Maps and Legends

by Michael Chabon

  I was twenty (let’s say). I accepted this curious ethos as indisputable, and found a strong appeal in the idea of transgression. I wrote a raft of stories that cross-dressed in the clothes of genre and found sure enough that when I gave them out to workshops, workshops tended to look away from the ostrich feather in my hat. “I don’t know anything about mysteries,” said the reader of one of my short stories, a surrealist effort featuring a gumshoe working a puzzling murder in a De Chirico city, written under the heavy influence of Chandler and Donald Barthelme. “I hate science fiction,” went another frequently offered bit of helpful criticism, “so there’s nothing I can really do to help you with this.”

  When I first visited the campus of UC Irvine, where I eventually enrolled in the MFA writing program, I was ushered, with the kind of clueless goodwill that might impel you to introduce the only two Mennonites at your wedding to each other, into the company of Gregory Benford, a fine writer of extremely “hard” science fiction (Timescape, Across the Sea of Suns) and a professor in the UCI Department of Physics and Astronomy. I don’t remember now if Professor Benford had read any of my undergraduate work, or was only going on my description of it, but I do remember his polite and kindly bafflement.

  A lonely business, transgressing. There was nothing that anybody could do for me. I laid aside the epic novel I had been planning, about a Holmesian detective investigating, on Earth and along the canals of the planet Mars, the disappearance of the great and greatly mistaken astronomer Percival Lowell, and turned instead to concentrate on this other book, a straightforward realistic narrative, equally influenced by Proust, Fitzgerald, and Philip Roth, about summertime and sexual identity in the city of Pittsburgh.

  It was in this period, when I abandoned the career that was both to have culminated in and been launched by that novel about Mars, that I also turned my back on Judaism. I was learning to question everything; I guess I was trying to fit in. Nothing about my being Jewish—about my ancestors, about their languages and histories, about the stale holiday invocations of freedom, continuity, and survival—seemed to have use or relation to the ongoing business of my life at the time. Israel had lost its heroic claim on my imagination and seemed to have become, by means I did not understand, the ally and stooge of a Disneyfied president I loathed. In the meantime my mother moved away from the town where I grew up. I married a woman who was not Jewish, and began work on what was to be my second novel. I had no home, and neither, it seemed to me, did anyone—remember that I was living, at the time, in Southern California.

  For a while, still young and interested in my own pain as an object of the world’s attention, I grooved along on my lostness. But after a while I got tired of feeling that way. That first marriage broke up, and the novel that was to be my second was even more doomed than the marriage. I wanted to know where I came from, to retrace my steps and see if I dropped anything along the way that might serve me, now, better than I had imagined at the time of letting it go.

  I started to light candles; I met and married my present wife, the grandchild of European Jewish immigrants; I abandoned the novel and began the long wandering back to a place where I could feel at home.

  I kept thinking about those Jews up there in Alaska, making their Yiddish land. And I kept thinking about genre and about the books I had always thought I was going to write. And little by little at first, and then all at once, the idea began to assemble itself: I would build myself a home in my imagination as my wife and I were making a home in the world. That idea led to the writing of my novel The Yiddish Policemen’s Union, set, with a kind of rapturous apprehension, in a place where the Weinreichs’ phrase book would come in very handy indeed.

  It was as I made the laborious and thrilling move from reverie to fiction that I found myself driven by the second key element, to which I alluded earlier, of being a nice Jewish boy. Because if you are a nice Jewish boy, as Ray Philip Roth has conclusively proven, you are also, on some level, a mazik: there’s a devil in you, driving you to say, and to do, and to write things that you know you must or ought not say, do, or write. Like my uncle Stan with his mischievous email, the nice Jewish boy lives in thrall, at least some of the time, to the spirit of doing things af tselokhis, out of spite, a kind of magical, Trickster spite that, like Coyote or Loki of the Northmen, is responsible for all-destruction and all creation too.

  If I could outrage a few people with one little essay—how many could I piss off with an entire novel?

  GOLEMS I HAVE KNOWN,

  OR, WHY MY ELDER SON’S MIDDLE NAME IS NAPOLEON

  A Trickster’s Memoir

  I SAW MY FIRST golem in 1968, in Flushing, New York, shortly before my fifth birthday. It lay on a workbench in the basement of my uncle Jack’s house, a few blocks away from the duplex—we called it a “two-family house”—that my parents and I shared with a Greek couple, who lived upstairs. My uncle Jack owned a candy store in Harlem, in a neighborhood where there had once been only Jews but now there were only black people, though my uncle Jack did not call them that. He called them “the coloreds.” Nevertheless he always hired local Harlem people to work in his store, and he extended credit to many families in the neighborhood. I suppose he had complicated feelings about his customers, and they about him, both as a creditor and as a cranky and ill-humored man. Owning a candy store was not my uncle Jack’s choice of employment; he had failed at several other trades before finally arriving, with the last of his and my aunt’s savings, at the threshold of Mount Morris Candy and News. Though I was not told and did not understand any of this until much later, Uncle Jack was also a devoted Jewish scholar who nightly studied Torah and Talmud, and who had in the past year or so embarked upon the study of kabbalah, that body of Jewish mystical teachings that have produced the Zohar, the false messiah Sabbatai Zevi, and a sense of deep understanding and inner peace, or so one presumes, for Madonna and Roseanne Barr. My parents and my uncle and aunt were not especially close, but we lived so near to them that inevitably we ended up spending time at their house, and I soon learned to fear and to long to see whatever was going on down there in Uncle Jack’s basement, to which he invariably repaired as soon as decency and the serving of the babka allowed.

  This all happened so long ago, and I was, it will be recalled, so young at the time that it’s hard for me to remember just how I contrived to convey myself down there under the house, into the basement, which I had been told in no uncertain terms was filled with all kinds of deliciously dangerous power tools and chemicals, and hence strictly off-limits, to have a look. If I were writing a short story, I would figure out how to get the parents out of the way, start them arguing bitterly about Vietnam or civil rights at the dinner table, and then have my fictionalized self slip away unnoticed, perhaps with a vague murmur about going to look at the money plants in the backyard, to head down the long dark stairway into the basement, with its smell of iron filings and cold linoleum. Since this is a memoir, though, I will be truthful and say I don’t know how I managed the trick. But I remember the dark stairs, and the cold iron smell.

  I’m sure you will doubt what I tell you next, putting it down to the flawed memory of a small boy with a big imagination, or perhaps even, considering what I am about to say, thinking it all nothing but a pack of lies. That’s precisely why I’ve never said anything about the real golems in my life before now. There was a golem—the most famous golem of all, the Golem of Prague—in my novel The Amazing Adventures of Kavalier & Clay, and since it was published a lot of people have asked me about my interest in that golem and in golems in general. And, because I was afraid to tell the truth and more interested in sounding smart than in sounding crazy, I usually said something about having seen, as a child, a still image from Paul Wegener’s 1915 film Der Golem in a book about fantastic cinema, as if that explained anything, and then after that I would often say something sort of profound and sententious about how the relationship between a golem and its creator is usually viewed as a metaphor for that
between the work of art—in my case, a novel—and its creator, and how my ideas about golems had been shaped by reading Gershom Scholem’s famous essay “On the Idea of the Golem,” and blah, blah, blah. When the truth is that golems are real, they are out there now, and they are everywhere. Well, not everywhere, perhaps, but I’ve seen a bunch of them in my own lifetime, and that’s without even trying—believe you me—to find them. As for the Golem of Prague, and the thinly fictionalized role it plays both in Kavalier & Clay and in my life, I’m going to come to that in time.

  I’m aware, in making this confession, that I’m revealing something that some of you already know perfectly well, something that is generally agreed to be better left undiscussed. I don’t think it’s exactly taboo for me to reveal the truth about golems—God, I hope not—but what do I know? I’ve never studied kabbalah. If you see shadowy people follow me out of the hall tonight, or if a blow dart suddenly appears in my larynx and I keel over midsentence, you will know that I must have transgressed. I don’t know what exactly is prompting me to come forward now and come out with the truth. I think it has something to do with turning forty, with the growing desire I feel to look backward over my life and to try to shore together, if I can, some kind of retrospective understanding, some sense of meaning and perhaps even wisdom to impart to my children as they grow into full consciousness of the pain and mystery of life. Maybe it has something to do with having won the Pulitzer Prize, which gives a guy a sense, however mistaken, of authority, and which, as far as I know, they will not take away from you even if it is determined that you have lost your mind.

  In any event, what I saw when I reached the inner sanctum of Uncle Jack’s workshop, with its tools hanging neatly from their hooks, its table saw and drill press, its swept pile of sawdust in the corner, tidily awaiting the dustpan, was a golem. For those of you who may not, still, be aware of or understand just what exactly a golem is, let me briefly state that a golem is an artificial being, usually but not necessarily human in shape, made from a lump of clay or earth—the word “golem” comes from an ancient Hebrew word meaning “lump”—and brought to life, or to a semblance of life, by mystical means. Some golems are animated by the placing under their tongues of a tablet with one of the names of God written on it, others by having the Hebrew word emet, “truth,” graved onto their broad foreheads, still others by some combination of the two. But in common all golems require above all that a complicated series of alphabetical spells be chanted over them, in the proper order and combination, for hours and hours and hours. Now, according to the great Herr Scholem, the point of golem-making has been greatly exaggerated over the years, embroidered by liars and legend-tellers and, romancers. Originally one—and when I say “one” I mean “a trained adept acting in concert with at least one other trained adept”—originally one made a golem not in the hope of bringing it to life but in the hope of bringing oneself to life. It was a kind of meditative exercise designed, like other kinds of chanting rituals, to free the consciousness. One imitated God’s creation of Adam in the hope of approaching knowledge of the ecstasy and power of that creation.

  At any rate, looking back on it, I don’t seriously think my uncle Jack could have had any sincere expectation of bringing his own golem, the Golem of Flushing, to life. I am certain that it was intended only as a vehicle for expanding his consciousness of the Ineffable Name. It lay, as I have said, on his workbench, a big pine slab which he had nailed together himself years before. Honestly I don’t remember all that much about how his golem looked; it had big feet, each with five clay toes; its head was squarish, its nose flat, its hair scratched in with some pointed tool in wiggly swirls. I remember the color of its skin, or rather of the clay from which it had been formed, hardened curds or handfuls of clay that were a rich dark brown like coffee grounds. A colored, I thought. The thing that impressed me the most about the thing was the air of utter inertness that it gave off, something more than lifelessness, heavier and more oppressive. In later years I would think of this golem when I saw cigar-store Indians, and again when I saw the giant lumpy head of John F. Kennedy in the lobby of the Kennedy Center in Washington, D.C. Its eyes were a pair of horizontal slits, slightly bulging, meant to suggest, I suppose, that it was sleeping.

  What did I make of it, at the time? I knew, of course, that it was not a real person—Uncle Jack was clearly not the most talented sculptor in the world—but there was something about it that troubled me; it had presence. I wasn’t quite afraid of it, or rather I feared it obscurely, and with a stab of bright curiosity, as I feared and wondered about all kinds of other elements of the world of adults—my mother’s pressing ham, filled with mysterious sand; the heavy wooden trays in which my father kept his microscope slides, smeared with the lung tissue of monkeys. There seemed inherent in that dark clay doll on the table a purpose and a power beyond my imagining.

  What can I say? I reached out to touch it, grabbing clumsily at the thing’s left big toe, and the toe came off with a dry tinkling of dust. That was the kind of kid I was. I had poked a hole in my mother’s pressing ham so that forever after it leaked sand; I had broken five or six of my father’s pneumococcus slides. And in my horror at this act of accidental mutilation—and I’m perfectly willing to admit that it was only this, the action of horror and dismay on a childish imagination—I saw the Golem of Flushing open its eyes. I will never forget the sight of the dull, wet gaze, blank, ignorant, afraid, that lighted on my face at that instant. I have no idea how I managed to get out of the basement again. The next thing I remember is sitting in my aunt’s living room, on the slick crinkling plastic of her slipcovered sofa, and hearing my uncle Jack cry out, his voice ragged and cracked, “They killed King!” “Oh, no,” I heard my mother say. “Oh, that’s just awful.” “King who?” I asked, thinking that they were lamenting the death of some monarch.

  The night I broke a toe off the Golem of Flushing was the night, as it turned out—April 4, 1968—on which James Earl Ray shot Martin Luther King Jr. There was some rioting over in Harlem, in the course of which somebody set fire to the block that comprised Mount Morris Candy and News, and Uncle Jack’s last-chance enterprise was burned out. In the jumble of misunderstood and half-interpreted news reports, anxious talk, and curt whispering that surrounded this calamity and that seemed to make up the bulk of adult conversation in the week that followed, I heard repeated references to “the black man.” Inevitably, I guess, I was forced to the conclusion that it had been the dark man of clay in Uncle Jack’s basement, angered perhaps by the loss of his toe, who had gone out to Harlem and burnt down the candy store. And it was all my fault.

  I was beginning to learn the bitter truth about golems. A golem, like a lie, is the expression of a wish: a wish for peace and security; a wish for strength and control; a wish to know, in a tiny, human way, a thousandth of a millionth of the joy and power of the Greater Creation. And nothing I have learned since has ever been able to dissuade me that on that April night a golem, charged with all the wishes, dark and light, of a suffering people, was created and set loose in the world.

  Soon after his world was set on fire, my uncle Jack fell while chasing after a young black neighborhood kid who had, or so he imagined, called him “Hymie.” He broke his hip. He went into a rapid decline after that, and was dead before the following autumn. It was around that time that I managed to get down into the basement again. This part may be the embroidery of a guilty recollection, but I remember it as being on the actual day of Jack’s funeral, when we all went back to the house to start the weeklong period of shivah. As I had suspected it would be, the giant doll with the dead, fearful eyes was gone. I got down on my hands and knees and looked around, and there, under the now barren workbench, lay the toe.

  After a while my father came downstairs looking for me. Since he didn’t seem to be angry at finding me in such close proximity to dangerous tools and chemicals, not to mention trespassing into forbidden zones of mystic knowledge, I told him the whole st
ory. He laughed, and reassured me that I was not in any way responsible for my uncle’s death, explaining that Uncle Jack had had his little eccentricities when it came to religion. But I could see that my father was not taking me seriously. So I showed him the toe.

  “Well,” he said, studying it, taking me a little more seriously now, it seemed to me. “If you had brought it to life, that wouldn’t be too surprising, I guess. You know, Michael, we’re descended on my father’s side from Rabbi Judah ben Loew.”

  It was then and there, and not from any book on fantastic cinema, that I first learned about golems and in particular the Golem of Prague. My father explained to me that it was the great Rabbi Judah of Prague who, sometime in the sixteenth century, created the best-known of all golems to do his bidding around the synagogue, sweeping up the dooryard and readying the sanctuary for the Sabbath, and to help protect the Jews of Prague’s ghetto against those who sought to harm them. This golem, like a lie, grew to a tremendous size, and in its vengeful might came in time to threaten the security of those it had been made to keep safe. Rabbi Judah lost control of it, and eventually he was obliged to destroy the life he had talked into being, in order to keep it from destroying everything else. And it was from this great wonder-working rabbi, through a grandson who left Prague and traveled across the Austrian Empire to settle in Lodz, that we were descended. Or so my father said. He had told me such things before, about other famous Jews from history, and he would continue, as I grew older, to periodically reveal new and ever more startling connections.