Introduction Making an Adjustment
Introduction Making an Adjustment David M.K. Sheinin and Raanan Rein The Jewish American comedian Lenny Bruce famously reflected, “Who can be glad they’re Jewish? You can say…I’ve made a good adjustment, but that’s all.”1 In his 2013 documentary, “When Jews were Funny,” director Alan Zweig is pre- occupied with and anxious about what has changed in recent decades regard- ing Jewish comedy and Jewish comedians in the United States. More specifically, he asks, is there still “Jewish” comedy? No comedians interviewed have the same answer, but Gilbert Gottfried may have come closest to explaining a shift that has occurred over time. While yiddishkeit, Yiddish in-jokes, the Borscht Belt, and the other categorical “Jewish” markers of a comedian’s identity may have slipped away, Jewish comedy continues to function through comedic devices that identify protagonists as Jewish in conjunction with other, overlap- ping identities. Reflecting an ever more complicated set of ethnic and other identities in the Americas, the shift is away from the rigid, and toward a set of constantly reconfiguring identity borders. So according to Gottfried, on the popular television comedy Seinfeld, “every character in it was a Jew, even though they changed their name…. George Costanza and his family were all Jews, but they have an Italian name.”2 Jews have been adjusting their identities for centuries. Sport tells those adjustment stories in the twentieth century where Jewish sport narratives have both reflected and pushed a growing fluidity and complexity of ethnic identity and its boundaries. Jewish sports narratives have tended away from rigid mark- ers toward more complex, multifaceted identity narratives.
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