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Gazette Vol 1 No 4 - The Shealtiel Family Worldwide

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december 1995 SHEALTIEL GAZETTE vol i no iv<br />

Book review: Willing to wound but afraid to strike<br />

“<strong>The</strong> Sacred Chain”by <strong>No</strong>rman Cantor<br />

This deliberately combative reexamination<br />

of Jewish history<br />

cannot fail to rouse the<br />

reader— no matter his point of<br />

view— and is more likely than<br />

not to leave him infuriated.<br />

Cantor who is Professor of History<br />

at nyu, gives the impression<br />

of being willing to take on<br />

anyone, but for all of the book’s<br />

bellicosity, he seems to flinch at<br />

the last fence from the implications<br />

of his point of view.<br />

<strong>The</strong> thrust of Cantor’s book is<br />

that the study of Jewish history<br />

has been clouded by the central<br />

character of religious faith in<br />

the definition of Jewry. <strong>No</strong>t until<br />

the nineteenth century was<br />

the apparatus of critical scholarship<br />

applied to Jewish history<br />

and its results have challenged<br />

much of what Jews have told<br />

themselves about their history<br />

over the two millennia of the<br />

Diaspora. For example, Cantor<br />

concludes that the evidence is<br />

wholly lacking for the Biblical<br />

account prior to David— the<br />

first character in Jewish history<br />

to be confirmed by independent<br />

evidence. This is particularly<br />

disappointing for those<br />

who had hoped that the archaeological<br />

record would support<br />

the Mosaic account.<br />

Cantor proceeds to take on a<br />

wide range of adversaries: the<br />

slipshod practitioners of Jewish<br />

history, whom he sees as enfeebled<br />

by their reluctance to challenge<br />

rabbinical shibboleths;<br />

the State of Israel, whose Zionist<br />

claims he contrasts unfavourably<br />

with its economic dependency;<br />

the secular leaders of<br />

the Diaspora, whom he sees as<br />

indiscriminately sentimental,<br />

not to say artful to a point raising<br />

ethical questions— there is a<br />

particularly savage attack on<br />

Larry Tishman, the ceo of cbs;<br />

and such personal bugaboos as<br />

the Ukraine, the source of the<br />

anti­Semitic emigrants whose<br />

children hazed the adolescent<br />

Cantor in the Winnipeg of the<br />

fifties.<br />

Cantor is equally rebarbative<br />

about such cherished elements<br />

of Jewish identity as the Expulsion<br />

from Spain— greatly exaggerated<br />

by his account, most<br />

Jews having already converted<br />

and only a few tens of thousands<br />

obliged to leave; and rabbinical<br />

scholarship—<br />

sentimental and obscurantist,<br />

on Cantor’s view, not to say often<br />

irresponsible to the communities<br />

it was supposed to<br />

serve.<br />

<strong>No</strong>t that Cantor is altogether a<br />

man of ice. In a particularly affecting<br />

passage, he laments the<br />

loss for all time of the Yiddish<br />

culture of Mitteleuropa, after the<br />

depredations of the Shoah and<br />

the subsequent migrations of<br />

the last few survivors.<br />

<strong>The</strong>re is much to admire in<br />

Cantor’s approach. <strong>No</strong> doubt<br />

the highest standards of critical<br />

enquiry should be applied to<br />

Jewish history as to all else. And<br />

Cantor does not confine his<br />

censure to the Jewish community.<br />

He excoriates the Western<br />

powers for their irresponsibility<br />

and inhumanity in the face of<br />

the evidence of the Holocaust.<br />

But Cantor fails to follow<br />

through his attack. To take the<br />

pivotal issue, he denounces<br />

what he characterises as the<br />

cult of victim­hood in Jewish<br />

culture. He argues that it is selfdeluding<br />

to present Jewish history<br />

as a sequence of unprovoked<br />

disasters visited upon an<br />

innocent people. <strong>The</strong>re are two<br />

possible strands to an argument<br />

to this effect. <strong>The</strong> first is that<br />

the some of celebrated catastrophes<br />

of Jewish history have<br />

been misrepresented or exaggerated.<br />

As we have seen, this is<br />

Cantor’s view of the Expulsion<br />

from Spain.<br />

<strong>The</strong> second strand would be<br />

that the conduct of the Jews<br />

has played some part in arousing<br />

the intermittent assaults<br />

upon them. This would be a<br />

disturbing hypothesis, but one<br />

presumably worth pursuing by<br />

a historian with such a<br />

conspicuously self­proclaimed<br />

commitment to the search for<br />

truth no matter where it may<br />

lead. Naturally enough, the standard<br />

view within the Jewish<br />

community is that any such<br />

conjecture is wholly without<br />

foundation, if not outright defamatory.<br />

And Cantor knows<br />

that in the current era— that is<br />

in the aftermath of the Holocaust—<br />

it is likely to be an uphill<br />

battle to get such an argument<br />

taken seriously.<br />

And yet this is what must lie<br />

behind his preoccupation with<br />

such celebrated recent Jewish<br />

miscreants as Ivan Boesky and<br />

Michael Millikin; and his anxious<br />

survey of the exploitative<br />

character of the output of Hollywood—<br />

a Jewish industry.<br />

Cantor signals a sense that the<br />

very success of the American<br />

Jewish community is contributing<br />

to a hubris out of which<br />

nemesis will surely come.<br />

Cantor is not the first Jew to<br />

sense this, but he serves his<br />

own standards ill by failing to<br />

make his views explicit— by<br />

funking the issue of whether he<br />

believes Jewish culture has a<br />

propensity to allow enterprise<br />

to shade into lack of scruple. If<br />

this is his view, it is perfectly<br />

understandable that he should<br />

be reluctant to speak out, but<br />

his silence speaks ill for the<br />

academic standards he proclaims.<br />

If it is not, his contentiousness<br />

turns out to be something<br />

of a tease, unhappily akin<br />

to the crowd­pleasing historians<br />

he so trenchantly despises.<br />

Miles Saltiel<br />

page thirty-three

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