The world around the narrator was changing. In Williamsburg, Brooklyn, the neighborhood that was once home only to some Hasidic sects before World War II, now seemed overshadowed by their presence in the fifth year after the war. These were the survivors of the sulfurous chaos of the concentration camps, with their dark, somber figures in long black overcoats, black hats, and long beards, and curly locks hanging over their ears on both sides of their emaciated faces. Their meditative eyes, like black balls of fire, were turned inward to secret visions of the demonic. Here, in Williamsburg, they set about rebuilding their incinerated world.
This is how the second novel of Chaim Potok begins, continuing the story of Reuven and Danny two years after the beginning and the first appearance of the pair of friends in The Chosen – Danny l’eletto. The narrator finds this concise description of the transformation of the traditionally most Orthodox Jewish neighborhood in New York magnificent. And the change must have been significant if Potok returns to it in the middle of the book with the following words: “I thought how those survivors of the concentration camps had changed the face of things. They were the survivors, the zealous guardians of the spark. And now everything that was traditional was being drawn towards that zeal. They had changed everything through mere survival and the crossing of an ocean.”
The narrator has the feeling that for Reuven, “the zealous guardians of the spark” have also changed the climate, casting a medieval cloak. The obscurantism is accentuated by Senator McCarthy, who is at work during those years, and the Rosenbergs are about to end up in the electric chair.
In the first novel, it was Danny who was the chosen one and had to make a life choice: continue the family tradition and become a rabbi after his father, grandfather, and great-grandfather, or dedicate himself to his passion, Freud, psychology, and psychoanalysis. Now the obligation of choice seems to have shifted to his best friend, Reuven, the narrator of both novels. And for Reuven too, the choice concerns his whole life: become a rabbi or dedicate himself to something else. Because to achieve the first goal, he is being asked to take sides, either one way or the other, renouncing his ideas, his principles, and even his affections.
The novel is enriched with characters. The narrator's father, Reuven, is always pleasantly present, a great scholar, an open, affectionate, and welcoming man; while Danny's father, who dominated the first novel, is much more withdrawn, a less tolerant, more rigid figure. A young woman, Rachel, who is the same age as the two friends, appears. She is mentioned often but seen acting little. This is not surprising: in the world of monotheistic religions, women count less than men. Rachel seems to be placed between Danny and Reuven, but she is neither an aggregating nor a disaggregating character. Her biblical name immediately clarifies that she is in the religious zone of both, although not in the most Orthodox one.
Then there is her cousin, a fourteen-year-old adolescent with severe mental disorders who enters treatment with Danny and idolizes Reuven. This is a very interesting and original character who gives the story an extra gear, a warm and suffering intensity. To complete the new entries are the respective parents of the two young men.
The most controversial character is Dilaniante, an angry rabbi and a devotee of religious law, of the most traditional Orthodoxy, who refuses reinterpretations, interpretations, and updates. But Potok does not become judgmental even with him. On the contrary, his past in Majdanek is presented to counterbalance – and motivate – his character and personality, opening loopholes of tolerance.
Once again, Potok immerses himself in discussions of the sacred texts of Judaism and their various numerous interpretations (reinterpretations, grammatical corrections, explanations, contradictions, exegetical work begun centuries ago), dealing with aspects of faith and religion. And despite the narrator's deep-rooted resistance to these topics, his attention is never lacking, never even tempered.
Once again, Potok seems to oppose religious law – and traditional Orthodoxy in its various manifestations – to the (changed) reality of modern times, as if the first were a room with closed windows and stale air, and the second opened the apertures and refreshed the atmosphere. But the two novels are above all a hymn to respect, friendship, and the freedom of choice. Grandiose, this one even more so than the previous one.