The Marriage Plot

9780804798433: Hardback
Release Date: 22nd June 2016

9780804799676: Paperback
Release Date: 22nd June 2016

Dimensions: 152 x 229

Number of Pages: 368

Edition: 1st Edition

Series Stanford Studies in Jewish History and Culture

Stanford University Press

The Marriage Plot

Or, How Jews Fell in Love with Love, and with Literature

Hardback / £82.00
Paperback / £25.99

For nineteenth-century Eastern European Jews, modernization entailed the abandonment of arranged marriage in favor of the "love match." Romantic novels taught Jewish readers the rules of romance and the choreography of courtship. But because these new conceptions of romance were rooted in the Christian and chivalric traditions, the Jewish embrace of "the love religion" was always partial.

In The Marriage Plot, Naomi Seidman considers the evolution of Jewish love and marriage though the literature that provided Jews with a sentimental education, highlighting a persistent ambivalence in the Jewish adoption of European romantic ideologies. Nineteenth-century Hebrew and Yiddish literature tempered romantic love with the claims of family and community, and treated the rules of gender complementarity as comedic fodder. Twentieth-century Jewish writers turned back to tradition, finding pleasures in matchmaking, intergenerational ties, and sexual segregation. In the modern Jewish voices of Sigmund Freud, Erica Jong, Philip Roth, and Tony Kushner, the Jewish heretical challenge to the European romantic sublime has become the central sexual ideology of our time.

Contents and Abstracts
Introduction: Plotting Jewish Marriage
chapter abstract

The introduction describes the ways that East European Jews simultaneously encountered European literary genres and new models of marriage, romance, sexual practices and gender roles in the middle of the nineteenth century. Because novels were so closely associated with romantic love, these had a particular effect on their traditional but modernizing readers. The introduction also distinguishes the approach of the book from other trends in Jewish Studies, particularly Queer Studies approaches to the study of Jewish gender.

1A Sentimental Education
chapter abstract

This chapter traces the nineteenth-century beginnings of modern Hebrew and Yiddish romantic literature and its connection with emerging trends in organizing marriage and sexuality in nineteenth-century East Europe. The chapter analyzes the immense impression made by the first Hebrew novel, Mapu's 1853 The Love of Zion, in the realm of Jewish sexuality, questioning the power of literature to transform lives. The chapter ends by discussing the debates that arose toward the end of the nineteenth century, which focused on the mismatch between European literary conventions and Jewish social realities, and on the question of what constitutes the particularity of Jewish sex and marital arrangements.

2Matchmaking and Modernity
chapter abstract

This chapter analyzes the role of arranged marriage in Jewish literature through the figure of the marriage broker, first as the enemy of true love and then, in later works, as its enabler or even mystical embodiment. Nineteenth-century memoirs decry the intrusions and deceptions of matchmakers, and urge the replacement of arranged marriage with romantic choice. While Jewish literature in some sense served as this replacement—with the author "arranging" matches between characters—literary works also rescued and even invented the matchmaker. In Sholem Aleichem's Menachem Mendl, the matchmaker is given Yiddish literary voice, while in Bernard Malamud's The Magic Barrel, the matchmaker finds a place in modern America, and Jewish American literature, as a recognizable "type," and a figure of erotic fascination in his own right.

3Pride and Pedigree
chapter abstract

This chapter presents a genealogy of lineage in Jewish marriage, another aspect of traditional marital negotiations derided in Haskalah polemic. Pedigree finds a surprising afterlife even in those literary works that champion erotic attraction in the construction of a marriage partnership. At first performing the conservative-bourgeois function of maintaining class boundaries in a post-traditional society that ostensibly espouses the class-neutral ideology of romantic love, pedigree takes on a far wider range of meanings in modern Jewish literature. Along with the mystical eroticism that links romance with intergenerational ties, lineage has a long afterlife in the realist novel, both narrating the generational disruptions of modernity and serving as narrative cure. In the late twentieth century, the literary tracing of lineage reemerges in Tony Kushner's Angels in America, finding genealogical expression for even the post-genealogical phenomenon of queer kinship in the era of AIDS.

4The Choreography of Courtship
chapter abstract

This chapter describes the role of literature in constructing a modern Jewish ideology of heterosexual romance through its articulation of new notions of romantic time, on the one hand, and gender complementarity, on the other. While traditional marriages had collapsed the time between puberty and marriage, attraction and consummation (while expanding the historical perspective of a match by including ancestors in the arrangements), the novel introduced new romantic temporalities in the rhythms of sexual maturation, attraction, and (deliciously delayed) consummation. These models of romance depended on strictly delineated gender roles, which the novel served to map and inculcate. Twentieth-century Jewish cultural productions form a counter-discourse to the gender complementarity on which European romance rested, featuring cross-dressed, anti-romantic heroines who resist and denaturalize European gender conventions. And in Erica Jong, readers encountered a full-fledged (Jewish) argument against the erotic tempos set out in literary romance.

5In-laws and Outlaws
chapter abstract

This chapter follows the process of "nuclearization," in which the move to romantic, companionate marriage reduced the role of parents and extended family in the construction of modern family. Reading Sholem Aleichem's Tevye the Dairyman not through its usual focus—the move from arranged marriage to romantic love—but rather through what this move entails—the end of the system whereby marriage is produced by and produces broad kinship networks, this chapter argues that the stories reproduce in submerged form the traditional practices whereby a father-in-law chooses a groom for his daughter. In the final section of the chapter, I explore the "aunt-niece" relationship in Grace Paley's story "Goodbye and Good Luck," which presents the persistence and cultural productivity of alternative models of kinship at the margins of Jewish American literature and society.

6Sex and Segregation
chapter abstract

explores the structure of sexual segregation through its literary expressions. Among the evils of traditional Jewish society denounced by the Haskalah was the strictness of its sexual segregation, which left no room for social interaction or erotic discovery between the sexes. In the twentieth century, however, writers discovered erotic pleasures in what earlier generations had seen as repressive social structures. S.Y. Agnon, in "The Tale of the Scribe," Sholem Asch, in God of Vengeance, and Dvora Baron, in "Fedke," stage love affairs within sexually segregated spaces, while Singer's "Yentl, the Yeshiva Boy" makes an explicit case for the superiority of romances that proceed through the (homosocial and agonistic) camaraderie of Torah learning over those conducted according to Western conventions.

Afterword: After Marriage
chapter abstract

The epilogue, which touches on the work of Freud, Philip Roth, and Erica Jong, argues that Jewish writers played a crucial role in the twentieth-century desublimation of Eros, stripping the "erotic sublime" of its mystification and grounding sexuality in the "natural" bodily realities that characterize many varieties of Jewish sexual discourse. For the sublime notion of the "soul mate," Freud, Roth and Jong suggest that sexual partners are easily interchanged—an ideology that, in its "conservative" form, also underpins arranged marriage. While Jewish sexual modernity begins with the adoption of European literary conventions, by the end of the twentieth century, modern Jewish culture had come to play a critical role (in both senses) in European sexual discourse. In the sexual ideologies expressed in twentieth-century Hebrew, Yiddish and Jewish American literature, the modern religion of romantic love met first its most profound challenge and ultimately its heretical overthrow.

Naomi Seidman is Koret Professor of Jewish Culture at the Graduate Theological Union in Berkeley, and a 2016 Guggenheim Fellow. She is the author of Faithful Renderings: Jewish-Christian Difference and the Politics of Translation (2006) and A Marriage Made in Heaven: The Sexual Politics of Hebrew and Yiddish (1997).

"It is a valuable study for all those interested in the intersection of Jewish Studies, Literary Studies, and Gender Studies. Seidman, an expert in Jewish literature, meticulously analyzes a wide selection of texts in order to discover patterns characteristic for the development of Jewish romantic life in the 19th and 20th century... Seidman’s book has a strong critical value, as she questions common assumptions about a linear development of the emancipation of love.”—Irad Ben Isaak, Kult_Online<\i>

"In Naomi Seidman’s The Marriage Plot Or, How Jews Fell in Love with Love, and with Literature it is this problematic relationship between literature and life, between novels and autobiography, that gives new purchase on the modernisation of Jewish culture, first in eastern Europe during the Haskalah (the Jewish Enlightenment of the nineteenth century) and later in America...[T]he story she fashions cannot help but extend beyond the generic concerns of its model, implicating short stories, psychoanalytic case studies, plays, and stand-up comedy to produce as rich a literary history of the Jews as there has ever been."— Marc Mierowsky, The Cambridge Quarterly

"[T]he most daring innovation of Naomi Seidman’s The Marriage Plot: Or, How Jews Fell in Love with Love, and with Literature is its ardent determination to recuperate romantic love, to demonstrate its centrality to the Jewish literary tradition as we have come to understand it today. This she does in a marvelously detailed and convincing fashion."—Naomi Taub, H-Judaic

"[T]he most daring innovation of Naomi Seidman's The Marriage Plot: Or, How Jews Fell in Love with Love, and with Literature is its ardent determination to recuperate romantic love, to demonstrate its centrality to the Jewish literary tradition as we have come to understand it today. This she does in a marvelously detailed and convincing fashion."

Naomi Taub
H-Judaic

"Naomi Seidman has written a provocative and important study that deftly theorizes Jewish secular modernity through the lens of sexuality. Moving beyond the paradigms of queer and postcolonial studies, The Marriage Plot locates a changing sexual world that articulated its own sexual and gender norms through an erotic recovery of Jewish tradition. In her lively and insightful readings of the modern Jewish canon, Seidman shows that the secularization of Jewish cultural life was far from a straightforward narrative of sexual progress and liberation for men and women."

Allison Schachter
Vanderbilt University

"In this remarkable work, Seidman illustrates how the Haskalah, the so-called Jewish Enlightenment, led European Jews into modernity by engineering a sexual revolution through the composition of a literature that appropriated the European romantic model and retooled it to transform the Jewish bourgeois family radically....It is one of the strengths of this book that the romantic feelings and revolutionary spirit The Marriage Plot deals with are mirrored in Seidman's elegant and passionate writing style."

F. K. Clementi
CLIO: A Journal of Literature, History, and the Philosophy of History

"Seidman is a nimble, curious, omnivorous reader, with whom it is a pleasure to spend time. She moves freely among Hebrew and Yiddish texts and is well-versed in social history. We are prepared to extend credit to her big ideas because we trust the quality of her exegesis of small examples. She uses critical theory rather than being used by it, and she always writes with a clarity that signals a genuine desire to communicate with her readers. She is, moreover, among the small number of scholars who are happy to acknowledge that their original insights have been built upon the research of others.The Marriage Plot joins a growing number of literary, historical, and philosophical investigations of our post-secular age. It is, in many senses, the story of all of us."

Alan Mintz
Jewish Review of Books

"Once again, Naomi Seidman has given us a beautifully written book that is equally illuminating about traditional texts and contemporary performances. The Marriage Plot is a foundational work for anyone interested in Jewish literary and cultural studies, in questions about gender and translation, and in understanding how Jews 'fell in love with love' in the mid-19th century."

Anita Norich
University of Michigan

"It is a valuable study for all those interested in the intersection of Jewish Studies, Literary Studies, and Gender Studies. Seidman, an expert in Jewish literature, meticulously analyzes a wide selection of texts in order to discover patterns characteristic for the development of Jewish romantic life in the 19th and 20th century... Seidman's book has a strong critical value, as she questions common assumptions about a linear development of the emancipation of love."

Irad Ben Isaak
Kult_Online

"In Naomi Seidman's The Marriage Plot Or, How Jews Fell in Love with Love, and with Literature it is this problematic relationship between literature and life, between novels and autobiography, that gives new purchase on the modernisation of Jewish culture, first in eastern Europe during the Haskalah (the Jewish Enlightenment of the nineteenth century) and later in America...[T]he story she fashions cannot help but extend beyond the generic concerns of its model, implicating short stories, psychoanalytic case studies, plays, and stand-up comedy to produce as rich a literary history of the Jews as there has ever been."

Marc Mierowsky
The Cambridge Quarterly