The four stories included in Bloodshed, and Three Novellas were written between 1964 and 1974; during this time, Ozick finished the novel Trust (1966) and moved increasingly into writing shorter fiction. As she states in the preface to this collection, Ozick believes “that stories ought to judge and interpret the world.” Because of her deep respect for Hebraic law and tradition, Ozick’s fictions express the anxiety that creative writing is a variety of idolatry; her challenge is to write a morally acceptable story. To achieve this goal, she exposes the deceptions behind the magical lure of fiction. For Ozick, these temptations are gender-neutral.
“A Mercenary” and “Bloodshed” provide a dual investigation of the battle between paganism and monotheism. The doubling effect is evident in the description of the childhoods of the main characters: Ngambe had a happy boyhood running in the lush forests of his homeland, but Lushinski was forced to flee into snowy woods from Polish peasants who would deliver him to the Nazis. Both men view Europe as savage and dangerous. Ngambe’s choice of paganism, however, indicates an affirmation of his tradition. On the other hand, Lushinski rejects his identity as a Jew. To screen himself through fiction, Lushinski makes his childhood a talk-show topic, managing to convert his Polish forest escape into an exaggerated slapstick. Underscoring Ozick’s concern with the re-creation of existing stories, several key episodes in Lushinski’s tale are obvious references to Jerzy Kosinski’s The Painted Bird (1965). Nothing about Lushinski the storyteller is certain except his rejection of his tradition. When severing relations with Lushinski, Ngambe chooses the most potent weapon, the retelling of a story, to name...
(The entire section is 735 words.)