Books for people with dementia

Eliezer Sobel created L’Chaim: Pictures to Evoke Memories of Jewish Life with his parents in mind. (photo from Shutterstock)

Eliezer Sobel’s new book, L’Chaim: Pictures to Evoke Memories of Jewish Life, was born from personal experience.

Sobel is an artist at heart and has spent his life finding ways to interact with people – through writing, facilitating workshops and running retreats over the past three decades. Three years ago, on his parents’ 67th anniversary, things took a turn for the worse.

“My mother is in her 17th year of Alzheimer’s and is 93,” Sobel told the Independent. “My dad was fine and taking care of her at home until he was 90. On their 67th wedding anniversary, he fell down the stairs. He fell on his head and almost died. Overnight, there were two dementia patients in the house.

“Prior to that, he was driving, cooking and shopping, as well as hiring and handling the payroll for a team of seven aides. He was amazing with it. Suddenly, overnight, I had a brain-damaged dad at 90 years old.”

Sobel and his wife lived in Virginia at the time, which is seven to eight hours away from New Jersey, where his parents lived. After the accident, however, they moved into his parents’ home.

photo - Writer Eliezer Sobel’s parents, Manya and Max, in 2016. They were the inspiration for Sobel’s series of picture books for readers with dementia
Writer Eliezer Sobel’s parents, Manya and Max, in 2016. They were the inspiration for Sobel’s series of picture books for readers with dementia. (photo by Eliezer Sobel)

“We stayed in the house for 10 months, taking care of my parents and trying to get the right kind of help in the house that would enable us to eventually move out,” explained Sobel. “But we stayed nearby so we could monitor and manage the scene.”

His dad recovered a substantial amount of his cognitive and physical ability, but passed away this past November.

The work on the book goes back to 2011. “She didn’t speak English words anymore,” said Sobel of his mother at the time. “She would sometimes make up her own language and sounds. She stopped reading, as far as we knew.

“One day, I came upon her accidentally…. She was flipping through a magazine and I overheard her reading the big print headlines out loud, in English, correctly. I was totally floored. Mom can still read, even if it’s just a three-word phrase.”

Sobel wanted to run out and buy his mom a picture book, one designed for Alzheimer’s and dementia sufferers, but he couldn’t find one anywhere. His next thought was to use a children’s picture book, but he was unsure whether his mother could negotiate a book with a storyline. He wanted each page to stand on its own, so it would not require the reader to recall what had happened on a previous page.

“I called up the national Alzheimer’s association and spoke with their chief librarian for the whole U.S. and her response to me was to say that there were 20,000 books for caregivers of those with memory loss,” said Sobel. “I said, ‘I am not looking for [a book for] the caregiver, I’m looking for my mother, the patient. There was dead silence on the other end of the line. She couldn’t think of any such book. Eventually, she did mention one other author who has since become an acquaintance of mine who had a few books, but they weren’t really what I wanted, so I realized I had to do this myself.

“I first did a book that wasn’t just for Jews. It was for anyone with memory loss. It was called Blue Sky, White Clouds, and came out in 2012.”

Sobel – who has also written a novel and a memoir – received such a positive response to this first picture book that he decided to make it into a series.

“My mother got to enjoy the first book a lot,” said Sobel. “Her aides would use it with her almost daily. We would observe that she would zero in on particular photos, ignore certain pages, find a photo – particularly one of a married elderly couple – and contemplate it for 20 minutes and caress the faces.

“These books are for a particular stage of dementia,” he said. “They’re appropriate for someone who’s got enough memory loss and dementia that they won’t be offended or have awareness that this is kind of a simplistic picture book, they’ll just be interested. But they can’t be too far gone, like my mother now, who can’t even look at my face, let alone my book.”

Caregivers often struggle with how to engage people with Alzheimer’s.

photo - A page from L’Chaim: Pictures to Evoke Memories of Jewish Life
A page from L’Chaim: Pictures to Evoke Memories of Jewish Life. (photo by Olaf Herfurth)

“It’s very hard to find activities to do with someone in that condition,” said Sobel. “So, what I was trying to accomplish was to give caregivers something they could share with the patient … or give patients something they could use on their own…. It was an opportunity for sharing to occur, an activity of quality time. For certain pages, in the earlier stages [of dementia], it stimulates memories, conversations, reminiscences or free association.

“I’m from the creative right brain of things, so I could find things to do with my mother, like empty a box of coins on the table and we’d spend an hour playing with them – pennies over here, stacking the quarters, making a picture of a house with the dimes. Then, I’d say to my dad, ‘See, Dad! There are lots of things you can do with Mom. You could put these coins away and do the same thing tomorrow. She won’t remember.’

“He would call me the next day, and say, ‘Ah, it didn’t work. She didn’t know the difference between a penny and a nickel.’ That was the point. He’s a mathematician and very linear … [he] could not break into the play mode. If you’re someone who’s good with little kids, you can do that with someone like my mom.”

In some ways, Sobel often finds himself feeling grateful to Alzheimer’s, because it made it possible for him and his mother to grow closer – at least for the first 10 years of her disease.

At the beginning, Sobel saw her become more available. As a Holocaust refugee, she had always been very insulated, private and afraid of others. Sobel said he went to a psychic early on in her disease, worried that his mother was losing her memories, and the psychic thought she’d be happier without them.

“It was true,” Sobel reflected. “She transformed from that scared refugee into an open, childlike, loving, laughing angel. People would feel blessed to be around her. She was delightful – greeting strangers and striking up conversations that made no sense. She and I laughed about who knows what. She and my father would dance to music. A lot of things were happy about her Alzheimer’s experience.

“I’m not saying there weren’t nightmarish times. We had our share of those as well,” he added. “She went through a violent period where she was chasing people with steak knives. We had to put her into a psych ward for 10 days.”

That was the exception, though, and Sobel said, “I had an opportunity to finally heal my relationship with her.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Guide to Jewish campus life

On May 8, Canadian Hillels in partnership with the Centre for Israel and Jewish Affairs (CIJA) released Going Somewhere? The Canadian Guide to Jewish Campus Life. Inspired by Maclean’s annual university guide, Going Somewhere? Provides students with information about Jewish life on campuses across Canada, as well as tips on how Jewish students can make the most of their first-year experience.

Going Somewhere? includes campus-by-campus details on everything from Jewish student population numbers, access to kosher food, Jewish studies programs, academic exchanges with Israeli schools and popular housing locations for Jewish students, as well as Jewish social opportunities, such as holiday parties hosted by Hillel. Going Somewhere? also provides information about Jewish and pro-Israel campus advocacy opportunities, and paid internships offered by Hillel.

book cover - Going Somewhere? The Canadian Guide to Jewish Campus Life“We are proud to publish the first coast-to-coast Canadian guide to Jewish life on campus,” said Marc Newburgh, chief executive officer of Hillel Ontario, in a statement. “For Jewish students, the university experience provides a unique opportunity to connect with their community, shape their Jewish identity for the long-term and develop skills by engaging in Jewish and pro-Israel advocacy. Our hope is that Going Somewhere? will prove a valuable resource for students and their families.”

Judy Zelikovitz, vice-president of university and local partner services at CIJA, added, “CIJA is pleased to have contributed to Going Somewhere?… As the only Jewish student organization with staff on the ground at schools across the country, Hillel offers an unparalleled window into everything Jewish on campus. The practical advice and campus-by-campus details in Going Somewhere? make for required reading for every Jewish student as they consider their options for the fall.”

To download a free copy of Going Somewhere?, visit gettheguide.ca.

A guide for the perplexed

David Brog’s latest book was written for students looking to know more about Israel. (photo from David Brog)

During the Oslo Process of the 1990s, David Brog was quite optimistic about peace in Israel. Now, in light of a generation’s worth of Palestinian terrorist incitement and attacks, his opinion has changed.

However, what the scholar and author is optimistic about is that a better educated public on Israel issues will garner increased support for the Jewish state.

For the past 12 years, Brog has been involved in pro-Israel advocacy, including heading the group Maccabee Task Force, which combats boycott, divestment and sanctions (BDS) activities on college campuses. He is also executive director of Christians United for Israel (CUFI), an American pro-Israel organization. In March, he released Reclaiming Israel’s History: Roots, Rights, and the Struggle for Peace, a book he says was in response to scores of students desperately seeking a single volume of facts about what’s been happening in Israel.

“When they get to college, they’re told terrible lies about Israel. They’re told Israel is an occupier, an obstacle to peace, a human rights abuser. And, not knowing better, they believe it,” he told the Independent. “The book really summarizes what I think are the most important things to know about Israel’s history if you were someone who wants to defend Israel.”

book cover - Reclaiming Israel’s HistoryContrary to various public relations efforts, he believes that the primary language to do the convincing is evidence-based dialogue, rather than touting Israel’s material successes.

“I think the way to confront the big lie is not just to talk about how wonderful Tel Aviv nightlife is, and not just to talk about how amazing Israeli start-ups are. I do think we have to dirty our hands and talk about the conflict, and the history of conflict,” he explained.

That means understanding why the peace process seems to perennially stall, or often move backwards.

“If you freeze the frame today, the way almost everyone does, people think that the Israelis are ‘occupying’ the West Bank, and it’s best to pressure them to leave, to make way for two states, and then there’ll be peace,” he said. “But whatever you see, you have to know that what’s happening is not the product of Israeli intransigence or Israeli unwillingness to compromise. It’s the product of this Palestinian rejectionism that has driven the conflict from day one.”

Since Israel’s birth, in fact, there have been five offers of a Palestinian state, each time flatly refused, he said. But it wasn’t simply that the proposals were rebuffed – it was that Israel didn’t have a peace partner to begin with.

“We saw danger signs along the way – almost from day one. We saw [Yasser] Arafat saying one thing in English and a very different, troubling thing in Arabic. We saw Arafat turning a blind eye to terror against Israelis – not try to stop it. And, later, we saw him competing with Hamas to see who could blow up more Israelis,” Brog explained. “There was the Second Intifada. I think that changed me, and it changed [then-prime minister Ehud] Barak, and it changed a lot of Israelis.”

As for Palestinian Authority President Mahmoud Abbas, Brog noted: “He doesn’t educate his people toward peace and coexistence. He doesn’t educate his people toward the validity of Jewish claims. Instead, he incites to terror and he generously funds terror.… It’s got to call into question [whether] they would actually ever recognize Israel, end the conflict and not use any land they are giving as a base from which to attack Israel.”

Given the situation, Brog – once a “great supporter of a two-state solution” – said, “I don’t see how these compromises would actually produce peace.”

Still, there’s endless opportunity for lay leaders to learn more about Israel. He is hopeful that his book will enlighten those who are either ignorant or misinformed, resulting in fewer fallacies being spread.

“Most people are not anti-Israel because of the reality,” he said. “They’re anti-Israel because of a myth, because of a distortion, because of a lie. And, therefore, if we tell Israel’s truth, and we tell it repeatedly, and we tell it proudly, and we dispel the myths, I think we can make enormous progress.”

Dave Gordon is a Toronto-based freelance writer whose work has appeared in more than 100 publications around the world.

Women try to right wrongs

Elizabeth Cady Stanton – suffragist, social activist, abolitionist. Susan B. Anthony – social reformer, women’s rights activist. Ernestine Rose – who?

Bonnie Anderson taught history and women’s studies for 30 years at Brooklyn College and at the Graduate Centre of City University of New York. She has written three books on women’s history, the latest being The Rabbi’s Atheist Daughter (Oxford University Press, 2017).

When Anderson wrote Joyous Greetings: The First International Women’s Movement, 1830-1860, she learned about Rose, who was born in 1810 in Poland to an Orthodox rabbi and his wife. Her father taught her Hebrew and Torah but, by age 14, she had rejected Jewish beliefs and identified as an atheist. Betrothed at 15, she broke her engagement but her fiancé would not agree – he wanted her inheritance and brought a suit against her. At age 17, Rose went to the district court 65 miles away and presented her case personally, arguing that “she should not lose her property because of an engagement she did not want.” She won.

Moving to Berlin, Rose lived there two years before heading to Paris and then to London, where she embraced the belief system of Robert Owen, who had a utopian socialist vision; she became a disciple. Also in London, she met William Rose, a free-thinking atheist, jeweler and silversmith. They married when she was 20 and he was 23 and emigrated to the United States.

Rose became a pioneer for women’s equality and an accomplished lecturer, speaking to the public for the free-thought and the women’s rights movements.

“A good delivery, forcible voice, the most uncommon good sense, a delightful terseness of style and a rare talent for humour are the qualifications which so well fit this lady for a public speaker,” wrote a reporter in Ohio in 1852.

She lectured extensively, including against slavery, during her years in the United States, from 1836 to 1869, and became a U.S. citizen. She went back and forth to England between 1871 and 1874.

“She embodied female equality in both her everyday life and her political activism,” writes Anderson. “She was a true pioneer, working for the ideals of racial equality, feminism, free thought and internationalism.”

The book concludes with 44 pages of notes and eight pages of bibliography. Readers should find this biography of an “international feminist pioneer” a fascinating reading experience about an amazing woman.

***

In 2005, the movie Woman in Gold portrayed the story of a painting of Adele Bloch-Bauer I that was painted by Gustav Klimt in 1907 and owned by her and her husband. She died in 1925 and her husband fled Austria in 1938, ultimately dying in 1945. During the war, the Nazis seized the painting, which had ended up in a Vienna palace. The will of her husband designated Maria Altmann, niece, as heir and Altmann sued the Austrian government for the painting, and won the court battle. The painting was subsequently bought by Ronald Lauder and is now in the Neue Galerie in New York.

The novel The Fortunate Ones by Ellen Umansky (William Morrow/HarperCollins, 2017) alternates between Vienna in the 1930s and England in the 1940s, as well as Los Angeles in 2005 and 2006 and New York in 2006.

Rose Zimmer, her older brother Gerhard and her parents, Charlotte and Wolfe, live in Vienna in 1938. Unable to escape, they send Rose and her brother on the Kindertransport to England. Rose, 12, lives with a childless Orthodox Jewish couple; her brother lives elsewhere. By the time the war is over, Rose is living with a girlfriend and working; her brother is in the service and their parents’ whereabouts are unknown. Rose goes to college, is supported by her brother and his wife, meets a young man, marries and moves to Los Angeles, where she teaches.

In the background is Rose’s quest for a Chaim Soutine painting that was important to her mother.

Alternating with this story is that of Lizzie, a 37-year-old lawyer whose sisters live in Los Angeles, where their father lived and died. She meets Rose at her father’s funeral and learns of the Soutine painting. The work had been bought by her father and had hung in their home when she was a teenager, until it was stolen during a party.

A friendship blooms between the two women and Lizzie learns Rose’s background, that her parents were sent to a concentration camp and their home, along with the painting, seized. The “fortunate ones” are the ones who survived the war, but at what cost?

Lizzie’s story is far less interesting. She grew up in Los Angeles, her mother died when she was 13. She became lawyer, lives in New York, then moves back to Los Angeles after her father dies, and starts the search for the painting.

Both women have issues with loss and forgiveness. The novel is emotional, sentimental and suspenseful, and engaging enough not to want to put it down and to keep reading.

As to whether Umansky was influenced by The Woman in Gold in writing this book, she said she had not read the story or seen the movie, “although I was certainly aware of them and interested in the true events that inspired them.”

As to why she wrote the novel, she said, “That’s a hard one to answer in a few sentences! The contemporary story of Lizzie has its roots in something that happened when I was growing up in Los Angeles: my family was friendly with an ophthalmologist who lived lavishly and had a prized art collection, the crown jewels of which were two paintings, a Picasso and a Monet. In the early 1990s, those canvases disappeared without a trace. I was fascinated by the incident and, later, when the stories of Nazi-pilfered art came into the news, I began to imagine a storyline that brought both of these threads together.”

Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machaneh Yehudah, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.

History, literature vital

Rachel Seelig, author of Strangers in Berlin: Modern Jewish Literature Between East and West, 1919-1933. (photo by Lauren Kurc)

Rachel Seelig’s Strangers in Berlin: Modern Jewish Literature Between East and West, 1919-1933 (University of Michigan Press, 2016) encompasses so many ideas – some very nuanced, others technical – that a reader will enjoy it on their own, but will learn much more if they can discuss and analyze it with others.

Strangers in Berlin uses the example of four poets – Ludwig Strauss, Moyshe Kulbak, Uri Zvi Greenberg and Gertrud Kolmar – to examine the influence that Berlin during the Weimar Republic had on Jewish literature.

“The relationship between German Jews and East European Jews in Germany typically has been depicted in terms of … German Jews figuring as reluctant hosts, cultural insiders who viewed the so-called Ostjuden as outsiders or even infiltrators,” writes Seelig. “Strangers in Berlin is aimed at destabilizing these designations by presenting Berlin as a border traversable in both directions…. Foreigners arriving from abroad availed themselves of artistic inspiration and anonymity in order to cultivate new forms of culture, while those native to Germany ascertained their increasing estrangement from the fatherland, which they similarly channeled into artistic production. Whether they were coming or going, exiled in Germany or soon-to-be-exiled from Germany, these writers experienced Berlin as a transitional site between a moribund pre-World War I political order and an increasingly divided, nationalistic European reality.”

Seelig told the Independent that she “chose to focus on four poets who are not necessarily remembered as key figures in Weimar culture but who had considerable influence in their own day.”

She explained, “One of the reasons that these poets are relatively neglected is that they are not easily categorized according to national literary boundaries. Two of them, Strauss and Greenberg, immigrated from Europe to Palestine and wrote in more than one language (Strauss in German and Hebrew and Greenberg in Yiddish and Hebrew) and the other two, Kulbak and Kolmar, produced highly diverse, avant-garde bodies of work that do not align with what we tend to see as the dominant literary trends of their day. So, these writers weren’t just ‘strangers in Berlin’ – that is, writers who are located on the margins of the cultural milieu in which they had either permanently or provisionally settled – but also strangers to us as readers in the 21st century.

“I suppose I made it my mission to bring their extraordinary writing to light, and the best way to do so was to group them together within this context of intense transition and transformation,” she said. “For all four, the experience of living in Weimar Berlin – even if only briefly – left a profound imprint on their work and on their national identity. For all four, Berlin was a place in which they were forced to renegotiate identity. Taken together, I think their works provide a fascinating glimpse into the multiplicity of images of Jewish homeland that emerged during this very fruitful yet volatile period in history.”

Weimar Berlin brought together German, Hebrew and Yiddish literature and Strangers in Berlin examines “the impact of migration – of individuals, languages and cultural concepts – on Jewish national consciousness between the world wars,” writes Seelig. She chose to focus on poets, in part, “because establishing an autonomous and multifaceted poetic tradition was a crucial component of modern national movements.”

Whereas both the Westjuden and Ostjuden “initially viewed Germany as the wellspring of liberal, Western values, by World War I, they had begun to ‘re-orient’ their gaze toward the ‘East,’ extending temporally and geographically from the ancient Near East to contemporary Eastern Europe,” writes Seelig. “Plagued by the uncertainty of national homelessness and the terror of rising antisemitism, both groups looked eastward with a combination of nostalgia, hope and despair in a effort to come to terms with the failure of the West to fulfil the promise of coexistence predicated on the liberal principles of Enlightment. Indeed, melancholic longing for the ‘East’ betrayed profound dislocation in the ‘West,’ which in turn fueled the search for a new national homeland, whether real or imagined.”

Vancouver-born and -raised, Seelig received her undergraduate degree in comparative literature at Stanford University, then worked for a time in New York. She earned her master’s and PhD in Jewish studies at the University of Chicago, spending her last couple years of graduate school in Tel Aviv. She received the Ray D. Wolfe Postdoctoral Fellowship in Jewish Studies at the University of Toronto and then, after that, returned to Israel, where she was a Mandel Postdoctoral Fellow at the Hebrew University of Jerusalem. Currently, she is a fellow at the University of Michigan’s Frankel Institute for Advanced Judaic Studies. She speaks English, Hebrew, German and Yiddish. From even this brief bio, it is no wonder that Seelig is interested in borders and thresholds.

“We live in a world today that is both utterly divided and, in a sense, borderless,” she told the Independent. “The phenomena of globalization and mass migration have made us keenly aware of the ways in which borders are, on the one hand, more easily traversed, and, on the other hand, rigourously enforced and policed. Borders have always been sites of contestation and conflict, but a border can also be seen as a threshold that one crosses from one reality to another and a productive site of transfer and transformation.

“I myself migrated across several borders as this book came into being. It started to develop as a doctoral dissertation in Chicago, which I finished writing in Tel Aviv. It became a book – one that changed shape continuously – in Toronto, Berlin and Jerusalem, and was ultimately published in Ann Arbor, Mich. My own nomadic experience as an academic (and I realize, of course, that mine is a kind of privileged nomadism) made me particularly attentive to the impact of changing surroundings and of transitions on one’s thinking, work and identity.”

While accessible, Strangers in Berlin’s dissertation origins are evident, and there are some sentences people will have to read more than once for understanding.

Strangers in Berlin is first and foremost an academic book, which grew out of my doctoral dissertation, acknowledged Seelig. “But, in the process of transforming the dissertation into a book – and I should point out that the book departs fairly dramatically in terms of content and argument from the dissertation – I made a concerted effort to make the text engaging and highly readable by simplifying the language and peppering every chapter with interesting anecdotes. It will be used by researchers and teachers within the academic context, but I also very much hope that it will be read by lay readers who are interested in modern Jewish culture and the history of the Weimar Republic, which is such a vibrant and captivating time period. I also think that the themes of homeland and migration, which are at the centre of the book, are extraordinarily relevant today, and I hope that readers will find this glimpse into Weimar culture and history resonates with our own political reality today.”

book cover - Strangers in BerlinCertain parts of Strangers in Berlin will make readers shiver with a sense of déjà vu. In the chapter on Kolmar, for instance, Seelig writes that, in the poet’s one novel, Die jüdische Mutter (The Jewish Mother), “Kolmar offers a pained reflection on the impossibility of salvaging a viable German-Jewish female identity in an era when both Jewishness and femininity were under siege.” Seelig notes, “Conservatives seeking to safeguard their middle-class privileges and to rebuild a healthy Germany Volkskörper (national body) regarded independent women and integrated Jews as similarly ‘decadent’ social elements…. The result of this campaign was a new form of male repression, which was often shrouded in xenophobic sentiments.”

Readers will see similarities between the Weimar period and what is currently happening in some European countries and in the United States. As it happens, Strangers in Berlin’s launch took place the day after the U.S. presidential election.

“A few hours before the event,” she said, “I was reading an article by Chemi Shalev in the Israeli newspaper Haaretz, in which he commented that many millions of Muslims, Mexicans and Jews now feel like ‘strangers in the country they call home.’ Obviously, his statement resonated very strongly with me and with my book.

“The book deals with a historical moment, nearly a century ago, when Berlin emerged as a major metropolis that attracted large swaths of immigrants, who were often seen as unwelcome infiltrators. In this respect, 1920s Berlin isn’t such a far cry from Berlin or Toronto or New York City of today. The book really does resonate with what’s going on in the U.S. and in so much of the world.… We are witnessing the rise of nativist sentiments and attendant xenophobia and bigotry that are oh so reminiscent of interwar Europe. And we’re seeing the way in which various forms of bigotry (anti-immigration, antisemitism and misogyny, all addressed in the book) have a tendency to intersect and even merge when these nativist sentiments are bolstered by political power. I realize it’s a cliché, but it really is remarkable to see how history repeats itself. It’s such a shame that the humanities, specifically history and literature, are under attack today (Trump just eliminated funding for the National Endowment for the Humanities from his proposed budget) at a time when we so desperately need them.”

Strangers in Berlin’s four poets struggle, as we all do, with the impossibility of being one thing – a German (or any other nationality), a Jew (or any other religion), for example. Not to mention the different conceptions of what comprises a “real” German (Canadian, American, etc.) or an “authentic” Jew (within the ranges of observance, belief). From all the research Seelig has done – her work, travel, ability to speak multiple languages and negotiate various cultures – has she any theories as to why humans have such trouble, in general, with multiplicity, ambiguity, a lack of borders?

“I wish I knew why we as humans have such a hard time with ambiguity,” she said. “This is something that affects our lives not only in terms of cultural, national or political identity but also in terms of relationships, career paths, place of residence, etc. On the one hand, we have more freedom than ever before to dwell ‘between’ identities, or to inhabit more than one identity, and yet that’s somehow deeply unsettling to us as creatures that crave order, certainty and security.

“I think there’s so much to be learned by the figures in my book, who didn’t have the luxury to choose where they would live or which system of beliefs to subscribe to (at least not without the risk of persecution), and who were profoundly shaped by the contingencies and vicissitudes of life. Each of the four main writers in the book represents more than one identity and, for each one, this was certainly a source of anxiety but also a source of profound inspiration and enrichment.”

Journey of memory and loss

Yuri Dojc and Katya Krausova found classrooms, textbooks, a synagogue, prayer books, clothing and ritual ornaments, all lovingly cared for, undisturbed, unmolested and somehow cherished since the scooping up of three-quarters of the Jews in the towns of Slovakia in 1942. (photo by Yuri Dojc)

Fascination, horror, admiration, exaltation are the words that come to mind when I search to describe the emotions I felt reading Michael Posner’s book review of Last Folio: A Photographic Memory by Yuri Dojc and Katya Krausova (Indiana University Press, 2011) in Queen’s Quarterly (Winter 2016). The personal saga of Krausova, a cinematographer, and Dojc, a photographer, the horror of the Holocaust in Slovakia and the discovery of remnants of the vibrant Jewish communities stripped of their Jews, their culture and their religion, provoked my curiosity and my imagination.

Dojc and Krausova found classrooms, textbooks, a synagogue, prayer books, clothing and ritual ornaments, all lovingly cared for, undisturbed, unmolested and somehow cherished since the scooping up of three-quarters of the Jews in the towns of Slovakia in 1942.

“It was as if he were entering a time capsule, classrooms frozen at almost the precise moment that Nazi transports had taken the students to the concentration camps – and almost certain death,” writes Posner. “Except for the mould and the yellowed, tattered pages, everything was exactly as they had left it: a bowl of sugar on the shelf, books inscribed with childhood signatures, notebooks filled with essays on their aborted life ambitions.”

book cover - Last FolioYet, for me, there was something more than photographs and meetings with Holocaust survivors that were being revealed. I rushed to buy the book. It is a work of art filled with dramatic testimony and the saga of an epic journey of chance meetings and breathtaking discoveries resulting in exquisite photographs, as well as a documentary film – labours of love and devotion by Dojc and Krausova.

After reading the text and examining the photographs – the most beautiful I have ever seen – I began to meditate on the fact that all these images were found in places abandoned in 1942; their Jewish owners and community members wiped out by the Nazis. Strange place names like Bratislava, Bardejov, Sastin, Michalovce and Kosice became familiar to me, as the tallit, tefillin, prayer books, mikvah and Torah fragments came alive in my eyes. One of the most haunting images is that of a book fragment with the Hebrew word הנשאר, “that which remains,” clearly legible on the delicate paper.

The essays that follow by Azar Nafisi and Steven Uhly commemorate and honour the murdered Slovak Jews and their collective memory. Yet, there was still something that I was missing. I reread the text by Krausova and stopped on the following lines:

“Mr. Bogol’ tells us that he is the warden of the Protestant church, that he and his wife have lived in the same block with the Simonovics for more than 40 years and that following the death of Mrs. Simonovic’s brother, he became the keeper of the keys of a building in the town…. Time stopped still in this building, which housed a Jewish school a long time ago, almost certainly in 1942, the day when Bardejov Jews vanished forever. Mr. Bogol’ proudly shows us how he and his wife have been painstakingly cleaning each bench, each light, each seat, finding – and preserving – every object, religious or otherwise.”

And, they find another building filled with books, also preserved and protected; waiting for Dojc and Krausova to discover them.

photo - Last Folio is a work of art filled with dramatic testimony and the saga of an epic journey of chance meetings and breathtaking discoveries resulting in exquisite photographs
Last Folio is a work of art filled with dramatic testimony and the saga of an epic journey of chance meetings and breathtaking discoveries resulting in exquisite photographs. (photo by Yuri Dojc)

Here was my phantom question, here was the missing link! How is it that these empty, cold, barren places were taken care of for more than 70 years? Who would do such a thing? Why would they do it? Were the guardians of these precious objects waiting for someone? Why didn’t the municipality tear down the buildings or strip them of everything and renovate them? Who paid for the maintenance and taxes on the buildings?

The guardians and the keepers of the keys took these responsibilities upon themselves, year after year, until they bumped into Dojc and Krausova, convincing the harried and exhausted researchers to take a look.

Embossed on the inside cloth cover of the book we read: “Last Folio Charts a Personal Journey in Cultural Memory / A Reflection on Universal Loss as a Part of European Remembrance.”

These unheralded, unacknowledged guardians were the protectors and defenders of the memory of the Jews of Slovakia and their Jewish community. To them, we owe enormous gratitude.

To see an extended trailer of the 81-minute documentary about Krausova and Dojc’s research and the making of the book and photo exhibition, visit youtube.com/watch?v=0vZeL63l1ok.

Dolores Luber, a retired psychotherapist and psychology teacher, is editor of Jewish Seniors Alliance’s Senior Line magazine and website (jsalliance.org). She blogs for yossilinks.com and writes movies reviews for the Isaac Waldman Jewish Public Library website.

Past leads to present

For many of us, it is hard to get excited about a subject until we can experience it, or meet someone who has. Historical fiction can bridge the gap between simply memorizing dates and names to empathizing with those affected and taking what we learn into our lives.

Two recent Second Story Press publications do an excellent job of teaching and engaging younger readers. They also provide a starting point for these readers and their parents, family, friends and educators to discuss difficult and sensitive topics that not only relate to the past, but to current situations, as well.

The Ship to Nowhere: On Board the Exodus by Rona Arato (for ages 9 to 13) tells the story of the ship Exodus 1947 through the eyes of 11-year-old Rachel Landesman. I Am Not a Number by Jenny Kay Dupuis and Kathy Kacer and illustrated by Gillian Newland (for ages 7 to 11) tells the story of 8-year-old Irene Couchie, who is forcibly taken from her First Nations family and home to live in a residential school in 1928. Both Rachel and Irene are real people.

Sadly, their stories are representative of what also happened to countless others. And, even more sadly, what continues to happen. The Ship to Nowhere could lead to a conversation about the Syrian refugee crisis and antisemitism in Canada and elsewhere. I Am Not a Number brings to mind some parallels between the Holocaust and the attempted genocide of Canada’s First Nations, as well as the inequalities that still exist in Canada, the treaties that have not been ratified, the reconciliation over the residential schools that is long overdue and has barely begun.

Given the ages of their intended readers, both of these books tread lightly – that said, they deliver powerful messages and succeed in their missions to educate.

book cover - I Am Not a NumberThe illustrations in I Am Not a Number, a hardcover picture book, are as revealing as the text. Irene and her siblings, as they huddle behind their father when the government agent comes to take her and two of her brothers away; the sadness on Irene’s face as a nun cuts her hair, the anger as she sits in church; and the unbridled joy when she and her brothers are back at home after a tortuous year – these are just some of the emotions Newland movingly captures.

And Kay Dupuis tells her grandmother’s story with such love. This was a family that was strong and, in the end, luckier than many, in that Irene and her brothers didn’t return to the residential school – when they came home for the summer, their family kept them hidden from the government agent.

I Am Not a Number includes a brief overview of the residential school system, and mention of the Truth and Reconciliation Commission. Kay Dupuis also tells readers a bit more about her grandmother in an afterword, where there are a few photos of the Couchie family.

The Ship to Nowhere has photos throughout, and Arato uses the author’s note at the end to let readers briefly know what happened to Rachel, Rachel’s mom and sisters (her dad was killed in the Holocaust), the ship’s captain, Yitzhak Aronowicz (known as Captain Ike) and one of the journalists who doggedly reported to the world the Exodus’s journey, Ruth Gruber.

Since it is for older young readers, there are parts of The Ship to Nowhere that are quite graphic – the incredible brutality of the British is well-depicted, as are Britain’s efforts to prevent the ship’s 4,500-plus Holocaust survivors from knowing what the media were reporting on their treatment. Even with the passage of time, the anger boils in reading about how these survivors were tear-gassed and beaten (in some cases to death) on the Exodus, forced to live as captives on three other ships after they were turned out of Palestine, and again beaten and manhandled if they refused to leave their ships in Germany, where the British took them eventually, to live in refugee camps.

There are many touching moments between the crew and their passengers and between fellow refugees. It is important to be reminded that France offered to take in all of the refugees; an offer that was declined. And it would be nice to think that, at the least, the Exodus’s plight positively influenced some United Nations members to vote in favour of the creation of Israel.

3,000 years of a language

Let’s say it at the outset: this book is a gem. Every page of The Story of Hebrew by Lewis Glinert (Princeton University Press, 2017) is packed with information about the language, from its beginnings through post-1948 Israel. In addition to this longitudinal approach, Glinert, a professor of Hebrew and linguistics at Dartmouth, also approaches his subject laterally, focusing on various lands where Jewish/Hebrew life and culture thrived, like early Palestine, Babylonia, North Africa, Spain, Europe and Russia, the United States and Israel.

The book shows us how living under Greek and Roman domination affected Hebrew and how vocabulary from those occupiers seeped into the language. Two examples, the first mine, the second Glinert’s: the simple word for shoemaker in Hebrew, sandlar, which comes from the Latin sandalrius; and Sanhedrin, the Jewish High Court, which stems from the Greek synedrion. Jews did not shy away from these foreign influences; their Hebrew language embraced them.

book cover - The Story of Hebrew by Lewis Glinert Glinert also traces the changes in the use of the language from biblical times through the Mishnah (before and after 200 CE), where the Hebrew of that period was more direct and seemingly more colloquial, as can be seen by comparing a text from the Mishnah with any chapter in the Bible. During the next two or three hundred years, written Hebrew then moved on from the Hebrew-only Mishnah to the two-language Talmud, with its mix of mostly Aramaic and much less Hebrew. (In all of this, of course, we only have written texts to go by.)

With sacred books passing from generation to generation orally, correct pronunciation might be lost or distorted. Along came the Masoretes (from the Hebrew word, masorah, tradition), who, by the year 1000, had created above- and below-the-letters signs that ingeniously indicated pronunciation, melody, accent and phrasing.

Jews also contributed to scientific learning by writing about medicine in Hebrew. I am sure it will surprise many readers, as it did me, that in Italy’s first medical school, in Salerno, founded in the ninth century, the languages of instruction were Hebrew, Greek, Latin and Arabic. And, in southern France, in Arles, Narbonne and Montpellier, the official language of instruction in these medical schools was Hebrew.

Religious attitude also influenced how Hebrew was used. Glinert delves into this divide by showing that, during the 11th and 12th centuries in Ashkenaz (in northern France and the Rhineland), the accent was on liturgy and Torah scholarship – the works of Rashi, for instance – while in Sepharad (Spain) and Italy secular Hebrew poetry flourished, influenced by Arabic poetry, exemplified by Yehuda Halevi and other poets.

The book devotes two remarkable chapters to the interaction of Christians with Hebrew.

In one of these unholy intersections, two of the noted translators of the Bible from Hebrew, the church father Jerome (fourth century) and Martin Luther (1534), respected Hebrew but disparaged Jews and Judaism. In his notorious 1542 book On the Jews and Their Lies, Luther asserts, “Jews should be expelled before they poison more wells and ritually abuse more children.”

A better relationship ensued with English translators. William Tyndale was the first to render the Five Books of Moses (1530) into English directly from the Hebrew. In so doing, he defied a bishop’s ban on a translation other than the Latin Vulgate. Tyndale’s translation led to the classic 1611 King James version of the complete Bible, whose English rhythms, cadences and even sentence structure enormously affected English.

As Glinert elegantly puts it: these two translations would “inject a Hebraic quality into the syntax and phraseology of English literary usage without parallel in any other European culture.” The author further adds that echoes of this biblical English can be seen from Walt Whitman’s Leaves of Grass poetry collection to Martin Luther King’s “I Have a Dream” speech.

Hebrew also made its mark in the early history of the United States. The Pilgrims saw themselves as the New Israelites, giving their towns name like New Canaan and Salem – even their Thanksgiving was a belated Sukkot to celebrate a bountiful harvest. And Hebrew was at one time ensconced as a mandatory subject in the Ivy League colleges. I recently read that at graduation ceremonies students would deliver orations in Hebrew, Greek and Latin, and university presidents, like Ezra Stiles of Yale, would also occasionally give their commencement talks in Hebrew.

Glinert writes that the door to modernity in Europe was opened in 1780 by two books published on different sides of Europe. One, in Germany, was Moses Mendelssohn’s Biur, the first volume of his translation of the Torah into German; the other, in a small town in the Ukraine, was a book in Hebrew about Chassidic thought.

Slowly, from the advent of the Haskalah, the Jewish Enlightenment movement, through newspapers, magazines and books, modern Hebrew was being reshaped, culminating with Jews resettling Palestine in the late 19th century, along with Eliezer Ben-Yehuda’s call, at the turn of the 20th century, for Jews to speak only Hebrew. Glinert shows us how the thrust for Hebraization continued once the British got the Mandate for Palestine in 1922 from the League of Nations. They recognized Hebrew as the language of instruction for public schools, broadcasting, the courts and civil regulations. With the founding of the state of Israel in 1948 and mass immigration, Hebrew – which throughout the centuries had always been read, studied and written, and only occasionally spoken – reached its efflorescence.

The Story of Hebrew is a superb book, meticulously researched and beautifully written. Two of my favourites among the many text-enhancing illustrations and photographs are a photo of a page from one of Sir Isaac Newton’s notebooks, where he has a phrase in Hebrew written in his neat printed script; and a page from Franz Kafka’s Hebrew notebook, with two columns of nicely calligraphed Hebrew words on one side with their German translation (in longhand) on the other.

Read this marvelous study – perhaps, if you don’t know Hebrew, it will inspire you to learn it and become part of a more than 3,000-year tradition of transmission.

Curt Leviant’s most recent books are the novels King of Yiddish and Kafka’s Son.

Great editor, great memoir

Robert Gottlieb is the most renowned American book editor and publisher in the latter half of the 20th century, much as was the legendary Max Perkins in the first half. And in his riveting memoir – Avid Reader: A Life (Farrar, Straus and Giroux, 2016) – Gottlieb traces the trajectory of his long and productive life with books and reading.

Gottlieb was born in New York in 1931 to a middle-class Jewish family. His mother was a public school teacher; his father, a lawyer. Little Bobby grew up listening to radio and devouring books. As he asserts in Avid Reader, he didn’t care much for nature or sports. It was reading he loved and this love is summed up in one memorable line: “From the start words were more real to me than real life, and certainly more interesting.”

Since the family was atheistic, Judaism played no role in his life. Yet he considered himself a New York Jew, a terse, self-identifying phrase that occurs like a leitmotif a number of times in his memoir.

Gottlieb went to a private school in Manhattan, whose students were mostly Jewish. “On the High Holy Days,” he writes, “out of my class of 39 only the four gentiles and atheistical me would be in attendance.” When one teacher wondered why so many students were absent, she was told, “It’s Yom Kippur.” Which prompted her to say, “Ridiculous. This isn’t a Jewish school.”

Gottlieb’s parents wanted him to go to Harvard. He applies but flunks the interview. And then, he adds, “there was the notorious Jewish quota. And I was the worst kind of Jew – a New York Jew.”

book cover - Avid Reader: A Life by Robert GottliebHe attends Columbia, majors in English literature and edits the school’s literary magazine. Later, he gets a yearlong fellowship to Cambridge, where, for the first time in his life, he gets a whiff of antisemitism. He is aware of the “casual antisemitism that punctuates English literature,” but that’s in books and here was real life. The English Jews he met, Gottlieb notes, considered themselves “the other,” and he, too, senses the English disdain of foreigners and Jews.

Later, when he’s an established editor, he has an encounter with children’s book author Roald Dahl, one of whose many nasty anti-Jewish remarks was: “There is always a reason why anti-anything crops up; even a stinker like Hitler didn’t just pick on them for no reason.” He also has an incident with John le Carré. With both English authors, he briefly recalls what he had felt in England.

Back in the United States, Gottlieb gets his first job as an editor with Simon and Schuster, where he would stay 11 years and publish amazing books, including one of my all-time favourite novels, Joseph Heller’s Catch-22. That unique title deserves mention. Heller had called his manuscript Catch-18, until Gottlieb saw that a new novel by Exodus author Leon Uris would be called Mila 18. The number in Heller’s title would have to be changed. Heller suggested 14, but that number was nixed as flavourless. In the middle of the night, Gottlieb had a revelation: 22. He called Heller: “I got it. 22. It’s even funnier than 18.” The book went on to sell millions of copies.

With his success at Simon and Schuster, Gottlieb was invited to head Knopf. He was only 36 and looked years younger. By this time, he was so famous that his move to Knopf was front-page news in the New York Times.

For Gottlieb, this was a dream job. For him, Knopf was the great literary house of the century. He had been nurtured on the great novelists Knopf was respected for Thomas Mann, Franz Kafka, Albert Camus, Jean-Paul Sartre, D.H. Lawrence. Under his leadership, the house brought in celebrities like Katherine Hepburn, Lauren Bacall and Washington Post publisher Katharine Graham to write their memoirs, all of which, with Gottlieb’s magic touch, became bestsellers. Also added to the Knopf list were writers like Gabriel García Márquez and Milan Kundera.

For Gottlieb, editing is not shaping a book according to the editor’s wishes but making it the best book the writer can write. The key to Gottlieb’s success is his constant devotion to his writers, often spending days with them to help them with their books.

Other famous Americans of Jewish origin who are adamantly secular have tried to hide their Jewishness. Gottlieb does not. It bubbles throughout his entire career. Even when he is coaxed into going to Marlene Dietrich’s funeral in Paris and to Berlin by a fellow editor, who is editing a book about the famous German entertainer, his Jewish sensibility is engaged and his trip to Berlin is full of qualms: “I’d never been to Berlin – a child of World War Two, and Jewish, I’d never got past my resistance to everything German (except the music) and had stayed away.” He notes that the Germans had mixed feelings about Dietrich. “On the one hand, she was probably the most famous and admired woman in their history; on the other, she had vehemently sided with the Allies against them during the war.”

Another one of the blockbuster books – two million copies sold – Gottlieb edited at Knopf was Bill Clinton’s autobiography. From the outset of their meetings, he decided to call him Bill. “I couldn’t envisage myself saying things like, ‘I think we need a semicolon here, Mr. President.’” And, when Clinton describes himself as very easy to work for, Gottlieb feels “that was the moment of truth.” In his view, if equality and balance between writer and editor is not established, the relationship will fail. And so, Gottlieb “cheekily” tells Clinton, much to the shock of Clinton’s aides, “Actually, I have to point out that, in this instance, I’m not working for you, you’re working for me.”

What is most revealing about Gottlieb’s irresistible personality and talent for friendship is that he goes on to form personal relationships with the writers he’s met that last for decades.

From Knopf, Gottlieb was appointed editor of The New Yorker (again front-page news in the Times), where he stayed for five years before finally retiring.

In the dozen or so years since, Gottlieb has nurtured another of his passions, classical ballet. “Dance liberated me,” he writes, “from the bondage of language, and balanced my life.”

After writing a biography of his hero, the great choreographer Georges Balanchine, Yale University Press lured Gottlieb to write the first biography in their new series, Jewish Lives. His assignment, Sarah Bernhardt, whom he calls “the most famous of all French women other than Joan of Arc.” Although this book is the bestselling short biography of that series, in typical Gottlieb self-denigration, he asserts that its success is not so much about him as it is about the book’s heroine.

Only a great editor like Gottlieb would have the sensitivity to list in the acknowledgments pages all the editors and assistants, friends and colleagues who helped him with Avid Reader.

It’s hard to believe that Gottlieb is 86 years old; he doesn’t look it, and his energy and creative spirit belies that advanced number. Some people are just fated to remain 44 – or 22 – forever.

Curt Leviant’s most recent books are the novels King of Yiddish and Kafka’s Son.

Family History series launch

Don’t Break the Chain is the first publication of what the Jewish Museum and Archives of British Columbia hopes will become a Family History series.

The Jewish Museum and Archives of British Columbia has released the first book in what it hopes will become a Family History series. Don’t Break the Chain: The Nemetz Family Journey from Svatatroiske to Vancouver was published in collaboration with the Ben and Esther Dayson Charitable Foundation, and was researched by Shirley Barnett and Philip Dayson.

photo - Abraham Nemetz, Toba Nemetz, Esther Wosk, Bill Nemetz (driving), Chava Wosk holding baby Sonny, and Abrasha Wosk; taken at the hollow tree in Stanley Park, 1927
Abraham Nemetz, Toba Nemetz, Esther Wosk, Bill Nemetz (driving), Chava Wosk holding baby Sonny, and Abrasha Wosk; taken at the hollow tree in Stanley Park, 1927. (photo from nemetzfamily.ca/gallery)

Barnett described her family as founders and workers behind the scenes of the Vancouver Jewish community.

“One of my mother’s sisters helped build Congregation Schara Tzedeck, the Louis Brier Home and funeral chapels, while another sister founded Jewish Family Services and visited the poor, people in prisons and mental hospitals. My mother ran charity events for Jewish Vancouver from the age of 18 and her brother started Camp Hatikvah,” she said. “They brought a lot of strength to the community. The next generation, which was mine and included 23 of us, has made significant contributions to Jewish Vancouver, too.”

There was plenty of raw material to draw from for the book, given the fact that Barnett’s six brothers had created memoirs and Dayson had begun creating family trees 25 years ago. The project became challenging when she opted to include charts and photographs of children, grandchildren and great-grandchildren.

“I established contact with members of the family I never knew, siblings who’d had arguments and people estranged from the family, and it took a very soft approach, getting them to respond with photographs,” she explained. “I wasn’t looking to mend fences or interfere in anyone’s life, I just wanted to write a book!”

photo - A Congregation Schara Tzedeck testimonial evening in honour of Abrasha Wosk, 1977. Left to right are, in the back row, Joyce and Sonny Wosk, Esther and Hymie Aheroni, Rosalie and Joe Segal, and, in the front row: Abrasha and Chava Wosk
A Congregation Schara Tzedeck testimonial evening in honour of Abrasha Wosk, 1977. Left to right are, in the back row, Joyce and Sonny Wosk, Esther and Hymie Aheroni, Rosalie and Joe Segal, and, in the front row: Abrasha and Chava Wosk. (photo from nemetzfamily.ca/gallery)

Ultimately, with the assistance of graphic designer Barbi Braude and Facebook, she was able to source all the photographs required to complete the book.

Michael Schwartz, director of community engagement at the JMABC, said the Nemetz family journey would resonate among many other Jewish families in Vancouver.

“The story of leaving Europe, getting here and eventually bringing their family to Canada has parallels for many in our community and is a fascinating tale,” he said. “The Nemetz family has a very interesting history and many siblings of the early generation have accomplished great things and had an important impact on the community as a whole.”

The museum is hoping to partner with other families who are interested in creating similar books. Barnett described the creation of the book as a joint venture. “My brother and I contributed the money to the museum and archives, which then allowed us to use their name, resources, and to co-publish this,” she said. “I’d like to see the Wosk, Groberman and Waterman families – all large, extended families with deep roots in Vancouver – do a book like this.”

The launch of Don’t Break the Chain is being celebrated at a hosted brunch at the Jewish Community Centre of Greater Vancouver on April 2, 11 a.m. If you are interested in attending, call the museum 604-257-5199.

Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.