Howard Jacobson (Opinion, 18 February) writes as if there’s something new about describing critics of Israel as anti-Semitic. But it’s the usual tactic. We are not going to agree about politics. Where he sees the benevolent withdrawal of Israel from Gaza, I see more than 1,000 Palestinians killed by Israel since the withdrawal, before the recent attacks. But we should be able to disagree without accusations of anti-Semitism, which lead to a pantomime of, “Oh yes you are”, “Oh no I’m not”, to distract attention from Israel.How do we turn this into real action, boycott, divestment and sanctions, against the racist war criminals of the State of Israel?
My play, Seven Jewish Children, to which Howard Jacobson referred, shows the difficulty of explaining violence to children. In the early scenes, it is violence against Jewish people; by the end, it is the violence in Gaza.
It covers many years in 10 minutes and is, of course, an incomplete history. It leaves out a great deal that is favourable to Israel and a great deal that is unfavourable. It shows people being persecuted, some of them going to a homeland (where others have been displaced) and the defensiveness of their threatened position, leading to further violence.
Howard Jacobson seems to see the play from a very particular perspective so that everything is twisted. The characters are “covert and deceitful”, they are constructing a “parallel hell” to Hitler’s Europe, they are “monsters who kill babies by design”. I don’t recognise the play from that description.
Throughout the play, families try to protect children. Finally, one of the parents explodes, saying, “No, stop preventing her from knowing what’s on the TV news”. His outburst is meant, in a small way, to shock during a shocking situation. Is it worse than a picture of Israelis dancing for joy as smoke rises over Gaza? Or the text of Rabbi Shloyo Aviner’s booklet distributed to soldiers saying cruelty is sometimes a good attribute?
Then we have “chosen people”. Some people are now uncomfortable with a phrase that can seem to suggest racial superiority. But George W Bush, speaking to the Knesset on the 60th anniversary of the founding of Israel, talked about “the homeland of the chosen people” without anyone suggesting he was accusing Israelis of racism or was anti-Semitic. Some supporters of Israel still use it with enthusiasm.
Finally, the blood libel. I find it extraordinary that, because the play talks about the killing of children in Gaza, I am accused of reviving the medieval blood libel that Jews killed Christian children and consumed their blood. The character is not “rejoicing in the murder of little children”. He sees dead children on television and feels numb and defiant in his relief that his own child is safe. He believes that what has happened is justified as self-defence. Howard Jacobson may agree. I don’t, but it doesn’t make either of them a monster, or me anti-Semitic.
If one of the main pieces of evidence for the rise of anti-Semitism is this play, I don’t think there’s much to worry about. If it’s really on the increase, then we should all stand up against it. But calling political opponents anti-Semitic just confuses the issue.
When people attack English Jews in the street saying, “This is for Gaza”, they are making a terrible mistake, confusing the people who bombed Gaza with Jews in general. When Howard Jacobson confuses those who criticise Israel with anti-Semites, he is making the same mistake. Unless he’s doing it on purpose.
Royal Court Theatre, London SW1
The Age of Consent
6 hours ago