I am intrigued by the idea of the Shlemiel (as described by Hannah Arendt in some of her Jewish essays from the late 1940s; we read some of these in RN339, our class on the “modern Jew.”) This seems to describe the bigotted counter-type Sarah stages. I am not sure what it suggests that she calls this character “Sarah Silverman,” almost as if to stage herself as a target: how far can I push this act until the actor and the act become inseparable? A kind of desire for martyrdom and victimhood? A particularly Jewish masochism? — What would Sander Gilman say?
The Character “Susan Silverman”