An Apostate's Fate

Contumacious. A single word describes a young iconoclast’s ardent struggle to discover his proper identity in a conservative Ladover Hasidic community. In My Name is Asher Lev, a young Hasidic Jew, Asher Lev, acquires the seemingly abominable gift of drawing, destroying his perspective on Hasidic values. As he tries to feel a sense of completeness, Asher deliberately works against the conventions of his society by choosing self-expression over the moral duties of his religion. This unorthodox decision creates a cultural struggle, a struggle between individuality and religious expectations. Throughout his novel, Potok embraces the theme of religious censorship and illustrates its significance

Asher’s banishment stems from Asher’s desire to conform to Hasidic tradition, yet at the same time, enter the world of art. In Asher’s doctrinal Hasidic community, adherents cannot exercise total free will. Instead, they look to the Rebbe, who appears as a dominating and divine force in the Ladover community, for guidance. Rather than offering general advice, the Rebbe bases his decisions on the community members’ innate talents and personalities. However, Asher’s unconventional aptitude for art, which seemingly defies Hasidic values, forces the Rebbe and others around Asher to question the true meaning of personal expression. Throughout much of his youth, Asher appears unaware of his artistic instinct, such as when he desecrates his Chumash. The Mashpia, who merely dissuades Asher, “looked hurt” but remained “patient and gentle” (Potok 123). Although such incidents lead to chastisement from the community, they do not cause complete alienation. Having no power over his drawing skills, Art controls Asher, but at the same time, Asher controls art. However, as Asher grows older, the rift between Asher’s art world and Hasidic world becomes increasingly wider. He makes decisions that are more conscious and begins to understand his compulsion to express his feelings through art. These conscious decisions, such as painting the crucifixations, do lead to Asher’s alienation and isolation from the community. In addition to the conflict between Asher and his community, Potok portrays an even more fundamental conflict between Asher and his parents. Aryeh Lev, Asher’s father, feels that his ancestors’ devotion to Hasidism requires him to serve the Rebbe also. Aryeh honors his ancestors’ memories by continuing the work that they were unable to finish during their lifetimes. Aryeh hopes that his son will finish the work he cannot do, to continue on the family tradition. However, Asher exhibits a rebellious attitude, refusing to conform to his father’s expectations. Asher’s father persistently tells Asher to stop drawing completely by calling art “foolish” and “from the sitra achra” (109). Aryeh Lev sees Asher’s devotion to art as a willful rejection of his ancestors’ role in Hasidic history. Contradictory to his father’s view of Asher’s painting, Asher’s mother has little objections of his desire to draw, and often encourages him. Asher is confused whether the responsibility of pleasing the important people in his life and community is more important than making himself happy. In order for Asher to make others happy, he must sacrifice his one desire of being an artist. However, thinking that he cannot meet the needs of all the people that are important to him, he concludes that being an artist is a greater priority in his life. The incongruities between Asher’s community, father, and mother leave