A Review of “The Submission”

The Submission” by Amy Waldman, reviewed by Rabbi Jack Riemer

Do you remember what happened a few years ago when a group of Moslems wanted to build a mosque &mdash well, it was not exactly a mosque; it was more like a Jewish Community Center with a gym and classrooms as well as a place of prayer — at Ground Zero — well, it was not exactly at Ground Center, but it was meant to be built a few blocks away? The country went berserk. How dare they desecrate the sacred ground on which Moslems killed several thousand people and destroyed one of America’s iconic symbols? True, the Constitution provides freedom of religion for all, but so what? Does that justify this kind of an insult? Don’t the feelings of the families of those that died on 9/11 have priority over the Constitution?

For weeks, insults flew back and forth, as zealots on both sides called each other names, and the politicians tried to stake out a position that would straddle the conflicting claims of the public with the principle of freedom of religion.

The issue seems to have calmed down, at least for a while, since the people who were planning to build this mosque-or center-or whatever they will end up calling it if they ever build it — turned out not to be able to raise the money for it-at least not yet-and as the media turned its attention to other matters.

Amy Waldman wrote most of this novel before this bruha took place, but it raises the same kind of questions; Are American born Moslems entitled to their civil rights, or are they all to be stereotyped as terrorists out to kill us? Do those who lost loved ones on 9/11 have special claims on the memorial which is being built there, or are professional architects and artists the only ones who are capable of making aesthetic decisions? Are Jews entitled to suspect Moslems, in view of the fact that they have been the special targets of violence by Moslems in many countries, or should Jews be the defenders of civil rights for Moslems, because their own place in this country depends upon civil rights?

These are some of the questions that Amy Waldman deals with in this novel.  She gives no easy answers. Her characters are complex and ambivalent on these questions.

More after the jump.  
The central character is Mo Kahn — short for Mohammed — an assimilated architect whose parents came from India. He submits his proposal for a Memorial Garden to be built at Ground Zero, and, in a contest in which no names are allowed to accompany the submissions, he wins. And then he must justify his claim that his work is simply a work of art, and that it is not motivated by any desire to glorify the killers of 9/11 or even to pay tribute to Moslem Art.

As the issue heats up, Mo gradually changes his own attitude to his work and to this country. He starts out as an urbane, sophisticated liberal, who has no interest in, and no commitment to, Islam, but he is deeply offended that his work is being judged as Moslem propaganda when he believes deeply that he designed it with no such motive in mind. Little by little, in response to the attacks on him and on his work from the zealots, he begins to reconsider his heritage, and to insist on his right to be a Moslem American and on his right to be an architect who draws of many sources including Medieval Moslem Art, if he so wishes. He even goes to a mosque to pray, something that he has almost never done before in his life, perhaps to help determine for himself who he really is, or perhaps in order to defy those who are reviling him.

Another character in this novel is Claire Burwell, who is a wealthy woman, with some knowledge of art, whose husband died in the Twin Towers. She is the one who champions his submission in the first place, and she is the one who gradually persuades  the others on the panel to choosing it. But the more she sees the anger and the hysteria that the choice arouses, the more she is tempted to back down and take away the prize and given it to someone less controversial.

There is Paul Rubin, the politician, who only wants to make the furor go away so that it will not inflame the city and effect the next election. There is Sean Gallagher, a frustrated and angry man, whose brother died in the Twin Towers, and who sets out to lead a rebellion against the choice, so that he may have acquire and some importance for himself. And there is Asma Anwar, an illegal immigrant from Bangladesh, whose husband died on 9/11, and who only wants to stay in this country, and to be inconspicuous so that she will not be sent back, but who gets caught in the center of the controversy..

Amy Waldman brings these different characters, with their different agendas, together in this novel. They bounce against each other like billiard balls ricocheting. Sometimes they attack each other; sometimes they influence each other, and sometimes they seem like people caught in a tinderbox of conflicting emotions and intentions.

Ms. Waldman pits these characters, not only against each other, but also against their own inner drives and emotions. Each one reveals layer after layer of feeling, as the story spins out of control. At the end, we come away simply sick at the ugliness, the instability, and the chaos that manifested itself within so many of us in reaction to what happened on September 11th. We become aware through this novel of how angry, how unstable, how shocked and how vengeful we all felt in the aftermath of the events of that day. And we are forced to wonder and to worry about the question: Ten years after the calamity, have we healed yet, and if not, what will it take to restore sanity and stability, patience and calm, to us?

Novels do not usually set out to raise moral questions, but this one does. And the answer to these questions of have we recovered and have we purged ourselves from the trauma and the anger that 9/11 did to our souls,will come from what reactions this novel arouses. It is a gripping story, but it is meant to be more than just that. What kind of a country America will be will be determined, in some part, by how we come to terms with the trauma of this horrible event, whose tenth anniversary has now arrived. I hope that it does not take ten more years for us to calm down and to think rationally, instead of striking out in all directions, hurting the innocent, chasing the guilty, and injuring ourselves most of all. And I think that this book may help us in this task.

Rabbi Jack Riemer is a frequent reviewer of books of Jewish and General interest in America and abroad. He is the co editor of So That Your Values Live on: Ethical Wills and How to Prepare Them, and the editor of the three volumes of the The World of the High Holy Days.  

Jewish Summer Fest at the Shore

7th ANNUAL JEWISH SUMMER FEST AT THE SHORE

On Sunday, August 14th experience a taste of Jewish Culture through food, music and art. Participants will enjoy an exciting and entertaining evening of pulsating Jewish music featuring the Yellow Red Sky Band, hands on crafts, children’s rides games and face painting as well as a delicious kosher BBQ offering hotdogs, burgers, falafel and more. The event welcomes the entire community regardless of background or faith.

“We hope to offer children and their families an exciting evening while giving them a positive Jewish experience,” says Rabbi Avrohom Rapoport, the event coordinator.

The Jewish Summer Fest will take place on Sunday, August 14th, from
6-9 pm at the Beach at the Ventnor Library (Newport Ave. Ventnor, NJ).  Rides and craft badge is $12 donation per child.

For more information please call 609-822-8500 or visit www.jewishsummerfest.com .

The event is organized by Chabad at the Shore. Chabad is dedicated to ensuring Jewish continuity through educational and social programming.  

Old City Jewish Art Center

   

John O. Mason

The Old City Jewish Art Center, located on 119 North Third Street, is a Jewish-themed art gallery in Old City which hosts Shabbat services, including services and a meal,  during the traditional First Friday exhibits among the galleries in the area.

Artists whose works have been exhibited include Rita Ackert, Steve Belkowitz, Linda Dubin Garfield, Liliana Life, Carla Goodstein, Peter Reich, and Mordechai Rosenstein, Mickie Rosen, Hinda Schuman, Susan Leonard, Kathryn Pannepacker, Else Wachs, Paulette Bensignor, Susan Forbes, Rachel Issac, B.Leah Palmer, and Barbara Rosenzweig.

More after the jump.
Rabbi Menachem Schmidt, founder of the gallery,  was born in Irvington, New Jersey,  and grew up near Highland Park, near Rutgers. “I grew up in a Conservative synagogue,” he says, “and I became involved with Lubavich (or Chabad Hasidism) when I was about twenty. I was a Television and Radio major at Syracuse University, and I (had) a dual major in Art History.” After graduating, Schmidt attained shmicha (rabbinical ordination) and he was asked by Rabbi Abraham Shemtov, regional director of Chabad activities, under the guidance of the Lubavicher Rebbi, Rabbi Menachem Mendel Schneerson, to organize the Lubavich House at the University of Pennsylvania, where he is still Executive Director.

The gallery, says Schmidt, ” is a resultant project of a lot of (Lubavich) programs.” Of the center’s mission, he says, “Art is a very valuable expression of  Judaism, it’s a valuable expression in order to express ideas in Judaism, in order to bring people together. It also creates commonality between all kinds of different people.”

The artists featured in the gallery, Schmidt adds, “are al different in terms of their connection to Judaism, in their own personal observance, and to me that’s very exciting.”

As for the gallery’s First Friday programs, Schmidt says, “We live in Center City, and I’m involved in a lot of the projects in center City, and I always have my eye on First Friday. Before we opened, there was never anything Jewish happening on First Friday. It’s not only Jewish, it’s also something that brings people together besides commerce, it’s (also) something that’s creating a community, which is a message of Judaism. We didn’t really know if there would be any interest in it. My daughter lived close by and I asked her to see if she could find any empty art galleries or any empty spaces that we could squat in, and we’ll see how it goes. Yehudi Bork owned this space, and he was happy to let us use it.”

One of the people active with the center is Diane Litten, an artists whose makes jewelry, hats and scarves, which she calls “fine art accessories.” “They needed somebody here(at the center),” she adds, ” and I needed a studio, so we made an arrangement.” Litten takes part in setting up the center for shows; she calls that arrangement “excellent, wonderful.” Her work does not have a religious or Jewish theme, “but it’s an arty theme.”  

Cynthia Blackwood, a member of the Board of Directors of the center, speaks of the theme of the center’s October show, based on the 27th Psalm, which is said on Elul before Rosh Ha-Shona: “This is a show I wanted to put together. Rabbi Schmidt and I worked out a theme, and I called artists in to do a piece relating to the 27th Psalm, and they did, all thirteen artists. I did the calligraphy (with the Psalm in Hebrew), so you’re walking in and that’s the Psalm. I wanted you to feel like you’re wrapped in the Psalm.” The art works in the exhibit, adds Blackwood, “relate to the feelings that the artists have while reading the Psalm.”

Painter Barbara Rosin says of her works in the exhibit, “I’m a professional artist,  and Cynthia (Blackwood) is my framer, and she’s very familiar with my work. She invited me to participate, and she sent me material about the 27th Psalm and the month of Elul. It was extremely interesting, a lot of commentary, it was very interesting for me to work on.

“I’m a landscape painter,” Rosin adds, about her painting her work, “and the psalm made me think of very serene places, sanctuary, (being) free from harm.”