Apart from the use of Hebrew in Israel, whether a Jewish community will speak a Jewish or non-Jewish language as its main vehicle of discourse is generally dependent on how isolated or assimilated that community is. For example, the Jews in the shtetls of Poland and the Lower East Side of New York during the early 20th century spoke Yiddish at most times, while assimilated Jews in 19th and early 20th-century Germany spoke German, and American-born Jews in the United States speak English.

See main articles Yiddish literature, Ladino literature, Hebrew literature, Jewish American literature, Jewish literature. Also see Jews in literature and journalism.

Humor[link]

Jewish humor is the long tradition of humor in Judaism dating back to the Torah and the Midrash, but generally refers to the more recent stream of verbal, frequently self-deprecating and often anecdotal humor originating in Eastern Europe. Jewish humor took root in the United States over the last hundred years, beginning with vaudeville, and continuing through radio, stand-up, film, and television. A significant number of American comedians have been or are Jewish.

General literature[link]

Jewish authors have both created a unique Jewish literature and contributed to the national literatures of many of the countries in which they live. Though not strictly secular, the Yiddish works of authors like Sholem Aleichem (whose collected works amounted to 28 volumes) and Isaac Bashevis Singer (winner of the 1978 Nobel Prize), form their own canon, focusing on the Jewish experience in both Eastern Europe, and in America. In the United States, Jewish writers like Philip Roth, Saul Bellow, and many others are considered among the greatest American authors, and incorporate a distinctly secular Jewish view into many of their works. The poetry of Allen Ginsberg often touches on Jewish themes (notably the early autobiographical works such as Howl and Kaddish). Other famous Jewish authors that made contributions to world literature include Heinrich Heine, German poet, Mordecai Richler, Canadian author, Isaac Babel, Russian author, Franz Kafka, of Prague, and Harry Mulisch, sometimes referred to as the best Dutch writer ever.^{[citation needed]}

In Modern Judaism: An Oxford Guide, Yaakov Malkin, Professor of Aesthetics and Rhetoric at Tel Aviv University and the founder and academic director of Meitar College for Judaism as Culture in Jerusalem, writes:

Secular Jewish culture embraces literary works that have stood the test of time as sources of aesthetic pleasure and ideas shared by Jews and non-Jews, works that live on beyond the immediate socio-cultural context within which they were created. They include the writings of such Jewish authors as Sholem Aleichem, Itzik Manger, Isaac Bashevis Singer, Philip Roth, Saul Bellow, S.Y. Agnon, Isaac Babel, Martin Buber, Isaiah Berlin, Haim Nahman Bialik, Yehuda Amichai, Amos Oz, A.B. Yehoshua, and David Grossman. It boasts masterpieces that have had a considerable influence on all of western culture, Jewish culture included - works such as those of Heinrich Heine, Gustav Mahler, Leonard Bernstein, Marc Chagall, Jacob Epstein, Ben Shahn, Amedeo Modigliani, Franz Kafka, Max Reinhardt (Goldman), Ernst Lubitsch, and Woody Allen.^[11]

Theatre[link]

Yiddish theatre[link]

The Ukrainian Jew Abraham Goldfaden founded the first professional Yiddish-language theatre troupe in Iaşi, Romania in 1876. The next year, his troupe achieved enormous success in Bucharest. Within a decade, Goldfaden and others brought Yiddish theater to Ukraine, Russia, Poland, Germany, New York City, and other cities with significant Ashkenazic populations. Between 1890 and 1940, over a dozen Yiddish theatre groups existed in New York City alone, performing original plays, musicals, and Yiddish translations of theatrical works and opera. Perhaps the most famous of Yiddish-language plays is The Dybbuk (1919) by S. Ansky.

Yiddish theater in New York in the early 20th century rivalled English-language theater in quantity and often surpassed it in quality. A 1925 New York Times article remarks, "…Yiddish theater… is now a stable American institution and no longer dependent on immigration from Eastern Europe. People who can neither speak nor write Yiddish attend Yiddish stage performances and pay Broadway prices on Second Avenue." This article also mentions other aspects of a New York Jewish cultural life "in full flower" at that time, among them the fact that the extensive New York Yiddish-language press of the time included seven daily newspapers.^[14]

In fact, however, the next generation of American Jews spoke mainly English to the exclusion of Yiddish; they brought the artistic energy of Yiddish theater into the American theatrical mainstream, but usually in a less specifically Jewish form.

Yiddish theater, most notably Moscow State Jewish Theater directed by Solomon Mikhoels, also played a prominent role in the arts scene of the Soviet Union until Stalin's 1948 reversal in government policy toward the Jews. (See Rootless cosmopolitan, Night of the Murdered Poets.)

Montreal's Dora Wasserman Yiddish Theatre continues to thrive after 50 years of performance.

European theatre[link]

From their Emancipation to World War II, Jews were very active and sometimes even dominant in certain forms of European theatre, and after the Holocaust many Jews continued to that cultural form. For example, in pre-Nazi Germany, where Nietzsche asked "What good actor of today is not Jewish?", acting, directing and writing positions were often filled by Jews. Both MacDonald and Jewish Tribal Review would generally be counted as anti-Semitic sources, but reasonably careful in their factual claims.</ref> "In Imperial Berlin, Jewish artists could be found in the forefront of the performing arts, from high drama to more popular forms like cabaret and revue, and eventually film. Jewish audiences patronized innovative theater, regardless of whether they approved of what they saw."^[15] The British historian Paul Johnson, commenting on Jewish contributions to European culture at the fin de siècle, writes that

The area where Jewish influence was strongest was the theatre, especially in Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, Erwin Piscator, Walter Hasenclever, Ferenc Molnár and Carl Zuckmayer, and influential producers like Max Reinhardt, appeared at times to dominate the stage, which tended to be modishly left-wing, pro-republican, experimental and sexually daring. But it was certainly not revolutionary, and it was cosmopolitan rather than Jewish.^[16]

Jews also made similar, if not as massive, contributions to theatre and drama in Austria, Britain, France, and Russia (in the national languages of those countries). Jews in Vienna, Paris and German cities found cabaret both a popular and effective means of expression, as German cabaret in the Weimar Republic "was mostly a Jewish art form".^[17] The involvement of Jews in Central European theatre was halted during the rise of the Nazis and the purging of Jews from cultural posts, though many emigrated to Western Europe or the United States and continued working there.

American English-language theatre[link]

See also List of Jewish American musicals writers, List of Jewish Americans in theatre, List of Jewish American playwrights.

Yiddish theatre fed into the mainstream of American stage and film acting: the method acting of Konstantin Stanislavski found its way to America through Jacob Adler; Adler's daughter Stella and son Luther were instrumental in the Group Theatre, two of whose three founders were also Jews. The list of Stella Adler's and Group Theatre founder Lee Strasberg's students, mostly Gentiles, reads like a Who's Who of American acting: Marlon Brando, Jill Clayburgh, James Dean, Robert De Niro, Paul Newman, Jack Nicholson, Al Pacino, and Eva Marie Saint, to name just a few. Similarly, what Jewish composer John Kander calls an "interesting phenomenon that Broadway musical composers like Jerome Kern, George Gershwin and Marc Blitzstein are predominantly Jewish" comes from "the tradition established from New York's Yiddish theater."^[18]

Not only have "Jewish composers and lyricists always dominated Broadway musicals"^[19] in New York City, but they were instrumental in the creation and development of genre of musical theatre and earlier forms of theatrical entertainment, as well as contributing to non-musical theatre in the United States. According to University of Toronto English professor Andrea Most,

Almost all the American musicals in the 20th century were written by Jews and... the most compelling reason for this is that the musical offers a lot of strategies for exploring and performing new identities theatrically… the musical theater exists because of the unique historical situation of the Jews who created it"^[20][21]

Brandeis University Professor Stephen J. Whitfield has commented that "More so than behind the screen, the talent behind the stage was for over half a century virtually the monopoly of one ethnic group. That is... [a] feature which locates Broadway at the center of Jewish culture".^[22] New York University Professor Laurence Maslon says that "There would be no American musical without Jews… Their influence is corollary to the influence of black musicians on jazz; there were as many Jews involved in the form".^[23] Other writers, such as Jerome Caryn, have noted that musical theatre and other forms of American entertainment are uniquely indebted to the contributions of Jewish-Americans, since "there might not have been a modern Broadway without the "Asiatic horde" of comedians, gossip columnists, songwriters, and singers that grew out of the ghetto, whether it was on the Lower East Side, Harlem (a Jewish ghetto before it was a black one), Newark, or Washington, D.C.."^[24] Likewise, in the analysis of Aaron Kula, director of The Klezmer Company,

"…the Jewish experience has always been best expressed by music, and Broadway has always been an integral part of the Jewish-American experience… The difference is that one can expand the definition of "Jewish Broadway" to include an interdisciplinary roadway with a wide range of artistic activities packed onto one avenue--theatre, opera, symphony, ballet, publishing companies, choirs, synagogues and more. This vibrant landscape reflects the life, times and creative output of the Jewish-American artist".^[25]

In the 19th and early 20th centuries the European operetta, a precursor the musical, often featured the work of Jewish composers such as Paul Abraham, Leo Ascher, Edmund Eysler, Leo Fall, Bruno Granichstaedten, Jacques Offenbach, Emmerich Kalman, Sigmund Romberg, Oscar Straus and Rudolf Friml; the latter four eventually moved to the United States and produced their works on the New York stage. One of the librettists for Bizet's Carmen (not an operetta proper but rather a work of the earlier opera comique form) was the Jewish Ludovic Halévy, niece of composer Fromental Halévy (Bizet himself was not Jewish but he married the elder Halevy's daughter, many have suspected that he was the descendant of Jewish converts to Christianity, and others have noticed Jewish-sounding intervals in his music).^[26] The Viennese librettist Victor Leon summarized the connection of Jewish composers and writers with the form of operetta: "The audience for operetta wants to laugh beneath tears—and that is exactly what Jews have been doing for the last two thousand years since the destruction of Jerusalem".^[27] Another factor in the evolution of musical theatre was vaudeville, and during the early 20th century the form was explored and expanded by Jewish comedians and actors such as Jack Benny, Fanny Brice, Eddie Cantor, The Marx Brothers, Anna Held, Al Jolson, Molly Picon, Sophie Tucker and Ed Wynn. During the period when Broadway was monopolized by revues and similar entertainments, Jewish producer Florenz Ziegfeld dominated the theatrical scene with his Follies.

By 1910 Jews (the vast majority of them immigrants from Eastern Europe) already composed a quarter of the population of New York City, and almost immediately Jewish artists and intellectuals began to show their influence on the cultural life of that city, and through time, the country as a whole. Likewise, while the modern musical can best be described as a fusion of operetta, earlier American entertainment and African-American culture and music, as well as Jewish culture and music, the actual authors of the first "book musicals" were the Jewish Jerome Kern, Oscar Hammerstein II, George and Ira Gershwin, George S. Kaufman and Morrie Ryskind. From that time until the 1980s a vast majority of successful musical theatre composers, lyricists, and book-writers were Jewish (a notable exception is the Protestant Cole Porter, who acknowledged that the reason he was so successful on Broadway was that he wrote what he called "Jewish music").^[28] Rodgers and Hammerstein, Frank Loesser, Lerner and Loewe, Stephen Sondheim, Leonard Bernstein, Stephen Schwartz, Kander and Ebb and dozens of others during the "Golden Age" of musical theatre were Jewish. Since the Tony Award for Best Original Score was instituted in 1947, approximately 70% of nominated scores and 60% of winning scores were by Jewish composers. Of successful British and French musical writers both in the West End and Broadway, Claude-Michel Schönberg and Lionel Bart are Jewish, among others.

One explanation of the affinity of Jewish composers and playwrights to the musical is that "traditional Jewish religious music was most often led by a single singer, a cantor while Christians emphasize choral singing."^[29] Many of these writers used the musical to explore issues relating to assimilation, the acceptance of the outsider in society, the racial situation in the United States, the overcoming of obstacles through perseverance, and other topics pertinent to Jewish Americans and Western Jews in general, often using subtle and disguised stories to get this point across.^[30] For example, Kern, Rodgers, Hammerstein, the Gershwins, Harold Arlen and Yip Harburg wrote musicals and operas aiming to normalize societal toleration of minorities and urging racial harmony; these works included Show Boat, Porgy and Bess, Finian's Rainbow, South Pacific and The King and I. Towards the end of Golden Age, writers also began to openly and overtly tackle Jewish subjects and issues, such as Fiddler on the Roof and Rags; Bart's Blitz! also tackles relations between Jews and Gentiles. Jason Robert Brown and Alfred Uhry's Parade is a sensitive exploration of both anti-Semitism and historical American racism. The original concept that became West Side Story was set in the Lower East Side during Easter-Passover celebrations; the rival gangs were to be Jewish and Italian Catholic.^[31]

The ranks of prominent Jewish producers, directors, designers and performers include Boris Aronson, David Belasco, Joel Grey, the Minskoff family, Zero Mostel, Joseph Papp, Mandy Patinkin, the Nederlander family, Harold Prince, Max Reinhardt, Jerome Robbins, the Shubert family and Julie Taymor. Jewish playwrights have also contributed to non-musical drama and theatre, both Broadway and regional. Edna Ferber, Moss Hart, Lillian Hellman, Arthur Miller and Neil Simon are only some of the prominent Jewish playwrights in American theatrical history. Approximately 21% of the plays and musicals that have won the Pulitzer Prize for Drama were written and composed by Jewish Americans.

The Association for Jewish Theater is a contemporary organization that includes both American and international theaters that focus on theater with Jewish content. It has also expanded to include Jewish playwrights.

Hebrew and Israeli theatre[link]

The earliest known Hebrew language drama was written around 1550 by a Jewish-Italian writer from Mantua.^[32] A few works were written by rabbis and Kabbalists in the 17th century Amsterdam, where Jews were relatively free from persecution and had both flourishing religious and secular Jewish cultures.^[33] All of these early Hebrew plays were about Biblical or mystical subjects, often in the form of Talmudic parables. During the post-Emancipation period in the 19th century Europe, many Jews translated great European plays such as those by Shakespeare, Molière and Schiller, giving the characters Jewish names and transplanting the plot and setting to within a Jewish context.

Modern Hebrew theatre and drama, however, began with the development of Modern Hebrew in Europe (the first Hebrew theatrical professional performance was in Moscow in 1918)^[34] and was "closely linked with the Jewish national renaissance movement of the twentieth century. The historical awareness and the sense of primacy which accompanied the Hebrew theatre in its early years dictated the course of its artistic and aesthetic development".^[35] These traditions were soon transplanted to Israel. Playwrights such as Natan Alterman, Hayyim Nahman Bialik, Leah Goldberg, Ephraim Kishon, Hanoch Levin, Aharon Megged, Moshe Shamir, Avraham Shlonsky, Yehoshua Sobol and A. B. Yehoshua have written Hebrew-language plays. Themes that are obviously common in these works are the Holocaust, the Arab-Israeli conflict, the meaning of Jewishness, and contemporary secular-religious tensions within Jewish Israel. The most well-known Hebrew theatre company and Israel's national theatre is the Habima (meaning "the stage" in Hebrew), which was formed in 1913 in Lithuania, and re-established in 1917 in Russia; another prominent Israeli theatre company is the Cameri Theatre, which is "Israel's first and leading repertory theatre".^[36]

Cinema[link]

In the era when Yiddish theatre was still a major force in the world of theatre, over 100 films were made in Yiddish. Many are now lost. Prominent films included Shulamith (1931), the first Yiddish musical on film His Wife's Lover (1931), A Daughter of Her People (1932), the anti-Nazi film The Wandering Jew (1933), The Yiddish King Lear (1934), Shir Hashirim (1935), the biggest Yiddish film hit of all time Yidl Mitn Fidl (1936), Where Is My Child? (1937), Green Fields (1937), Dybuk (1937), The Singing Blacksmith (1938), Tevye (1939), Mirele Efros (1939), Lang ist der Weg (1948), and God, Man and Devil (1950).

The roster of Jewish entrepreneurs in the English-language American film industry is legendary: Samuel Goldwyn, Louis B. Mayer, the Warner Brothers, David O. Selznick, Marcus Loew, and Adolph Zukor, to name just a few, and continuing into recent times with such industry giants as super-agent Michael Ovitz, Michael Eisner, Lew Wasserman, Jeffrey Katzenberg, Steven Spielberg, and David Geffen. However, few of these brought a specifically Jewish sensibility either to the art of film or, with the sometime exception of Spielberg, to their choice of subject matter. A much more specifically Jewish sensibility can be seen in the films of the Marx Brothers, Mel Brooks, or Woody Allen; other examples of specifically Jewish films from the Hollywood film industry are the Barbra Streisand vehicle Yentl (1983), or John Frankenheimer's The Fixer (1968).

Radio and television[link]

The first radio chains, the Radio Corporation of America and the Columbia Broadcasting System, were created by the Jewish-American David Sarnoff and William S. Paley, respectively. These Jewish innovators were also among the first producers of televisions, both black-and-white and color.^[37] Among the Jewish immigrant communities of America there was also a thriving Yiddish language radio, with its "golden age" from the 1930s to the 1950s.

Although there is little specifically Jewish television in the United States (National Jewish Television, largely religious, broadcasts only three hours a week), Jews have been involved in American television from its earliest days. From Sid Caesar and Milton Berle to Joan Rivers, Gilda Radner, and Andy Kaufman to Billy Crystal to Jerry Seinfeld, Jewish stand-up comedians have been icons of American television. Other Jews that held a prominent role in early radio and television were Eddie Cantor, Al Jolson, Jack Benny, Walter Winchell and David Susskind. In the analysis of Paul Johnson,

The Broadway musical, radio and TV were all examples of a fundamental principle in Jewish diaspora history: Jews opening up a completely new field in business and culture, a tabula rasa on which to set their mark, before other interests had a chance to take possession, erect guild or professional fortifications and deny them entry.^[38]

One of the first televised situation comedies, The Goldbergs was set in a specifically Jewish milieu in the Bronx. While the overt Jewish milieu of The Goldbergs was unusual for an American television series—one of the few other examples being Brooklyn Bridge (1991–1993). Jews have also played an enormous role among the creators and writers of television comedies: Woody Allen, Mel Brooks, Selma Diamond, Larry Gelbart, Carl Reiner, and Neil Simon all wrote for Sid Caesar; Reiner's son Rob Reiner worked with Norman Lear on All in the Family (which often engaged anti-semitism and other issues of prejudice); Larry David and Jerry Seinfeld created the hit sitcom Seinfeld, Lorne Michaels, Al Franken, Rosie Shuster, and Alan Zweibel of Saturday Night Live breathed new life into the variety show in the 1970s.

More recently, American Jews have been instrumental to "novelistic" television series such as The Wire and The Sopranos. Variously acclaimed as one of the greatest television series of all time, The Wire was created by David Simon. Simon also served as executive producer, head writer, and show runner. Matthew Weiner produced the fifth and sixth seasons of The Sopranos and later created Mad Men.

Music and dance[link]

Music[link]

Jewish musical contributions also tend to reflect the cultures of the countries in which Jews live, the most notable examples being classical and popular music in the United States and Europe. (See: Jews in Classical Music and Jews in Mainstream and Jazz). Some music, however, is unique to particular Jewish communities, such as Israeli music, Israeli Folk music, Klezmer, Sephardic and Ladino music, and Mizrahi music.

Dance[link]

Deriving from Biblical traditions, Jewish dance has long been used by Jews as a medium for the expression of joy and other communal emotions. Each Jewish diasporic community developed its own dance traditions for wedding celebrations and other distinguished events. For Ashkenazi Jews in Eastern Europe, for example, dances, whose names corresponded to the different forms of klezmer music that were played, were an obvious staple of the wedding ceremony of the shtetl. Jewish dances both were influenced by surrounding Gentile traditions and Jewish sources preserved over time. "Nevertheless the Jews practiced a corporeal expressive language that was highly differentiated from that of the non-Jewish peoples of their neighborhood, mainly through motions of the hands and arms, with more intricate legwork by the younger men."^[39] In general, however, in most religiously traditional communities, members of the opposite sex dancing together or dancing at times other than at these events was frowned upon.

Visual arts and architecture[link]

See also List of Jews in the visual arts.

Compared to music or theater, there is less of a specifically Jewish tradition in the visual arts. The most likely and accepted reason is that, as has been previously shown with Jewish music and literature, before Emancipation Jewish culture was dominated by religious tradition. As most Rabbinical authorities believed that the Second Commandment prohibited much visual art that would qualify as "graven images", Jewish artists were relatively rare until they lived in assimilated European communities beginning in the late 18th century.^[40][41] It should be noted however, that despite fears by early religious communities of art being used for idolatrous purposes, Jewish sacred art is recorded in the Tanakh and extends throughout Jewish Antiquity and the Middle Ages. The Tabernacle and the two Temples in Jerusalem form the first known examples of "Jewish art". During the first centuries of the Common Era, Jewish religious art also was created in regions surrounding the Mediterranean such as Syria and Greece, including frescoes on the walls of synagogues, of which the Dura Europas Synagogue is the only survivor^[42] as well as the Jewish catacombs in Rome.^[43][44] A Jewish tradition of illuminated manuscripts in at least Late Antiquity has left no survivors, but can be deduced from borrowings in Early Medieval Christian art. Middle Age Rabbinical and Kabbalistic literature also contain textual and graphic art, most famously illuminated haggadahs such as the Sarajevo Haggadah, and other manuscripts like the Nuremberg Mahzor. Some of these were illustrated by Jewish artists and some by Christians; equally some Jewish artists and craftsmen in various media worked on Christian commissions.^[45] Johnson again summarizes this sudden change from a limited participation by Jews in visual art (as in many other arts) to a large movement by them into this branch of European cultural life:

Again, the arrival of the Jewish artist was a strange phenomenon. It is true that, over the centuries, there had been many animals (though few humans) in Jewish art: lions on Torah curtains, owls on Judaic coins, animals on the Capernaum capitals, birds on the rim of the fountain-basis in the 5th century Naro synagogue in Tunis; there were carved animals, too, on timber synagogues in eastern Europe - indeed the Jewish wood-carver was the prototype of the modern Jewish plastic artist. A book of Yiddish folk-ornament, printed at Vitebsk in 1920, was similar to Chagall's own bestiary. But the resistance of pious Jews to portraying the living image was still strong at the beginning of the twentieth century.^[46]

Amedeo Modigliani

There were few Jewish secular artists in Europe prior to the Emancipation that spread throughout Europe with the Napoleonic conquests. There were exceptions, and Salomon Adler was a prominent portrait painter in eighteenth century Milan. The delay in participation in the visual arts parallels the lack of Jewish participation in European classical music until the nineteenth century, and which was progressively overcome with the rise of Modernism in the 20th century. There were many Jewish artists in the 19th century, but Jewish artistic activity boomed during the end of World War I. The Jewish artistic Renaissance has its roots in the 1901 Fifth Zionist Congress, which included an art exhibition featuring Jewish artists E.M. Lilien and Hermann Struck. The exhibition helped legitimize art as an expression of Jewish culture.^[47] According to Nadine Nieszawer, "Until 1905, Jews were always plunged into their books but from the first Russian Revolution, they became emancipated, committed themselves in politics and became artists. A real Jewish cultural rebirth".^[48] Individual Jews figured in the modern artistic movements of Europe— With the exception of those living in isolated Jewish communities, most Jews listed here as contributing to secular Jewish culture also participated in the cultures of the peoples they lived with and nations they lived in. In most cases, however, the work and lives of these people did not exist in two distinct cultural spheres but rather in one that incorporated elements of both.

During the early 20th century Jews figured particularly prominently in the Montparnasse movement, and after World War II among the abstract expressionists: Helen Frankenthaler, Adolph Gottlieb, Philip Guston, Al Held, Franz Kline, Lee Krasner, Barnett Newman, Milton Resnick, Jack Tworkov, Mark Rothko, and Louis Schanker as well as the Postmodernists.^[49] Many Russian Jews were prominent in the art of scenic design, particularly the aforementioned Chagall and Aronson, as well as the revolutionary Léon Bakst, who like the other two also painted. One Mexican Jewish artist was Pedro Friedeberg; it was once thought the Frida Kahlo's father was Jewish, but historians have determined that he was not. Gustav Klimt was not Jewish, but nearly all of his patrons and several of his models were. Among major artists Chagall may be the most specifically Jewish in his themes. But as art fades into graphic design, Jewish names and themes become more prominent: Leonard Baskin, Al Hirschfeld, Ben Shahn, Art Spiegelman and Saul Steinberg. And in the Golden and Silver ages of American comic books, the Jewish role was overwhelming: Joe Shuster and Jerry Siegel, creators of Superman, were Jewish, as were Bob Kane (né Robert Cohen), Will Eisner, Martin Goodman, Joe Simon, Jack Kirby, and Stan Lee of Marvel Comics; and William Gaines and Harvey Kurtzman, founders of Mad, to name only a small sample. Many of those involved in the later ages of comics are also Jewish, such as Julius Schwartz, Jenette Kahn, Len Wein, Peter David, Neil Gaiman, and Brian Michael Bendis.

Jews have also played a very important role in photography; some notable figures are Andre Kertesz, Robert Frank, Garry Winogrand, Cindy Sherman, and Steve Lehman.^[50]

See also[link]

• Culture of Israel
• Humanistic Judaism
• Israeli hip hop
• Jewish studies

References[link]

Further reading[link]

• Landa, M.J. (1926). The Jew in Drama. New York: Ktav Publishing House (1969).
• Veidlinger, Jeffrey. Jewish Public Culture in the Late Russian Empire. Bloomington: Indiana University Press, 2009.

External links[link]

• The City Congregation for Humanistic Judaism
• Congress of Secular Jewish Organizations
• Global Directory of Jewish Museums
• News and reviews about Jewish literature and books
• Secular Jewish Circle of Puget Sound (Seattle area)
• Festival of Jewish Theater and Ideas
• Secular Culture & Ideas
• Secular Jewish School and Community of Central New Jersey

Michael Chabon
Chabon at a book signing in 2006.
Born	(1963-05-24) May 24, 1963 (age 49) Washington, D.C.
Pen name	Leon Chaim Bach, Malachi B. Cohen, August Van Zorn
Occupation	Novelist, screenwriter, columnist, short-story writer
Nationality	American
Period	1987–present
Notable work(s)	The Amazing Adventures of Kavalier & Clay (2000), The Yiddish Policemen's Union (2007)
Notable award(s)	1999 O. Henry Award 2001 Pulitzer Prize for Fiction 2007 Nebula Award for Best Novel 2008 Hugo Award for Best Novel 2008 Sidewise Award for Alternate History
Spouse(s)	Lollie Groth Ayelet Waldman
Influences Roger Angell,[1] Jorge Luis Borges,[1] John Cheever,[1] John Collier,[1] Mike Davis,[1] F. Scott Fitzgerald,[1] Gustave Flaubert,[1] Gabriel García Márquez,[1] Robert Graves,[1] Henry James,[1] John Keats,[1] Jan Morris,[1] Vladimir Nabokov,[1] Frank O'Hara,[1] Marcel Proust,[1] Robert Stone,[1] Edith Wharton,[1] Richard Yates[1]

Michael Chabon ( /ˈʃeɪbɒn/ SHAY-bon;^[2] born May 24, 1963) is an American author and "one of the most celebrated writers of his generation," according to The Virginia Quarterly Review.^[3]

Chabon's first novel, The Mysteries of Pittsburgh (1988), was published when he was 25 and catapulted him to literary celebrity. He followed it with a second novel, Wonder Boys (1995), and two short-story collections. In 2000, Chabon published The Amazing Adventures of Kavalier & Clay, a critically acclaimed novel that John Leonard, in a 2007 review of a later novel, called Chabon's magnum opus.^[4] It received the Pulitzer Prize for Fiction in 2001 (see: 2001 in literature).

His novel The Yiddish Policemen's Union, an alternate history mystery novel, was published in 2007 to enthusiastic reviews and won the Hugo, Sidewise, Nebula and Ignotus awards;^[5][6][7] his serialized novel Gentlemen of the Road appeared in book form in the fall of that same year.

His work is characterized by complex language, the frequent use of metaphor^[8] along with recurring themes, including nostalgia,^[8] divorce, abandonment, fatherhood, and most notably issues of Jewish identity.^[4][9] He often includes gay, bisexual, and Jewish characters in his work.^[4][10] Since the late 1990s, Chabon has written in an increasingly diverse series of styles for varied outlets; he is a notable defender of the merits of genre fiction and plot-driven fiction, and, along with novels, he has published screenplays, children's books, comics, and newspaper serials.

Biography[link]

Early years[link]

Michael Chabon (pronounced, in his words, "Shea as in Shea Stadium, Bon as in Bon Jovi", i.e., /ˈʃeɪbɒn/) was born in Washington, DC to Robert Chabon, a physician and lawyer, and Sharon Chabon, a lawyer. Chabon said he knew he wanted to be a writer when, at the age of ten, he wrote his first short story for a class assignment. When the story received an A, Chabon recalls, "I thought to myself, 'That's it. That's what I want to do. I can do this.' And I never had any second thoughts or doubts."^[11] Referring to popular culture, he wrote of being raised "on a hearty diet of crap".^[12] His parents divorced when Chabon was 11, and he grew up in Pittsburgh, Pennsylvania, and Columbia, Maryland. Columbia, where Chabon lived nine months of the year with his mother, was "a progressive planned living community in which racial, economic, and religious diversity were actively fostered."^[8] He has written of his mother's marijuana use, recalling her "sometime around 1977 or so, sitting in the front seat of her friend Kathy’s car, passing a little metal pipe back and forth before we went in to see a movie."^[13]

Chabon attended Carnegie Mellon University for a year before transferring to the University of Pittsburgh, where he studied under Chuck Kinder and received a Bachelor of Arts in 1984.^[8] He then went to graduate school at the University of California, Irvine, where he received a Master of Fine Arts in creative writing.

[edit] The Mysteries of Pittsburgh and initial literary success

Chabon's first novel, The Mysteries of Pittsburgh, was written as his UC Irvine master's thesis. Without telling Chabon, his professor, Donald Heiney (better known by his pen name, MacDonald Harris), sent it to a literary agent,^[14] who got the author an impressive $155,000 advance on the novel (most first-time novelists receive advances ranging from $5,000 to $7,500.)^[15] The Mysteries of Pittsburgh appeared in 1988 and became a bestseller, instantly catapulting Chabon to the status of literary celebrity. Among Chabon's major literary influences in this period were Donald Barthelme, Jorge Luis Borges, Gabriel García Márquez, Raymond Chandler, John Updike, Philip Roth and F. Scott Fitzgerald.^[16] As Chabon remarked in 2010, "I just copied the writers whose voices I was responding to, and I think that's probably the best way to learn."^[16]

Chabon was ambivalent about his new-found fame. He turned down offers to appear in a Gap ad and to be featured as one of People's "50 Most Beautiful People."^[17] (He later said, of the People offer, "I don't give a shit [about it] ... I only take pride in things I've actually done myself. To be praised for something like that is just weird. It just felt like somebody calling and saying, 'We want to put you in a magazine because the weather's so nice where you live' ")^[10]

In 2001, Chabon reflected on the success of his first novel by saying that while "the upside was that I was published and I got a readership[, the] downside ... was that, emotionally, this stuff started happening and I was still like, 'Wait a minute, is my thesis done yet?' It took me a few years to catch up."^[10] In 1991, Chabon published A Model World, a collection of short stories, many of which had been published previously in The New Yorker.

[edit] Fountain City and Wonder Boys

After the success of The Mysteries of Pittsburgh, Chabon spent five years working on a second novel. Called Fountain City, the novel was a "highly ambitious opus ... about an architect building a perfect baseball park in Florida",^[18] and it eventually ballooned to 1,500 pages, with no end in sight.^[11] The process was frustrating for Chabon, who, in his words, "never felt like I was conceptually on steady ground."^[18]

At one point, Chabon submitted a 672-page draft to his agent and editor, who disliked the work. Chabon had problems dropping the novel, though. "It was really scary", he said later. "I'd already signed a contract and been paid all this money. And then I'd gotten a divorce and half the money was already with my ex-wife. My instincts were telling me, This book is fucked. Just drop it. But I didn't, because I thought, What if I have to give the money back?"^[19] "I used to go down to my office and fantasize about all the books I could write instead."

When he finally decided to abandon Fountain City, Chabon recalls staring at his blank computer for hours, before suddenly picturing "a 'straitlaced, troubled young man with a tendency toward melodrama' trying to end it all."^[11] He began writing, and within a couple of days, had written 50 pages of what would become his second novel, Wonder Boys. Chabon drew on his experiences with Fountain City for the character of Grady Tripp, a frustrated novelist who has spent years working on an immense fourth novel. The author wrote Wonder Boys in a dizzy seven-month streak, without telling his agent or publisher he'd abandoned Fountain City. The book, published in 1995, was a commercial and critical success.

In late 2010, "An annotated, four-chapter fragment"^[20] from the unfinished 1,500 page manuscript Fountain City "complete with cautionary introduction and postscript"^[20] written by Chabon was included in McSweeney's 36.^[20]

[edit] The Amazing Adventures of Kavalier & Clay

Among the supporters of Wonder Boys was The Washington Post critic Jonathan Yardley; however, despite declaring Chabon "the young star of American letters", Yardley argued that, in his works to that point, Chabon had been preoccupied "with fictional explorations of his own ... It is time for him to move on, to break away from the first person and explore larger worlds."^[21] Chabon later said that he took Yardley's criticism to heart, explaining, "It chimed with my own thoughts. I had bigger ambitions."^[22] In 1999 he published his second collection of short stories, Werewolves in their Youth, which included his first published foray into genre fiction,^[3] the grim horror story "In the Black Mill."

Shortly after completing Wonder Boys, Chabon discovered a box of comic books from his childhood; a reawakened interest in comics, coupled with memories of the "lore" his Brooklyn-born father had told him about "the middle years of the twentieth century in America....the radio shows, politicians, movies, music, and athletes, and so forth, of that era," inspired him to begin work on a new novel.^[23] In 2000, he published The Amazing Adventures of Kavalier & Clay, an epic historical novel that charts 16 years in the lives of Sammy Clay and Joe Kavalier, two Jewish cousins who create a wildly popular series of comic books in the early 1940s, the years leading up to the entry of the U.S. into World War II. The novel received "nearly unanimous praise" and became a New York Times Best Seller,^[8] eventually winning the 2001 Pulitzer Prize for Fiction. Chabon reflected that, in writing Kavalier & Clay, "I discovered strengths I had hoped that I possessed — the ability to pull off multiple points of view, historical settings, the passage of years — but which had never been tested before."^[24]

[edit] Summerland, The Final Solution, Gentlemen of the Road, and The Yiddish Policemen's Union

In 2002, Chabon published Summerland, a fantasy novel written for younger readers that received mixed reviews but sold extremely well,^[25] and won the 2003 Mythopoeic Fantasy Award. Two years later, he published The Final Solution, a novella about an investigation led by an unknown old man, whom the reader can guess to be Sherlock Holmes, during the final years of World War II. His Dark Horse Comics project The Amazing Adventures of the Escapist, a quarterly anthology series that was published from 2004 to 2006, purported to cull stories from an involved, fictitious 60-year history of the Escapist character created by the protagonists of The Amazing Adventures of Kavalier & Clay. It was awarded the 2005 Eisner Award for Best Anthology and a pair of Harvey Awards for Best Anthology and Best New Series.

In late 2006, Chabon completed work on Gentlemen of the Road, a 15-part serialized novel that ran in The New York Times Magazine from January 28 to May 6, 2007. The serial (which at one point had the working title "Jews with Swords") was described by Chabon as "a swashbuckling adventure story set around the year 1000."^[26] Just before Gentlemen of the Road completed its run, the author published his latest novel, The Yiddish Policemen's Union, which he had worked on since February 2002. A hard-boiled detective story that imagines an alternate history in which Israel collapsed in 1948 and European Jews settled in Alaska^[27], the novel was launched on May 1, 2007 to enthusiastic reviews,^[28] and spent six weeks on the New York Times Best Seller list.^[29] The novel also won the 2008 Hugo Award.

[edit] Manhood for Amateurs and Telegraph Avenue

In May 2007, Chabon said that he was working on a young-adult novel with "some fantastic content."^[30] A month later, the author said he had put plans for the young-adult book on hold,^[31] and instead had signed a two-book deal with HarperCollins.

The first a book-length work of non-fiction called Manhood for Amateurs: The Pleasures and Regrets of a Husband, Father, and Son published in spring 2009 (2010 in Europe); the work discusses "being a man in all its complexity — a son, a father, a husband."^[32] The collection was nominated for a 2010 Northern California Book Award in the Creative Nonfiction category.^[33] This was Chabon's second published collection of essays and non-fiction. McSweeney's published Maps and Legends, a collection of Chabon's literary essays, on May 1, 2008.^[34] Proceeds from the book benefited 826 National.^[35] Also in 2008, Chabon received the Peggy V. Helmerich Distinguished Author Award, presented annually by the Tulsa (Oklahoma) Library Trust.

Chabon's second book under the contract, with a tentative publication date of 2011, will be a contemporary adult novel set in and around the San Francisco Bay Area. During a 2007 interview with the Washington Post, Chabon was quoted as saying, "I would like it to be set in the present day and feel right now the urge to do something more mainstream than my recent work has been." During a Q&A session in January 2009, Chabon added that he was writing a "naturalistic" novel about two families in Berkeley.^[36] In a March 2010 interview with the Guardian newspaper, Chabon confirmed that the novel-in-progress was still very much naturalistic and that "So far there's no overtly genre content: it's set in the present day and has no alternate reality or anything like that."^[16] In an interview with the Wall Street Journal published on December 7, 2010, Chabon said that he hopes to submit the novel in 2011 and that its provisional title is Telegraph Avenue.^[37]

Despite his success, Chabon continues to perceive himself as a "failure", noting that "anyone who has ever received a bad review knows how it outlasts, by decades, the memory of a favorable word."^[38]

In June 2010 he wrote an editorial for the New York Times in which he noted the role of exceptionalism in Jewish identity, in relation to the "blockheadedness" of Israel's botched Gaza flotilla raid and the explanations that followed.^[39]

Personal life[link]

In 1987, Chabon married the poet Lollie Groth. After the publication of The Mysteries of Pittsburgh, he was mistakenly featured in a Newsweek article on up-and-coming gay writers (Pittsburgh's protagonist has liaisons with people of both sexes.) The New York Times later reported that "in some ways, [Chabon] was happy" for the magazine's error, and quoted him as saying, "I feel very lucky about all of that. It really opened up a new readership to me, and a very loyal one."^[17] In a 2002 interview, Chabon added, "If Mysteries of Pittsburgh is about anything in terms of human sexuality and identity, it's that people can't be put into categories all that easily."^[40] In "On The Mysteries of Pittsburgh", an essay he wrote for the New York Review of Books in 2005, Chabon remarked on the autobiographical events that helped inspire his first novel: "I had slept with one man whom I loved, and learned to love another man so much that it would never have occurred to me to want to sleep with him."^[41]