The cultural encounter in Bernard Malamud’s ‘The Last Mohican’ is precipitated by the displacement of assimilated American-Jew Arthur Fidelman, an aspiring art historian, when he arrives in Europe. His cultural return places the protagonist in contact with the past and with Jewishness. This is embodied by the story’s other main character, the enigmatic and stateless Jewish peddler Shimon Susskind. It is the changing relationship between Fidelman and Susskind that provides the story’s structure and through which the themes of identity and personal responsibility to others are explored through the inner transformation that Fidelman is forced to go through when he encounters Susskind.
Table of Contents
1. The cultural encounter in Bernard Malamud’s ‘The Last Mohican’
2. The changing relationship between Fidelman and Susskind
3. The first encounter in Rome
4. Cultural identity and the challenge of responsibility
5. The symbolic theft of the manuscript
6. Transformation and the final resolution
Objectives and Themes
This literary analysis explores the complex dynamics of cultural identity, personal responsibility, and the process of self-discovery depicted in Bernard Malamud’s short story "The Last Mohican" through the interactions between Arthur Fidelman and Shimon Susskind.
- The intersection of assimilated Jewish identity and historical roots.
- The evolution of personal responsibility toward the "other."
- The symbolic role of material objects, such as clothing and manuscripts, in identity construction.
- The transformative power of cultural and interpersonal encounters.
- The tension between academic knowledge and lived experience.
Excerpt from the book
The first encounter in Rome
The first encounter between the two is shortly after Fidelman arrives in Rome. The third person narrative opens with a description of Fidelman in which we are told that Fidelman is carrying a new briefcase and wearing new shoes. The newness of his appearance suggests a newness of outlook, as well as relative affluence, and Fidelman is pensive and moved as he spends a full twenty minutes taking in his first sights of Rome. The weight of history seems to bear down on him as he recognizes the remains of the Baths of Diocletian, and says to himself, ‘Imagine all that history’ (Malamud, p.97). Fidelman’s is the first voice in the story, establishing his perspective, as he begins to experience Rome, as being central to the story.
It is Fidelman’s perspective from which the first encounter with Susskind is related. Fidelman gradually becomes aware of the Susskind, while still standing in front of the station. The contrast in the way the Roman landscape humbles Fidelman and the way Susskind makes him suspicious is stark. Susskind is first described as loitering near a statue of Romulus and Remus, ‘contemplating Fidelman (…) acquisitively’ (Malamud, p. 98). Having ‘all but licked his lips,’ (ibid) Susskind approaches Fidelman and immediately undermines the American’s artificial self-composure by greeting him with the word shalom, which he uses as a kind of shibboleth to drive home the point that he has immediately recognized Fidelman as a Jew.
Summary of Chapters
1. The cultural encounter in Bernard Malamud’s ‘The Last Mohican’: Introduces the protagonist Arthur Fidelman and the central conflict triggered by his arrival in Europe and meeting with Shimon Susskind.
2. The changing relationship between Fidelman and Susskind: Analyzes how the shifting power dynamics between the two men drive the structural development of the narrative.
3. The first encounter in Rome: Examines the initial meeting at the train station and the immediate tension caused by Susskind’s recognition of Fidelman’s Jewish heritage.
4. Cultural identity and the challenge of responsibility: Details the philosophical arguments regarding historical burden and the ethical obligations Fidelman attempts to reject.
5. The symbolic theft of the manuscript: Discusses how the loss of the Giotto manuscript acts as a catalyst for Fidelman's psychological disintegration and quest for truth.
6. Transformation and the final resolution: Describes the completion of Fidelman’s inner change, culminating in his epiphany of forgiveness and responsibility.
Keywords
Bernard Malamud, The Last Mohican, Arthur Fidelman, Shimon Susskind, Jewish identity, cultural assimilation, personal responsibility, diaspora, literary analysis, Giotto, Rome, historical burden, narrative transformation, character development, ethics.
Frequently Asked Questions
What is the core focus of this literary analysis?
The analysis focuses on the thematic evolution of identity and responsibility in Bernard Malamud's "The Last Mohican" through the lens of the interaction between the protagonist, Fidelman, and the enigmatic Susskind.
What are the primary themes discussed in this work?
Central themes include the conflict between assimilated American-Jewish identity and traditional Jewish roots, the ethical burden of historical awareness, and the struggle to accept personal responsibility for others.
What is the main research question or objective?
The objective is to explain how the encounter with Susskind forces Fidelman to undergo an internal transformation, moving from a position of detached intellectualism to one of compassionate responsibility.
Which scientific or analytical method is applied here?
The text employs a literary analysis method, interpreting narrative structure, character symbolism, and textual motifs to extract meaning from the primary source material.
What does the main body of the text cover?
The main body examines the chronological encounters between the characters, the symbolism behind their clothing and manuscripts, and the shifting psychological state of the protagonist throughout his time in Rome.
Which keywords best characterize this document?
Key terms include Bernard Malamud, Jewish identity, cultural assimilation, personal responsibility, narrative transformation, and the diaspora experience.
How does Susskind use the word "shalom" as a tool?
Susskind uses "shalom" as a shibboleth to intentionally disrupt Fidelman’s artificial self-composure and force him to acknowledge their shared heritage.
Why is the theft of the manuscript considered a turning point?
The theft acts as a reversal in the plot; it forces Fidelman out of his academic comfort zone and into a desperate pursuit that eventually leads to his psychological breakdown and subsequent growth.
What does Fidelman's final act of forgiveness signify?
It signals the completion of his inner transformation, where he finally accepts the bond with Susskind and re-evaluates his own identity, gaining a renewed sense of compassion.
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- Marc Walsh (Autor:in), 2014, The Cultural Encounter in Bernard Malamud’s "The Last Mohican", München, GRIN Verlag, https://www.grin.com/document/345423
