Herman Wouk obituary: Herman Wouk Legendary Best Selling Author Dies At 103

Herman Wouk obituary: Herman Wouk Legendary Best Selling Author Dies At 103, ‘The Jackie Robinson Of Jewish-American Fiction,’ Dies At 103

Herman Wouk, who died Friday at the age of 103, was an Orthodox Jewish author whose literary career spanned nearly seven decades and who helped usher Judaism into the American mainstream.

Wouk was the author of two dozen novels and works of nonfiction, including the Pulitzer Prize-winning “The Caine Mutiny” from 1951, which was a fixture on best-seller lists for two years, and the best-selling “Marjorie Morningstar” from 1955. Both books were later adapted for the screen. His novels “The Winds of War” and “War and Remembrance” both became successful television miniseries. By the mid-1950s, Wouk’s popular and financial success as an American Jewish novelist was unmatched.

Born in the Bronx borough of New York City on May 27, 1915, Wouk was the second of three children of Esther and Abraham Wouk, both immigrants from Belarus. Abraham Wouk began work as a laundry laborer and found financial success in the laundry business. Herman spent his early years in the Bronx receiving basic Hebrew training from his grandfather. His childhood included the teasing and bullying that was common for bookish boys in rough neighborhoods.

Even more unusual for a writer of Wouk’s celebrity was his Orthodox observance and treatment of Jewish religious practice in his writing. Wouk embodied the new postwar possibilities for American Jews and his writing was both cause and effect of the normalization of Judaism within the larger American Judeo-Christian tradition.

When he appeared on the cover of Time in 1955, the magazine described Wouk’s blend of worldly success and Jewish religious observance as paradoxical.

“He is a devout Orthodox Jew who had achieved worldly success in worldly-wise Manhattan while adhering to dietary prohibitions and traditional rituals which many of his fellow Jews find embarrassing,” the article said.

At the time, Wouk’s fame seemed like an incredible feat for an Orthodox Jew. Unlike other Jewish novelists, who had focused on Jewish immigrant culture and tended to portray religious Judaism as foreign and exotic, Wouk made Jewish religious observance appear mainstream in his books. Scenes of a Passover seder and a bar mitzvah service became scenes of middle-class American life in “Marjorie Morningstar.”

None of this escaped criticism. With the exception of “The Caine Mutiny,” critical reviews of Wouk’s works were typically mixed. Both Jewish and mainstream reviewers expressed dissatisfaction with the quality of his writing, his conservative outlook on politics and sex, and his treatment of Judaism. Some rabbis even criticized Wouk for mocking Jewish observance — though in the coming decade, Philip Roth’s fiction would radically change their perspective on what counted as literary denigration of Judaism.

Meanwhile, fellow Jewish novelists like Roth, Saul Bellow and Norman Mailer viewed Wouk as conforming to middle-class American values that prioritized marriage, family, religion and service to country. Not only did he stay married to the same woman for more than six decades, but Wouk expressed pride in his military service, for which he received a US Navy Lone Sailor Award. Wouk in turn saw the others as bowing to fashionable literary trends of rebellion and shocking readers.

From his debut novel, “Aurora Dawn,” in 1947, to his last book, “Sailor and Fiddler: Reflections of a 100-Year-Old Author” — published in 2015 when he had reached a century — Wouk wove themes central to the American Jewish experience throughout his work. Even “The Caine Mutiny,” a less Jewish novel than later works, included Lt. Barney Greenwald, who gives a moving speech in defense of a lieutenant who helped keep Greenwald’s Jewish mother from being “melted down into a bar of soap” by the Nazis.

Set in the 1930s and ’40s, Wouk’s fourth book, “Marjorie Morningstar,” heralded a new era for American Jews. The novel followed the journey of a New York Jewish protagonist no different from any other bright and beautiful girl, an image further cemented by Natalie Wood’s portrayal of Marjorie in the 1958 film version.

Not since the 1927 film “The Jazz Singer,” starring Al Jolson, had a movie shown Jewish religious scenes.