When I was little, I used to have a recurring daydream/nightmare. There'd be a thrumming in my ears; my whole being would vibrate and my tongue would dry and cleave to the roof of my mouth.
And I would shrink.
I'd shrink til I fit between the bottoms of the doors and the doorjambs in my childhood home. I'd be so small I'd have to climb over the fingerprints of my sleeping siblings, as if I were scrambling over sand dunes. The whoosh of the slightest air current could send me sailing, thudding into passing dust motes, until I landed, helpless but unhurt, on a giant, woolen tuft of carpet or a vast runway of floor tile.
That feeling has begun to return as I get hooked into various academic listservs and get buried in an avalanche of inquiry, analysis and cerebral tedium. The amount of information (or what passes for it) that must be produced, consumed, digested, analyzed, pored over with forensic ferocity, then reanalyzed, repackaged and resold to the mental marketplace -- it's completely overwhelming.
I am now a snowflake in this avalanche, and the onslaught of memory at my childhood miniaturization comes rushing back at me like an angry bull.
Feeling as though I had to learn to play this academic infogame, I submitted my first proposal for a paper, to a graduate religion symposium at Indiana University. To my astonishment, my proposal was accepted. I learned one of the graduate student's first, most valuable lessons:
Don't propose a paper for a conference unless you've already written the paper, or at the very least, researched the topic.
The symposium seemed like a natural fit for my interests: the topic is religion and the arts. Or, more accurately, the "Art of Religion." As someone who once worked in the arts and now studies religion, I figured I could opine with the best of them. I might even sporadically know what I was talking about.
I proposed a topic that appealed to me, even though I had nothing to back it up: Lee J. Cobb's performance as Willy Loman in the original production of Death of a Salesman, I said, was actually a prophetic act heralding the death of American Jewish identity. Seen as one bookend of a cultural moment -- the other being Cobb's testimony to the House Un-American Activities Committee, three years later, in which he named more than 20 names -- I proposed that Miller's play and both Cobb's performances were deeply Jewish expressions of a desire to belong, to a society that was about to punish them for their particularity, and more specifically, for bringing redemptive and even messianic passion to their desire to change America, at a time when America feared change fomented by outsiders (among which Jews numbered).
I spent dozens of hours researching -- hours that had to be squeezed in with the thousands of pages I've been reading on other topics like Spinoza, Mendelssohn, medieval Jewish study of the Bible -- and the study of both French and Hebrew (long story).
I became aware of a virtual forest of academic journals, clubs, conventions and societies; a universe of online databases containing thousands of dissertations, catalogued according to author, subject, boolean phrase and keyword; and a vast web connecting academic libraries, departments, collections and digitized volumes all over the world.
And I felt that thrumming in my head and the dryness of my tongue, and again the doorjamb loomed above me like a wooden wave. And I began to clamber over it . . .
The paper on Willy Loman and Lee J. Cobb and the death of American Jewish identity is spectacularly uneven, but it's done. I present it at the graduate religion symposium at IU on March 6. The responder to my paper has published a scholarly article in which he says that "the Bible is a weapon fashioned under the exigencies of coloniality."
I fear the conference may be another shrinking experience for me.
--T.A.