LitCharts assigns a color and icon to each theme in My Name is Asher Lev, which you can use to track the themes throughout the work.
The Divine vs. the Demonic
Art and Religious Faith
Creativity, Self-Expression, and Truth
Family Conflict
Summary
Analysis
Asher goes to see his high school registrar, demanding to know why he has been signed up for French. The registrar patiently explains that the Rebbe has specifically requested that Asher take French. Asher submits.
The Rebbe continues to orchestrate things for Asher’s benefit. The advantage isn’t clear to Asher now, but he will later come to appreciate the Rebbe’s foresight in his education.
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On Rosh Hashonoh, Asher prays fervently in the synagogue. He weeps on Yom Kippur when he remembers his father’s own weeping on the holy days. On Simchas Torah, he dances with a Torah scroll and sees Jacob Kahn standing on the edge of the watching crowd. He pulls Jacob into the line, and they dance awkwardly together with the scroll. Asher continues studying with Jacob, painting, drawing, and sculpting. He continues making an effort with his yeshiva studies, too.
The succession of holy days showcases Asher’s continued piety, even without his parents’ oversight. Not only does he believe that his religious life can exist alongside his art, but by pulling Jacob into his religious celebration, he actively connects the two. Again, his relative independence gives him the space to grow both artistically and religiously.
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Quotes
That October, Asher goes to the opening of Jacob Kahn’s gallery show, a black-tie affair. He sees a sculpture that consists of his and Kahn’s heads facing in the same direction; it has been purchased. He circulates through the crowd, listening to the intelligent talk. Anna Schaeffer is exuberant, but Jacob himself looks stiff and uncomfortable. Later, Anna tells Asher that a famous collector purchased the sculpture, and he is shocked when he hears the name. He congratulates Jacob on selling all his pieces, but Jacob looks “bereaved.”
Kahn’s sculpture of himself and Asher shows that he sees himself occupying a fatherly role in Asher’s life. The sale of his art, however, is a deeply ambivalent, and even upsetting, experience for him—a personal loss, accompanied by the fear that he will never surpass his past work.
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Uncle Yitzchok fixes up his attic so that Asher will have more space to paint, and Asher quickly begins filling up the room with paintings. In February, both Asher and Jacob attend the Ladover farbrengen commemorating the death of the Rebbe’s father. At one point, Jacob leads Asher outside and tells him that he will soon be going to Europe for a month. He bids Asher a quick farewell and leaves. Asher goes home to bed. He later tries to work in Jacob’s empty studio but finds this “intolerable.” Instead he goes home and makes many paintings of Jacob. After Jacob returns, he reports having seen Asher’s parents. They resume working together as if Jacob had not left.
Asher feels bereaved even when Jacob leaves on a very short trip. Jacob’s absence seems to tap into Asher’s feelings about his father’s travel as well as his affection for Jacob himself—he grieves in his mentor’s absence.
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When Asher’s parents return at the end of March, Aryeh looks much healthier, strengthened by Rivkeh’s presence. However, he says little to Asher; there is “a permanent high wall of uncertainty and hostility.” When Uncle Yitzchok shows him the attic filled with paintings, Aryeh looks angry. Yitzchok begs Aryeh to be reconciled to his son. Later, Rivkeh’s eyes look sad. She says it is impossible to speak to Aryeh about Asher, and it is painful for her to be caught between them.
Aryeh is thriving now that Rivkeh is working alongside him. However, the barrier between him and Asher remains in place—confronted by the evidence of Asher’s thriving in his absence, Aryeh is angry. Rivkeh continues to feel the strain of trying to mediate between her husband and son.
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After Asher’s parents return to Europe, Jacob tells Asher that he, Jacob, has made an enemy of Aryeh. Aryeh is convinced that Asher is wasting his life, but Jacob says that nothing can be done about this—Aryeh and Asher are simply “two different natures.” Asher shouldn’t try to understand this; rather, he should focus on becoming a great artist: “That is the only way to justify what you are doing to everyone’s life.”
Jacob tries to help Asher understand that, on some level, the conflict between himself and Aryeh cannot be fought—they are just different, and rather than pointlessly dwelling on the pain, Asher should dedicate himself to fulfilling his potential.
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Nevertheless, Asher continues to brood about his family. He does not want to hurt anyone. He simply wants to paint. He wants to paint much as Aryeh wants to travel for the Rebbe, for the sake of “a truth I did not know how to put into words” and can only bring to life through his art. He dreams again of his mythic ancestor.
Asher now understands that he and Aryeh do have something in common: their shared passion for pursuing the truth, albeit in very different ways. Dwelling on this conflict evokes dreams of the mythic ancestor once again, suggesting that finding common ground with his father is crucial to Asher making sense of how he relates to his family line.
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The next two summers, Asher goes to Provincetown with the Kahns. The second summer, he begins to join in the conversations with Jacob and other artists. After that summer, his parents return briefly. They urge Asher to come to Vienna the following summer. Asher is afraid that they will talk him into staying longer. Plus, he has come to enjoy living with his uncle’s large, noisy family, and he doesn’t want to live with his father. Finally, he relents. However, the coming months are filled with brooding for Asher. As he paints and talks about art that year, he sometimes notices Jacob giving him a “strange and curious look.”
Asher continues to mature and take his place as an artist among other artists. By this point, he has been living at a distance from his parents for quite a while. The prospect of living with them, even temporarily, brings up old fears of losing his gift. Meanwhile, Jacob’s “strange look” hints that he sees Asher breaking unprecedented ground as an artist and isn’t sure how to react.
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En route to Vienna, Asher becomes ill. He is sick the whole time he is in Vienna. His thoughts are incoherent while there. He is back in New York by the end of July. A few weeks later, he goes to Provincetown to join the Kahns. “[Jacob] missed you,” Tanya tells Asher.
As he expected, Asher is unable to cope with Vienna—to the point that he remembers almost nothing of having been there. The nature of his illness is not explained. Feeling disconnected from his art and his home is literally a nightmare for him.
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At yeshiva, the registrar explains that the Rebbe has asked that Asher be enrolled in Russian, but Asher resolutely refuses to take the class. Rav Mendel Dorochoff asks to see him. He asks Asher about his college plans and brings up Russian again. Asher still refuses. Later, the Rebbe himself wants to see him. He tells Asher that sometimes, the Master of the Universe gives glimpses into his greater plan. He tells Asher that one of these glimpses is the promise of Asher’s future greatness. Asher will someday travel the world. For that reason, he thinks Asher should study Russian. The following fall, Asher enrolls in Brooklyn College and registers for a class in Russian.
Asher resists what he sees as the Rebbe’s meddling, which prompts another encounter with the Rebbe himself. The Rebbe reveals that he has greater insight into Asher’s gift than Asher has given him credit for, and is trying to prepare him to become a world citizen—and, as he’ll later find out, to be more useful to the Ladover community as well. Though Asher resists anything he perceives as interference in his passion, he also reveres the Rebbe and ultimately does as he advises, showing that his Ladover piety is real, not superficial.
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Asher continues painting and attending college and yeshiva. One day he and Jacob visit Anna Schaeffer’s gallery. As Asher admires the current exhibit, Anna tells him that his own exhibit will hang here in the spring. Asher is shocked. Jacob explains that he didn’t let Anna exhibit his work already because “a boy should not rush to make his soul naked.” He later tells Asher to be happy; these are the good times in an artist’s life. That winter, Jacob comes and selects the pieces that will be included in the show. He insists on including two nudes, because these have been important in Asher’s artistic development. Asher, he says, must “enter in truth or you will not enter at all.”
Asher has matured to the point that Jacob believes he’s ready for his first public exhibition. Asher has been so focused on creating art that this comes as a genuine shock to him, showing that art, not fame, really is his object. The inclusion of the nude paintings will inevitably lead to controversy with Asher’s community, and Jacob knows this, too. Jacob’s point is that Asher must be true to who he is as an artist, or he it’s not worth presenting himself publicly as an artist at all.
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That spring, the show is “a moderate success.” Asher stares at “all the years of [his] life summed up on the walls of a gallery” and then watches as some of these disappear by the end of the show. The show is kindly reviewed, except for one critic who calls Asher a fraud, with “a menacing affinity for Picassoid forms.” Jacob Kahn is amused by this expression.
Asher has his first taste of selling his art and of being critically reviewed. Though the experience is bittersweet, he is coming into his own as an artist, showing that Jacob’s investment in him—and the Rebbe’s foresight in putting them together—has been worthwhile.
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The following spring, Asher has another successful show. His father finishes his work abroad and is reassigned to work in the Ladover building. His parents move back into their old Brooklyn apartment. Asher moves back in with them, but there’s not enough space in his bedroom for him to paint. His father suggests that he paint at Uncle Yitzchok’s house.
While Asher outwardly resumes life in his parents’ home, much has changed. Although his father’s suggestion is a pragmatic one, it’s also a rejection of Asher’s art; he doesn’t want Asher to pursue such work under his roof. Their conflict remains unhealed.