"A lighthearted and delightful tour de force" (The Washington Times).
A romantic and suspenseful epistolary novel about a group of people trying to make a movie about Moses in the present day, The Lawgiver is a story that emerges from letters, memos, e-mails, journals, news articles, Skype transcripts, and text messages.
At the center of The Lawgiver is Margo Solovei, a brilliant young writer-director who has rejected her rabbinical father’s strict Jewish upbringing to pursue a career in the arts. When an Australian multibillionaire promises to finance a movie about Moses, Margo does everything she can to land the job, including reunite with her estranged first love, an influential lawyer with whom she still has unfinished business. Two other key characters in the novel are Herman Wouk himself and his wife of more than sixty years, Betty Sarah, who, almost against their will, find themselves entangled in the movie.
As Wouk and his characters contend with Moses and marriage, the force of tradition, rebellion and reunion, The Lawgiver reflects the wisdom of a lifetime. Inspired by the great nineteenth-century novelists, one of America’s most beloved twentieth-century authors has now written a remarkable twenty-first-century work of fiction.
|Publisher:||Simon & Schuster|
|Product dimensions:||6.12(w) x 8.96(h) x 0.68(d)|
About the Author
Herman Wouk is the author of such classics as The Caine Mutiny (1951), Marjorie Morningstar (1955), Youngblood Hawke (1961), Don’t Stop the Carnival (1965), The Winds of War (1971), War and Remembrance (1978), and Inside, Outside (1985). His later works include The Hope (1993), The Glory (1994), A Hole in Texas (2004) and The Lawgiver (2012). Among Mr. Wouk’s laurels are the 1952 Pulitzer Prize for Fiction for The Caine Mutiny; the cover of Time magazine for Marjorie Morningstar, the bestselling novel of that year; and the cultural phenomenon of The Winds of War and War and Remembrance, which he wrote over a fourteen-year period and which went on to become two of the most popular novels and TV miniseries events of the 1970s and 1980s. In 1998, he received the Guardian of Zion Award for support of Israel. In 2008, Mr. Wouk was honored with the first Library of Congress Lifetime Achievement for the Writing of Fiction. He lives in Palm Springs, California.
Read an Excerpt
(INTEROFFICE MEMO, 11:20 A.M.)
BSW LITERARY AGENCY
Sorry to trouble you. That Andrea with the British accent just rang yet again. She already rang at 9 this morning on the dot. She said Mr. Warshaw would make it worth my while if I would put him through to Mr. Wouk on the phone even for a minute or two, “by mistake.” (A gross offer of a bribe?) She still won’t say what it’s about.
I ignored 3 calls from her yesterday and 2 on Friday. This will just go on and on.
(HW OFFICE PHONE RINGS, RINGS, RINGS.)
(Secretary on speakerphone) Look, HW, Tim Warshaw got through to me, told me what he wants to say to you, and asks for a couple of minutes, no more. I can’t take the responsibility to pass this up. I told him I’d have to stay on the line and take notes. He laughed and said, “Why not?” Here he is.
WARSHAW: (slow, deep voice) Mr. Wouk?
WARSHAW: Sir, would one million dollars for a half-hour conference interest you?
(Insert by HW: A jolt. These Hollywood hoodlums! He has the money, he’s riding high, Best Picture Oscar for his art-house breakout from the big disaster films. A million! . . . Family foundation, charities . . . son’s divorce . . .)
HW: Mr. Warshaw, I’m ninety-six years old, trying to get one more book done while I last. Thank you, but—
WARSHAW: Sir, dare I ask what the new book is about?
WARSHAW: May I tell you what I’m calling about, and I swear that’ll be that? I’ll thank you and hang up—
HW: Go ahead.
WARSHAW: (pause—slow, deep) Moses . . .
WARSHAW: Moses, sir. Pharaoh, Burning Bush, splitting the sea—
HW: Oh, yes, that Moses. The one Cecil B. DeMille did twice—
WARSHAW: Sir, this would be all different. Think twenty-first century, think special effects—think maybe three-D—
HW: Mr. Warshaw, I’ve appreciated your approach. Most of all, your offer to thank me and hang up.
WARSHAW: Thank you, sir. I’m hanging up.
(He hangs up.)
(HW NEW NOVEL WORK JOURNAL)
Blasted day yesterday, when I was just getting a handle on the new approach to this confounded book, or thought I was. Timothy Warshaw, the red-hot moviemaker of the hour, with an artsy departure from his disaster blockbusters—he copped an Oscar for Best Picture, Midsummer Night’s Dream, directed by a nutty Japanese with a cast of all unknown teenagers in masks—the critics rolled over neighing and kicking their hooves in the air—this Warshaw phoned and offered me “one million dollars for a half-hour conference.” Turned him down rudely. Last night at dinner we talked about it.
BSW: Good. That half-hour conference is baloney. He’d get his money’s worth out of your hide, one way or another. Is this new “impossible novel” of yours really started?
HW: Two preliminary journal files. No copy yet. I was drafting the first page of an opening scene when Warshaw bulldozed past Priscilla and got to me.
BSW: What do you want to do about it?
HW: Nothing. Write the book.
BSW: Well, I’ve had my doubts, you know. Not much interest in Moses nowadays.
HW: Oh, no? What do you suppose Warshaw wanted to talk to me about? (Imitates Warshaw.) MO . . . SES . . .
BSW: No! Wow.
HW: Coincidence? What else? Security breach? Nobody, but nobody, except you—and Priscilla, typing my notes, and she’s a silent tomb—knows that I’ve been working on a Moses novel.
BSW: It’s a ploy.
HW: Forget it, then.
BSW: No. Give him the half hour, but don’t take his money. Just listen.
HW: What’s the point?
BSW: I’m curious. He’ll spill something.
HW: You sit in.
CENTURY CITY, CALIFORNIA 90067
Nullarbor Petroleum, Houston
Well, Hezzie, I did manage to get through to Wouk. You can tell this mysterious Australian investor of yours that it wasn’t easy, and he wasn’t encouraging. Wouk doesn’t sound over the phone nearly as old as he is, going on 97, but he was abrupt and peevish. No interest whatever.
Surely if this investor is at all serious, his proposal can’t hang on getting that mulish ancient to write the film. That’s an irresponsible whim. It won’t work. It’s a deal breaker up front. Otherwise his offer is certainly intriguing and exciting. Why can’t you put me in direct touch with him? An e-mail address, if not a phone number? I have persuasive power, you know. I got the bank to fund Yoshimoto’s Dream, when you and other investors ran for the tall grass, telling me such dizzy nonsense hadn’t a prayer. I’m looking at my Oscar on the desk as I write.
From the desk of
Andrea, hold everything. Call Hezzie Jacobs in Houston, tell him Wouk just phoned me. I’m off to Palm Springs in the Falcon. Order a limo to meet me Signature Airport. T.
(HW NEW NOVEL WORK JOURNAL, THURSDAY)
Another day shot, no new writing, no nothing. Warshaw’s half hour—and he stuck to it, I’ll say that—killed the day. Waiting for him to get here, settling him in for the half-hour conference, seeing him out the door, then chewing over this strange business with my lady, and here I am with one day less in my life to do what haunts me, “the impossible novel.”
Here’s Warshaw’s pitch in brief. An Australian eccentric of great wealth wants a movie made about Moses, and is ready to fund it. The approach came via one Hezzie Jacobs, a Texas venture capitalist who sometimes dabbles in films, though his main interest is oil from algae. Jacobs has a vast project of algae ponds going in Nullarbor, Australia. This eccentric investor, a uranium tycoon, has money in it. When Jacobs told him a Moses film might cost two hundred million, all he said was, “Fair dinkum,” Australian slang for okay, or the equivalent.
Now, here’s what Warshaw left out, and it’s crucial. My accountant, who’s wired to insiders in the film game, tells me Warshaw in fact is over a barrel. The Oscar went to his head, he’s always been a high flier, cross-collateralized up to his ears. He’s put some new projects into development, and another of his disaster productions is getting filmed in Turkey right now, Aeneas and Dido, a sexy epic based on the Aeneid, with a fall of Troy bigger than D-day in Saving Private Ryan. He’s been close to freezing that production, short of cash and low on credit, so the rumors fly. Still, he’s meeting his huge budgets week by week and acting carefree as a hummingbird. And the back story on that (my accountant again, and this gets convoluted) is that Jacobs, knowing Fair Dinkum’s obsession to get a Moses film made, has started quietly bankrolling Warshaw, gambling that sooner or later it’ll happen, Fair Dinkum will come across with an investment of four or five hundred million dollars in WarshaWorks, and Jacobs figures to skim off lots of cream.
What it seems to come down to—and I begin to see why Warshaw was ready to pay me a million for a conference—is this: the uranium nabob either backs WarshaWorks with a whopper of a “stimulus” or Warshaw is in real trouble, and that seems to depend on whether he can get me to write a Moses film! So the thing stands. Distracting, but diverting, I have to say. Meantime, no work.
Rabbi Mordechai Heber
Mr. Herman Wouk
Sorry to bother you, Mr. Wouk. A venture capitalist who owns a winter home here wants to see you. Mr. Jacobs is a good man, not religious, but he’s kept my little day school alive. You know how I guard your privacy, but as a special favor to the children of our school, will you see him if he flies here tomorrow? I need an answer right away.
(HW NEW NOVEL WORK JOURNAL, FRIDAY)
The plot thickens. Exponentially. Not for my book, my third false start goes into the files, hopelessly wrong. It’s the Fair Dinkum thing. Turns out that this Hezzie Jacobs owns a home here and is coming from Houston to talk to me. Rabbi Heber interceded for him. I don’t say no to the rabbi . . .
NULLARBOR PETROLEUM LLC
“Freedom from Mideast Oil Through Algae”
HOUSTON — MELBOURNE
FAX (STRICTLY CONFIDENTIAL)
Algae, Air Force, Moses, etc.
Lou, good news about Wouk and Moses! A Palm Springs rabbi got me in to see him, and I told him all about you. I took a big chance, Louie. I told him that you’d fly from Australia to talk to him. You can always say I’m crazy, or your doctors won’t allow you, but depending on how keen you are on the Moses film—which I still don’t understand, but it’s your time and money—this is your opening.
Now, Lou, the big news is that the air force is sky-high on the algae! Those Arizona people put on a great show for the generals, took them around the ponds, had a Nobel Prize molecular biologist there, talking plain English about algae molecules and all that. The main thing was the green gasoline! It even smells different, kind of pleasant. They filled the tank of a jeep with it and went roaring down a highway and back, & those stiff generals with all their medals were joking and laughing, and they had a great buffet lunch with fine wine, and in short, the air force is interested, though at the moment that tankful of algae gasoline figures out at $54,000 a gallon. Louis, this can be the breakthrough. Yes, right now oil prices are down again, which is bad for algae, but looking ahead the world’s oil is running out, no doubt of it. Now is the time for Nullarbor! Of the fifty-odd start-up companies doing algae, Arizgrene is the slickest, they know how to promote, but that’s all. About Nullarbor’s genetically altered molecule they haven’t a clue.
This thing is starting to snowball, Louis, don’t let it roll away from us! Where’s your comment on the new prospectus?
Meeting with Louis Gluck
I’ve never felt the need of a tape recorder until now. In former days when I was badgered into an interview, I never allowed a tape recorder, maybe Gluck wouldn’t have, either. Anyhow, here goes to bang out my recollections of the long, bizarre meeting while they’re fresh and copious.
Mr. Gluck is something else. Uninvited, he flew here from Australia to see me. Hezzie Jacobs called me up out of the blue, said Fair Dinkum was at the Beverly Hills Hotel, and would come down to Palm Springs before flying on to Toronto, and from there to Paris, then to Beijing, and so back to Australia. Jacobs said he’s done this globe circling for years. This is his second time this year, in February he went the other way from Melbourne via Mumbai, Capetown, Rio de Janeiro, Quito, and home. So Jacobs says, and I can believe it.
Whatever happens, I don’t think I’ll forget my first sight of Gluck, rolling through the door in a wheelchair, with one leg propped up on a board and a dark-skinned fellow pushing him. “Louie Gluck,” he said holding out a hand. “You’re going to write The Lawgiver. There’s nobody else. This is Ishmael.” The companion grinned and rolled him into the living room. Gluck’s an old, old gent, round face, thin white hair, sharp blue eyes, voice hoarse but clear, piquant Jewish-Aussie accent. “Jacobs told me that you turned down Warshaw’s million dollars and gave him half an hour for free. Smart, smart.” I said that that was my wife’s idea. “I want to meet her.” I explained that I was trying to write a Moses book, and he should forget about involving me in a movie.
“You’re making a big mistake. Nobody reads books, everybody watches movies.”
“People read my books.”
“I’ve read them all. That’s how I know you’ll write the Lawgiver movie. I’m talking volume. Take your Winds of War, for one person who read the book how many people saw the miniseries movie, all over the world? A million to one? Or counting all the Chinese who watched pirated copies of the miniseries—like the pile I saw in a Beijing supermarket—three million to one? Why are you trying to write a Moses book at your age?”
“Because I want to, and can afford to take the time, and I don’t have that much time.”
“Who knows how much time you’ve got, and why waste it? You want to say something worthwhile about Moses, something people will take away with them . . . Where can Ishmael get something to eat while we talk?” I sent Ishmael off to Sherman’s Deli. “He’s an aborigine,” Gluck said. “Smart, smart. So, you want to write a book about Moses. You can do it, because you understand Moses, but you’re wasting the time you’ve got, because—”
He was getting under my skin. “Nobody understands Moses,” I barked at him. His face only lit up and he reached to shake my hand. Bony claw like mine. “See? I’m right. You’re the man for the movie. Who else understands that nobody understands Moses? So let me ask you, why try to write about him altogether?”
Well, that triggered, against my better judgment, my song and dance about Moses as Atlas—Western world resting on his shoulders, Christianity and Islam meaningless without him, Lawgiver of the Christian Bible, “Divine Teacher” of the Koran, etc., etc. Gluck listened with a hungry look, nodding and nodding, and broke in as I was citing a Koran passage about Pharaoh, “All right, all right, I take your point, I’m a reasonable man. The few people who read books are important to you. So write your book and the movie, what’s wrong with that? One day the screenplay, next day the book, next day the screenplay, and so on. Isn’t that a good plan?”
“Mr. Gluck, I can’t write a movie. I don’t know how.”
“You wrote those two miniseries.”
“To protect the history, yes, just doing what the director told me. Anyway, it was another era. Winds ran eighteen hours, Remembrance thirty hours—”
He shifted ground. Yes, yes, he could see I was making sense, he was new in all this. Warshaw would get a younger writer, best in the business, money no object, the writer would consult me, and I’d have approval of every page he wrote. How about that? I told him wearily that the director creates the film, not the writer, and Spielberg was his man, a great writer-director, a giant of the film industry, a good Jew—
“Oh? So why did he make Schindler’s List about a goy?”
Now he had me defending Steven Spielberg. “You missed the whole point. Because Schindler wasn’t a Jew, the world audience could identify with him and enjoy a big Holocaust movie—”
“Why was Munich all about how wrong the Mossad was to hunt down the terrorists who killed the Israeli athletes? Did you feel sorry for those terrorists? Well, never mind, never mind, he’s a good man, he does good things, he should live to be a hundred and twenty, making his fine movies, but you’ll do The Lawgiver. We’ll find a writer-director you approve of, and he’ll get your approval on every scene. Let’s settle on that—”
Ishmael returned at this point, full of praise for Sherman’s pastrami, and reminded Gluck that his connection to Toronto was due at the airport in half an hour.
“No good. Get us on the next flight.”
“Louie, we’ll miss the plane to Paris.”
“Phone Smodar, tell her to reschedule all the flights, I have to talk more with Mr. Wouk—” Aside to me, “My Gulfstream is down, I have to get to Beijing Tuesday—”
“Smodar, sir? It’s three a.m. in Melbourne, what can she do?”
“The Qantas line’s open all night—”
I had to put an end to this. I swiveled around and batted off as fast as I could type:
Dear Mr. Warshaw:
Mr. Louis Gluck is here in my office. If you find a writer-director who I believe can make a Moses movie measuring up to the subject, I’ll consider acting as a consultant. Frankly, I see no possibility that you can come up with such a person. Even if you do, or at least think you do, I’m not bound by this note at all, except to consider your choice.
I signed and handed the printout to Gluck. “Here,” I said. “Don’t miss your plane.” A quick businesslike glance, a nod, he asked for two more printouts, got me to sign them both, and I saw him out to the limousine. This Ishmael folded up the wheelchair and board and slid Gluck into the limo smooth as glass. That’s how it went. BSW thinks I was an idiot to give him the note, says I’m in for a siege of nagging by Warshaw and pointless talks with writer-directors. Maybe. I had to get that Gluck out of my office, off my back.
NULLARBOR PETROLEUM LLC
“Freedom from Mideast Oil Through Algae”
HOUSTON — MELBOURNE
FAX (STRICTLY CONFIDENTIAL)
Sorry about your ulcer, Tim. It’s a wonder these past weeks haven’t put you in Forest Lawn. You’re an iron man and you’ll soon be fine. This is urgent, or I’d let you alone. Gluck is cooling off, Tim. Not about the Moses film, about you and WarshaWorks. Lou is a nice guy, but peremptory. He doesn’t understand the writer-director problem that’s stymied you for so long, isn’t interested, and is asking me about other studios.
What do you know about Margolit Solovei, a young writer-director? Wikipedia calls her a “phenom,” a film business term for a fast starter, at 26 she’s made three art-house movies and had a play on Broadway. Her brother and Rabbi Heber were yeshiva buddies, as it happens. She’s the black sheep of the Solovei family, disappeared into showbiz, never mentions her deep Jewish background. Once when the rabbi and I were discussing Hollywood Jews, he cited her as a sad example. Why not consider Solovei? At least she’s knowledgeable, and might conceivably hit it off with Wouk. A desperate long shot, but what’s to lose, with Gluck getting damned impatient?
Something has come up that you must tell Tatti. Not that it will change his mind about me. Just to show him that I’m not quite a lost soul, not altogether a worthless schmata. I’m going to Palm Springs tomorrow to confer about a Moses film with guess who, Herman Wouk. Tatti’s never read a novel in his life, and never will, but he did read a God book Wouk wrote back in the ’50s–I remember that because I got it for him from the library, though I needed another card after he tore up my first two. I’ll write you again after I meet the author. I didn’t know he was alive.
Your loving daughter,
MARGOLIT SOLOVEI ENTERPRISES LLC
10235 SUNSET BOULEVARD
LOS ANGELES, CA 90077
Mr. Joshua Lewin
Lewin, Rubinstein & Curtis
1440 K Street, NW
Washington, DC 20005
I received your semiannual letter, and to be honest I had no idea Rosh Hashanah was so close, I’m very busy and of course it means nothing to me, I haven’t seen the inside of a shul in a dog’s age. Sorry for this belated response, thanks anyway for your New Year wishes. Your letters are very touching, but disturbing as the years pass. It was all very well for you to say when we broke up that you’d wait for me until you die, but isn’t it getting a bit silly? You can have your pick of a thousand religious Jewish girls, from the prettiest young ones to the few leftovers of my time. With your international law practice and your deep learning, you’re as big a fish as was ever reeled in by a nice Jewish girl.
I’ll reply to your letter more at length when I return from a meeting with Herman Wouk—yes, your favorite—to explore writing a Moses film. A major producer wants me to consider it, but it seems to be up to Mr. Wouk, I don’t know why. So much for your gentle semiannual hints that I’m wasting my life out here, writing and producing ephemera while my biological clock ticks off the years unheard.
Reading Group Guide
This reading group guide for The Lawgiver includes an introduction, discussion questions, ideas for enhancing your book club, and a Q&A with author Herman Wouk. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.
Young Margo Solovei is brilliant and talented, but a relatively unknown writer-director in Hollywood. She is also a secular iconoclast, despite having internalized the lessons of her rabbi father during her strict Jewish upbringing in Passaic, New Jersey. When Louis Gluck, an eccentric Australian multi-billionaire, promises to finance a movie about Moses if the script meets exacting standards, Margo surprises herself and the rest of the movie industry by landing the job. In order to move forward with the ambitious project, Margo must convince a legendary author and his guarded literary agent that her screenplay truly captures the spirit of Moses. In The Lawgiver, Herman Wouk has created a work of divine metafiction—incorporating both himself and his real-life wife/agent, Betty Sarah Wouk, into the thick of the plot. When Margo resumes a relationship with her estranged first love, Joshua Lewin, an influential lawyer with whom she still has unfinished business, she finds herself propelled into an epic story even she could never have dreamed up.
Topics & Questions for Discussion
1. In the opening pages of The Lawgiver, “HW” exchanges interoffice memos with his agent, “BSW.” At what point did you realize that those initials stood for the author of the novel, Herman Wouk, and his real-life wife and literary agent, Betty Sarah Wouk? How did the author’s postmodern mingling of fiction and reality impact your appreciation and understanding of the novel’s plot?
2. “It was all very well for you to say when we broke up that you’d wait for me until you die but isn’t it getting a bit silly? You can have your pick of a thousand religious Jewish girls…” (pg. 19) Why does Joshua Lewin continue to carry the torch for Margo Solovei? How does the unrequited nature of their relationship evolve over the course of The Lawgiver?
3. Much of the narrative of The Lawgiver is conveyed through documents—letters, faxes, emails, memos, transcripts, Skype conversations, etc. How did you experience the epistolary format of the novel? Why does Herman Wouk choose for this novel, which so prominently features its author (or his fictional persona) as a character, an epistolary form that ostensibly removes the notion of a narrator?
4. How do the humorous narratives of Shirley and Avram Scharf’s marital dissolution and the Nullarbor Ponds patent dispute participate in the slowly unfolding drama of the creation of the script for The Lawgiver? To what extent did these subplots complicate and enrich the development of Margo and Josh’s circuitous romance?
5. Why does Margo reach out to Deborah Kamaiko, a fellow Bais Yaakov alumna, when her fiancé’s helicopter crashes over Afghanistan? To what extent might Margo have an ulterior motive in becoming Debbie’s friend? How does their connection change over the course of their correspondence?
6. How do some of the major players in the creation of The Lawgiver: Arnold Granit, Louis Gluck, Tim Warshaw, Hezzie Jacobs, Shayna Daniels—establish a picture of the movie industry? Of the many creative and financial dynamics at play, which were most intriguing to you and why?
7. “God told Moses and Aaron to assemble the people and get water out of a rock, same as he did in the desert forty years before…” Why is Margo’s “Rock II Sequence,” in which Aaron and Moses are forbidden by God from entering the Promised Land, so powerful to her listeners at the script conference? Why is this scene so significant to Margo? Why does the author, Herman Wouk, draw our attention to it?
8. How does Perry Pines, the little-known Australian bit-actor who ultimately assumes the celebrated role of Moses in The Lawgiver, defy stereotypes? How do his contractual entanglements with his erstwhile agent, Geoffrey Smallweed, confound Margo’s efforts to have him cast in the lead role of the film? To what extent do you think his career as a shepherd makes him even more of an ideal match for the part of Moses?
9. “So, Mashie, I’m losing you. God runs the world. One thing I can tell you. You leave me a bsulah (virgin), and you’ll return to me a bsulah.”(pg. 138) How would you characterize Margo’s relationship with her father, Moishe Solovei? What does her determination to write the screenplay about Moses suggest about Margo’s commitment to her former faith? Why does her father see her effort as an opportunity to end their long estrangement? How does Margo’s romantic liaison with Josh in Australia impact her relationship with her father?
10. Of the many family and business relationships explored in The Lawgiver, which did you find most compelling and why?
Enhance Your Book Club
1. The Lawgiver is an epistolary novel, told largely through emails, letters, documents, and other written fragments. If you were to write about one day in your life using only the documents you and others have generated, what would it look like? You may want to save your grocery lists, emails, notes to self, phone messages, doodles, texts, journal entries, etc. to create your very own mini-epistolary work to share with members of your book group. How do the things we write down tell the stories of our lives?
2. According to his website, www.hermanwouk.net, Herman Wouk’s avocational interests include Judaic scholarship. How do the characters and setting of The Lawgiver contribute to a broader understanding of Jewish religious culture? Members of your book club may want to consider the novel’s focus on the retelling of the Moses story from the Bible, the love interest story involving Josh and Margo, and Margo’s rejection of Orthodox Judaism. What aspects of Jewish life were of special interest to you in The Lawgiver?
3. In the presence of Uluru/Ayers Rock in Australia, Margo Solovei and Joshua Lewin’s relationship takes a dramatic turn. Have members of your group ever encountered moments of personal transformation in unique or awesome natural settings? What role does this massive rock play in The Lawgiver? How does Uluru connect with the overarching plot of the novel—the complicated nature of writing a novel about the story of Moses, who has momentous encounters with rocks, himself?
A Conversation with Herman Wouk
Questions 1 and 2. The origin of The Lawgiver is an intriguing one. What initially attracted you to a fictional treatment of the story of Moses in the Bible? And at what point in your composition of The Lawgiver did you realize that you would incorporate yourself as a character?
My two grandfathers in the old country were a shammess (a synagogue sexton) and a rabbi. So Bible study was in my bloodstream. Throughout my American growing up – college years, gagman years, and Navy years in World War II – that study survived all the predictable conflicts. I know the Moses story well. It occurred to me long ago that it was a marvelous narrative and would make a great book. As I matured in the fiction art, however, I came to realize that the story had already been told with supreme narrative force in the Bible – the five books of Moses – and that any attempt at a "Moses novel," at least by me, could only be a puny twice-told tale. I set the notion aside in my mind and in my files as "the impossible novel," and so it remained down the decades. In the epilogue to The Lawgiver, I tell the reader how I nevertheless did write "the impossible novel." In the leisure of my middle nineties it bethought me to try a lighthearted book precisely about the impossibility of writing a Moses novel. With this quirky notion Mr. Gluck came rolling into my office, Margo wrote her chilly letter to poor Josh, and the Hollywood characters showed up. In such a structure, including myself and my wife/agent became inevitable, starting on page one.
Question 3. On your website, you are described as “an unusually private person.” To what extent did your insertion of yourself into the book’s narrative violate that carefully guarded privacy?
Not in the least. Down to the dog's name, Candy, the personal facts are true, but the story is a wild Hollywood adventure that never happened, and doesn't invade our privacy one bit.
Question 4 and 5. The epistolary novel is often an underappreciated literary form; can you discuss your choice of it for the narrative of The Lawgiver? How did you experience the limitations and opportunities of writing a novel consisting almost entirely of documents and letters? How do some of the up-to-the-minute modes of communication—email, Skype, instant messaging, Twitter—lend themselves to epistolary narratives? How do they complicate it?
Large questions! This old form, seldom used nowadays, in itself, was a challenge to heat up an old author's creative juices for a shot at a new tale. I found it unexpectedly tricky and tough. The voice of an omniscient author is always in total control of the narrative, one way or another. In a story only hinted at by several voices, the author has to change many masks in a hurry, like the old Chinese roadside storyteller. It makes for pace, but can really bewilder not only the reader but the juggling author. Many, many drafts went into this "Moses novel." The electronic modes added pace, but needed much care to keep them in character, not just dry bursts of words.
Question 6. Of the many female characters you’ve created in your novels, how does Margolit Solovei stack up?
Hard to say. In the writing, I fell in love with more than one. My publisher refers to Margo as "a 21st century Marjorie Morningstar," and in fact the foiled seducer yells, you may remember, as he throws her out of his Soho pad, "Good riddance, Marjorie Morningstar!" Marjorie is my undoubted favorite. Allow me to play no favorites among the others, I'd only get in trouble. Among the baddies, Frieda Winter probably leads. I have a soft spot for Lucille Glass in City Boy, at age eleven an exasperating elusive female in full.
Question 7. In 2011, Stephen King wrote a short story in The Atlantic entitled “Herman Wouk Is Still Alive.” Did you read it? How have you outlasted so many of your literary peers, both in terms of your longevity and artistic popularity?
I read Mr. King's short story and enjoyed it. As for the longevity, I share his evident puzzlement, with boundless gratitude to my forebears and my Maker. It helps to have work I love, with much work yet to do by His grace.
Most Helpful Customer Reviews
Herman Wouk is a wonderful writer and has entertained me many times with his oeuvre(s). This book should be approached for what it is: a revealing account of what goes on behind the making of a movie. Frustrating fascination, or fascinating frustration, take your pick. Wouk has wanted to write a life of Moses since forever and this isn't it. This is about his wanting to do that and being drawn into a film project of those who want to do a life of Moses. As one canny Hollywood character says, "No one reads anymore!" Wouk knows it is true, but he is a writer. Writers write because they have to/want to. I consider this a writers' book. If you are a writer who fantasizes about having his or her book picked up and made into a movie, or to see purchased movie rights actually utilized, read this and sober up. It's a crap shoot. Thank you, Mr. Wouk, for slapping our faces with the truth.
I was looking forward to an historical blockbuster, and got a novella about themaking of a movie. I understand that Herman Wouk has long wanted to write a novel about Moses. Well,he still hasn't.
I had heard the stories about it wasn't about Moses at all, but a parody. It was a parody, but a very good one. It said to me that Herman did not want to try and encompass the life of Moses, the Lawgiver and try to explain the missing 85 years of his life to skeptics. Instead, he brushed over it and let humor have its day. It was a fine read as an addendum to his many excellent books.
I have been a Wouk fan for many years. I really don't know why this book was written. It has nothing to do with anything that Wouk has previously written. This is 140+ pages of dribble, disguished as memo's letters, etc, regarding the potential writing of a book about Moses, and a potential movie. I'm not sure why I read the whole thing, perhaps I was hoping against hope that the beginning would turn into something worth reading. Unfortunately, this book never developed into a story. I'd ask for my money back, but I know that will never happen.
Rather than a story about Moses, it was a farce about making a movie about Moses. It was pure nonsense. I quit reading half way through. I feel snookered and would like my money returned or credited.
Just finished the book and thank goodness. Still not sure why such a great author would write a book such as this. It is all over the place with no real aim. Don't bother reading this one.