In the Vancouver Jewish community’s Upper Galilee Partnership Region, thousands of residents have been evacuated. Funds raised here will provide emergency preparedness funding, which will be directed to strengthening preparedness with emergency war rooms for community centres. A week’s worth of food and other necessities will be delivered to vulnerable families in Kiryat Shmona in the event of an attack.
The initial transfer of $2.1 million from the $15 million raised by the Jewish Federation of Greater Vancouver’s Israel Emergency Campaign has gone to the following programs:
Jewish Agency for Israel Victims of Terror Fund provides immediate grants to assist victims within 48 hours of their homes being damaged by rocket fire, as well as long-term rehabilitation grants to allow those impacted by terrorism to receive the post-trauma care they require.
Respite for Olim Living in the South provides a five-day respite period for 2,000 olim, newcomers to Israel, from absorption centres in southern Israel, so they can sleep through the night without fear of running to shelters. Olim who do not want to leave their homes can benefit from respite activities within the absorption centres, including entertainment and educational programming for children and teens to take their minds off the current situation temporarily and allow parents a few moments to themselves to address their own needs.
Joint Distribution Committee Support for Disabled Populations of the South delivers services for people with disabilities, including a designated hotline staffed by psychologists and social workers.
Israel Trauma Coalition Direct Mental Health Care provides immediate, direct care to minimize the number of people who suffer from post-traumatic stress disorder. In addition to providing their usual crisis care, ITC is supporting bereaved families, families of the missing and abducted, and injured individuals and their families.
Israel Association of Community Centres Emergency Financial Aid funds community centres in two southern communities to help them meet needs such as buses to evacuate residents, day outings to amusement parks and nature excursions, overnight retreats, purchasing of emergency and medical equipment and provisions, electricity generators, recreational equipment for children, food parcels, diapers, toiletries, and more.
Dror Israel Evacuated and Hospitalized Teens and Youngsters offers therapeutic and educational programs for children and families in Rehovot, Ashdod, Kiryat Gat and Ashkelon, with more locations opening as soon as it is deemed safe. Daycare for children of hospital workers, day camp activities at hospitals for kids ages 3-12, as well as in-person and online programming are offered. Dror Israel is working with communities in which it is already embedded and with whom the counselors already have established trusting relationships.
Kedma Southern Student Communities works with mental health professionals to provide on-the-ground support to the shattered communities of the south and brings students there together as a community. This includes support and informal programming to fortify community resilience and minimize risk of post-traumatic stress disorder. Funds will support 10 communities over three months.
United Hatzalah Protective Gear for Volunteers and Helpers will receive funding for 40 protective gear units for 40 first responders.
Shalva – Supporting Disabled Residents of Southern Israel is assisting more than 1,000 evacuees with disabilities from southern Israel, who are expected to arrive at the Shalva National Crisis Response Centre over the coming days. Funding will ensure they have the clothing, medications and supplies they need, while providing them with the social services support they require to process the recent trauma.
Beit HaLochem – Supporting Veterans from Southern Israel supports senior veterans suffering from post-traumatic stress disorder as well as newly injured veterans.
Federation will continue to monitor the evolving situation and needs in Israel to prioritize the next round of grants.
Artists of Ballet BC and Arts Umbrella practise Shahar Binyamini’s BOLERO X. Part of HERE, which runs Nov. 2-4, the work brings 50 dancers on stage for the first time in Ballet BC history. (photo by Marcus Eriksson)
Ballet BC begins its season Nov. 2-4 with HERE, a diverse program that includes two new works from choreographers who have never worked with the company before, and the return, by popular demand, of Enemy in the Figure by William Forsythe.
“Each work stands on its own, and there are no common themes, so to speak,” Ballet BC artistic director Medhi Walerski told the Independent. “It invites audiences to create their own narrative and interpretation, allows for personal engagement, and invites them to explore the scope of human connection and expression.”
One of the new works featured is the world première of Israeli choreographer Shahar Binyamini’s BOLERO X.
“I have been following Shahar’s work for awhile, and I was eager for both the company and the audience to immerse themselves in his distinctive style and choreographic language,” said Walerski.
It will be the first time Binyamini is presenting his work in North America, Walerski added, “and it is a privilege that he has chosen Ballet BC for this special occasion.”
BOLERO X brings 50 dancers to the stage – the most in Ballet BC history.
Of the logistics, Walerski said a multitude of factors come into play. “Scheduling is at the forefront, both in the studios and at the theatre. Fortunately, we’re collaborating with Arts Umbrella Dance, sharing a common vision of turning the impossible into reality.
“On the production side, the costume department is putting in tremendous effort,” he said. “Led by our dedicated head of wardrobe, Kate Burrows, our incredible team is going the extra mile to bring that vision to life. Our rehearsal directors are navigating a new experience of rehearsing many dancers at once, and they are doing this brilliantly. It shows the professionalism and dedication of our remarkable team.”
Binyamini returned to Vancouver to work with the company this week. It is important that such performances continue, even when there is a war going on “because the arts and creation are amazing bridges in order to build trust,” he said. “What we see happening could easily happen anywhere else and be used as inspiration for other conflicts to accelerate in the same direction. The crime against humanity is the destruction of trust and, in order to build trust, you need to create channels into humanity. Dance could be a very important vessel or tool to connect people. And this is what gives me the motivation to be here and working. Because what I do is important, especially now.”
“Art has this unique power to breathe life into the world, and it brings vitality into our everyday lives,” said Walerski. “It is an incredible force that transcends boundaries. It has this magical ability to bridge gaps between people, regardless of geographical or cultural differences. It’s like a vibrant thread weaving through the fabric of humanity, connecting hearts and minds. It brings a sense of unity and shared understanding, nurturing a profound connection among individuals who might otherwise seem worlds apart.”
The press material for BOLERO X says “the creation explores themes of unison and repetition, while still allowing for individuality and stand-out solo and duet performances.”
“I’m focusing more and more on the dancers’ uniqueness in relation to the large group,” said Binyamini. “There is unison, but individuality within that unison. Here at Ballet BC, I find I can explore more the individual aspects and solos. These dancers are so generous and they give you everything – all they have. It’s very rewarding.”
Maurice Ravel’s 1928 composition, Bolero, “is very repetitive, obviously, the melody itself, but the orchestration brings more layers,” Binyamini explained. “A long crescendo of something getting more intense has been very present in my work previously. It’s what turns me on. So, when I started working with Ravel, I tried various works, but got fixated on this and it felt like it really fit. It allowed me to focus on something I was already into, but gave me the anchor and licence to clear out all the unnecessary thoughts or feelings. I decided to just focus on the musicality and the playfulness, which allows the dancers to stay playful.”
Binyamini was not at all daunted by the challenge of having 50 dancers on stage.
“I felt and still feel how much of a force it is to react to, and to say yes to. To have a dialogue with 50 dancers is such a powerful thing in the studio and it enables me to be in the moment, especially with all the other things going on in my life,” he said. “I feel very comfortable working with a lot of people.”
Ballet BC artist Sidney Chuckas at work in the studio ahead of the season opener HERE. (photo by Marcus Eriksson)
The other new creation – and world première – being presented in HERE is Stephen Shropshire’s Little Star. Originally commissioned by former Ballet BC artistic director Emily Molnar, its trip to the stage was delayed by the pandemic.
The inspiration for Little Star was composer Angelo Gilardino’s “cycle of guitar variations based upon ‘Ah vous dirais-je Maman,’ a popular children’s song originating in 18th-century France and adopted for the English-language lullaby ‘Twinkle, Twinkle, Little Star,’” explains the press release. “Shropshire’s movement language for the creation is dynamic, beginning with themes suggesting something child-like and playful, before evolving into something more intricate and complex.”
Rounding out the HERE program is Forsythe’s Enemy in the Figure, which was mounted by Ballet BC in 2018. Set to music by Thom Willems, the work involves improvisation, which means that each performance is different.
“Dance can tell a universal story, like music,” Binyamini said. “I think it’s very challenging to tell a story based on movement, but, when doing it correctly, it’s very effective and has the potential to go much deeper than words, because it’s something we all have in common. We can all relate to physical effort, and have empathy for someone that is moving. You can connect to that energy. To be able to tell a universal story through movement is a big challenge, but very satisfying.”
HERE takes place Nov. 2-4, 8 p.m., at the Queen Elizabeth Theatre. Tickets, starting at $19, are available at balletbc.com.
“Shabbat Saskatchewan,” by Esther Tennenhouse. Part of Otiyot (Letters), a joint exhibit with her son Joel Klassen, which is now at the Zack Gallery.
Colourful and playful, dark and ominous, Esther Tennenhouse’s artwork is engaging and thought-provoking, as she offers her take on Torah and midrash, immigration and language, orthodoxy and modernity. Otiyot (Letters), an exhibit she shares with her son Joel Klassen, opened at the Zack Gallery last week.
Tennenhouse’s sense of humour, curiosity, imagination and sincerity come through in the work on display, and in her responses to questions about the exhibit.
“Ot means ‘letter’ (of the alphabet) – it also means ‘sign’ and ‘signal,’” she told the Independent. “It was my first choice of name for the show: Ot – Starring the Letter Shin. Sounds like ‘ought,’ as in ‘thought.’ Ot was visually terse (and sounds adorable). That was why it was Ot in [the] JCC program book – I had to provide that bit before these pieces were made! Yikes! But it got changed to the longer plural in Hebrew and lost its zap. More truthful, though, as I have so many (too many) words of explanation on the wall beside each piece.”
All the works were made specifically for the exhibit, said Tennenhouse, “only for this place, for anyone who happens to walk into the JCC,” where the Zack Gallery is located.
“I was driven by my own relationship to the alef-bet: me, a quite secular, second-generation, Winnipeg-born Jew living in Vancouver, of prairie-born parents, who learned my aleph-bet as a child, quite long ago. I think many like me, with my sort of education, walk by these gallery doors, so I thought they might wander in and relate.”
Born and raised in Winnipeg, Tennenhouse went to Talmud Torah there from age 4 to 11, then to public school. She earned a bachelor’s in English and, while working at the Winnipeg Free Press, majored in sculpture at the University of Manitoba School of Art.
She moved to Aklavik, in the Inuvik region of the Northwest Territories, and then to Yellowknife, where she learned about ceramics at the Yellowknife Guild of Arts and Crafts. She later worked with translucent clays.
Moving with her family – husband Ron, son Joel and daughter Timmi – to Vancouver in 1995, Tennenhouse found a home at Or Shalom, participating in the Talmud and Torah study offered there, reengaging in Jewish education after a break of some 45 years.
Klassen also attends Or Shalom. His art background includes having drawn at home and working with painter Sylvia Oates – who he describes as a mentor – in her Parker Street studio. Klassen has had a one-man show in artist Noel Hodnett’s Parker Street studio, and he was in the Kickstart Disability Arts and Culture’s 2019 group show Nothing Without Us at the Cultch. For the past four years, he has attended the JCC’s Art Hive, which is facilitated by Kim Almond.
Klassen’s Hebrew letters and drawings are in five of the pieces at the Zack Gallery, said Tennenhouse.
“Making letters as individuals, each with their own character, was the most fun to do,” she said. “Jan Wilson, a friend and quilter, offered to help if I drew out the correctly sized letters backwards for transfer and picked the fabrics.”
The letters comprise eight of the works on display, and offer much to think – and smile – about. Klassen’s aleph is filled in with leopard print fabric, surrounded in black with a flowered border. The word “wild” comes to mind as one looks at it, not just the wildness of animals and nature, but of human beings. The piece is called “Aleph in the Garden.”
“Aleph in the Garden” by Esther Tennenhouse, Joel Klassen and Jan Wilson.
“I did not shy away from diversity,” said Tennenhouse. “It’s sort of an underlying element. I felt the show had to offer something to any individual, whatever their history with the alef-bet, and it deals with very well-trodden themes. I felt a need for an element of surprise, which is one reason why Joel’s aleph became a leopard in the garden (of Eden?).”
A last-minute addition to the depictions is one of the 12 new letters for gender-neutral word endings that were created by Israelis graphic designer Michal Shomer a few years ago.
“They appeared in welcome signs outside schools and on IDF buildings, etc., but the kabbalist idea of the power of the alphabet lives on – the new letters were vigorously rejected by religious factions,” said Tennenhouse. “‘Changing the letters removes any kedusha (sanctity) the words have or any ability the words have of channeling God’s energy into the world,’ said sofer Rabbi Abraham Itzkowitz. ‘This project essentially makes Hebrew like any other language.’ Some of the signs were taken down. Religious schools were forbidden to use them.”
That said, Tennenhouse told the Independent, “What first tickled me into this aleph-bet project was the poetry and passion of the ideas of the early mystics. They conceived of letters of the alef-bet existing even before the creation of the world – all 22 were vessels of the divine, all things were created by their combinations. Meditative/ecstatic kabbalah taught that individual letters were something to meditate upon, which led to ecstasy, one of the steps to sense of union with G-d. American calligrapher Ben Shahn, who titled one of his books Love and Joy About Letters, quotes the 13th-century Rabbi Abulafia, who said the delight in combining letters is like being carried away by notes of music.”
Tennenhouse and Klassen’s “Shir” (song, poetry, chant, in Hebrew) is truly delightful, like a page out of a children’s book. A multimedia piece, it depicts several animals and the sounds they make, both in Hebrew and in transliteration, though the giraffe just “hum[s] at night.”
Two other works are striking, both on their own and in contrast to each other: Sinai 1 and Sinai 2.
Detail of “Sinai 2” by Esther Tennenhouse and Joel Klassen.
The latter features three bright yellow flowers, surrounded by green. “It is a triangle canvas which is about the mountain bursting into bloom when Moses came down with the Ten Commandments – this was a midrash from the 1500s. The triangle has flowers by Joel. I asked him to put flowers on it, envisioning little flowers here and there – he just went swoosh woosh on it.”
Sinai 2 is a vertical rectangle with whites, greys and blacks depicting a furious ball of activity on top of the mountain that includes the Hebrew letters.
“Sinai 1” by Esther Tennenhouse.
“The Torah tells of fear, awe, the shaking mountain, seeing sounds, lightning, Moses’ anger, the breaking tablets,” said Tennenhouse. “Looking back, I overburdened the canvas [with] anger, though laying on the 231 Gates – a diagram from the Sefer Yetzirah which shows each letter combining with each other letter of the alef-bet – because I see the story of the giving of the Torah as a sort of creation story for our intense embrace of literacy. The diagram relates to Rabbi Abulafia’s talk of combination of letters but distracts visually from the anger/violence, [the] mountain, fear.”
There is so much more in this exhibit.
“Cursive Handwriting: Kovno Testament” is a stark, unfinished work, featuring the words, written in his own hand, of Lithuanian writer Eliezer Heiman, who died in the Kovno ghetto during the Holocaust. It was to have three more samples of cursive, said Tennenhouse. “I left room for them before I put on the image of Heiman’s tablets. Those spaces stayed empty. Everything else edited themselves out because of what happened in Israel on Oct. 7.”
There is the multimedia triptych “Shabbat Saskatchewan,” which Tennenhouse said “is me trying to use real photos and documents to create some presence of my mother’s grandparents and parents.”
“It ended up being centred on great-grandmother Esther Dudelzak Singer, Baba Faige (Fanny) Singer and my mother with her sisters,” she said. “Yiddish was their mamaloshen (mother tongue) and the Sonnenfeld community was religiously observant.”
“The Owl and the Pussy Cat” adds colour and vibrancy to Edward Lear’s black and white drawing of his nonsense poem, the Yiddish translation of which – by the late Marie B. Jaffe – fills the two side panels of this triptych. Tennenhouse couldn’t find much information out about Jaffe, she said, “But, thanks to Eddie Pauls at the Jewish Public Library in Montreal, [I] learned she immigrated to New York in 1909 from Lithuania.”
Tennenhouse began to see the owl and the cat in their boat as sailors braving the rough seas, traveling around the world to find “Di Goldene Medine,” “the Golden Land,” America.
“You might say ‘Saskatchewan,’ too, is about leaving home, traveling across seas and finding a new place but keeping your language and culture,” said Tennenhouse.
Otiyot (Letters) is on display at Zack Gallery until Nov. 12.
Composer Rita Ueda has written an opera inspired by Barbara Bluman’s book I Have My Mother’s Eyes. (photo by Danilo Bobyk)
“In light of what is happening in the news today, we need to tell the story of Chiune Sugihara and the Bluman family more than ever,” composer Rita Ueda told the Independent. “I suspect more and more world leaders, communities and individuals will be faced with the decision to either do the easy thing, or the right thing. We need to tell ourselves more stories of compassion, courage, healing and family love.”
Ueda’s chamber opera I Have My Mother’s Eyes: A Holocaust Memoir Across Generations premières at the Rothstein Theatre Nov. 18-19, as part of the Chutzpah! Festival. Directed by Heather Pawsey, the opera tells the story of Sugihara, the Japanese diplomat who risked his own life during the Holocaust to issue visas to Jews, including members of Vancouver’s Bluman family. Its title comes from the late Barbara Bluman’s book of the same name, which was published in 2009, five years after her death from cancer.
“I don’t think I fully knew why I wanted my mother’s book published … when I immersed myself in this legacy project,” said Danielle Schroeder. “Looking back, bringing her story and my grandmother’s stories to life brought me a lot of comfort and meaning as I grappled with the profound sense of loss her death brought…. Also, at the time it was published, stories about the impact of intergenerational trauma and resilience were not being written about that much in the mainstream, so I felt my mom’s book was unique in the way it interweaves and interconnects her and her mother’s stories of trauma, loss and hope. And, of course, being able to share with the world the story of courage, generosity and compassion of the Sugihara family was also important to me.”
Ueda found out about the Bluman family in 2017, through an installation at the Maritime Museum, and reached out to George Bluman, Barbara’s brother. She was moved by the intergenerational nature of I Have My Mother’s Eyes.
“Zosia [Susan] Bluman’s escape from the Holocaust is only a part of the story,” she said. “The story of how the next two generations carried on the family legacy affected me to the core. When George suggested I expand the opera to include the story of the three generations of the Sugihara family that saved them, I became compelled to create the opera!”
“I was very touched and honoured that such a well-respected Canadian composer would want to write an opera about my mom’s book,” said Schroeder. “Especially after meeting Rita in person and learning … how my mom’s book impacted her, it was easy to say ‘yes.’”
Ueda’s opera is inspired by Barbara Bluman’s book, rather than based on it.
“Opera is best suited to convey the characters’ emotional journey,” Ueda explained. “The opera covers all three characters from the book – Zosia, Barbara and Danielle – the three generations of the Bluman women, and their love for each other in light of all the events in their lives. Materials on the three generations of the Sugihara family were based on my two visits to the Sugihara family in Tokyo. Madoka Sugihara spent over five hours with me on each visit, and she showed me many photos and books. She let me play [her grandfather] Chiune Sugihara’s collection of sheet music on his piano, and she told me many family stories. I was truly moved by the two families’ journey of survival, healing, and love for each other.”
George Bluman shared a bit about the real-life people depicted: Zosia, Barbara and Danielle on the Bluman side and Chiune, Yukiko, Hiroki and Madoka on the Sugihara side.
Bluman’s mother was born in 1920 and died in 2004. “Her story, before coming to Vancouver in July 1941, comes to life in I Have My Mother’s Eyes,” he said. “In Vancouver, she worked as a salesperson/buyer in women’s clothing at Cordell’s and Jermaine’s. She was one of the founders of the annual Warsaw Ghetto memorial program, the forerunner of the current annual Yom Hashoah commemoration. Mum is featured in the 2000 PBS documentary Sugihara Conspiracy of Kindness, as well as in the Holocaust museums in Washington, New York and Los Angeles. She loved her family, hosting raucous weekly Sunday dinners for all, often including her children’s friends.
“My sister, Barbara Bluman (1950-2001), graduated from UBC Law School in 1975, among the first large class of women. She was an independent thinker and feminist who lovingly balanced raising her children and her career in law. Her commitment to human rights was demonstrated in all of her pursuits…. Her deep dedication to Holocaust understanding led to her contribution to the Gesher Project, a second-generation cultural exploration of the Holocaust, and organizing an important symposium on the Nuremberg trials.”
Bluman said that, from 1996 to 2000, his sister made notes from 19 interviews with their mother. “Excerpts from these notes formed the basis for her book,” he said, praising his niece’s efforts in getting the book published.
“Yukiko Sugihara (1913-2008) married Chiune Sugihara (1900-1986) in 1936,” said Bluman. “In 1993, my family first met her, together with her oldest son, Hiroki (1936-2002), and Michi (Hiroki’s wife) for a few hours at the Vancouver airport during a stopover on their way to a dinner in Toronto organized by Ontario Premier Bob Rae involving the Jewish and Japanese communities. There was a spontaneous outpouring of strong emotions. To me, in her demeanour, she was an empress! She knew no English and I no Japanese, but I felt what she was saying. My mum and Barbara attended the dinner in Toronto, where the principal guest speaker was David Suzuki.”
There were a few other encounters, and Bluman said he and his brother Bob have corresponded regularly with Madoka. “I have met her twice in visits to Japan,” said Bluman, noting that Bob joined him on the second visit.
“Madoka is a very gracious person and works passionately on making the world aware of the heroic legacy of her grandparents. According to Madoka, her grandmother Yukiko played a most essential role in the Sugihara story.”
Ueda’s opera is “especially meaningful,” said Schroeder, “because it brings my mother back to life and honours her in such a profound way.”
She added, “I wouldn’t be here if it wasn’t for the Sugihara family, so to see a piece of art be created that brings our family together is moving beyond words.”
Teiya Kasahara as Yukiko Sugihara and Barbara Ebbeson as Zosia Bluman in I Have My Mother’s Eyes, which is part of the Chutzpah! Festival. (photo by Flick Harrison)
It has taken seven years to get to this point – the opera’s première.
“George and Danielle have been wonderful to work with,” said Ueda. “They have shown me photos (which you will see in the production) and shared family stories with me. They also introduced me to the wonderful Sugihara family.”
Ueda shared “two fun facts”: George Bluman, an emeritus math professor at UBC, trained her brother, a former math professor himself; and she has received permission to turn Yukiko Sugihara’s Midnight Sun Songs, poems that chronicle her story as the wife of Chiune Sugihara, into a sequel to I Have My Mother’s Eyes. The world première will be in Tokyo in October 2024.
Ueda has been composing since she was a toddler. “My late mother was an opera singer, so I grew up in a household with music,” she said. “My early musical ‘scores’ were crayon drawings of picture-representations of the sounds I improvised at the piano. My very first composition teacher when I was 3 (who was about 95 at the time) encouraged me to improvise at the piano and to keep on ‘drawing’ scores in crayon colours, even though his own teachers in the 1880s were Helmholtz and Tchaikovsky. He also arranged for me to see many concerts and events with composers such as Steve Reich, Earle Brown and John Cage.”
The environment, human rights and other societal issues have inspired Ueda’s work. “People in the audience do not need to agree with what I say in my music, but I want them to use the experience as a catalyst for important community dialogue,” she said.
For Ueda, opera is the perfect medium for telling a story with a strong emotional content.
“Opera cannot deliver a blow-by-blow story like a TV drama, film or documentary,” she acknowledged, “but music combined with voice can speak to you at the deepest, most profound level. Through opera, I hope to tell engaging and relevant stories that are important to us – who we are, what we stand for, and what we believe in. European opera has had a history of elitism throughout the past 400 years, but recent Canadian opera productions have been changing this. I hope I Have My Mother’s Eyes will contribute to this change.”
Aren X. Tulchinsky is Vancouver Public Library’s new writer in residence. (photo by Jeff Vinnick / VPL)
As this year’s writer in residence at the Vancouver Public Library (VPL), Aren X. Tulchinsky proudly represents his two cherished identities as a transgender man and as a Jewish person.
“I bring all of my lived experience into the residency,” said Tulchinsky in a Jewish Independent interview. “I am out and proud as a member of the Jewish community and the LGBTQ2S+ community, and I bring my identities with me into the residency. I guess you could say this is a very Jewish and queer residency. The library has been very supportive of me.”
Tulchinsky wears his heart on his sleeve or, at least his right bicep, which is ringed with a tattooed chai in Hebrew letters. “We celebrated the launch of my residency with an evening of words and music, during which I read from new and previous work, and was accompanied by local klezmer musicians,” he noted.
The 65-year-old Toronto native is probably best known for the award-winning 2003 novel The Five Books of Moses Lapinsky, under his former name, Karen X. Tulchinsky, which evokes the 1933 antisemitic riot at Toronto’s Christie Pits park. He has had a varied career in film and television writing, editing and directing, and penning short and long fiction, including lesbian romance, notably the novel Love Ruins Everything.
Tulchinsky came out as lesbian as a teenager, and has been writing stories since.
Tulchinsky was named in September to the VPL post, which was launched in 2005 to promote Canadian literature. Among past resident writers are Miriam Libicki (jewishindependent.ca/drawing-on-identity-judaism), Sam Wiebe, Rawi Hage and Gary Geddes. Last year’s appointee was Black Canadian writer Harrison Mooney, author of the critically applauded Invisible Boy: A Memoir of Self-Discovery.
Tulchinsky, who lives in Vancouver, responded to the VPL’s call for applications and was shortlisted. “Then I was called in for an interview with about 10 people from the programs and learning department at the VPL central branch,” he said.
“It was a bit intimidating to be interviewed by a whole group of people, but I must have impressed them because, a few days later, the manager of the department phoned to let me know that they had chosen me for the position.”
Asked if he thought his being transgender was a factor in his selection, Tulchinsky replied: “Not really. The only way my identity as a transman was significant is that in the posting the VPL was encouraging writers from under-represented groups to apply.
“Judging from most of their past writers-in-residence, I assumed they would give the position to a more mainstream writer, so I have never applied in the past. Their encouragement for writers from diverse backgrounds … is what motivated me to apply.”
One of his chief responsibilities is acting as a mentor to emerging writers, in particular, those from marginal communities.
“It is my mission to encourage writers from marginalized communities, specifically, BIPOC, Indigenous and LGBQ2S+ writers, to attend my (free public) workshops and apply for a spot on my one-on-one consultation afternoons,” Tulchinsky explained. “I think Jews, People of Colour and queer and trans writers all have a lot to teach the mainstream world about our lived experiences. I want writers from under-represented communities to feel comfortable to come forward and let their voices be heard.
“Traditionally, Canadian literature has been dominated by white, straight, cis-gendered men (and a few women). We have a lot to catch up on. We all gain from a more diverse society and more diverse voices in Canadian literature.”
The residency will also allow Tulchinsky time for his own writing, principally, the first draft of a novel entitled Second Son, a family saga that draws on events in his own past.
The main character, Charly (formerly Charlotte) Epstein-Sakamoto, is a biracial, transgender man coming to terms with PTSD resulting from a tragedy that devastated his family decades earlier.
“The heart of the novel is based on my own journey transitioning from female to male, a child’s death in my family, and my experiences in a long-term, interracial, cross-cultural (Jewish-Japanese) relationship,” said Tulchinsky.
“Charly knows he’s a boy, even though his parents, his doctor, his teachers and all the other kids at school insist he’s a girl. When Charly’s brother (the first son and his only sibling) Joshua is killed in a tragic bike accident, his dad is so devastated he sinks into a deep depression, his mother begins an affair with her sister-in-law, and Charly finally begins to assert his true gender identity.”
Tulchinsky is also developing another novel, based on family stories and beginning in Russia in 1941.
“As I was writing the novel and researching the Holocaust, I started thinking about how many Canadians think the Holocaust began in 1939, with World War II, but the reality is the oppression of Jews by Hitler and the Nazis began years before the war, within days of Hitler becoming chancellor of Germany in January of 1933.
“I began writing another novel that begins in 1932, when Germany – Berlin in particular – was one of the most progressive places in the world. In Berlin at that time there were numerous gay clubs and cabarets, safe places for gay men, lesbians and trans people to gather, and the Jewish community was also thriving.
“That all changed overnight once Hitler came to power. I ended up with two new historical novels that I am still working on.”
Tulchinsky’s CV is lengthy, and one wonders how he has been able to be so productive.
“To be honest, part of my diverse career has to do with the fact that I found it impossible to survive as a novelist, even though I had numerous books published,” he said. “I am a graduate of the Canadian Film Centre in Toronto, which provides advanced training in film and television. Since then, I have worked as a writer and video editor on numerous television series. I have found it more possible to make a living in film and TV than I could as a novelist. The downside is I rarely have time to work on novels. This residency at the VPL is affording me time to write, which is a real gift.”
His advice to aspiring writers is be disciplined and tenacious.
“You need discipline to sit in a chair and write or you will never finish a novel. And you need tenacity to get your work published. Most writers get a lot of rejections before they find a publisher. Every time you get a rejection, just send your work out again,” he said.
Being Jewish and queer, Tulchinsky looks with growing dismay at what is happening today.
Twenty years ago, The Five Books of Moses Lapinsky reminded Canadians of a shameful history. It remains among the top 10 Canadian books ever borrowed from the VPL.
The Five Books of Moses Lapinsky follows a Jewish family living in Toronto’s Kensington Market in the 1930s and ’40s and is set against the backdrop of a massive antisemitic riot.
“On Aug. 16, 1933, at an amateur league softball game in Christie Pits park – a neighbourhood filled at the time with Jewish and Italian immigrant families – members of the antisemitic Swastika Club showed up with a giant swastika flag, which set off a riot between Jews and gentiles that involved 15,000 people and lasted throughout the night and is the largest race riot in Canadian history,” Tulchinsky said. “Unfortunately, with antisemitism, racism, transphobia and homophobia back on the rise throughout the world, the themes in the novel are just as relevant today as they were when I originally wrote the book.”
Tulchinsky thinks the current polarizing, often acrimonious, debate over sexual orientation and gender identity (SOGI) issues is “an effort on the part of the political right-wing to inflate the importance of cultural wars to distract people from the real issues we should be focusing on, such as climate change, wealth inequality and homelessness.
“I once saw a bumper sticker that read: ‘If you’re against abortion – don’t have one.’ I think it is the same when it comes to SOGI. If you are heterosexual and cis-gendered, you can either be an ally to the LGBTQ2S+ community and actively support us and fight for our rights, or you can leave us in peace.
“As an out and proud transman, I am just living my authentic life. And I hope I can serve as a positive role model to trans and non-binary kids who are struggling with their identity.”
Janice Arnold is a freelance writer living in Summerland, BC.
Kolot Mayim Reform Temple welcomes Dr. Joshua Grayson to speak on In Search of Lost Roots: How One Researcher Traced His Family Across Three-and-a-Half Centuries. The lecture will be presented on Zoom Nov. 5, 11 a.m., launching a new season of the Building Bridges speaker series on the theme of “L’dor V’dor: From Generation to Generation.”
Grayson has always been fascinated by family history and, thanks to research skills honed in a doctoral degree at the University of Southern California, as well as fluency in five foreign languages, he was able to trace one branch of his family history back to approximately 1660, and many other branches to the early 1700s. Through his research, he learned about the many contributions his family made in fields as diverse as science, art, medicine, feminism and Zionism. His efforts also led him to reconnecting with living relatives he never knew he had.
Grayson founded Lost Roots Family History, which is a website (lostrootsfamilyhistory.com), virtual museum and research service devoted to helping other Jewish families reconnect with their roots, discover their past, engage with the present and preserve their heritage for the future. On the theme of From Generation to Generation, he observed, “No matter how much things may change, something of the achievements of those who came before us – some piece of what they have built – will live on forever to inspire and educate future generations.”
Kolot Mayim’s Rabbi Lynn Greenhough added, “Many of us participate in what we call ‘Jewish geography,’ trying to establish long-lost connections with each other through familial ties. Some of us who have chosen Judaism can sometimes feel outside these geographical memories, but the information we receive from all our collective ancestors can inspire all of us to treasure what we hold today.”
Grayson’s online lecture will offer insights into the resources available for Jewish genealogical research, including archival records, immigration documents, letters, oral histories and digital databases. As well, he will provide guidance on how to navigate these resources, overcome obstacles and piece together the intricate stories of Jewish ancestry.
L’dor v’dor generally emphasizes the passing on of knowledge and experience from older to younger generations. This year’s Building Bridges series will expand the concept of l’dor v’dor as a reciprocal relationship, where learning can also be passed from younger generations to elders. Speakers will highlight the Jewish experience of resilience, survival and renewal across generations.
The 13th annual Shira Herzog Symposium, hosted by New Israel Fund of Canada, took place on Oct. 15. Originally intended to be a discussion about the challenges facing Israeli democracy, the topic was changed to Celebrating Defiance, in light of the Oct. 7 Hamas attacks on Israel.
NIFC president Linda Hershkovitz said the new focus was an opportunity “to comfort each other, to grieve and to hear how our community in Israel is responding to this moment.”
She said, “Today, we still gather to celebrate defiance – defiance against terror and extremism, against giving up hope, and against allowing violence to drive Jews and Arabs further apart.”
Opening remarks underscored that among the more than 200 hostages taken by Hamas was ivian Silver, a 74-year-old Canadian-Israeli activist for peace and women’s rights, known to many of those in the audience.
The main speakers at the symposium were Orly Erez-Likhovski, director of the Israel Religious Action Centre (IRAC); Eran Nissan, a peace activist and executive director of Mehazkim, a progressive digital group in Israel; and Amal Oraby, a Palestinian lawyer, human rights activist and member of the board of directors of Amnesty International Israel. Journalist Andrew Cohen was the moderator.
“I stand before you with a lot of fear, a fear that our lives will never be the same and a fear for the safety of my family, my friends in Gaza, Tel Aviv and Jerusalem. In Israel, there is no room for voices who seek to see the reality with open eyes and acknowledge the occupation, and to refuse making the same mistake and expecting different results,” said Oraby, who serves as NIF’s Arabic media coordinator and has written extensively for the Israeli media.
Nissan, who was a combat soldier in the special forces canine unit, said every time there is a flare-up of violence, it represents a setback for both Israeli and Palestinian societies which will, in turn, drive more anger, animosity and distrust.
“In the days since Oct. 7, we identified narratives that we needed to push through our social media platforms,” Nissan said when asked what his organization did immediately following the attacks. “We understood that the first days after such an event are a crucial time when the heroes and the villains are being chosen.”
The Israeli government, he said, was framing the narrative as a struggle between Jews and Arabs. His counter-narrative is to highlight stories of shared experiences and heroism, such as Bedouin truck drivers who risked their lives to rescue Jews from the Hamas attacks and paramedics in the Negev fighting to save lives while under fire.
“This not a popular time to talk about a shared society or about empathy,” said Nissan. “Civil society organizations have been under attack. The amount of hatred and incitement we see is horrific. What we are trying to do is boost our capacity to tackle the challenges that we have right now.”
“We are very concerned about the rise in racism and violence,” said Erez-Likhovski, whose organization aims to defend equality, social justice and religious pluralism in Israel and serves as the public advocacy arm of the Reform movement.
“It’s important to talk about the current feeling in Israel,” she added. “People feel they have been abandoned by the government and by the state. The feeling is that the state system is not functioning. It’s a direct result of this government bringing in incompetent people to any post possible. And it’s taken its toll over the past year.”
Since the attacks, IRAC has worked to help the people who were evacuated, assisting with food and clothing, and helping with pastoral care, among other services.
Oraby was not optimistic about the latest change in the Israeli cabinet: bringing in opposition leader Benny Gantz. He views it as a “war government,” not an “emergency government,” and pointed to a strong civil society as the way to deescalate the situation. “Where Israeli and Palestinian leadership have failed, the civil society is succeeding,” he said.
Nissan agreed that the current cabinet is only setting military objectives, adding that it is not considering what will happen following the conflict.
Erez-Likhovski also commented that the new coalition was not presenting any long-term vision of how to solve the conflict.
At the end of the discussion, Nissan acknowledged the gravity of what occurred on Oct. 7 in terms of Israeli history and its effects on the national psyche. His hope, he said, is that a new story for Israel can be written out of the pain, and the crisis the country is confronting.
The event was co-presented with ARZA Canada, Canadian Friends of Peace Now and JSpaceCanada. It was held at the Toronto Reference Library and on Zoom.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
Past recipients of a Courage to Come Back Award. (image from Coast Mental Health)
Nominations are open for the 2024 Courage to Come Back Awards, presented by Wheaton Precious Metals.
The purpose of the awards is to pay tribute to those who have overcome overwhelming challenges and now give back to their community. They are the hidden everyday heroes that deserve to be recognized and celebrated for their contributions to our communities.
This recognition goes a long way to encouraging these individuals to continue their efforts to inspire those around them. It also gives them a platform to further promote the causes or issues that are important to them.
They are our role models.
People like Rachel Goldman, who has faced a lifetime of chronic illness and pain with great courage and strength. She is an accomplished TV and radio producer, and has always volunteered within her community. Goldman hopes that, by sharing her story, her struggle can be a force for hope for others. (See jewishindependent.ca/beautiful-life-despite-illness.)
People like Dr. Barney Jr. Williams, a residential school survivor and person recovering from alcoholism. Williams has made it his life’s mission to help others overcome alcoholism and addiction.
Like Alex Sangha, who is gay, lives with a mental illness, and is from a South Asian community where stigma persists. Today, he has become an inspirational creator of safe spaces for the LGBTQ+ community.
Or Jodi Gray, a transwoman who overcame poverty, abuse, suicidal ideation and depression. She changed the narrative to create better solutions and systems of care.
The Courage to Come Back Awards not only recognize the lives of five remarkable people, but ensure that Coast Mental Health can continue to provide compassionate, meaningful support for anyone with the courage to come back from mental illness.
Coast Mental Health is one of the largest providers of community-based services for people living with mental illness in British Columbia. Each year, it provides essential services to 5,000 clients so they can find a meaningful place in their communities – a place to live, a place to connect and a place to work. To find out more about the programs and services offered, visit coastmentalhealth.com.
The Courage to Come Back Awards are given in five categories: addiction, medical, mental health, physical rehabilitation and youth. Award recipients will be recognized in person in front of more than 1,400 people at the Vancouver Convention Centre on May 23, 2024. They will receive media coverage and their stories will be shared on social media.
“As chair of the Courage to Come Back Awards, reading through the hundreds of nominations we receive every year is a moment I look forward to with great anticipation,” said Lorne Segal, president of Kingswood Properties Ltd. “All of them are true journeys of bravery, resilience and strength in the face of adversity. I am grateful to those that have the courage to share their stories with us.”
The deadline for nominations is Friday, Jan. 19, 2024. To nominate someone and find out more about the process, visit couragetocomeback.ca/nominations.
As an artist herself, Yvonne Singer can well appreciate the esthetic merits of the open-air monument to Swedish Second World War hero Raoul Wallenberg that was unveiled last June at Churchill Park in Hamilton, Ont., in a ceremony attended by those whose families owed their survival to Wallenberg.
Though she has not personally viewed the installation, called “Be:longings,” Singer spoke admiringly of the 10 bronze-cast suitcases dispersed along a gravel path adjacent to the Hamilton aviary. She knows Simon Frank, one of the project’s three creators, and is aware that suitcases are a potent symbol of the Holocaust.
“I like the fact that the suitcases are scattered,” Singer, a well-established visual artist and teacher in Toronto, said in an interview over lemon tea in her sun-drenched kitchen. “I think the imagery and symbolism are very effective in conveying the idea of displacement and emigration.”
The old-timey valises evoke not just Wallenberg, Singer noted, but all victims and survivors of that terror-stricken era. The outdoor project is also “minimal, which I like. I don’t like public sculptures that scream at you or are clichéd.”
Part of the “Be:longings” monument in Hamilton’s Churchill Park to Second World War hero Raoul Wallenberg. (photo from Hamilton Jewish Federation via Hamilton Jewish News)
Singer connects to the installation on a whole other level. The 78-year-old resident of Toronto’s trendy Cabbagetown neighbourhood is Wallenberg’s goddaughter. She was born on his bed.
It’s a Hollywood-worthy tale that evolved over time, in a series of eye-popping twists, turns and coincidences – all amid Singer’s own personal voyage of self-discovery.
The backstory is its own blockbuster: The non-Jewish scion of a wealthy Swedish industrial and banking family, Wallenberg, then just 32, was recruited by the US War Refugee Board and dispatched to Budapest to assist and rescue as many Jews in the Nazi-occupied Hungarian capital as possible. He arrived in July 1944, just as the Nazis had finished shipping some 440,000 Jews from the countryside to Auschwitz. They and their Hungarian collaborators, the Arrow Cross militia, now set their sights on the Jews of Budapest.
Accorded diplomatic status, Wallenberg famously set off on a frenetic pace. He designed, printed and distributed thousands of the famous “Schutzpass” – an official-looking document that placed the holder under the protection of the neutral Swedish Crown. He also scoured the city for buildings to rent, finding 32, and crammed in as many souls as possible. The “safe houses” flew the yellow-and-blue Swedish flag and were declared protected by diplomatic immunity.
Known for his bluster and bravado (and for bribes using American cash), his greatest coup came when he reportedly persuaded Nazi commanders to call off the liquidation of Budapest’s Jewish ghetto, with its 70,000 inhabitants.
The number of Jews Wallenberg is said to have rescued peaks at 100,000. He is credited with saving more Jewish lives during the war than any single government.
By January 1945, the Red Army was laying siege to Budapest, and Wallenberg was taken into custody on allegations he was a US spy. He promptly vanished into the massive gulag system. A Soviet report in 1956 dryly noted he had died in July 1947 of a heart attack in Moscow’s notorious Lubyanka prison, but supposed eyewitness sightings and stories of contact with him from former inmates continued well into the 1970s.
A nine-year joint Swedish-Russian investigation, ending in 2001, came to opposing conclusions, with Moscow sticking to its story about Wallenberg’s 1947 death, and Stockholm stating that absent any proof, it was impossible to reach a conclusion about his fate.
In 2012, the diaries of a former head of the KGB, discovered stuffed into the walls of his Moscow home, stated there was “no doubt” that Wallenberg was “liquidated” in 1947.
But back to Singer.
On the night of Nov. 3, 1944, a desperate Tibor Vandor, who worked for Wallenberg as a courier and liaison to the underground, needed help for his wife, Agnes. She was in labour and had been turned away from Budapest’s hospitals, which barred Jews. Wallenberg allowed the couple to use his own room, while he slept in the corridor using his coat as covers.
The next morning, he was called in to see a dark-haired newborn girl. Asked by the grateful parents to name her, Wallenberg chose Nina Maria Ava (Nina was his half-sister’s name, Maria his mother’s). The couple changed the first name to Yvonne, and Wallenberg agreed to be the child’s godfather.
Singer knew nothing of this until she was 34 years old.
It was October 1979 when she read an article in the Toronto Star, reprinted from a US newspaper, about Wallenberg’s plight. The story included a reference to Singer’s unusual birth, taken from a Hungarian book on the Swedish hero written after the war. The baby with the Toronto connection, the parents, the godfather, were all there, mentioned by name.
When she read the piece, “I burst out crying,” she told the Star after contacting the paper. Her story spilled forth a week later in a large Saturday article headlined “Swedish hero saved my life: Metro woman.”
Singer is still struck by “the incredible coincidence of it all. Here I am in Toronto in 1979, reading the paper … it boggles the mind. I could have easily gone through life not knowing the story. Suddenly, I had a connection to this man, who sounds like he was fascinating.”
Her parents had not told her the story. And there was another missing piece of the puzzle: their Jewishness.
At war’s end, the Vandors went to Switzerland and Holland before settling in Montreal in 1949, where they shed their Jewish identities, doubtless seeking to blot out the legacy that had caused them so much pain. Tibor Vandor even became an elder in the United Church (Yvonne attended church until she was about 14).
Her parents never revealed being Jews. “I always pressed them for more information, and they always refused,” even following the revelations in the Toronto Star, Singer recalled. “They told me very, very little.” Their silence encompassed “anything to do with the war.”
Singer graduated from McGill University and went on to teach high school English and French. She married her husband, Ron Singer, a theatre director and educator, in 1966 and, because her Jewishness was unknown to her, converted to Judaism.
A few years later, a cousin in England recalled being a flower-girl at Yvonne’s parents’ wedding, which she said took place in a synagogue. The parents denied it, but Yvonne believed it.
Singer’s feelings of alienation as an immigrant child would evaporate on discovering that she had been born Jewish, whether the knowledge came from a cousin or the Toronto Star. “I felt like I’d come home, part of a history that goes back thousands of years. I no longer felt rootless,” she said.
The Singers moved to Toronto in 1971, where Yvonne later began a prolific art career in various media and teaching visual arts at York University. Raising three daughters and a busy life meant there was little time to get involved in the Wallenberg file, though she was pleased when he became Canada’s first Honorary Citizen in 1985 and when Canada Post issued a stamp commemorating Wallenberg a decade ago.
In 1997, even Queen Elizabeth heard Singer’s remarkable story. The artist was among the dignitaries in London when a bronze statue of Wallenberg was unveiled by the Queen. The two were introduced.
“The Queen listened attentively and I was told she was very interested in my story,” Singer said at the time. “It was a highlight of my life.”
It’s no surprise that Singer’s art has explored themes of identity, history and memory. The outsider status she felt in her early life “is what made me think about ways of expressing that, either through language or visual imagery. So, you go to what you know when you’re an artist.”
In 2016, the Swedish government declared Wallenberg officially dead, but, to Singer, that offered no finality. “From what I learned, the Swedish government is not exempt from blame for trying to get Wallenberg out. I cannot reconcile the fact that [Wallenberg’s family] could not exert any kind of leverage over the Russians to find out what happened to him.”
The title of godparent in Judaism is largely honorary, and Singer considers the godfather connection to Wallenberg an honour. “But I’m also very sad that I never met him,” she said. “I think he would have been a fascinating person to talk to. The story is just very, very tragic.”
The grandmother of nine sighed. Over the decades, the story for her was very personal, obviously, “and I was still processing it. Maybe I’m still processing it, for a long, long time.”
A version of this article originally appeared in the Hamilton Jewish News. It is reprinted with the author’s permission.
More than 20 girls were rescued from Nazi persecution and brought to Tynemouth (photo from Summerfield family via BBC)
On Jan. 26, 2023, a blue plaque at a house in Tynemouth, a coastal town in northeast England near Newcastle, was unveiled. The marker recognizes the efforts of David Summerfield, the grandfather of Victoria, BC’s Henry Summerfield, to help rescue Jewish children before the Second World War.
David Summerfield’s undertaking was part of the Kindertransport, which, from late 1938, after Kristallnacht, to the declaration of war in September 1939, brought Jewish children to the United Kingdom.
“My grandfather ran a jewelry store in Newcastle. He was very well known and well thought of inside and outside of the Jewish community,” Henry Summerfield told the Independent. “He got a committee together and they raised funds and got a house in Tynemouth. In those days, they would not have boys and girls in the same house. Thus, they decided girls were more vulnerable and they would take them in.”
The house at 55 Percy Park provided lodging for 24 Jewish girls, aged 3 to 15, from Germany, Austria and Czechoslovakia. In total, nearly 10,000 children were brought into the United Kingdom during the nine months of the rescue operation.
“It was a terrible ordeal for the children because they were in a strange country and they were going to a city they had never heard of. They were not accompanied by any adults who could guide them,” said Summerfield. “A girl from Czechoslovakia was the worst off because did not speak either German or English.”
The local Jewish community in Newcastle needed people to care for the girls after they arrived, Summerfield said, and they managed to find two Jewish widows from Vienna who had fled to London: Paula Sieber, who had owned a cinema, and Alice Urbach, a well-known chef who also operated a cooking school.
Prior to the war, Urbach had written a popular cookbook, Cooking the Viennese Way, under a false name, because, as a Jew, she was not able to publish using her real name. In 2022, her granddaughter, historian Karina Urbach, published Alice’s Book: How the Nazis Stole My Grandmother’s Cookbook, which explored Alice Urbach’s story and the Nazi appropriation of her intellectual property.
“Because attempts to avert a war failed, the parents were never able to join their children,” said Summerfield. “Instead, Newcastle and the nearby area became a war zone subject to heavy bombing and out of bounds to enemy aliens, so the girls were moved across the country to a house at Windermere in England’s Lake District. There they remained under the care of the two matrons till the end of the war. They were educated in local schools.”
As reports started to come out about the death camps, the matrons tried to be strict about keeping the girls away from the cinemas, where newsreels were shown. One girl managed to sneak out, saw the news and returned to the house in hysterics. Most of the girls’ parents died during the Holocaust.
As the years passed, the girls finished their schooling and got training for various jobs. The whole enterprise was successful – the girls grew up, had careers and raised families. Some stayed in England, while others moved to Israel, the United States, Australia and New Zealand.
The BBC recently learned of the endeavour and broadcast a report about a reunion of the refugees, now elderly, and their lives. The reunion was attended by David Summerfield’s granddaughter, Judith Summerfield, and great-granddaughter, Alison Moore. There were previous reunions, in 1988 and 1999.
A six-episode BBC podcast was released earlier in the year, The Girls: The Holocaust Safe House, detailing the stories of those who lived at 55 Percy Park. The current owners of the house, who purchased the property in 2017, hadn’t known the historical significance of the address as a Kindertransport hostel.
The newly unveiled plaque at 55 Percy Park reads: “In 1939, this house was home to more than 20 girls fleeing Nazi persecution. They came here via the Kindertransport rescue effort and were cared for by the Newcastle Jewish Refugee Committee, as well as the wider community of Tyneside. Most of those housed here lost their parents during the Holocaust. The committee funded their care for over seven years.”
Below that inscription is a quote from Talmud: “Whoever destroys a soul, it is considered as if he destroyed an entire world. And whoever saves a life, it is considered as if he saved an entire world.”
A posthumous honour for David Summerfield has been proposed. His jewelry store, started in 1914, is still in operation.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
