The Aunt Jemima Pickled Herring Hamentash

 Background: I'm in a film discussion group, where I have been trying to raise the level from simply what we like/dislike to closely analyzing the works. I cited Walter Kerr's distinction between the "reviewer" and the "critic." Here is my possibly humorous exercise.

                            Just Released: The Aunt Jemima Pickled Herring Hamentash

 

The Reviewer:

This undisciplined confusion of genres is disturbing, subversive, tasteless, a blundering blend of idea and materials, poorly executed. It’s a real disappointment. 

The piece has an identity problem. Is it an appetizer? Is it a dessert? It doesn’t know what it is. So how am I to know what to do with it? The artist has to respect boundaries.

Now, I like pickled herring as much as the next guy. In fact, more, because the Rap reviewer at the next desk is a sheigitz. But pickled herring needs its onions, its sour cream, or it loses its punch. Similarly, a hamentash needs its jam. This farshlugene experiment falls between two stools  — and will quickly become a third. It tastes offal.

And talk about heavy symbolism! The Aunt Jemima connection is a ham-handed cliche. We all know Schvartze Lives Matter so why drag it in here? Must everything be political?

Besides, the Jemima crust here loses the required firmness of texture. Even worse, that softness sacrifices the most important traditional symbolism. The three firm corners of Hamen’s hat are rounded off here. At this serving of herring with mush, Hamen must be churning in his grave.

Not that I’m a big fan of Hamen. But we must respect tradition.

Frankly, after my first bite I had to force myself to try another. It wasn’t that much better so I chucked it in my neighbour’s basket. Caveat emptor.

Finally, as a taxpayer, I must demand the National Endowment for the Arts cancel its support of the artist’s next, more ambitious project: The Logarhythm Strudel.

The Critic:

As the title confirms, this experiment brings together emblems of two different cultures, both of which have suffered histories of stereotyping and violent oppression. It’s an especially welcome reminder now, when the Jews’ engagement in the American Civil Rights Movement has disappeared behind their identification as oppressive whites. 

In this unifying spirit, too, the hamentash’s hard-edged triangular shape has been inflected into an approximate circle, emblem of unity and completeness. In a hopeful nuance, the soft exterior with firm interior reverses the textures of the traditional hamentash. Here both cultures are urged to stay firm in their resolve and identities, while meeting with softness.

Of course, any such adventurous mixing of genres is a challenge. If I may be allowed a personal observation, my first taste was quite discomfiting. But upon a second and a third sampling a day later, with my expectations set aside, I found the piece’s newness stimulating and more satisfying. I look forward to this young artist’s future work.