By Steven Pressfield
Published: April 16, 2014
[This is the first post in a new series about the writing of The Lion's Gate. After today the series will run Mondays and Fridays. "Writing Wednesdays" returns in this space next week.]
I found out I was a Jew when I was thirteen. My Dad told me. I never knew until then. It was kind of a shock.
Two thoughts struck me at once:
1. If my parents have been keeping this knowledge a secret from me and my younger brother all this time, they must really be ashamed of being Jewish.
2. I myself, through thirteen years of regular-kid U.S. life, had acquired a helluva dose of anti-Jewish prejudice. In other words, I was prejudiced against myself.
I remember thinking, “Me Jewish? There must be some mistake.” I peered at my face in the bathroom mirror. Holy cow, I am Jewish! How could I have missed it all these years?
A week of shell shock and denial followed. When I emerged, I made a decision.
I decided I would get with the program.
If I’m a Jew, I’m gonna be a Jew.
I started going to temple. There was none in my hometown so I hitchhiked to the next town. My Mom and Dad refused to drive me.
The weird part was, the real Jews at the temple rejected me. To them I was an outsider. I didn’t belong. I was the new kid from the next town who couldn’t speak Hebrew, had never had a bar mitzvah, didn’t know what Hannukah was and, to boot, had a bad attitude about being Jewish.
After about two months I realized that this new regime wasn’t working. I reverted. I went back to being a regular American.
I know how crazy all this sounds, but, trust me, scenarios like this were not that unusual in the late 50s, the heyday of the Assimilation School of being Jewish in America. Being a Jew was a secret that some parents kept even from their children.
But back to me being a regular American. I still knew I was a Jew. I began casting around for role models. What Jews or Jewish images existed in the culture that I could relate to and be proud of?
Borscht Belt comedians? Molly Goldberg? The Holocaust? I didn’t even want to think about it.
I’m thirteen years old. I want Chuck Yeager. I want Audie Murphy. I want John Wayne.
When I began encountering anti-Semitism in my own life, my confusion deepened further. I just couldn’t get any purchase on the idea of being a Jew.
Then came June 1967.
The Six Day War.
Israel kicks ass on Egypt, Syria, and Jordan.
All of sudden the TV was wall-to-wall with images of Jewish fighter pilots, Jewish paratroopers, Jewish tank commanders. And they were major-league studs. My mind was blown. I thought, Now we’re talking! Finally: some Jews I can relate to.
ADDITIONAL READING » ON WRITING
by Mamet, David
Technically this isn’t a book about writing. It’s about Tinseltown and David Mamet’s love-hate relationship with it. But, along with Mamet’s witty and cantankerous evisceration of show biz, Bambi vs. Godzilla delivers masterly and extremely useful insights on getting movies made, surviving criticism, paying the rent and in general surviving Hollywood while retaining some scrap of sanity and integrity. Mamet is not just any writer. When he takes on a subject, you get it in context succeeding context—commercial, aesthetic, moral, ethical, legal, Talmudic, Tantric and Vedic. It’s like reading Thucydides if he’d loaded his stuff into a ‘65 Mustang and split for the Coast.
by Phillips, Larry W.
Papa never actually sat down and wrote a book about writing. Rather, editor Larry Phillips has compiled 140 pages of hard-core Hemingwayisms from the author’s books, stories, and letters. Great material, particularly the fragments of correspondence to Scott Fitzgerald.
by Lukeman, Noah
As an agent and editor, Noah Lukeman read thousands of manuscripts from aspiring writers. He got to where he could tell in the first five pages if a submission was worth his time. In this gem of a book, he tells you the most common mistakes writers make—and how to eradicate them from your manuscript.
by Williams, Nick
A no-nonsense how-to manual and psych-yourself-up kit, for those of us who sometimes need a swift kick in the butt to get us going.
by Steinbeck, John
When he was writing East of Eden, Steinbeck kept a journal—just a few pages each morning, which he’d scribble as a kind of warm-up before turning to the actual manuscript. Fascinating insights into the writer’s life, inside and outside the covers of a book.
by McKee, Robert
I always say that McKee is not only the best teacher of writing I’ve ever seen, but the best teacher of anything. I’ve taken this three-day intensive course twice—and I’ll take it again. Yes, McKee has been spoofed (in the movie Adaptation) and lionized (in a New Yorker profile.) But that’s because he’s the best. Full disclosure: McKee and I are friends. McKee wrote the foreword for The War of Art. McKee teaches this class in cities all over the U.S. and Europe, even as far away as Israel and Singapore.
by McKee, Robert
This is the book that goes with Robert McKee’s Story Seminar. Terrific for writers in all media, but take the “live” McKee first. You’ll get more out of the book if you’ve heard the man deliver his stuff in-person.