http://www.jpost.com/servlet/Satellite?cid=1136102665051&pagename=JPost%2FJPArticle%2FShowFullIn 1961 Leon Uris initiated a war of words with Philip Roth over the way Jews should be represented in popular culture. "These writers are professional apologists," the author of Exodus told The New York Post, referring to Jewish writers who conceded weaknesses. "We Jews are not what we have been portrayed to be. In truth, we have been fighters."
In response, Roth suggested Uris pick up a copy of Elie Wiesel's Dawn, whose hero, a Jewish fighter in British Mandate Palestine, agonizes over his task of executing a British major who has been taken hostage.
"I should like to tell Uris that Wiesel's Jew is not so proud to discover himself in the role of a fighter," Roth wrote, "nor is he able to find justification for himself in some traditional Jewish association with pugnacity or bloodletting... No matter how just he tells himself are the rights for which he murders, nothing in his or his people's past is able to make firing a bullet into another man anything less ghastly than it is."
Fast forward 45 years, to the current clamor over Munich, Steven Spielberg's most complex and conflicted film to date, and the battle over Jewish representations is as fierce as ever. One of the more vociferous criticisms of the film is that Spielberg and his co-screenwriter, Tony Kushner, allowed the film's protagonist, Mossad agent Avner, to be plagued by doubts about his mission.
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