From the time Asher Lev is a small child, his entire life and identity is understood in terms of his vibrant, loving Hasidic Jewish community—not only his family life, but his ancestral memory and his expectations for the future. As his gift for drawing and painting becomes apparent, however, his art increasingly comes into conflict with his religious identity and the expectations of his community. Although Asher’s religious beliefs remain strong, and he even finds ways to reconcile his artistic calling with his religious calling, he is eventually asked to leave his Brooklyn synagogue community behind because of the pain some of his paintings have caused. Through Asher’s ultimately failed attempts to maintain harmony between his art and his religious identity, Chaim Potok suggests that, while artistic expression does not inherently threaten one’s personal faith, it can prove to be incompatible with the values of one’s larger religious community; thus, the two are not completely reconcilable.
When Asher is young, many warn him that his art will conflict with his Ladover Jewish religious identity and community. After Asher sketches in a sacred book, his mashpia cautions him: “Many people feel they are in possession of a great gift when they are young. But […] [o]ne does with a life what is precious not only to one’s own self but to one’s own people. That is the way our people live, Asherel. Do you understand me?” In other words, even if there is not anything inherently bad about Asher’s artistic gift, that gift must be subordinate to the needs of the community. Asher’s mother, Rivkeh, tries to be supportive, but a museum visit persuades her that Asher’s passion will expose him to images that are inappropriate for a religious Jew: “[Your painting has] taken us to Jesus. And to the way they paint women. Painting is for goyim, Asher. [Observant] Jews don’t draw and paint […] What would the Rebbe say if he knew we were in the museum?” In Rivkeh’s view, Asher’s art inevitably places him on a collision course with the values of his community. Asher’s Rebbe (a religious leader of the Ladover Jews) places him under the tutelage of a Jewish artist, Jacob Kahn. Even the nonobservant Kahn asks Asher, “Do you begin to understand what you are going to be doing to yourself? […] You are entering a religion called painting. […] Its way of life is goyisch and pagan. In the entire history of European art, there has not been a single religious Jew who was a great painter.” It’s not that art is merely a distraction from Asher’s religious obligations and identity, argues Kahn; art will establish itself as a direct rival to his religion, with directly competing demands and values.
However, despite his resistance to moving abroad and an early lag in his Torah studies, Asher remains a faithfully observant Ladover Jew throughout the story. He continues to practice his faith alongside his studies with Kahn, and even reconciles his artistic pursuits with his community obligations. In Provincetown, Massachusetts, where Asher spends his summers studying with Jacob Kahn, he never neglects his spiritual practices: “Those mornings, the beach was my synagogue and the waves and gulls were audience to my prayers […] And sometimes the words seemed more appropriate to this beach than to the synagogue on my street.” Asher’s religious identity is not only intact in his new artistically-focused environment, but it thrives in new ways within those surroundings. Asher describes a year of devout religious observance—even after his parents have left him behind in New York and he’s immersed in his studies with Kahn—culminating in Simchas Torah, when the Ladover Jews dance joyfully with Torah scrolls. He pulls Kahn (who, as a nonobservant Jew, is merely looking on) into the dance: “His small dark skullcap was as awkward on his head as was the grasp of his fingers upon the Torah. But we held it together and we danced.” Asher’s religious commitment remains unwavering and heartfelt, even when external influences would seem to threaten it; and he doesn’t see his art and his religious faith as worlds that cannot touch. To the contrary, he actively tries to draw them together. Asher even comes to see himself as partnering with his “mythic ancestor”—who’d previously been an ominous fixture in his dreams—in setting the world right: “He came to me then, my mythic ancestor […] [saying,] Who dares drain the world of its light? My Asher, my precious Asher, will you and I walk together now through the centuries?” The mythic ancestor is far from being Asher’s adversary, angry at him for wasting his time on art. The ancestor now seems to summon Asher to indispensable work for the sake of the world, and in continuation of family tradition, not in competition with it.
Ultimately, however, Asher’s commitment to his art results in exile from his community, suggesting that one’s personal creative pursuits cannot always be peacefully reconciled with one’s religious devotion. After Asher publicly displays a painting with a crucifixion motif, the Ladover community’s distress prompts the Rebbe to say, “What you have done has caused harm. […] I will ask you not to continue living here, Asher Lev. I will ask you to go away.” Although Asher did not intend blasphemy with his painting, or even any inherently religious meaning, the painting has implications Asher can’t control, which cause an irreparable rift with his community.
Finally, then—even though the Rebbe has tried to create a space for Asher to explore his gift without compromising his religious commitments—Asher’s artistic choices place him at odds with his community. This suggests that, even if Asher’s personal faith remains steadfast, he cannot freely express his artistic gifts and remain answerable to his larger community at the same time. By presenting Asher’s lifelong quest to come to terms with his irrepressible artistic gift in light of his religious faith, Potok shows just how complex and heart-wrenching this process can be for all involved. He is sensitive to the sincere longings and doubts of all his characters, never presenting any of them—religious or not—as one-dimensional or wholly unsympathetic. This portrayal likely draws on Potok’s own youthful interest in secular authors as he sought to develop his writing gift in an Orthodox Jewish context.
Related Themes from Other Texts
Art and Religious Faith ThemeTracker
Art and Religious Faith Quotes in My Name is Asher Lev
I am an observant Jew. Yes, of course, observant Jews do not paint crucifixions. As a matter of fact, observant Jews do not paint at all—in the way that I am painting. So strong words are being written and spoken about me, myths are being generated: I am a traitor, an apostate, a self-hater, an inflicter of shame upon my family, my friends, my people; also, I am a mocker of ideas sacred to Christians, a blasphemous manipulator of modes and forms revered by Gentiles for two thousand years.
Well, I am none of those things. And yet, in all honesty, I confess that my accusers are not altogether wrong: I am indeed, in some way, all of those things.
“Is Siberia really very cold?”
He looked at me closely, his eyes clouding. “Siberia is the home of the Angel of Death. It is the place where the Angel of Death feeds and grows fat. No one should know of it, Asher. No one. Not even my worst enemies, all of whom, thank God, I left behind in Russia. Only Stalin should know of it. But even he should know of it only for a little while. I have a Jewish heart even where Stalin, may his name and memory be erased, is concerned. Now, what else do you need? Paper, pens, erasers? It is a big store and we have, thank God, everything.”
I did not need anything else. I thanked him and hurried home in the dark.
“Asher, you have a gift. I do not know if it is a gift from the Ribbono Shel Olom or from the Other Side. If it is from the Other Side, then it is foolishness, dangerous foolishness, for it will take you away from Torah and from your people and lead you to think only of yourself. I want to tell you something. Listen to me, my Asher. About twenty-five years ago, all the yeshivos in Russia were closed by the Communists, and the students were scattered in different places in small groups. The only groups who continued to fight against this destruction of Torah by the enemies of Torah were the Ladover and Breslover Hasidim […] Asher, we have to make passageways to our people in Russia. We have a responsibility to them. […] They cannot make the opening on their side, so we must make it on our side. Do you understand me, Asher?”
I saw my mythic ancestor again that night, moving in huge strides across the face of the earth, stepping over snow-filled mountains, spanning wide and fertile valleys, journeying, journeying, endlessly journeying. I saw him traverse warm villages and regions of ice and snow. I saw him peer into the windows of secret yeshivos and into the barracks of Siberian camps. […] “And what are you doing with your time, my Asher Lev?” I thought I heard him say […] If You don’t want me to use the gift, why did You give it to me? Or did it come to me from the Other Side? It was horrifying to think my gift may have been given to me by the source of evil and ugliness. How can evil and ugliness make a gift of beauty?
I looked into my Chumash. I stared at the face staring back out at me from the page. I had slanted the eyes somewhat and given the lips beneath the beard a sardonic turn. The Rebbe looked evil; the Rebbe looked threatening; the Rebbe looking out at me from the Chumash seemed about to hurt me. That was the expression he would wear when he decided to hurt me. That was the expression he had worn when he had told my father to go to Vienna. I looked at the framed photograph of the Rebbe on the front wall near the blackboard. The eyes were gray and clear; the face was kind. Only the ordinary dark hat was the same in both pictures. I was frightened at the picture I had drawn. I was especially frightened that I could not remember having drawn it.
“What do they all want from me?” I said to my mother.
“They want you to study Torah. A boy your age should be studying Torah.”
I went into my room and stood by the window, staring out at the melting snow. I did not hate studying. I had no strength for it. My drawing needed all my strength. Couldn’t they see that? What did they all want from me?
I came into Yudel Krinsky’s store one day in February.
“You are a scandal,” he said to me in his hoarse voice. “The world knows you are not studying Torah.” He fixed his bulging eyes on me. “Your father journeys through Europe bringing Jews back to Torah, and here his own son refuses to study Torah. Asher, you are a scandal.”
I heard her sigh. “I wish I knew what to do,” she said. “I hope the Ribbono Shel Olom will help me not to hurt your father. Look where it’s taken us, Asher. Your painting. It’s taken us to Jesus. And to the way they paint women. Painting is for goyim, Asher. Jews don’t draw and paint.”
“Chagall is a Jew.”
“Religious Jews, Asher. Torah Jews. Such Jews don’t draw and paint. What would the Rebbe say if he knew we were in the museum? God forbid the Rebbe should find out.”
I didn’t know what the Rebbe would say. It frightened me to think that the Rebbe might be angry.
“I wish I knew what to do,” my mother murmured. “I wish your father was home.”
“Listen to me,” my father said. He was speaking suddenly in Yiddish. “I am killing myself for the Ribbono Shel Olom. I have broken up my family for the Ribbono Shel Olom. I do not see my wife for months because of my work for the Ribbono Shel Olom. I came home for Pesach to be with my family, to be with the Rebbe, to rest. And what do I find? You know what I find. And what do I hear? I hear my son telling me he cannot stop drawing pictures of naked women and that man. Listen to me, Asher. This will stop. You will fight it. Or I will force you to return to Vienna with me after the summer. Better you should stay in Vienna and be a little crazy than you should stay in New York and become a goy.”
“Ribbono Shel Olom,” my mother breathed. “Aryeh, please.”
“We must fight against the Other Side, Rivkeh,” my father shouted in Yiddish. “We must fight against it! Otherwise it will destroy the world.”
“Now, between today and the middle of March is a long time. You will do something for me in that time. You will take a journey to the Museum of Modern Art, you will go up to the second floor, and you will look at a painting called Guernica, by Picasso. You will study this painting. You will memorize this painting. You will do whatever you feel you have to do in order to master this painting. Then you will call me in March, and we will meet, and talk, and work. Do you understand?”
“Yes.”
“It is in my nature to be blunt and honest. I shall ask you a question. You are entering the world of the goyim, Asher Lev. Do you know that? […] It is not only goyim. It is Christian goyim.”
“Yes.”
“You should better become a wagon driver,” he said, using the Yiddish term. “You should better become a water carrier.”
My father carried his burden of pain all through the celebration of my bar mitzvah. People knew of the Rebbe’s decision. No one dared question it. For the Rebbe was the tzaddik and spoke as representative of the Master of the Universe. His seeing was not as the seeing of others; his acts were not as the acts of others. My father’s right to shape my life had been taken from him by the same being who gave his own life meaning—the Rebbe. At the same time, no one knew how to react to the decision, for they could see my father’s pain. I had become alien to him. In some incomprehensible manner, a cosmic error had been made. The line of inheritance had been perverted. A demonic force had thrust itself into centuries of transmitted responsibility. He could not bear its presence. And he no longer knew how to engage it in battle. So he walked in pain and shame all through the Shabbos of my bar mitzvah and all through the following day when relatives and friends sang and danced their joy.
“You are entering a religion called painting. It has its fanatics and its rebels. And I will force you to master it. Do you hear me? No one will listen to what you have to say unless they are convinced you have mastered it. Only one who has mastered a tradition has a right to attempt to add to it or to rebel against it […] it is a tradition of goyim and pagans. Its values are goyisch and pagan. Its concepts are goyisch and pagan. Its way of life is goyisch and pagan. In the entire history of European art, there has not been a single religious Jew who was a great painter. Think carefully of what you are doing before you make your decision. I say this not only for the Rebbe but for myself as well. I do not want to spend time with you, Asher Lev, and then have you tell me you made a mistake.
I did not understand what had happened to bring on the idea […] I drew with a pen, working slowly, calmly, and with ease, the segment from Michelangelo’s Last Judgment of the boat beached on the Styx and Charon striking at his doomed passengers with an oar, forcing them onto the shores of torment and hell. I drew much of it from memory, but I wanted to be as accurate as I could, so I checked it repeatedly against a reproduction in a book I had purchased on Michelangelo. I drew the writhing twisting tormented bodies spilling from the boat. I drew the terror on the faces of the dead and the damned. I made all the faces his face, pimply, scrawny—eyes bulging, mouths open, shrieking in horror. I exaggerated the talons and painted ears of Charon; I darkened his face, bringing out the whites of his raging eyes. I folded the drawing and went to bed. […] He said nothing to me about the drawings. But he began to avoid me. His thin face would fill with dread whenever he caught me looking at him. I had the feeling he regarded me now as evil and malevolent, as a demonic and contaminating spawn of the Other Side.
Often in the early mornings, I came out of the house and walked across the dunes to the beach. The dunes were cool then from the night. I wore sandals and shorts and a shirt and had on my tefillin. Those mornings, the beach was my synagogue and the waves and gulls were audience to my prayers. I stood on the beach and felt wind-blown sprays of ocean on my face, and I prayed. And sometimes the words seemed more appropriate to this beach than to the synagogue on my street.
“Asher Lev, an artist who deceives himself is a fraud and a whore. You did that because you were ashamed. You did that because wearing payos did not fit your idea of an artist. Asher Lev, an artist is a person first. He is an individual. If there is no person, there is no artist. It is of no importance to me whether you wear your payos behind your ears or whether you cut off your hair entirely and go around bald. I am not a defender of payos. Great artists will not give a damn about your payos; they will only give a damn about your art. The artists who will care about your payos are not worth caring about. You want to cut off your payos, go ahead. But do not do it because you think it will make you more acceptable as an artist. Good night, Asher Lev.”
On Yom Kippur, I wept when I remembered my father’s weeping over the martyrdom of the ten sages. On Succos, I marched in the synagogue procession with the lulov and esrog my uncle had purchased for me. On Simchas Torah, I danced with a Torah scroll—and there on the edge of the crowd of thousands that always came to watch our joy on that day was Jacob Kahn. I pulled him into the line and we held the Torah together and danced. His small dark skullcap was as awkward on his head as was the grasp of his fingers upon the Torah. But we held it together and we danced.
The nobleman was a despotic goy, a degenerate whose debaucheries grew wilder as he grew wealthier. The Jew, my mythic ancestor, made him wealthier. Serfs were on occasion slain by that nobleman during his long hours of drunken insanity, and once houses were set on fire by a wildly thrown torch and a village was burned. You see how a goy behaves, went the whispered word to the child. A Jew does not behave this way. But the Jew had made him wealthy, wondered the child. Is not the Jew also somehow to blame? The child had never given voice to that question. Now the man who had once been the child asked it again and wondered if the giving and the goodness and the journeys of that mythic ancestor might have been acts born in the memories of screams and burning flesh. A balance had to be given the world; the demonic had to be reshaped into meaning. Had a dream-haunted Jew spent the rest of his life sculpting form out of the horror of his private night?
Trapped between two realms of meaning, she had straddled both realms, quietly feeding and nourishing them both, and herself as well. I could only dimly perceive such an awesome act of will. But I could begin to feel her torment now as she waited by our living-room window for both her husband and her son. What did she think of as she stood by the window? Of the phone call that had informed my father of her brother’s death? Would she wait now in dread all the rest of her life, now for me, now for my father, now for us both—as she had once waited for me to return from a museum, as she had once waited for my father to return in a snowstorm? And I could understand her torment now; I could see her waiting endlessly with the fear that someone she loved would be brought to her dead. I could feel her anguish.
“I understand,” he kept saying. “Jacob Kahn once explained it to me in connection with sculpture. I understand.” Then he said, “I do not hold with those who believe that all painting and sculpture is from the sitra achra. I believe such gifts are from the Master of the Universe. But they have to be used wisely, Asher. What you have done has caused harm. People are angry. They ask questions, and I have no answer to give them that they will understand. Your naked women were a great difficulty for me, Asher. But this is an impossibility.” He was silent for a long moment. I could see his dark eyes in the shadow cast by the brim of his hat. Then he said, “I will ask you not to continue living here, Asher Lev. I will ask you to go away.”
Asher Lev, Hasid. Asher Lev, painter. I looked at my right hand, the hand with which I painted. There was power in that hand. […] The demonic and the divine were two aspects of the same force. Creation was demonic and divine. Creativity was demonic and divine. Art was demonic and divine. […] I was demonic and divine. Asher Lev, son of Aryeh and Rivkeh Lev, was the child of the Master of the Universe and the Other Side. Asher Lev paints good pictures and hurts people he loves. Then be a great painter, Asher Lev; that will be the only justification for all the pain you will cause. But as a great painter I will cause pain again if I must. Then become a greater painter.
