Source: The Conversation – Africa – By Leslie Swartz, Professor, Stellenbosch University
Deborah Posel, the founding director of the Wits Institute for Social and Economic Research, an interdisciplinary research institute in the humanities and social sciences in South Africa, has published a new book, Darker Shade of Pale: Shtetl to Colony. Using a combination of personal memoir and historical inquiry, it retraces the early 20th century migration of Jewish people from the Russian Empire to colonial South Africa through one man’s life.
The book uncovers the hidden story of global migration at the turn of the 20th century from the Jewish territories of the Russian Empire, The Pale of Settlement, to the British colony of South Africa. It follows the author’s grandfather, Maurice Posel, whose struggles and disappointments mirror those of countless others, using the intimacy of a single story to illuminate a much broader set of issues.
Leslie Swartz, a psychology scholar and the editor-in-chief of the South African Journal of Science, talks to Posel about the book.
Leslie Swartz: A key feature for me is the vibrance and joy with which the book, though often dealing with painful issues, is written. I was interested to know how you came to write the book.
Deborah Posel: I had been working for years on a book – entitled Racial Material – on the politics of race and consumption. I had tons of material for the book, and I had absolutely loved researching it, including spending a year in the British Library. During that year, I was not looking for material on Jews, but Jews and Jewish issues kept crossing my page. I took note, but moved on.
I got back to South Africa, intending to write this hefty book. I began as did the COVID-19 lockdown. I started writing the first chapter of Racial Material as all our lives changed – in theory, an entirely free and unfettered time to write, but it was an unexpectedly joyless process.
At that moment, the conventions of academic writing were entirely alienating: nailing everything down in copious detail, reading all the available literature to find out what every single person had said about something in order to be able to make an argument, making sure that I had painstakingly chased after everything that could possibly be relevant, and very cautiously claiming only what this accumulation of evidence would tolerate. No doubt not every academic writes like that, but my academic writing is risk averse. I can and do make bold claims but only on the strength of this kind of effort.
Leslie Swartz: Which, may I say, distinguishes you from many social scientists in South Africa. This is part of why I love your work.
Deborah Posel: The other thing that I do when I write academically is that I make an argument – that’s at the core of academic writing, in my mind – and I sustain an argument that ties everything tightly together.
So I hauled myself through the first chapter but couldn’t face doing it again for the second one. I then decided to embrace the spirit of lockdown: do whatever you feel like doing, these are not normal times; here is an interregnum, so break out, cut loose. That’s when and how I started writing the Darker Shade of Pale book, having no clue where I was going, having no plan, no structure – a 180 degrees different approach from the way I would tackle academic writing.
The second big change for me was I wanted to write in a much more fluid way, more lyrically, more speculatively, more imaginatively, in ways that I thought would be inappropriate in academic writing. I started exploring literary devices that I probably would not use if I was writing what I would call an academic book.
Locked down and locked in, I broke out of my old way of writing. It was joyful. But it was also difficult, with new challenges. I now had two voices: as an historian, but also as a granddaughter. Initially I wasn’t sure how to speak in unison. Also, I had so little material about my grandfather’s life that I would call evidence – no letters, no diaries, very few people alive who could remember him, few photos. I decided early on that I didn’t want to fictionalise and make things up.
I wanted to create a narrative, however patchy and porous, that I knew to be reasonably accurate. That gave me my space. In fact, it required me to produce a story with gaps and shadows. Which is very explicit in the text. I make it clear that I’m giving my take on the possibilities that presented themselves to me.
I tried as far as possible to substantiate them, but I gave myself much more freedom to interpret and imagine. And along with that, writing about my grandfather‘s life became more emotional for me than would have been appropriate in an academic text. In this book, my feelings, though not the central concern, were current and live.
Leslie Swartz: I am glad that you “cut loose”. I view Darker Shade of Pale first and foremost as a cracking good read – a book I have earmarked to give to family members who are not academics but who are interested in migration, families, racial politics, marginalisation. For me it is also scholarly, painstakingly researched, important for any scholar of race and racialisation to read as well. In what way do you think it offers an understanding specifically of Jewish issues?
Deborah Posel: When I started writing this book I was so ignorant about Jewish history. I often asked myself: why, as a Jewish scholar of South Africa, had I paid absolutely no attention to Jews? Why had my intellectual peers also not done so? I had never considered questions about how you write Jews into South African history.
So I had a steep learning curve too, reading as much as I could find, and spending lots of time in South African archives, to produce a social history intertwined with my grandfather’s story. I tried to make sense of him, and his individual Jewishness, as made and unmade by his wider society.
It started with life in the shtetl (the name for a small town with a predominantly Jewish population in eastern Europe). I deliberately started there because most migration stories start when people get off the ship, as day one of the new life. But what did they come with? What was the headspace? What were the psyches that landed, and how well equipped or not were they psychologically to cope?
And I must say that I found the world of the shtetl staggeringly unexpected. Even the smallest shtetl was status-obsessed; failure was deeply shameful, even there.
The people who hadn’t made it in the shtetl were among those who left and tried to start new lives, another chance to make something of themselves. My great-grandfather was one of them, and he failed again. A shameful trajectory. It gave me an entirely different perspective on my grandfather, and his ill-fated son, unlikely, given his life in the shtetl, to realise the hopes and ambitions of his emigration. I had judged him all too readily and ignorantly. I started to feel sorry for him, which no doubt seeped into the writing.
Leslie: For me, the emotions have seeped into the writing and that is why this book is so good – disciplined and emotional at the same time. And an important read, I think, in world, Jewish and South African history.
The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.
– ref. Darker Shade of Pale: why I wrote a book about my grandfather and how it changed my view of him – https://theconversation.com/darker-shade-of-pale-why-i-wrote-a-book-about-my-grandfather-and-how-it-changed-my-view-of-him-268582
