Operation Shylock: A Confession (37 page)

“Who I am. I am one of the children, like your friend Appelfeld,”
Supposnik told me. “We were one hundred thousand Jewish children in Europe, wandering. Who would take us in? Nobody. America? England? No one. After the Holocaust and the wandering, I decided to become a Jew. The ones who harmed me were the non-Jews, and the ones who helped me were the Jews. After this I loved the Jew and developed a hatred for the non-Jew. Who I am. Someone who has collected books in four languages for three decades now and who has read all his life the greatest of all English writers. Particularly when I was a young student at the Hebrew University, I studied the Shakespeare play that is second only to
Hamlet
in the number of times it has been performed on the London stage in the first half of the twentieth century. And in the very first line, the opening line of the third scene of the very first act, I came with a shock upon the three words with which Shylock introduced himself onto the world stage nearly four hundred years ago. Yes, for four hundred years now, Jewish people have lived in the shadow of this Shylock. In the modern world, the Jew has been perpetually on trial; still
today
the Jew is on trial, in the person of the Israeli—and this modern trial of the Jew, this trial which never ends, begins with the trial of Shylock. To the audiences of the world Shylock is the embodiment of the Jew in the way that Uncle Sam embodies for them the spirit of the United States. Only, in Shylock’s case, there is an overwhelming Shakespearean reality, a terrifying Shakespearean aliveness that your pasteboard Uncle Sam cannot begin to possess. I studied those three words by which the savage, repellent, and villainous Jew, deformed by hatred and revenge, entered as our doppelgänger into the consciousness of the enlightened West. Three words encompassing all that is hateful in the Jew, three words that have stigmatized the Jew through two Christian millennia and that determine the Jewish fate until this very day, and that only the greatest English writer of them all could have had the prescience to isolate and dramatize as he did. You remember Shylock’s opening line? You remember the three words? What Jew can forget them? What Christian can forgive them?
‘Three thousand ducats.’
Five blunt, unbeautiful English syllables and the stage Jew is elevated to its apogee by a genius, catapulted into eternal notoriety by ‘Three thousand ducats.’ The English actor who performed as
Shylock for fifty years during the eighteenth century, the Shylock of his day, was a Mr. Charles Macklin. We are told that Mr. Macklin would mouth the two
th
’s and the two
s
’s in ‘Three thousand ducats’ with such oiliness that he instantaneously aroused, with just those three words, all of the audience’s hatred of Shylock’s race. ‘Th-th-th-three th-th-th-thous-s-s-sand ducats-s-s.’ When Mr. Macklin whetted his knife to carve from Antonio’s chest his pound of flesh, people in the pit fell unconscious—and this at the zenith of the Age of Reason. Admirable Macklin! The Victorian conception of Shylock, however—Shylock as a wronged Jew rightfully vengeful—the portrayal that descends through the Keans to Irving and into our century, is a vulgar sentimental offense not only against the genuine abhorrence of the Jew that animated Shakespeare and his era but to the long illustrious chronicle of European Jew-baiting. The hateful, hateable Jew whose artistic roots extend back to the Crucifixion pageants at York, whose endurance as the villain of history no less than of drama is unparalleled, the hook-nosed moneylender, the miserly, money-maddened, egotistical degenerate, the Jew who goes to
synagogue
to plan the murder of the virtuous Christian—
this
is Europe’s Jew, the Jew expelled in 1290 by the English, the Jew banished in 1492 by the Spanish, the Jew terrorized by Poles, butchered by Russians, incinerated by Germans, spurned by the British and the Americans while the furnaces roared at Treblinka. The vile Victorian varnish that sought to humanize the Jew, to dignify the Jew, has never deceived the enlightened European mind about the three thousand ducats, never has and never will. Who I am, Mr. Roth, is an antiquarian bookseller dwelling in the Mediterranean’s tiniest country—still considered too large by all the world—a bookish shopkeeper, a retiring bibliophile, nobody from nowhere, really, who has dreamed nonetheless, since his student days, an impresario’s dreams, at night in his bed envisioning himself impresario, producer, director, leading actor of Supposnik’s Anti-Semitic Theater Company. I dream of full houses and standing ovations, and of myself, hungry, dirty little Supposnik, one of the hundred thousand wandering children, enacting, in the unsentimental manner of Macklin, in the true spirit of Shakespeare, that chilling and ferocious Jew whose villainy flows inexorably from the
innate corruption of his religion. Every winter touring the capitals of the civilized world with his Anti-Semitic Drama Festival, performing in repertory the great Jew-hating dramas of Europe, night after night the Austrian plays, the German plays, Marlowe and the other Elizabethans, and concluding always as star of the masterpiece that was to prophesy, in the expulsion of the unregenerate Jew Shylock from the harmonious universe of the angelic Christian Portia, the Hitlerian dream of a
Judenrein
Europe. Today a Shylockless Venice, tomorrow a Shylockless world. As the stage direction so succinctly puts it after Shylock has been robbed of his daughter, stripped of his wealth, and compelled to convert by his Christian betters:
Exit Jew
. This is who I am. Now for what I want. Here.”

I took from him what he handed me, two notebooks bound in imitation leather, each about the size of a billfold. One was red, and impressed on its cover, in white cursive script, were the words “My Trip.” The other, whose brown cover was a bit scratched and mildewed, was identified as “Travels Abroad” in gold letters that were stylized to look exotically non-Occidental. Engraved in a semicircular constellation around those words were postage-stamp-sized representations of the varied forms of locomotion that the intrepid wayfarer would encounter on his journey—a ship sailing along on the wavy waves, an airliner, a rickshaw pulled by a pigtailed coolie, bearing a woman with a parasol, an elephant with a driver perched atop his head and a passenger seated in an awninged cabinet on his back, a camel ridden by a robed Arabian, and, at the bottom edge of the cover, the most elaborately detailed of the six engraved images: a full moon, a starry sky, a serene lagoon, a gondola, a gondolier. …

“Nothing like this,” said Supposnik, “has turned up since the discovery at the end of the war of the diary of Anne Frank.”

“Whose are they?” I asked.

“Open them,” he said. “Read.”

I opened the red book. At the top of the entry I’d turned to, where there were lines provided for “Date,” “Place,” and “Weather,” I read “2-2-76,” “Mexico,” and “Good.” The entry itself, in legible largish handwriting inscribed with a fountain pen in blue ink, began, “Beautiful flight. A little rough. Arrived on time. Mexico City has a population
of 5,000,000 people. Our guide took us through some sections of the city. We went to a residential section that was built on lava. The homes ranged from $30,000 to $160,000. They were very modern and beautiful. The flowers were very colorful.” I skipped ahead. “Wed. 2-14-76. San Huso De Puria. We had an early lunch and then went into the pool. There are 4 of them here. Each is supposed to have curative waters. Then we went to the Spa building. The girls had a mud pack on their faces and then we went into the mikva or baths. Marilyn and I shared one. It is called a family bath. It was the most delightful experience. All my friends should visit this place. Even some of my enemies. It is great.”

“Well,” I said to Supposnik, “they’re not André Gide’s.”

“It’s written whose they are—at the beginning.”

I turned to the beginning. There was a page titled “Time Keeping at Sea,” a page about “Changing the Clock,” information about “Latitude and Longitude,” “Miles and Knots,” “The Barometer,” “The Tides,” “Ocean Lanes and Distances,” “Port and Starboard,” a full page explaining “Conversion from US-$ into Foreign Currencies,” and then the page headed “Identification,” where all but a few of the blanks had been filled in by the same diarist with the same fountain pen.

“Now you see,” said Supposnik gravely.

“I do,” I said, “yes,” and opened the brown diary he’d given me. “9-3-79. Naples. Weather cloudy. Breakfast. Took tour to Pompeii again. Very interesting. Hot. Back to ship. Wrote cards. Had drink. Met 2 nice young people from London. Barbara and Lawrence. Safety drill. Weather turned nice. Going to Captain’s cocktail party in the swank [illegible] Room.”

“This is
the
Klinghoffer?” I asked. “From the
Achille Lauro
hijacking?”

“The Klinghoffer they killed, yes. The defenseless Jew crippled in a wheelchair that the brave Palestinian freedom fighters shot in the head and threw into the Mediterranean Sea. These are his travel diaries.”

“From that trip?”

“No, from happier trips. The diary from that trip has disappeared. Perhaps it was in his pocket when they tossed him overboard. Perhaps the brave freedom fighters used it for paper to cleanse their heroic Palestinian behinds. No, these are from the pleasant trips he made with his wife and his friends in the years before. They’ve come to me through the Klinghoffer daughters. I heard about the diaries. I contacted the daughters. I flew to New York to meet with them. Two specialists here in Israel, one of them associated with the forensic investigation unit of the attorney general’s office, have assured me that the handwriting is Klinghoffer’s. I brought back with me documents and letters from his business office files—the handwriting there corresponds to the diary handwriting in every last particular. The pen, the ink, the manufacturing date of the diaries themselves—I have expert documentation for their authenticity. The daughters have asked me to act as their representative to help them find an Israeli publisher for their late father’s diaries. They want to publish them here as a memorial to him and as a token of the devotion that he felt to Israel. They have asked for the proceeds to be donated to the Hadassah Hospital in Jerusalem, a favorite charity of their father’s. I told these two young women that when Otto Frank returned to Amsterdam from the camps after the war and found the diary kept by his little daughter
while the Frank family hid from the Nazis in their attic, he too wanted it only to be published privately, as a memorial to her for a small group of Dutch friends. And as you well know, having yourself made Anne Frank into the heroine of a literary work, that was the modest, unassuming way in which the Anne Frank diary first appeared. I of course will follow the wishes of the Klinghoffer daughters. But I happen also to know that, like the diary of little Anne Frank,
The Travel Diaries of Leon Klinghoffer
are destined to reach a far wider audience, a worldwide audience—if, that is, I can secure the assistance of Philip Roth. Mr. Roth, the introduction to the first American publication of
The Diary of Anne Frank
was written by Eleanor Roosevelt, the much-esteemed widow of your wartime president. A few hundred words from Mrs. Roosevelt and Anne Frank’s words became a moving entry in the history of Jewish suffering and Jewish survival. Philip Roth can do the same for the martyred Klinghoffer.”

“I’m sorry, I can’t.” However, when I made to hand back the two volumes, he wouldn’t accept them.

“Read them through,” Supposnik said. “I’ll leave them for you to read through.”

“Don’t be ridiculous. I can’t be responsible. Here.”

But again he refused to take them. “Leon Klinghoffer,” he said, “could very easily have been a man out of one of your books. He’s no stranger to you. Neither is the idiom in which he expresses here, simply, awkwardly, sincerely, his delight in living, his love for his wife, his pride in his children, his devotion to his fellow Jews, his love for Israel. I know the feeling you have for the achievement that these men, burdened by all the limitations of their immigrant family backgrounds, nonetheless made of their American lives. They are the fathers of your heroes. You know them, you understand them; without sentimentalizing them, you respect them. Only you can bring to these two little travel diaries the compassionate knowledge that will reveal to the world exactly who it was and what it was that was murdered on the cruise ship
Achille Lauro
on October 8, 1985. No other writer writes about these Jewish men in the way that you do. I’ll return tomorrow morning.”

“It’s not likely I’ll be here tomorrow morning. Look,” I said angrily, “you cannot leave these things with me.”

“I cannot think of anyone more reliable to entrust them to.” And with that he turned and left me there holding the two diaries.

The Smilesburger million-dollar check. The Lech Walesa six-pointed star. Now the Leon Klinghoffer travel diaries. What next, the false nose worn by the admirable Macklin? Whatever Jewish treasure isn’t nailed down comes flying straight into my face! I went immediately to the front desk and asked for an envelope large enough to hold the two diaries and wrote Supposnik’s name across it and my own in the upper left-hand corner. “When the gentleman returns,” I said to the clerk, “give him this package, will you?”