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The Jew of New York, by Ben Katchor

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Review

The Jew of New York by Ben Katchor - An overstuffed, Pynchonesque graphic novel by one of the medium's best, set, as all of Katchor's comics are, in a quasi-historical Gotham(ish) fantasia that will make you nostalgic for block-long button districts that probably never actually existed. His two collections of Julius Knipl, Real Estate Photographer strips cover similar terrain, and are also highly recommended. -- Mark Binelli, Publisher's Weekly, Nov. 9, 1012". . . Katchor has an extravagantly assemblagist imagination. At one point he interrupts the narrative simply to catalogue the contents of Mr. Marah's desk drawer -- ''assorted leather straps, a Haggadah in the Iroquois language, a Masonic pin, a half-dozen miniature scrolls of black parchment, a series of French boudoir prints in a phylactery bag, a wax esrog, a map of Odessa. . .The Jew of New York' is not only something to read but to ponder -- an object nearly as strange and striking as the story it contains. --J. Hoberman, The New York Times Book Review, January 10, 1999Possessing a devilishly dry wit, Katchor seamlessly blends footnotes from historical obscurity with his twisted imagination to create his own unique literary form-- "megillah à clef"-- that packs a sizable comedic punch. . . there's a magical quality to Katchor's imagery that transports The Jew of New York beyond the world of our fathers into the realm of timeless fiction. -- Mike Rubin, The Village Voice, January 26, 1999.One man, a student of the kabbalah, spends his days recording words to describe bodily functions. FYI: "Greptz" is his onomatopoeic rendering of a loud burp. What comes across more loudly than this greptz is Katchor's compassion for those on the fringe--in his mind, seemingly, almost everybody. And if everyone's an outsider, then perhaps Katchor is suggesting something bigger and, perhaps, a bit more profound: Is anybody on the inside? --Peter Ephross, City Pages, February 10, 1999. . . Ben Katchor (creator of the comic Julius Knipl, Real Estate Photographer) lets his imagination run wild, introducing a trouserless Jewish fur trader who ends up stuffed in a Manhattan museum; an entrepreneur who dreams of carbonating Lake Erie; and a Hebrew-speaking American Indian who performs live. Loosely stitched together, Katchor's absurdist 19th-century vignettes may lose some readers along the way. But his cinematic drawings, eye for period detail, and dry asides will keep Katchor devotees riveted. -- Margot Mifflin, Entertainment Weekly, February 5, 1999.

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From the Inside Flap

decai Noah, a New York politician and amateur playwright possessed of a utopian vision, summoned all the lost tribes of Israel to an island near Buffalo in the hope of establishing a Jewish state. His failed plan, a mere footnote in Jewish-American history, is the starting point for Ben Katchor's brilliantly imagined epic that unfolds on the streets of New York a few years later.A disgraced kosher slaughterer, an importer of religious articles and women's hosiery, a pilgrim peddling soil from the Holy Land, a latter-day Kabbalist, a man with plans to carbonate Lake Erie--these are just some of the characters who move through Katchor's universe, their lives interwoven in a common struggle to settle into the New World even as it erupts into a financial frenzy that could as easily leave them bankrupt as carry them into the future.

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Product details

Series: Pantheon Graphic Library

Paperback: 108 pages

Publisher: Pantheon; Reprint edition (December 26, 2000)

Language: English

ISBN-10: 0375700978

ISBN-13: 978-0375700972

Product Dimensions:

8.1 x 0.2 x 8.4 inches

Shipping Weight: 7.2 ounces (View shipping rates and policies)

Average Customer Review:

4.0 out of 5 stars

7 customer reviews

Amazon Best Sellers Rank:

#932,912 in Books (See Top 100 in Books)

I feel like a traitor writing this review because I'm huge fan of Ben Katchor's work. This book is series of non sequiturs that never turned into a coherent work of fiction. In the first 30 pages I thought there might be some hope of an interesting idea emerging. But by page 50, out of a hundred pages, I had given up hope. When I got to the end there was nothing positive I could say about the experience. I think Katchor's forte is brief snippets revealing the mystery of urban reality. In this longer work, staged in post-colonial America, Katchor seems out of his element. Some might presume that perhaps I don't understand the social and political milieu of this era. Such is not the case and I still found this narrative indecipherable. I understood the significance of the isolated incidents and characters but it never solidified into a meaningful narrative. But I do understand the fine line between mysterious and indecipherable. Perhaps others won't have my difficulty.The author did bring up many idiosyncratic and strange moments in American history. But I had little sense of what was tweaked reality and what was pure invention. In small doses that can be quite mysterious, but at some point the author has to give clues as to his intent. I love his Julius Knipl, Real Estate Photographer. I think Katchor is one of America's most intriguing cartoonists and comic book writers. He just couldn't pull this one off.

Ridiculous book that had me cracking up at the first page. If you like Katchor, then this will delight you. If you're unfamilar with him, then this may get you interested in his other work. Especially effective if you are 'of the faith'.

All of Ben Katchor's work is incredible and a joy to read and look at. This book, the Julius Knipl books, Cheap Novelties, etc are no exceptions. But this book, and like, everything else that Katchor is involved with.

fun read!

The Jew of New York, a graphic novel set in the 1830s (a period where results of the Enlightenment were newly evident), is IMO a vision of the crisis of Jewish identity in the modern world. It is equal to the work of humorists such as I B Singer, Steve Stern, and Nathan Englander, as well as the great graphic artist Wil Eisner (A Contract with God, Wil Eisner’s New York).Katchor weaves together various stories of Jews involved in entertainment, the preparation of food and drink, the importation of buttons and beaver pelts, and a scheme to found a utopian community of Jews and native Americans, the lost 10 tribes of Israel. Many of these stories are about the purveying of sacred materials to secular consumers. Illusion is as important as money. There is an undercurrent of “lascivious dream[ing]” and voyeurism. The most bizarre character is an obsessed devotee of an aging stage actress, whose pictures he has posted on trees in his private grove, a parody of a religious sanctuary, implying secularization, and eroticization, of religious sacrifice. Another character is an anti-Semitic writer who wishes to put into a popular play (The Jew of New York) his beliefs about Jewish venality. Yet he has a symbiotic relationship with the Jewish people, and says that “without the Judeo-Christian ethos,” his own work would be “cheap burlesque.”The remote setting is perfect for lending a detached point of view to the events, which Katchor undercuts with both irony and sympathy. The book is far too complex to be characterized as a conservative art form such as satire.Katchor is very original, historically acute, and wry. The faces he draws are revealing in their frozen-featured shapes and outsized noses and mouths, with intense eyes interestingly contrasting to facial expressions and postures.

Well, first of all, I have to say I'm really surprised by the people who don't like this book. Certainly I don't expect it to be universally loved, but I really disagree with the reasons I've read below. For example, one reviewer criticized it by calling it a "book of ideas." Yes, exactly! And not your run-of-the-mill ideas either. I found it very inventive, original, thought-provoking, and culturally/historically accurate. That's a lot to pull off in less than 100 pages--pages that are largely taken up by drawings. Pictures do say 1,000 words. Second, I completely disagree with the reviewer who noted that you have to know something about Jewish stereotypes. I'm a black African female living in 21st century America, and I had no difficulty understanding the stereotypes or warped values behind them. Maybe it would be safer to say that you need to understand or have been exposed to some type of stereotype in your lifetime. But I have to think that most people who would even pick up this sort of book, would be literate enough to know that the stereotypes depicted, are exactly that. I even disagree that the page layouts were difficult to read. I think if you have ever read sequential art, it's pretty straight-forward. And if you haven't, the process of figuring it out--and it really does become intuitive very quickly--adds to the telling. You *do* find the significance of certain details by kind of puzzling over the images and layout. So I guess if you need hand-holding narratives, then this probably isn't the book for you. But this is the first work by Katchor that I've read, and I am very impressed by his ability to say so much in so few words about capitalism, nature conservancy, race relations, religiosity, sexuality, theatre, etc. and how these things comprise /conflict with "progress" and the belief every age has that it is the epitomy of advanced human development.I first heard of Katchtor when reading The Narrative Corpse, a story told by 69 artists and edited by Art Spiegelman. Unsurprisingly, a lot of people who had a negative reaction to it, had similar comments as can be found here. That the "story," as such, wasn't linear, etc. But again, I feel like those readers really missed the point. Anyway, I'll save that review for that book, but if you're not so hung up on context, The Narrative Corpse is another that you might enjoy, though the two books couldn't be more dissimilar.

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