On 9 July 1967, Leonard Bernstein led the Israel Philharmonic Orchestra (IPO) in a concert atop Mount Scopus, celebrating in the aftermath of the Jewish State’s geopolitical victory in the Six-Day War. Even as explosions thundered on in the distance, Bernstein publicly championed Jerusalem’s destiny to be a peaceful, unified city in which all could flourish through increased cultural tolerance. This event is perhaps more indicative than any other of the contradictions between Bernstein’s personal and political beliefs as a progressive, first-generation Jewish American and his deeply ingrained, lifelong loyalty to Zionism and Israeli nationalist sensibilities. This chapter briefly explores how these oft-conflicting belief systems and historical events shaped Bernstein’s lifelong struggle to negotiate his identity as an American New Jew.

Roth’s fiction is, for the most part, set in America, in the years following World War II. None of his works are directly situated during the Holocaust, but many of his works are gounded in allusions to that tragedy. This chapter will situate a discussion of those allusions within a larger discussion of the problematic ways in which the Holocaust has in large part come to define Jewish identity, a subject taken up by Roth in works like Portnoy’s Complaint and The Ghost Writer. There, Roth pushes back on associations between Jewishnesss and victimization, but also acknowledges the necessity of contending with the Holocaust as an integral part of collective Jewish identity, thus opening up a conversation continued in more recent works like Nathan Englander’s “What We Talk About When We Talk About Anne Frank.”