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52 pages 1 hour read

The Book of Daniel

Fiction | Novel | Adult | Published in 1971

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Themes

Ideological Tension

The Book of Daniel is replete with ideological tensions. Because Daniel’s world is shaped by the Cold War, the battle for global hegemony between the capitalist United States and the communist Soviet Union, he comes to see everything around him in terms of dualistic competitors: himself and his sister, the Lewins and the Isaacsons, religion and secularism, innocence and guilt, and life and death. What emerges is the concept of life infiltrated by a Cold War mindset, in which existence is composed of competing dualities and tensions that push and pull people apart. Though these conflicts rarely erupt, the continuing tension means that they come to define the lives of everyone involved. Even on a narrative level, Daniel cannot escape these competing dualities. His third- and first-person narration and his non-linear structure divide his inner world into two, as well. He narrates the old world and the new as competing spheres of influence that battle for his identity.

The simmering ideological tension of the novel is understood most keenly by Susan and Daniel. They grew up in the shadow of their parents’ trial, a moment in which they were united by their suffering. Since then, however, they have grown apart. They often find themselves on opposite sides of the conflict. In a sense, their relationship is structured to resemble the dynamic between the United States and the Soviet Union. During World War II, the countries were united in their fight against fascism. In the aftermath of the war, however, the violence and anxiety unleashed by the conflict caused the sides to drift apart until any form of alliance was seemingly impossible to imagine. Like the two states, Susan and Daniel were united but have since drifted apart. The opposition to their parents’ executions that once brought them together has been curdled by the trauma of their childhoods and they cannot see eye to eye any longer. They rarely speak and, when they do, their words are laced with violence and blame which hints at their different ideological conceptions of the world. Daniel’s reserved academic life is incompatible with Susan’s pragmatic radicalism, putting them in an impossible situation that can only be resolved by the destruction of one of them.

Ideological tension, whether between countries or siblings, creates an untenable conflict. In the American society depicted in the novel, this tension manifests in atom bomb drills in classrooms and vapid consumerism. The dynamic between Susan and Daniel manifests as arguments over Christmas dinner. In terms of the Isaacsons, the conflict between their ideology and the ideology of their state leads to their execution. Within their marriage, Paul and Rochelle are divided by Paul’s idealism and Rochelle’s pragmatism. By the end of the novel, three of the four main characters are dead. Daniel is left to hold the memories of Paul, Rochelle, and Susan, as he alone can reflect on how ideological tension has shaped their lives. For Daniel, such ideological tensions have been nothing but traumatizing. At the same time, however, he cannot escape a world that is built on such competing dualities. He cannot imagine the world to be any other way, so he is lost in a mood of self-reflection, constantly defining and redefining a problem to which he has no solution other than death.

Generational Trauma

Daniel includes snippets of his family biography as a way of informing the audience about the generational traumas that have shaped his own life. He describes the antisemitism and the imperial violence that drove his grandparents to build a new life in America, as well as the poverty and suffering that they endured upon arrival. The trauma of losing family members to factory fires and pogroms informs his mother and father’s desire to build a better life for their family. Rather than adhering to something as fallible and as tenuous as the American Dream, however, they decide to invest their hopes in the ideology of communism. They believe that this can build a better world for their children, allowing them to escape the cycles of violence, racism, and poverty that have defined their family history until this point. In the aftermath of World War II, this is particularly pronounced. The traumatic reality of the Holocaust and the ascension to superpower status of a communist country such as the Soviet Union gives Paul and Rochelle hope that, for the first time, they may be able to bring a halt to the recurring cycles of generational trauma. That same trauma, however, creates a society of fear and paranoia. The same trauma that informs their family history creates the context in which they are persecuted for their beliefs.

Susan and Daniel grow up witnessing their parents’ political protests and attempts to change the world for the better, but these efforts only create more trauma. Daniel witnesses his father having his arm broken while attending a communist concert. The danger of trying to build a better world, he comes to understand, is very real. The state cannot tolerate the idealism of his parents and, whether rightly or wrongly, they are accused of espionage. The trial of Paul and Rochelle is the most pointed example of generational trauma in the novel. Daniel and Susan are ripped away from their parents at an age when they cannot understand what is happening. They are forced to grow up in the shadow of this trial, and then live the rest of their lives knowing that their parents have been executed by the same state in which they now live. As a result of their parents’ attempts to break the cycles of violence that define their family history, the children are even more traumatized than ever before.

For Susan and Daniel, existence under the state that executed their parents is traumatic in itself. Daniel, for example, describes how he is denied complete political agency. He can either adhere to the political status quo, even though he will be forever marked out by his parents’ supposed crimes, or he can do what the state expects him to do and rebel, though their expectation removes any power his protest might have. Similarly, Susan’s attempts to replicate her parents’ radicalism continually fail, causing her to lose faith in the world. Both siblings try to break the cycle of violence in their own tragic ways. Susan takes her own life, succumbing to the overwhelming trauma of her existence. Daniel relentlessly confronts his traumatic past, writing it all out for the world to read. His trauma manifests in his abusive behavior and his relentless self-interrogation, as well as his despondency about his ability to change the world. Cycles of trauma define Daniel’s life, but in a far more pessimistic way than he might ever have expected. The traumas have mounted and metastasized, to the point where any hope or idealism which might have belonged to his parents has been ground into dust. The true consequence of generational trauma is to rob Daniel of his optimism that it can be ended.

Protest and Performance

Paul and Rochelle are ardent communists. Paul is ideological and academic, while Rochelle is pragmatic and practical. Though they view the need for revolution in different ways, they agree on their desire to bring it about. To accomplish this, they join numerous protests. During these protests, they witness genuine violence. The cost of their protest is that they are deemed enemies of the state. They are accused of espionage, and, after a long trial, they are executed on flimsy grounds. They are tried for their involvement in a protest movement and the consequence is that they are involved in one of the country’s most notorious trials. This trial is an example of public performance, of the state reasserting its dominance over those who protest its existence. The trial is a performance designed to consecrate the importance and the prevalence of capitalism above everything else. Later, Artie criticizes the Isaacsons for not turning this performance on its head. In his view, they should have used the publicity of the trial to launch their protest. This shows a lack of understanding of the point of the trial, however. The Isaacsons were not given a true trial, in which they could legitimately make their arguments for change. Daniel uses the show trials of the Stalin era in the Soviet Union as a point of comparison, in which those on trial are not given a stage. They are there to be condemned in a ritualistic manner for the benefit of the state. Their protest is rendered ineffective by the performance of justice; they are executed to serve the continuation of the state.

By the time Daniel grows up, the need for protest has not gone away. The Vietnam War has given a new valence to the political protests, but the practices remain the same. For Daniel, however, the difference between the old protests and the protests in which he is involved is stark. Those protesting in the 1960s have grown up in an era of television. As much as radicals such as Artie Sternlicht want to modify their protest to suit this era of mass media, they are only rendered ineffective. The protests Daniel attends as an adult are dull echoes of what came before. They are the performance of protest, geared to bring about media coverage more than political change. Any such protest is filtered through the lens of mass media and, since the protestors have little sway over the media, the portrayal of the protest only serves the status quo. Protest is reduced to vapid performance, Daniel believes, and it loses its efficacy as a result. Nevertheless, the protest still ends in violence, as the protestors are beaten and arrested by the police, confirming the cycle of protest and violent state reprisal that Daniel has observed throughout his life.

His disdain for contemporary protest is Daniel’s motivation for writing the dissertation which becomes his narrative. He compares the contemporary protest movement unfavorably to the protest movement of his parents’ era. All he can see in his own era is an exhausted sigh of what came before. He is a scholar of the American Old Left movement, as well as a victim of the state’s desire to reassert control. He wants to write the story of the failure of the protest because he wants to understand where everything went wrong. Just as his story is an attempt to uncover his own identity, it is also an attempt to recover the identity of a protest movement that has been reduced to little more than ineffective performance.

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