How to come to terms with the most maligned or vulnerable aspect of ourselves—whether it be race, ethnicity, religion, gender, sexuality, physical ability, or any other trait—remains among the most pressing questions of our time. Should we try to “pass,” identifying with the oppressor and denying or rejecting who we are? Should we assume a militant, defiant stance, wreaking vengeance on those who have harmed us? Or can we find a way to embrace and affirm ourselves, neither denying nor reifying the pain of our individual and collective pasts? Can we love those who have harmed us?
These are among the questions faced by 23-year-old Anna Rossi, the central character in Michele Levy’s complex, lyrical new novel Anna’s Dance: A Balkan Odyssey (Black Rose Writing, $20.95), set in the turbulent summer of 1968.
Raised in the U.S. as a non-observant Jew, Anna has nevertheless been seared by anti-Semitism—both the indignities experienced by her parents, and those she has encountered herself. Her mother, a brilliant mathematician, had been denied admission to Purdue’s engineering school— “You’re a woman and a Jew”—and rejected by her Irish-American mother-in-law as a “filthy immigrant Jew.” Growing up in a Northern Virginia suburb, Anna was branded “Miss Israel” in the ninth grade and given low marks by a teacher who insisted she was “not like us.” Later, in college, a professor called her a “Jewish bitch.”
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Feminism and Religion 