#1,030: From Melting Pot to Salad Bowl
Although now largely forgotten, in his day, the Anglo-Jewish writer Israel Zangwill (1864-1926) was considered “the Dickens of the Ghetto.” A prodigious author of novels, plays, and essays, the vast majority of Zangwill’s oeuvre of nearly 190 works, is, unbelievably, still in print nearly a century after his death. In addition to penning one of the earliest “locked room mysteries,” 1892’s The Big Bow Mystery (filmed thrice, the most famous being the 1946 picture The Verdict starring that most unique of all cinematic pairings, Sydney Greenstreet and Peter Lorre), he also wrote a series of ghetto novels and short-stories with titles such as Children of the Ghetto, King of the Schnorrers, Dreamers of the Ghetto, Ghetto Comedies and Ghetto Tragedies. Zangwill’s literary brilliance lay in his ability to take a time, a place and a people - Jewish immigrants living and surviving in the ghettoes of Victorian England - and make them universally understandable to a largely non-Jewish reading public.
Zangwill also penned several plays that eventually made their way to both Broadway and Hollywood. Among the best-known were Merely Mary Ann, Children of the Ghetto, and most notably of all, The Melting Pot, which opened at Broadway’s Comedy Theatre on September 6, 1909 and ran for 136 performances (quite respectable in the early 20th century). As a sign of just how popular and successful a writer he was, on October 5, 1908, the night The Melting Pot opened at the Columbia Theatre in Washington, D.C., he was accompanied by no less a personage than President Theodore Roosevelt, who was heard above the applause at play’s end shouting “THAT’S A GREAT PLAY, MR. ZANGWILL.!”
1916 performance of Zangwill’s play
Those who are widely read, know that Zangwill’s The Melting Pot is, in its own way, an update of Shakespeare’s Romeo and Juliet. This time, instead of the feuding families coming from a medieval Italian city, the lovers (David and Vera) are from Russian Jewish and Russian Cossack families. David emigrates to America in the wake of the 1903 Kishinev Massacre (pogrom) in which his entire family is killed. He composes a great symphony called “The Crucible” expressing hope for a world in which all ethnicity has melted away, and falls in love with a beautiful Russian Christian named Vera. The dramatic peak of the play is the moment when David meets Vera's father, who turns out to be the Russian officer responsible for the annihilation of David's family. Vera's father admits his guilt, the symphony is performed to accolades, David and Vera agree to wed, and kiss as the curtain falls.
Towards the end of Act I (the play has 4), Zangwill proclaims through David, the immigrant composer, America is God’s Crucible, the great Melting-Pot where all races of Europe are melting and re-forming! . . . . A fig for your feuds and vendettas! Germans and Frenchmen, Irishmen and Englishmen, Jews and Russians . . . into the Crucible with you all! God is making the American.
Zangwill’s political, philosophical and emotional attachment to the melting-pot view of America is best expressed in a brief colloquy between David and Vera in Act IV:
David: [exalted by the spectacle of thousands of immigrants arriving in New York Harbor] There she lies, the great Melting Pot . . . listen! Can’t you hear the roaring and the bubbling? There gapes her mouth [He points east] . . . the harbor where a thousand mammoth feeders come from the ends of the world to pour in their human freight. Ah, what a stirring and a seething! Celt and Latin, Slav and Teuton, Greek and Syrian, black and yellow . . .
Vera: [Softly nestling to David] Jew and Gentile.
David: Yes, East and West, and North and South, the palm and the pine, the pole and the equator, the crescent and the cross--how the great Alchemist melts and fuses them with his purging flame! Here shall they all unite to build the Republic of Man and the Kingdom of God. Ah, Vera, what is the glory of Rome and Jerusalem where all nations and races come to worship and look back, compared with the glory of America, where all races and nations come to labour and look forward! Peace, peace, to all ye unborn millions, fated to fill this giant continent--the God of our children give you Peace.
For years, this concept - e.g. the Melting Pot - was, for the most part, at the center of the American ethos; when people reached the “new world,” their history, ethnicity and language entered the melting (or “smelting” as Ralph Waldo Emerson called it) pot and fused into a new creation: the American. But increasingly, this concept has fallen by the wayside in favor of either the “salad-bowl” or the “pizza pie.” Why? In order to answer this, one must first understand what the smelting (or melting) process entails: applying tremendous heat and a chemical reducing agent to an ore to extract a desired base metal product. It is a form of “extractive metallurgy” that is used to obtain many metals such as iron, copper, silver, tin, lead and zinc. It is impossible to locate any of the original constituent ingredients within a melting or smelting pot; it is an altogether new metal.
A salad bowl (or pizza pie) is a totally different construct: a singular entity in which virtually all the main ingredients are still easily identifiable. In a salad, the tomatoes, radishes, olives, cheese crumbles etc. are all distinguishable, just as the mushrooms, onions and pineapple chunks (ugh!) visibly sit atop the cheese(s) and tomato sauce in a pizza pie. Salads and pizza pies are the essence of diversity . . . a sort of gastronomic E pluribus Unum (“Out of many comes one”) or comestible DEI (Diversity equity and inclusion) . . . although over past year or so, I’ve come to the conclusion that it really stands for “Donald’s Embarrassing Idiocy”).
Inside the lower pedestal of the Statue of Liberty, there is a bronze plaque containing a sonnet (“The New Colossus”) composed by the poet and activist Emma Lazarus. Lazarus (1849-1887) was a member of one of the oldest Jewish families in the United States, her earliest ancestors arriving on these shores in 1654 aboard the St. Catrina, known to history as "The Jewish Mayflower.” Her Petrachan sonnet, written in 1883, expresses the “melting pot” concept that Israel Zangwill would popularize a quarter century later. The most oft-quoted of Lazarus’ 14-line poem are its last 5:
"Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!"
For as long as there has been an America, there has been an underpinning of racism, xenophobia, homophobia and various exclusionary practices. Although not springing from the soil of the nation, it has existed, its targets being - depending on the time and place - natives, Catholics, the Irish, Chinese, Jews, Italians, women and today, Muslims and people of many different colors. This is not a repudiation of the melting or smelting pot; rather it is the rejection of the salad bowl. In 2024, a minority of the voting public elected a president who pledged to “Make America Great Again” by deporting millions upon millions of people whom he claimed were “murderers,” “drug-dealers,” “terrorists” and “rapists” . . . the “dregs of humanity.” Or to put it another way, he promised that from hereon in the American salad would “once again” consist of nothing but lettuce . . . read “White Christians.” In the eyes of many, this has long been the American Dream. In the eyes of – hopefully – many more, this has never been the dream. For everlasting dreams cannot and must not be based on illegal actions . . . such as deporting people without benefit of a hearing or a trial.
“Real Madrid” Tattoo
Just this past week, Jerce Reyes Barrios, a former professional soccer player from Venezuela, was spirited away by members of ICE in California, where he was awaiting his asylum hearing and flown - along with 200 other, mostly Venezuelan refugees - to the notorious CECOT, El Salvador’s mega-prison for gang members. On what basis did the Department of Homeland Security (DHS) determine that Senor Barrios, who came to the U.S.-Mexico border legally through the CBP One app in September 2024 determine that he was a Tren de Argua (TdA) member? By a tattoo of a crown sitting atop a soccer ball with a rosary and the word “Dios” (God), which DHS decided was ink associated with the notorious Venezuelan gang. According to Senor Barrios’ attorney, "In reality, he chose the tattoo because it is similar to the logo for his favorite soccer team, “Real Madrid.” The attorney, Linette Tobin rejected the idea her client was a gang member and said he had fled Venezuela in early 2024 after being detained at an anti-government demonstration by security forces and "taken to a clandestine building where he was tortured.” He has neither been seen nor heard from in the past week. All this without benefit of due process . . . another “carrot” . . . or "cucumber” or "mushroom” wrenched from the "salad.”
Pete Hegseth
(When it comes to tattoos which should get you deported [or at least tossed out of your current position] how about DOD secretary Pete Hegseth’s “Jerusalem Cross” ink, which has a long, long history in Christianity going back to the Crusades, but has lately been co-opted by some far-right groups as a symbol of the fight for Western civilization? Or his tat with an AK-47 beneath the American flag? If he was a Muslim, he would likely be shipped off to CICOT in the middle of the night. But he is a Christian Nationalist and former FOX celebrity, so I guess that makes him fit for sitting atop the DOD
Hegseth, who has called for an “American Crusade” against the “internal” and “domestic enemies” of the U.S. and Israel, was nominated to his position by a President and Commander-in-Chief who is publicly itching to deploy that military throughout the United States. Who will save the people of the U.S. from an internal crusade of a military that already has an extremism problem? Hegseth is a Christian Nationalist who believes that Islam is a natural, historic enemy to the West and has lamented growing numbers of American Muslims. For Hegseth, his boss and oh so many MAGAites, this is the “Melting Pot” they are working for . . . even if they’ve never heard of Israel Zangwill or Emma Lazarus.
One positive thing we’ve learned over the past week is that public outcries can occasionally cause the MUMP regime to reverse course in rewriting history . . . in removing everything in the “salad bowl” save the utterly bland and tasteless lettuce. Case in point: a couple of days ago the Pentagon deleted from its website pages highlighting Black veterans such as Jackie Robinson, the Tuskegee Airmen, the Navajo Code Talkers of WWII, Vietnam-era medal of Honor recipient Maj. Gen. Charles Calvin Rogers as well as the Japanese American 422nd Combat Regiment. After a vast public roar against the deletions, the Pentagon restored most of the pages. Let this be a lesson to us all: speaking in a loud, unified voice, making our thoughts public and feelings well-known can be more powerful than a clenched fist.
In a few hours, we will be dining on a large Caesar Salad with chunks of baked Salmon . . . a perfect symbol of what America should be.
Copyright©2025 Kurt Franklin Stone