Reviewed by: Hebrew Gothic: History and the Poetics of Persecution by Karen Grumberg Maya Barzilai Karen Grumberg. Hebrew Gothic: History and the Poetics of Persecution. Bloomington: Indiana University Press, 2019. 328 pp. doi:10.1017/S0364009421000295 The title of Karen Grumberg's 2019 book, Hebrew Gothic, states what is not obvious: modern Hebrew literature has not been often associated with the [End Page 473] European Gothic and its ghosts, supernatural phenomena, haunted castles, crypts, and labyrinths. Grumberg herself contends that the Gothic mode might appear at first "incompatible with the aesthetic and the setting of Israel/Palestine" (3). Over the course of this lucidly written volume, however, she makes a compelling case for considering Hebrew writers' engagement with the European and American Gothic. Through comparative readings of Hebrew fiction alongside popular Gothic works by Horace Walpole and Edgar Alan Poe, Grumberg shows that scholarship of Hebrew literature stands to gain from a reassessment of this corpus outside the conventional frameworks of Hebrew literary history and more classical European literature. The twentieth-century writers Grumberg discusses did not adopt the Gothic wholesale, but rather appropriated Gothic themes and conventions to offer a critical examination of the Jewish past; they also drew on the Gothic tradition in order to address the ambivalence inherent to Jewish nationalism, reopening wounds such as the displacement of Palestinians in 1948. The European Gothic has allowed Jewish writers to call into question the narration of past events, to engage both history and historiography. In Hebrew Gothic, Grumberg constellates European and American works with Hebrew literature spanning the early twentieth-century writers S. Y. Agnon, Dvora Baron, and Yaakov Shteinberg, through Leah Goldberg's mid-twentieth-century theatrical writing, to novels by Amos Oz and A. B. Yehoshua. She productively pairs Toni Morrison's Beloved and the Israeli writer Almog Behar's short story "Ana min al-yahoud" (I'm one of the Jews), and concludes the book with parody and black humor in twenty-first-century Gothic-inspired Israeli film and television. At the outset, Grumberg points out that "it is not only what gothic texts do but also how they do it that makes them gothic" (6). In other words, the transgression of established social, cultural, and national boundaries in Gothic works unleashes a state of anxiety, an atmosphere of terror. The Gothic trades in instability, Grumberg explains, and this instability stems from the return of repressed narratives in Gothic literature. One of the central questions Hebrew Gothic poses concerns how twentieth-century Hebrew writers engaged historical events in order to comment on the Jewish and Zionist present and future. In many of Grumberg's case studies, supernatural motifs and gothic scenes allow writers to interrupt linear narratives of national conquest and triumph, as well as to call into question gender norms and expectations. Divided into two parts, "A Spectralized Past" and "Haunted Nation," Hebrew Gothic balances works that contend with the Jewish European past with post-1948 Hebrew literature. Reading Agnon's macabre Polish stories, Grumberg shows how the author appropriated stereotypes of the Wandering Jew and the bloodthirsty Jew in order to "recalibrate the dynamics of victims and oppressors," assigning antisemitic tropes to Christian figures. The issue of victimization returns in the chapter on maternal figures in stories by Baron and Shteinberg. In contrast to the passive and repressed Gothic heroine, Grumberg reads the "gothic agunah" as both "excessively present" and "defiant" or resistant through her affect (85). Grumberg previously explored Space and Ideology in Contemporary Hebrew Literature (2012) and her current book likewise focuses on the spatiotemporal dimensions of the Hebrew Gothic. She focuses, for instance, on the [End Page 474] cuckoo clock in Leah Goldberg's "Lady of the Castle," interpreting it as a foreboding Gothic motif that also invites a spatial reading, as it leads to a secret passageway and room where Lena, a Holocaust survivor, remained locked away even after the war's conclusion. Grumberg's comparative analysis, drawing on the work of Poe, suggests that Goldberg narrated the castle as a spiritual sanctuary in response to the demand placed on her to produce ideologically enlisted literature. The notion of a "conflicted Zionism," becomes relevant also for Oz and Yehoshua...
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Nov 1, 2021
Michael Brenner 
Open Access