Arts & Culture – Page 109

Writers inspire, support

Carol Weinstock (photo by Olga Livshin)

Carol Weinstock only started delving into poetry a few years ago, around the time she joined a writing group. “I was a journalist before I retired,” she told the Independent. The group has motivated her try other forms of writing.

“The core is about five or six people,” Weinstock explained. “They come to almost every meeting. Others come and go. There are men and women, mostly retired. They write in different genres. Some write poetry, like me. Others write memoirs or short stories. One is writing a novel. One woman is a professional artist, but she wants to expand her creative output, to add writing to her range of expressions.”

Diane Darch, another member, recalled how it all started. “Sometime in 2012, people in the programming committee of False Creek Community Centre discussed the need for more programs for seniors, the 55+ group. Several possible programs were considered, including bowling and mahjong, but they finally settled on a writing group, a self-directed program. It officially began in January 2014 with a handful of enthusiastic people, each with an interest in writing for fun, for growth and for sharing a part of themselves.”

Darch has been with the group from the beginning. “I personally joined because I was interested in writing,” she said. “I learned from others’ types of writing and from critiques. It did put some pressure to write either at home or during the sessions. Sometimes, we arranged our own sessions, when the community centre was not available. Friendships were formed because we shared our personal writings. It is a fun group, non-threatening, and gives lots of encouragement to all levels. The group validated my writing.”

A year ago, she moved to Victoria. “I saw the group grow to a healthy dozen, change because of various commitments, then sadly go back to too few,” said Darch. “I’m no longer a regular member and I miss it. I do drop in when I’m back in Vancouver.”

Weinstock is one of the group’s first members, joining in its first year, and she’s been a steady participant since. “Our meetings usually have a structure. It’s flexible, not rigid, but it forces us all to write. First, we talk, share what’s happening in our lives, the books we read. Then someone brings a prompt, and we write for about an hour. Then anyone who wants can share their writing, and we all discuss it. It’s a very supportive environment.”

Weinstock attributes her writing of poetry to the group’s influence. “Poetry is a new form for me,” she said. “Before I retired, I worked as a freelance journalist for various California papers. I also taught journalism at a community college. I never wrote poetry or fiction. After I retired, I returned home to Canada. Then I joined this writing group and I wanted to try something different. And the group helps. It provides me with a scheduled time and place to write and the prompts. I might not have written so much if not for the group. I’m not sure.”

She doesn’t only write to the group prompts. “Sometimes, I would read a news article and a political or social problem would catch my attention. I would write a poem,” said Weinstock, whose journalistic inclinations frequently push her towards controversial or humanitarian issues, concerning some obscure corners of the world. She recalled one such occasion: “I read this story about the plight of the shrimp farms in Asia, and it touched me deeply. I wrote a poem. Other times, I would write something more personal but, in general, I don’t like writing about my personal stuff.”

Poetry is a way for Weinstock to express herself, her thoughts, emotions and ideas in a concise and organized way. A few months ago, the writing group came up with the prompt to write about what Canada means to each of the members, in celebration of Canada’s 150th birthday.

“I started with something different, but it didn’t work,” said Weinstock of the poem she wrote for the occasion. “Then I decided to go with concrete things: what we eat, what we wear, where we live, and the poem unfolded…. I showed it to my friends, and they liked it. One of my friends, Debby Altow, is active in the Jewish community in Vancouver. She regularly reads the Jewish Independent, and she asked if I would mind sending my poem to the paper. I read the paper sometimes, too. Of course, I said yes.”

Each group member participated in the exercise. Some wrote poetry. Others wrote essays. Now, all those pieces of Canada-inspired writing are on display at False Creek Community Centre. Everyone coming into the centre passes by them as they walk down the hallway leading to the reception desk. Some people even stop and read a few.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

We are Canadian

Beret, turban, skullcap,
Babushka, hijab, headband.
No matter what hat we wear,
We are Canadian.

Fry bread, falafel, poutine,
Pizza, curry, Kraft dinner.
No matter what food we eat,
We are Canadian.

France, Britain, India,
Ukraine, China, Jamaica.
No matter where we come from
We are Canadian.

Ucluelet, Cape Breton, Moose Jaw,
Attawapiskat, Yellowknife, Flin Flon.
No matter where we live,
We are Canadian.

Teacher, nurse, farmer,
Reporter, welder, programmer.
No matter what work we do,
We are Canadian.

Blending, fusing,
Reconciling, adapting.
We work, sweat, dream together
To create one Canada.

– Carol Weinstock, June 2017

Leadership tips from Moses

Much has been written about Moses as a leader – a Google search for “Moses leader” yields more than 16 million results. However, in Religion and Contemporary Management: Moses as a Model for Effective Leadership, local community member Dr. Arthur Wolak not only explores what contemporary leaders (at least in title if not in fact) could learn from the man who led the Israelites out of slavery, but also examines how Moses’ traits and actions fit into different theories of leadership. Readers will learn as much about leadership in general as they will about Moses and, of course, will take away some pointers on how to improve their skills in this area.

It may or may not come as a surprise, but being a good leader is an awfully hard task, requiring a wide-ranging multitude of abilities. Add to that the importance of a person’s character, and it seems nigh impossible. There are no guarantees. Even if you master the top attributes of a good leader, you may not become one. Sure, you might be innovative, original, empathetic, humble, tenacious, attentive, ethical, patient and have a clear vision – that doesn’t mean people will necessarily follow you.

But there is hope to be found in reluctant, flawed Moses, even if he didn’t really exist. Whether or not one believes there was ever such a person in the world, Wolak notes, “there is still no denying Moses’ influence on Jewish identity, group leadership and Western civilization as a whole.” In addition to being the greatest prophet in Jewish tradition, Moses is a respected figure in Christianity and Islam, Wolak points out.

In the first few chapters of Religion and Contemporary Management, Wolak discusses the different types of leadership, how leadership and management differ, and the benefits and drawbacks of charisma. The next chapters focus on Moses and the ways in which he displayed empathy, possessed humility and was a visionary leader. He also knew his limitations and how to delegate. For example, explains Wolak, when Moses first objects to God choosing him to lead the Israelites, Moses says it’s because he is “slow of speech,” but God brings him round, assuring him that his brother, Aaron, speaks well and can be Moses’ spokesman.

Wolak puts some fun – and educational – twists on things, such as proposing that the Ten Commandments were God’s mission statement to the Jewish people and that Moses “assumed the role of biblical CEO, of sorts, because he became a leader entrusted with transforming God’s mission statement into a viable entity….” Wolak is also very clear that, despite his use of Moses as the model leader and the patriarchal aspects of the Torah and Judaism (and all religion, pretty much), excelling at leadership “is not gender based but built on good character and leadership abilities,” and that “there have been effective female leaders since biblical times.” He gives several examples of such women from the Tanakh and the modern era.

Another part of Wolak’s book that will particularly interest today’s readers is a nine-page section called “Modesty and Holiness,” which mainly contrasts real estate developer rivals Paul Reichmann and Donald Trump, who was not yet president when Wolak was writing his book.

While academic in style, Religion and Contemporary Management is accessible to lay readers. It is well researched and the analysis is well supported with evidence from religious texts, academics, theoreticians and a range of other voices, from Maimonides to Sigmund Freud and Winston Churchill. Published by Anthem Press (2016), the hardcover has an academic text price, at more than $100, but the Kindle version is only $30.50.

As Wolak concludes, “anyone who wishes to learn how to lead, and to learn what characteristics are beneficial for effective leadership, would do well to study the example of Moses.” Then all you need to find is the energy and wherewithal.

Trying to foster community

Two things will immediately strike readers of From the Outside In: Jewish Post & News Columns, 2015-2016 by Joanne Seiff – Seiff’s knowledge of Judaism and her empathy. She really knows her Jewish texts, as well as a thing or two about human nature. Yet, she doesn’t criticize from on high. She’s right in there in the muck, so to speak, not just making suggestions for others to carry out, but trying to play a positive role herself in whatever transformations she thinks might engage more Jews in Judaism and in community. Her heart is in the right place, and it shows.

Readers of the Jewish Independent were introduced to Seiff’s writing earlier this year, thanks to the JPN’s Bernie Bellan, who thought her work might be a good fit for the JI as well. He was correct. Her columns mix Torah lessons, everyday life moments and community-building ideas seamlessly, in an uplifting manner that invites contemplation rather than merely prescribing answers. She is not dogmatic, but rather is struggling herself to see what works in her and her community’s life.

While Seiff writes about the Winnipeg Jewish community, pretty much every issue she brings up – from involving younger congregants in synagogue life to getting more out of the weekly Torah portion to countering antisemitism to making communal activities more inclusive – can be found in our community. No doubt other communities will also see themselves in Seiff’s writing. And each of us will see a bit of ourselves, how we define our identity and how we move in the world.

And though you might not know it from her casual writing style and humble approach, Seiff has the education to back up her commentary. She has a master’s degree in religious studies from the University of North Carolina at Chapel Hill and a master’s in education from the George Washington University; she earned her bachelor’s cum laude in Near Eastern studies and comparative literature from Cornell University. Even so, she doesn’t have all the answers, and she doesn’t pretend to. She calls on many sources, from Jewish traditions and writings, to rabbis who have visited her community with advice, to lessons she has learned from family (her parents and as a mother of twins), community members and others. She brings in her own experiences of living in places where there weren’t many Jews – Kentucky, for example – and that of being a relatively recent immigrant to Winnipeg. She and her husband moved to the city in 2009 and the title of her collection reflects this perspective. As she writes in the introduction, “As a newcomer to Canada, I often see things differently than someone who was born and raised in Winnipeg.”

There is a lightness and energy to Seiff’s writing, which makes the book easy to read, even though she’s tackling some heavy topics and, often, the lethargy of a well- and long-established communal structure. It takes a delicate touch to be constructively critical and not disrespectful to those who either helped set up or maintain the way things “always” have been done. Her solutions-oriented outlook and can-do attitude will inspire anyone who would like to see change but thinks that anything that’s well-established – from our identity, to our Jewish community, to our larger world – is immutable. We may not have a huge amount of control over most things in life, but there are ways in which we can make things better. For ideas of where to start, From the Outside In can be purchased online. To read more of her writing, visit joanneseiff.blogspot.ca.

It’s never too late to find love

It takes a brave, confident person to lay themselves bare before others, to openly analyze their choices in life and share what makes them happy, sad and concerned. In the essay collection Hero in My Own Eyes: Tripping a Life Fantastic, local writer Max Roytenberg – with whom Jewish Independent readers should be familiar – is at turns funny, wistful, belligerent, humble, egotistical and sentimental. He’s everything we all are. In reading his stories, we learn about ourselves, as well.

The collection is divided into three parts – “Looking Back,” “Living the Life” and “Looking Forward.” In the first section, Roytenberg recounts stories from his childhood in Winnipeg, outlines the various jobs he had during his career and the cities in which he lived, and touches upon his first two marriages and some of their challenges. It ends with “The Kiss,” about how he – a widower in his early 70s by that time – finally managed to connect with the woman he had loved since his youth; she had long been an widow, too, and was about the same age. The second section is focused on their life together, and it is obvious from his writing that he is smitten and he is happy. While still upbeat and energetic in the third section, the pressure of time is ever-present, as he is now an octogenarian, and he is contemplating who he has become, what impact he has made in the world and how he should spend the rest of his life.

Roytenberg seems to be quite a character. He often refers to himself in the third person, as Maxie, and calls his wife Cookie, my Bride, rather than by her name. There are times when you want to pat him on the back – such as when he manages to push through a regulation change that was being held up by an official who may have been corrupt – and times when you want to shake him, such as when he is basically dismissive of a 28-year-long marriage. But then you want to hug him, because he stayed with and supported his second wife, Ruth, during her eight-year fight with cancer, and you want to jump for joy when he does make the move on his lifelong love, Cookie, and she says yes. By the third section, when he’s so honestly discussing whether he lived up to his own expectations, about winding down (though he also talks about the benefits of not having the time to dilly dally anymore), his children and grandchildren, his gratitude and what he might do tomorrow, it’s quite moving. He touches universal chords in many of his musings and, by the end of the book, you may or may not consider him a hero, but you’ll thank him for sharing a bit of himself with you. And maybe that bit will help you to see the hero in you.

Song video showcases artists

On Aug. 31, the video for the song “Same Girl” premièred. From the Jessica Stuart Few’s latest CD, The Passage, the song features a “girls’ chorus” that includes some of Jessica Stuart’s teenage guitar students joining her on the melody. The two-minute, 36-second video was filmed in and around Toronto, in its alleyways.

“The directing duo KAJART and I started shooting the video in late April, and shot almost every weekend until early August – over 120 hours of shooting over 1,000 locations in Toronto!” said Stuart. The stop-motion music video is her third collaboration with KAJART, “and we love each other and work incredibly well together!” she said, noting that the other two videos are for the songs “Twice” and for “Passage.”

The recent video premièred on blogTO and had more than 54,000 views and 244 shares at press time. On Sept. 1, it was released on YouTube, and has more than 1,200 views so far. On the YouTube post, watchers are invited to help tag the artists of the more than 400 urban art pieces featured in the video.

Noting that school has just started, Stuart told the Independent that the song is “pretty topical.” Its first lyrics, she said, are “Started off we were going to school – half is classes, half life lessons. I don’t care if we’re learning the rules, I’m always the same, always the same girl.”

The song itself (music, lyrics) was composed and performed by Stuart, who sings and plays the koto (a 13-stringed Japanese harp). She is joined by Charles James (double bass), Jon Foster (drums), Tony Nesbitt-Larking (backing koto), Michael Davidson (vibraphone) and the chorus of Jocelyn Barth, Michelle Willis, Alex Rozenberg, Astrid Granville-Martin, Keira Brody and Bernice Chan.

To view the video and download/order the album on which it appears, visit jessicastuartmusic.com.

The complexities of Ruckus

At first listen for a non-aficionado, Beyond the Pale’s Ruckus may sound like a klezmer CD. An excellently executed and enjoyable one, with maybe a little more swing than you’ve heard before, but klezmer – Southeastern European Jewish music, the accordion, violin and clarinet prominent. On second play, however, is that a reggae beat? Did that piece sound like a French folk song in parts? Is that a mandolin?

Beyond the Pale is known for their fusion of klezmer with jazz, bluegrass, reggae and even classical music. Ruckus is the Toronto-based group’s fourth CD. They debuted with Routes in 2001. Their live recording, Consensus (2004), won three awards and Postcards (2009) also won a bunch of awards. While too early to predict, as Ruckus was just released in June, it would not be surprising if more awards were on the way.

Ruckus isn’t a wedding dance soundtrack. Though it has upbeat pieces that make you want to whirl around your kitchen as you cook dinner – “Ispravnost Licne Vizue” and “Batuta,” for example – it evokes a range of emotions. “Moldavsky” has a stately feel, like one of those ballroom waltzes Jane Austen writes about, while “Ruckus in Ralia” has a driving beat and a sense of urgency. “Andale” slows things down and has a contemplative feel, while listening to “Shutka” will take your imagination to the patio of a Parisian café, with its mournful clarinet and accordion, delicately plucked and wavering mandolin strings, and rich violin tones – a tune resembling “My Funny Valentine” seems to make its way into this eclectic composition.

“Oltenilor” sounds like it’d be at home at a hoedown and “Batuta” has a swinging jazz feel to it for the most part, but sounds like a Chassidic niggun at times and morphs into a kind of fast-paced square dance. Both of these songs feature some wicked plucking of the mandolin.

In Eric Stein’s hands, it’s hard to believe that the mandolin is not a traditional klezmer instrument. His original contribution composition-wise on Ruckus is “The Whole Thing,” the idea for which, he told the CJN, he came up with while playing with whole-tone scales. “It’s got tonality that reflects klezmer and Eastern European folk influences, but it’s also got a funky kind of groove.” And it is definitely based on whole-tone scales.

Six of the 12 songs on Ruckus are originals, while the others are arrangements of traditional melodies. All of the musicians – Bret Higgins (bass), Milos Popovic (accordion), Martin van de Ven (clarinet) and Aleksandar Gajic (violin) – either composed an original piece or participated in the arranging. They are a tight ensemble who play around with tempo and style with such ease that the complexity of what they’ve created isn’t what you’ll first notice. And that’s what makes their music so good.

Sandler a superb storyteller

Red Shoes for Rachel: Three Novellas, and its author, Boris Sandler. (photo from Syracuse University Press)

When I read and valued the unique style and flavour of Boris Sandler’s story “Studies in Solfege,” in Ezra Glinter’s anthology of short stories, Have I Got a Story for You, gathered from the Yiddish Forward, I wondered if there were any other fictions available in English by this talented, inventive writer. It was heartening and encouraging to see that, in the parentheses where age is given, there was no other number besides his year of birth. To my delight, I soon learned that Syracuse University Press was planning to issue Red Shoes for Rachel.

In talking about Yiddish writers, we usually are dealing with those long gone, like Sholem Aleichem, I.L. Peretz, Avraham Reisen or Chaim Grade – it is a distinct pleasure to review a book by a living Yiddish writer.

In Red Shoes for Rachel, we meet Sandler’s fellow Jews from Bessarabia. During the Second World War, the Jews there suffered under the Germans and the pro-German Romanian fascists. But then, soon after being liberated by the Red Army, they fell under the rule of rigorous Soviet dictatorship. In these three novellas, we meet perceptively drawn men, women and children as they live their bumpy lives and dream their hopes in the Soviet Union, in Israel and in the goldeneh medineh (golden land), Brooklyn, more specifically, Brighton Beach.

Sandler’s style, unlike that of most other writers in the Yiddish literary canon – almost all of whom write in the late 19th-, early-20th-century realistic style – hovers between realism and magic realism (think of writers like Jorge Luis Borges, Italo Calvino and Mario Vargas Llosa) with surprising effect. Time zones elide. Scenes shift, via recall, from years past to the present. Arching over this are believable, vibrant human beings who are vivified through description, dialogue and interior monologue.

From the first line of “Karolina-Bugaz” – “Bella woke from sleep as if she had been driven out of it” – one sees at once a writer who uses his tools – words – with verve and imagination. On the 30th anniversary of her marriage, Bella goes to a bakery to pick up a special cake she has ordered. But she comes home to find a note that her husband, Mark, has left her. He is now on a cruise, alone, and, on an island near where the ship has docked, he meets a young woman who has the same name as his wife.

In realism, a reader knows where he is, and which character is breathing in his presence. In magic realism, the borders between true and make believe are blurred and the reader is never really sure. Reality in such fiction is a slippery slope.

In the beginning of “Halfway Down the Road Back to You,” we see an 80-year-old woman in Israel preparing dozens of slices of dried white bread, which are scattered all over her apartment – she considers this an obligatory present when visiting.

The woman had spent 73 of her years in Beltsy, Bessarabia. For the past seven, she has lived in her small apartment in Nazareth, where there is a windowless security room stored with food, “just in case.” Both her children are abroad; there is no indication she has any friends, except for a twice-a-week aide. Via memories, we relive her days in the Romanian ghetto during the Second World War, where she risked being shot by slipping out once in awhile to beg for food for her family. It is only toward the end of the tale that we suspect she might be bringing all those crusts she has prepared into that security room, though we can’t be sure.

Red Shoes for Rachel contains one of the most beautiful and moving stories of middle-aged love I’ve ever read. Rachel, the only American-born protagonist in the collection, lives near the Coney Island boardwalk and selflessly tends to her wheelchair-bound mother. One day, when she bumps into Yasha, a divorced immigrant from Moldavia, her life turns around and achieves a spark. In separate chapters, we learn of Yasha’s Holocaust experiences and also those of Rachel’s parents. With delicacy and warmth, the relationship develops. By the end, the two lonely souls have formed a bond.

Occasionally, in translations of Yiddish literature, there is a wide gap between knowledge of Yiddish and knowledge of Yiddishkeit (Judaism), with errors regarding some obvious points in the latter. One story depicts “a Sabbath lunch with songs and putting on of phylacteries” (tefillin), which is done during morning prayers on weekdays and certainly not during lunch. Another has a mistranslation of the Hebrew/Yiddish exclamation, “Borukh Hashem,” which does not mean, “blessed be His name,” but “blessed be God” or, actually, “thank God.” Elsewhere, a woman “blesses the Sabbath candles.” Jewish women do not bless objects and, in this case, would recite a blessing to God over the candles. These comments aside, Barnet Zumoff’s translation is splendid, natural and effortless. It meets the gold standard of translation – reading this book one assumes the stories in it were written in English.

Read Red Shoes for Rachel and you will discover a superb storyteller, a modern master of prose.

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

Meet award-winning artists

Seeking Refuge, written by Irene Watts and illustrated by Kathryn Shoemaker, has been shortlisted for the 2017 Vine Awards for Canadian Jewish Literature. Published by Tradewind Books, the graphic novel is one of the three finalists in the children’s/young adult category.

While this year’s Vine winners will be announced Oct. 3 at a luncheon in Toronto, Vancouverites can meet Watts and Shoemaker later this month at Word Vancouver, and again at the Vancouver Writers Festival in October. The multiple-award-winners, who are both founding members of the Children’s Writers and Illustrators of British Columbia Society, have worked together on several publications, including Good-bye Marianne, a graphic novel based on Watts’ play and subsequent novel of the same name, which also included Shoemaker illustrations.

In Good-bye Marianne, readers meet Marianne Kohn. Set in Berlin in 1938, a week after Kristallnacht, the 11-year-old struggles to understand and cope with the increasing restrictions placed on Jews in Nazi Germany, and the fierce antisemitism she and her family encounter, with a couple of exceptions. The story begins with Marianne not being allowed into her school – all of the Jewish students have been prohibited from attending. As well, her father has disappeared. The situation, as we know from history, worsens, and her mother makes the heartrending decision to send Marianne with “a group of 200 children who are leaving for homes in England,” one of the first groups to be rescued in the Kindertransport.

Seeking Refuge sees Marianne safely to London, arriving Dec. 2, 1938. While protected from physical harm in her new country, Marianne does not escape antisemitism and poor treatment.

In an interview with CBC, Watts commented on Shoemaker’s choice of medium for Seeking Refuge, noting how the grey of the pencil was so well-suited to the story.

“Seeking Refuge is a darker, sadder story, taking place in a time of blackouts, black-and-white films, coal-foggy London, especially the winter months, a gloomy time and place,” said Shoemaker in an interview with the Jewish Independent. “In Good-bye Marianne, Marianne is happier than in Seeking Refuge because she is with family, her home, her country, her language. So, yes, the backgrounds are light, often white. She is anxious about her being sent away but she is not yet sad about it. She is not yet a displaced refugee.”

The possibility of using Seeking Refuge as a way in which to teach younger readers about the current refugee crisis has not gone unnoticed by reviewers and interviewers.

“Stories, in whatever genre, help us to discover more about our place in the world and who we are,” Watts told the Independent. “Immersing ourselves in the lives of fictional characters and their stories, we gain insight of how others live.” While acknowledging that readers will “take whatever message they are ready to understand from the books they read,” she added, “Marianne’s story, though set in the past, is still a familiar one. There are many refugees in the world. Seeking Refuge concerns one child, and how she responds to losing home, friends, family, birthplace, language, culture. In reading about Marianne, a reader may wonder how he would cope in this situation; maybe respond with more kindness and understanding to anyone struggling to make a new life.”

Marianne’s story is similar to – but not the same as – that of Watts, who was educated in England and Wales after her escape from Berlin via the second rescue train in December 1938. Skipping ahead 30 years, she and her husband moved to Canada in 1968, she said, “to give our children a better future.” They immigrated to Alberta.

A playwright and director for Theatre in Education and a drama teacher and consultant in England, Watts taught drama in Hobbema (now Maskwacis), where they lived for a short time before moving to Edmonton. In Edmonton, she was director of Citadel on Wheels and Wings, a children’s touring company that traveled all over Alberta. “We even took our shows to schools in the Northwest Territories,” she said, noting that, among the company’s alumni are Jackson Davies and the late Susan Wright.

“After a few years,” said Watts, “my late husband accepted a position in Vancouver and our four children and I followed. This was in 1976. My base was in White Rock, B.C., and I moved to Vancouver in 2000.”

That Watts likes to write in different genres is clear from the way in which Seeking Refuge came into being.

“Good-bye Marianne began life as a play, which premièred at the Norman Rothstein Theatre in 1994,” Watts explained. “It was produced by Carousel Theatre, and toured widely. It has had many productions, both in Canada and the U.S.A., and will be touring with Theatre New Brunswick for three months in the spring of 2018. I had been a playwright long before I became a novelist. I decided to write the novel because there was still much to say beyond the confines of the play. Kathy Lowinger, then publisher of Tundra Books, rescued the manuscript from the slush pile, and published it in 1998.

“I received countless letters from children, wanting to know what happens next, and so completed both the novel and the play Remember Me, on which Seeking Refuge is based. The trilogy, which ends with Finding Sophie, was later published in an omnibus edition, to commemorate the 75th anniversary of the Kindertransport, as Escape from Berlin.”

For readers anticipating a possible third graphic novel, Watts told the Independent she has “no plans to write about Marianne and Sophie again.”

Shoemaker and Watts collaborated on Watts’ first book for Tradewind, A Telling Time, “which places the story of Queen Esther and the story of Purim in three time frames: modern-day Canada, Nazi-occupied Vienna and the biblical era of Persia. So,” said Watts, “when Kathie told me she had read my play Good-bye Marianne and suggested that it would make an interesting graphic novel, I needed no persuasion, and together we embarked on our next project – a new genre for me. Since then, we have done several other books together, for both Tundra and Tradewind Books.”

A Telling Time, which Shoemaker described as “a picture book for older children about the parallel stories of Queen Esther and how she saves her people and a 1939 secret Purim party,” was recognized by the International Youth Library in Munich, Germany, with a 2006 White Raven special mention.

“For that book,” said Shoemaker, who teaches children’s literature at the University of British Columbia, “I did a huge amount of research. As well, Irene shared many resources with me.

“While I was illustrating A Telling Time,” she said, “I was working on my MA in children’s literature at UBC. Instead of doing an academic thesis, I wrote a graphic novel. During the process of finishing it up, Irene asked me what it was like to write a graphic novel and I told her that, for her, it would be a snap, as it is very much like writing a play or screenplay, as you write primarily dialogue, and, similarly to writing a play scene by scene, a graphic novel is written panel by panel. In response to my answer, Irene told me that Good-bye Marianne had been a play before it was a novel.”

Shoemaker said she drew up several pages of Good-bye Marianne for Watts to send to Tundra as a proposal for a graphic novel. “It was about to have its 10th anniversary, so it was good timing,” said Shoemaker. “Tundra had never done a graphic novel before but they agreed to it.”

Graphic novels were still a relatively new phenomenon at that time. “Other than Chester Brown’s Louis Riel and books for adults, there were almost none,” said Shoemaker. “It was a bit of challenge working with an editor who did not understand the form and also who didn’t seem to understand how closely Irene and I work.

“You will often hear that editors like to keep writers and illustrators apart. I hate that. Irene and I work closely on everything that we do.”

Their creative process begins with Watts writing a rough draft. “She doesn’t number the panels but she describes all the key actions she wants to see occur along with the dialogue,” explained Shoemaker. “From that version, I go back into the manuscript to visualize the sequence of panels. When I do that, I create panel numbers and add in additional panels that may be close-ups, wordless images and additional panels to handle complex conversations. After I’ve done that, I begin a visual dummy, drawing out the entire book panel by panel. When that is complete, I sit down with Irene and go through it panel by panel. As we go through it, we decide what stays, what goes and what more we might need. The best thing about our working together is that we highly respect each other’s ideas and we both listen, consider and change things without any kind of ownership because we consider the work ours. It is our book, not mine, not hers, but ours.”

Watts and Shoemaker will be at Word Vancouver on Sept. 24, 12:45 p.m., at the main branch of Vancouver Public Library in the South Plaza (the Quay) and the Writers Fest on Oct. 18, 1 p.m., at Revue Stage on Granville Island. For more information on both of these festivals and for tickets to the latter ($17), visit wordvancouver.ca and writersfest.bc.ca, respectively.

What does future hold?

Jewish community member mia amir is the dramaturg of Wypsa, which is at the Fringe Festival until Sept. 16.

While the plot of Wyspa may bring to mind William Golding’s Lord of the Flies, the book was not a direct inspiration for this work, co-writer and director Julia Siedlanowska told the Independent.

The creation of the play, which opened at the Vancouver Fringe Festival Sept. 7, began with the reading and discussion of an original story written by Siedlanowska and Kanon Hewitt.

“Our team includes five collaborators between the ages of 11 and 16,” said Siedlanowska. “They have all been involved directly in the creation of this piece through world-building, research, writing text, improvisation, creating soundscapes, costumes and props. They are all also performing in the piece.”

Siedlanowska and Kanon’s story “tells the tale of a walled-in community that has sustained itself through oil extraction for centuries,” Siedlanowska explained. “When fires start raging within the walls, the mothers of the community make the decision to send their children away through the only opening to the outside world – an opening to the ocean.

“After days of drifting, they finally arrive on an island. Here, they must decide whether they will live by the rigid rules of their old society or create their own.

“We separated the experience into three worlds,” she continued. “The home world, the world of the boat and the world of the island. From there, we collectively decided the specific circumstances of each of these, including what rules apply in the home world and the island world. The youth created their own characters and decided on each of their relationships to each other. Text and movement were all generated by the collaborators, with myself and Kanon making decisions about the show structure with the help of our dramaturg mia amir. There are some improvisational aspects – much of the show takes place within an improvised structure with scenes changing depending on the audience.”

The end result came from research of instances in which children were removed from their homes during the Second World War, said Siedlanowska, “including Japan after the Tokyo bombings and the Kindertransport of Jewish children in Europe, as well as the Sixties Scoop in Canada.

“One piece of literature that I did directly mention in the initial phases of brainstorming was the story of King Matt the First, written by Polish-Jewish playwright Janusz Korczak. Korczak ran an orphanage in Second World War Poland. He was a pedagogue, writer and children’s rights activist. The orphanage was called Our House, and the children living there published their own newspaper and held their own court when conflicts arose among them. King Matt the First was about a child who becomes king, and what might happen if children were rulers.”

However, the idea of the story first arose, she said, “from questions around the rise in domestic violence in Alberta as a result of the economic downturn and job loss in the oil and gas industry. This violence is predominantly towards women.

“This then led to questions around how raising youth within rigid gender identities might enforce these patterns of violence. Instead of writing what we think youth might have to say about these themes, we decided to ask directly. In relation to climate change, we also wanted to ask the question, how do we – as an adult audience – react to dialogue around the climate crisis when those who will inherit the planet stand directly in front of us?”

Wyspa is being presented as part of Generation Hot, a mentorship initiative of the Only Animal and the Fringe Festival, which presents the work of seven writer-directors between the ages of 17 and 24. This year’s program is called Waterborne. “Each participant has found a personal response to a chosen site on Granville Island and the theme of water,” explains the press release. “Two programs of these short works will run in rep during the 2017 Vancouver Fringe Festival…. Wyspa is paired with Citlali: A Fantastic Tale About Water by a Mexican Poet by Brenda Muñoz.”

Wyspa runs Sept. 8, 10, 13-14 and 16, 8 p.m., at Ron Basford Park on Granville Island. For tickets ($12) and the full Fringe schedule, visit vancouverfringe.com.

Atheism has a long history

The title of a book review in Biblical Archaeology Review caught my eye, “Ancient atheism.” I read, “A common assumption is that atheism – a lack of belief in gods and the supernatural – is a recent phenomenon, brought on by the advent of science during the Enlightenment.” I ordered the book immediately: Battling the Gods: Atheism in the Ancient World by Tim Whitmarsh (Alfred A. Knopf, 2015).

Bumbling, staggering, veering and lurching: these are the words that come to mind when I think of my path towards a Jewish identity. As the product of a secular household, my only contact with Judaism was my brother’s bar mitzvah and a yearly Passover seder at a family friend’s home. I was born in 1939, the beginning of the Second World War, yet the word “Holocaust” was never mentioned during my childhood or adolescence. The topic of God was not broached. The exception to the rule was that my brother and I were sent for seven summers to a Jewish camp in the Adirondacks, in New York state. There, we became familiar with Friday night services, which included singing Jewish songs and a few prayers in Hebrew.

Fast forward to 1970, after 12 years of marriage, the birth of four sons and a sincere attempt at keeping a kosher home (it lasted three years), creating Passover seders and Chanukah parties and the decision to prepare our sons for bar mitzvahs, my husband and I divorced.

I enrolled immediately in courses at Concordia University. English and French literature introduced me to the Hebrew Bible and the New Testament. This led to a bachelor’s in French literature, which was followed by many courses in a master’s program called The History and Philosophy of Religion.

My search was on. I was determined to find out what religiosity and devotion to God entailed. I studied Judaism (modern and medieval), Jewish mysticism, Christianity, Buddhism and Hinduism. I wrote scholarly papers on these subjects. Later, I would take up the study of Modern Hebrew at McGill University. Upon moving to Vancouver, I studied Biblical Hebrew for three years and enrolled in the Judaic studies program at the University of British Columbia. Jewish law, Jewish ethics, Proto-Hebrew, I loved it all; but I was no closer to feeling comfortable during the High Holiday services at any synagogue.

I tried Conservative, Reform, Reconstructionist and Jewish Renewal congregations. I could not make that leap of faith required to pray to God. The secular humanist group had replaced Hebrew with Yiddish. I wanted my Hebrew! The result is that, every year, during Rosh Hashanah and Yom Kippur, I felt uneasy, out-of-step and different.

I continued studying Modern Hebrew. I became editor of Jewish Seniors Alliance’s magazine, Senior Line. Studying, writing, volunteering and participating in the Jewish community were rewarding and gratifying activities, yet I felt like a second-class Jew. Was there something wrong with me?

Then along came Battling the Gods: Atheism in the Ancient World. As the May/June 2017 Biblical Archaeology Review notes, “In clear prose, Whitmarsh explores the history of atheism from its beginnings in ancient Greece in the eighth century BCE through the fourth century CE, when Christianity was adopted as the state religion of the Roman Empire. Whitmarsh says up-front that he is not interested in proselytizing atheism – but rather in studying its first thousand years. He argues that the history of atheism is an issue of human rights because denying the history of a tradition helps to delegitimize it and paint it as ‘faddish.’”

In reading this book, I came to understand, as Stephen Greenblatt is quoted on the back cover as saying, that “atheism is as old as belief. Skepticism did not slowly emerge from a fog of piety and credulity. It was there, fully formed and spoiling for a fight, in the bracing, combative air of ancient Athens.” And I agree with Susan Jacoby’s comments – also cited on the back cover – that it “is a pure delight to be introduced to people who questioned the supernatural long before modern science provided physical evidence to support the greatest insights of human reason.”

I devoured Battling the Gods, relishing the research and the historical insights. Homer’s epic poems of human striving, journeying and passion were ancient Greece’s only “sacred texts,” but no ancient Greek thought twice about questioning or mocking his stories of the gods. Whitmarsh states that “this book thus represents a kind of archaeology of religious skepticism.…This loss of consciousness of that classical heritage [the long history of atheism] is what has allowed the ‘modernist mythology’ to take root. It is only through profound ignorance of classical tradition that anyone ever believed that 18th-century Europeans were the first to battle the gods.”

Whitmarsh writes, “The Christianization of the Roman Empire put an end to serious philosophical atheism for over a millennium. The word itself, indeed, acquired an additional meaning, which was wholly negative: rather than the rational critique of theism as a whole, it came to mean simply the absence of belief in the Christian god.”

With Whitmarsh’s sentence, “The conclusion seems inevitable that the violent ‘othering’ as atheists of those who hold different religious views was overwhelmingly a Judeo-Christian creation,” my self-respect was restored. I now understand that I come from a longstanding tradition of atheists. My beliefs have history and credulity behind them. I will continue to study Hebrew, write, volunteer and participate in the Jewish community. In accepting my skepticism, I join the minds and hearts of the ancient Greek and Roman skeptics and atheists who came before me.

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 movie reviews for the Isaac Waldman Jewish Public Library website.