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Among the similarities Campbell
cites are the struggle for acceptance,
the struggle to assimilate, the struggle
bb
for economic empowerment, as well as
strong :, reliaious
beliefs and a mutual
b
outsider mentality.
Where that commonality ends is at
the color line. In racist America, Jews
as white people are clearly at an advan-
tage, which underscores some of the
reasons for the enmity, Campbell says.
The perceived similarities between
the Jewish struggle and black struggle
invite a for of comparison and compe-
tition, Campbell admits, likening it to
a sort of sibling rivalry.
The author notes that the betrayal
that severs the relationship between
the Jewish woman and the black
woman in her book mirrors the
schism that has splintered former allies

with the word "nigger," which she
nonetheless uses in keeping with her
characters.
She also admits that the aforemen-
tioned aspersion about Jews is a gener-
al perception in the African-American
community as well as in the world at
large, and that our culture in general is
shaped by these negative terms.
Much of the book is about the pur-
suit of money, entrepreneurship and
the desire for a piece of the pie long
denied to African Americans.
And though there have been many
Jewish giants in the cosmetics industry
— the setting of Campbell's story —
she is quick to point out that one of
the earliest African-American fortunes
was started by a black woman in the
beauty business. "It's been a way for
black people to climb the economic
ladder," notes the author.
What the writer most
admires about her primary
Jewish character, Gilda, is
her survivorship. "Here's
this woman who was pret-
ty much a [coddled] mid-
dle-class child [in Europe],
expected to do 'girl' things
and not be a striver. What
she got out of this tortured
Holocaust experience was
this tremendous urge to
survive and the fight in
her she didn't know she
possessed."
Campbell acknowledges
that her novels are her
therapy through which
WHAT YO U OWE ME
she works out her own
anger and grudges. " I
may not be courageous,
— blacks and Jews — in real life.
but I can make my characters coura-
"I wanted to create a very vivid
geous and learn from their courage,"
break between two friends that people
she says.
could just take at face value. The way
The message for Jewish readers is no
it appears to Hosanna (the black char-
different than for black, white, male
acter) is that Gilda (the Jewish charac-
and female readers, she stresses. "We're
ter) is completely in the wrong, and
all human beings, we've all had our
there is no forgiveness. She passes
struggles and we all have our wounds.
down this anger to her children."
"If you open yourself to other peo-
While it can be argued that
ple and to healing, to the gift that
Campbell's story is simplistic and far
other people can bring you, you'll be
removed from reality, its message of
that much further along in your own
reconciliation and redemption is a
process of healing." El
valid and heartfelt one.
In the book, one black character
says to another black character —
Bebe Moore Campbell appears in
though both are pillars of the black
Detroit Thursday, Sept. 6, at two
business community — "Maybe you
locations: 12:30 p.m. at
can Jew him down."
Waldenbooks at the Renaissance
When the author is questioned
Center, Suite 1, (313) (259)-
about this derogatory reference that
8263; and 6 p.m. at the Apple
seems out of keeping with the even-
Book Center, 7900 W. Outer
handed tone of the rest of the novel,
Drive, 313-255-3221.
she likens its usage to her struggle

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69