A Chill Has Fallen Over Jews in Publishing

By James Kirchick, The New York Times, May 27, 2024
Image credit: Thomas Nondh Jansen/Connected Archives

This month, an account on X with the handle @moyurireads and 360 followers published a link to a color-coded spreadsheet classifying nearly 200 writers according to their views on the “genocide” in Gaza. Titled “Is Your Fav Author a Zionist?,” it reads like a cross between Tiger Beat and “The Protocols of the Elders of Zion.”

The novelist Emily St. John Mandel, the author of “Station Eleven” and “Sea of Tranquility,” earned a red “pro-Israel/Zionist” classification because, according to the list’s creator, she “travels to Israel frequently talks favorably about it.” Simply for posting a link to the Israeli chapter of the Red Cross, the novelist Kristin Hannah was deemed a “Zionist,” as was the author Gabrielle Zevin for delivering a book talk to Hadassah, a Jewish women’s organization. Needless to say, the creator of the list — whose post on X announcing it garnered over a million views within a few days — encourages readers to boycott any works produced by “Zionists.”

The spreadsheet is but the crudest example of the virulently anti-Israel — and increasingly antisemitic — sentiment that has been coursing through the literary world since the Hamas massacre of Oct. 7. Much of it revolves around the charge of genocide and seeks to punish Zionists and anyone else who refuses to explicitly denounce the Jewish state for allegedly committing said crime. Since a large majority of American Jews (80 percent of whom, according to a 2020 poll, said that caring about Israel is an important or essential part of their Judaism) are Zionists, to accuse all Zionists of complicity in genocide is to anathematize a core component of Jewish identity.

Over the past several months, a litmus test has emerged across wide swaths of the literary world effectively excluding Jews from full participation unless they denounce Israel. This phenomenon has been unfolding in progressive spaces (academia, politics, cultural organizations) for quite some time. That it has now hit the rarefied, highbrow realm of publishing — where Jewish Americans have made enormous contributions and the vitality of which depends on intellectual pluralism and free expression — is particularly alarming.

As is always and everywhere the case, this burgeoning antisemitism is concomitant with a rising illiberalism. Rarely, if ever, do writers express unanimity on a contentious political issue. We’re a naturally argumentative bunch who — at least in theory — answer only to our own consciences.

To compel them to express support or disapproval for a cause is one of the cruelest things a society can do to writers, whose role is to tell society what they believe, regardless of how popular the message may be. The drawing up of lists, in particular, is a tactic with a long and ignominious history, employed by the enemies of literature — and liberty — on both the left and the right. But the problem goes much deeper than a tyro blacklist targeting “Zionists.”

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One of the greatest mass delusions of the 21st century is the belief that Israel is committing a genocide against Palestinians. This grotesque moral inversion — in which a genocidal terrorist organization that instigated a war with Israel by committing the largest massacre of Jews since the Holocaust is absolved of responsibility while the victim of Hamas’s attack is charged with perpetrating the worst crime known to man — began taking shape before Israel even launched its ground invasion of Gaza.

A charitable description of those imputing genocidal motivations to Israel is that they are ignorant, essentially believing the word to mean “large numbers of civilian casualties.” (Here it’s worth noting that the United Nations, to little notice, has significantly lowered its estimate of the number of women and children killed in Gaza.) For others, accusing Israel of genocide is an emotional outlet for expressing outrage at such a horrific loss of life. A third, more pessimistic, characterization of the ubiquitous genocide canard is that it is only the latest iteration of the ancient antisemitic blood libel, which held that Jews murdered gentile children in order to use their blood for religious rituals.

College students and professional activists using overheated and imprecise language to convey their strongly held beliefs is hardly uncommon, and much of the intemperate language being directed at Israel and its Zionist supporters can be attributed to the hyperbole that increasingly characterizes our political discourse. What should worry us more is when people who have dedicated their lives to the written word manipulate language for a political end, one that is stigmatizing Jews.

Nine days after the Oct. 7 attack, the popular website Literary Hub began publishing what has since become a near-daily torrent of agitprop invective against what it describes as the “rogue ethnostate” of Israel, which it routinely accuses of committing genocide. In March, after a mass resignation of its staff members, the literary magazine Guernica retracted a personal essay by a left-wing Israeli woman about her experience volunteering to drive Palestinian children to Israel for medical treatment. In her resignation letter, one of the magazine’s co-publishers denounced the piece as “a hand-wringing apologia for Zionism and the ongoing genocide in Palestine.”

Whereas antisemitism in the literary world used to lurk in the shadows, according to the Jewish Book Council’s chief executive, Naomi Firestone-Teeter, since Oct. 7, it has become increasingly overt. “The fact that people have felt so proud and open about it is a different beast entirely,” she said. One of the most disturbing developments in this regard has been the frequency and contempt with which the word “Zionist” is now spit from people’s mouths in the United States.

Until relatively recently, the use of “Zionist” as a slur was most commonly confined to Soviet and Arab propagandists, who spent decades trying to render the word the moral equivalent of “Nazi.” Today many progressives use the word in similar fashion, making no distinction between a Zionist who supports a two-state solution (which, presumably, most Jews in the overwhelmingly liberal literary world do) and one who believes in a “Greater Israel” encompassing the entirety of the West Bank and Gaza Strip. And while anyone can be a Zionist, I’ve found in my 20 years of reporting on antisemitism that many Jews essentially hear “Jew” when someone shouts “Zionist" at them.

The corruption of the words “genocide” and “Zionist” lies at the root of the controversy threatening to unravel PEN America, the storied writers’ organization. As with many a literary contretemps, it involves a cascade of open letters. In February a missive that gained almost 1,500 signatures was published demanding that PEN “wake up from its own silent, tepid, neither-here-nor-there, self-congratulatory middle of the road and take an actual stand against an actual genocide.” The dozens of statements PEN had issued by that time calling attention to the plight of writers in Gaza (whom the letter, without citing evidence, claimed had been “targeted” by Israel for assassination)were insufficient. “We demand PEN America release an official statement” about the writers killed in Gaza the letter read, “and name their murderer: Israel, a Zionist colonial state funded by the U.S. government.”

On March 20, PEN acceded to the ultimatum that it endorse the call for a cease-fire. But that did not satiate its critics.

Last month, in advance of PEN’s annual literary awards ceremony, nearly half of the nominated writers withdrew from the competition. A subset of those writers then released another open letter, declaring, “Among writers of conscience, there is no disagreement. There is fact and fiction. The fact is that Israel is leading a genocide of the Palestinian people.” They accused PEN of “normalizing genocide,” denounced PEN for its “platforming of Zionists” and, most shamefully, called for the resignation of its Jewish chief executive, Suzanne Nossel, on account of her “longstanding commitments to Zionism.”

Along with eight other past presidents of PEN, Salman Rushdie signed a letter in defense of the organization, an intervention that earned him an “unclear” rating on the anti-Zionist blacklist. (He has braved far worse from Islamist zealots and their Western apologists.) PEN ultimately canceled both the awards ceremony and subsequent World Voices Festival.

Dissatisfaction with PEN’s purported lack of indignation over the deaths of Palestinian writers is a fig leaf. Where were the efforts by those now decrying PEN to protest the complete absence of freedom of expression that has characterized the Gaza Strip under 17 years of Hamas rule?

The real objectives behind the cynical weaponization of the word “genocide” and the authoritarian insistence that anyone who disagrees with it is an enabler of one are to shut down debate, defame dissenters and impose a rigid orthodoxy throughout the publishing world. It is a naked attempt to impose an ideological litmus test on anyone hoping to join the republic of letters — a litmus test that the vast majority of Jews would fail.

A campaign of intimidation, the sort of thing that happens to the dissident writers in closed societies whom PEN regularly champions, is afoot to pressure writers into toeing this new party line. PEN’s current president, Jenny Finney Boylan, recently said that she had heard from “many, many authors who do not agree with those withdrawing from PEN events and who do not wish to withdraw from our events themselves but are afraid of the consequences if they speak up.”

Compelling speech — which is ultimately what PEN’s critics are demanding of it — is the tactic of commissars, not writers in a free society. Censorship, thought policing and bullying are antithetical to the spirit of literature, which is best understood as an intimate conversation between the author and individual readers.

PEN’s detractors aren’t helping the Palestinian people with their whitewashing of Hamas. They’re engaged in a hostile takeover of a noble organization committed to the defense of free expression in order to advance a sectarian and bigoted political agenda.

Neil Gaiman, Taylor Jenkins-Reid, Ms. Mandel and other hugely successful authors need not worry that being denounced as a Zionist will hurt their careers. But the blacklists and the boycotts are not targeted at them. The real targets of this crusade are lesser-known authors, budding novelists, aspiring poets and creative writing students — largely but not exclusively Jewish — who can feel a change in the air.

“I do now definitely have concern as a Jewish author — two years working on a novel that has absolutely nothing to do with Jews in any way, just because it says ‘National Jewish Book Award winner’ in my bio — that it may change the way readers see the work,” said a Jewish creative writing professor and novelist who spoke to me on the condition of being quoted anonymously.

No longer is being on the receiving end of a review bomb the worst fate that can befall a Jewish writer exploring Jewish themes; even getting such a book published is becoming increasingly difficult. “It’s very clear you have to have real courage to acquire and publish proudly Jewish voices and books about being Jewish,” a prominent literary agent told me. “When you are seen as genocidal, a moral insult to humanity because you believe in Israel’s right to exist, you are now seen as deserving of being canceled.”

There’s a distasteful irony in a literary community that has gone to the barricades fighting book “bans” now rallying to boycott authors based on their ethnoreligious identity. For a growing set of writers, declaring one’s belief that the world’s only Jewish state is a genocidal entity whose dismantlement is necessary for the advancement of humankind is a political fashion statement, a bauble one parades around in order to signify being on the right team. As was Stalinism for an earlier generation of left-wing literary intellectuals, so is antisemitism becoming the avant-garde.

James Kirchick is a contributing writer to Tablet magazine, a writer at large for Air Mail and the author of “Secret City: The Hidden History of Gay Washington.”

Read the article at The New York Times.