 "I always joke," Barack Obama told Jeffrey Goldberg for Goldberg's new piece in the Atlantic, "that my intellectual formation was through Jewish scholars and writers, even though I didn’t know it at the time. Whether it was theologians or Philip Roth who helped shape my sensibility...."
"I always joke," Barack Obama told Jeffrey Goldberg for Goldberg's new piece in the Atlantic, "that my intellectual formation was through Jewish scholars and writers, even though I didn’t know it at the time. Whether it was theologians or Philip Roth who helped shape my sensibility...."Philip Roth helped shape Barack Obama's sensibility.
In yesterday's Slate Cultural Gabfest the three hyper-articulate gabbers noted, half-jokingly, that if Bill Clinton was our first black president, perhaps Barack Obama will be our first Jewish president.
Goldberg has written this: "Obama told me that his sensibility was partially shaped by the books of Philip Roth. This obviously has profound implications for American foreign policy, and for shiksas, as well. And so, a reader contest. In a couple of pithy sentences, tell us what the first 100 days of a Roth-influenced Obama presidency would look like."
Andrew Sullivan in "The Daily Dish" blog creates an entry called "The Obama-Roth Presidency."
Back in February here's what Roth had to say about Obama:
Roth: I’m interested in the fact that he’s black. I feel the race issue in this country is more important than the feminist issue. I think that the importance to blacks would be tremendous. He’s an attractive man, he’s smart, he happens to be tremendously articulate. His position in the Democratic Party is more or less okay with me. And I think it would be important to American blacks if he became president.
SPIEGEL: Is Barack Obama black enough?
Roth: I know this discussion goes on, but I think it will disappear if he gets the nomination. The reality of his running will wash that away. Anybody who’s half white and half black is considered black anyway. That’s one drop of blood.
 
 
 

 

 
 
 "I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"  
 
 that anyone has yet got the imaginative measure of that terrifying day six years ago.  Certainly our Tolstoy has not crawled out of the rubble.  The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man").  One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
that anyone has yet got the imaginative measure of that terrifying day six years ago.  Certainly our Tolstoy has not crawled out of the rubble.  The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man").  One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for  
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
