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.”
Contrary 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 Gordonis a Toronto-based freelance writer whose work has appeared in more than 100 publications around the world.
Jane Bordeaux – Amir Zeevi, left, Doron Talmon and Mati Gilad – perform at the Chan Centre on May 1. (photo from Jewish Federation of Greater Vancouver)
What better way to bring folks together in song and celebration of Israel’s 69th birthday than with folk music. And what better band to unite Diaspora Jews than one that writes and performs American-style country-folk songs in Hebrew!
Tel Aviv-based Jane Bordeaux – Doron Talmon, Amir Zeevi and Mati Gilad – will headline this year’s community Yom Ha’atzmaut concert at the Chan Centre on May 1, 7:30 p.m. The trio regularly plays to sell-out crowds.
Their debut album was well-received, with songs such as “Eich Efshar” (“How is it Possible”) and “Whisky” radio favourites, and the video of their song “Ma’agalim” (“Circles”) went viral. A second album is nearing completion and is expected to be released in June.
Talmon and Gilad met in 2012 at Rimon School of Jazz and Contemporary Music in Ramat Hasharon, Israel. It was in a contest of original songs. “The idea was to perform some of my songs, and get some practical experience of a band format – you know, finding musicians, getting a name for the band and that sort of thing,” Talmon told the Jerusalem Post in a 2016 interview.
“We kept on playing after that one,” Talmon recently told the Independent, “and, when we needed a new guitar player, Amir, who’d been serving with Mati in the military band, had just returned from the U.S., and joined the band.”
Though the band has only been together five years ago, they have all been performing for much longer than that.
“I’ve been singing since I was a little child, always had the attraction to writing songs and singing them,” said Talmon. “After I returned from a long trip in South America, I decided to go and study music professionally, so I went to Rimon school for three years, learning music, songwriting and how to form a band, eventually.”
“I’ve been playing since I was 5, piano and then bass guitar,” said Gilad. “When I went to Thelma-Yellin arts high school in the jazz department, I started also playing the double bass. After high school, I served in the military in an army band and simultaneously studied at the Tel Aviv music conservatory. After the army, I started learning in Rimon school and was there for a year learning both classical, jazz and pop music.”
As for Zeevi, he has been playing the guitar for as long as he can remember. “My high school in Holon had a music major, that’s when I started taking the guitar more seriously, meeting great players and teachers,” he said. “In the army, I’ve played in the air force band and, after my release, I decided to go and learn music in the New School university in New York City, learning both jazz and country music.”
Usually, it is Talmon who comes up with the idea for a song, both the lyrics and melody, then the group starts playing with it, sometimes changing its harmony or structure, and building the arrangement. “Since we perform a lot,” they said, “we often try these new songs in shows, to get the feeling of what it is like to perform with them onstage and how does the crowd react, and each time improving and adjusting the song till it feels complete.”
In true country music fashion, many of Jane Bordeaux’s songs have to do with love and loss – ol’ American hurtin’ songs with a modern, Israeli twist.
“American folk-country, the way we see it, is storytelling, about the dark and the bright sides of life, wrapped in beautiful harmonies and joyful rhythm,” the band members agreed. “How can you not get excited from it? Also, we are addicted to the banjo’s sound and it’s going to feature a lot in our new album.”
“The songs are inspired from life, of course, mine and my friends,’” explained Talmon. “Sometimes, a song may be very close to a personal experience or feeling I had and, sometimes, it can be an idea I borrowed from a book I read or a movie I’ve seen, even a sentence I’ve heard.”
“Ma’agalim” is a bittersweet song about life: “It’s not me that’s progressing / It’s just the time that’s moving on.” The video features a wooden doll in a penny arcade. As the cylinder turns, she walks along her track, bundled up in a coat and scarf, passing people in various stages of life, from cradle to grave. Produced by Israeli animators Uri Lotan and Yoav Shtibelman, it really is a must-see (vimeo.com/ 162052542).
“The minute Uri and Yoav, the creators of the clip, showed it to us,” said the band, “we were so amazed by the beauty and sensibility of the video they made, so we can’t really say we were surprised that it went viral – we never had seen such animation before. We feel that there’s a unique connection between the music and the visuals that’s very moving, so people get excited by it, even without understanding the lyrics.”
No doubt a similar connection will be formed between the band and their audience in Vancouver, where they will sing in both Hebrew and English.
“It’s not going to be the same as in Haifa or Tel Aviv,” they said about the Yom Ha’atzmaut concert. “We love adjusting our set to best fit the place we are going to perform. Since the show date is Israel’s Independence Day, and we guess some of the crowd is English-speaking, in addition to our originals, we’re going to play some English covers and Hebrew all-time favourites – and even some special surprises for the Canadian crowd that obviously we can’t tell in here!”
The group starts their tour in Vancouver, then they have a few shows in North America, including one in Toronto.
“We are super-excited about the show in Vancouver,” they told the Independent. “It’s going to be the first show of our first tour outside of Israel and we’ve got a lot of great stuff planned specially for it, so we’re hoping to see you there!”
Tickets for the May 1 community celebration ($18) can be purchased at jewishvancouver.com/yh2017. In addition to this year’s co-sponsors – Canadian Friends of Hebrew University, Consulate General of Israel in Toronto, Georgian Court Hotel, the Jewish Independent and Jewish National Fund – the Jewish Federation of Greater Vancouver event is supported by 46 other community organizations.
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 Kaplanis 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.
George Zukerman, who retired his bassoon in 2012, will be honoured on April 27 with a tribute concert at Bell Performing Arts Centre. (photo by Lauren Kramer)
George Zukerman well remembers the day he was first introduced to the bassoon. It was 77 years ago, and he was a new arrival from London, England, attending New York’s High School of Music and Art.
“One day they told us, ‘Boys and girls, you’re becoming an orchestra!’” he recalls. “All the pushy kids grabbed the instruments they recognized and I picked up this anonymous black box, the only thing that was left. I said, ‘Excuse me sir, what is this?’ Our teacher replied, ‘Oh, you’re our bassoonist!’ And I never looked back.”
That moment launched Zukerman, 90, on a lifelong journey wherein he became an international bassoon virtuoso. He conducted 40 world tours and was frequently the first bassoon soloist ever invited to tour with the national symphony orchestras in which he played.
But Zukerman is nothing if not extremely modest. Of his musical ability before he picked up the bassoon, he declares during an interview in his White Rock home, “I played a little piano but I wasn’t really musically talented.”
He didn’t even take to the bassoon at first, he says, “until I decided to practise. Then I got work because it was a time of war and other bassoonists were getting drafted for the war, which meant I had some amazing opportunities. Four or five years later, I didn’t know how to do anything else, so I decided to become a musician.”
Vancouver left a deep impression on Zukerman’s life when he first visited in 1950. The Vancouver Symphony’s bassoon player was unwell and Zukerman received a desperate call from a conductor he knew, asking him to come and play. Just 23, he flew into the city to perform for six weeks. During that time, he met Abe Arnold, then editor of the Jewish Western Bulletin (the Independent’s predecessor).
Arnold introduced Zukerman to a social worker at the Jewish Community Centre of Greater Vancouver who encouraged Zukerman to audition for the Israel Philharmonic Orchestra. He recalls practising for the audition at Carnegie Hall, alone in a room. No one arrived to hear him and he was about to leave when Leonard Bernstein entered. “You’ve got the job,” Bernstein informed him. “I’ve been listening to you practise for the past half hour!”
Zukerman spent 18 months with the Israel Philharmonic in the early 1950s, when the Jewish state was still brand new. “Back then, members of the orchestra were admired as some of the most prestigious people in the country!” he recalls. By 1953, he had accepted a position with the Vancouver Symphony Orchestra and relocated to Vancouver.
It was a bittersweet time for a performer in the small city of 300,000, he says. “Musically, whatever one did in 1953 in Vancouver was being done for the first time, so I was able to have an influence on musical activity and life around here. But, the orchestra was half amateur, poorly financed and not well-supported, so it performed a season of alternate concerts.”
In his spare time, Zukerman formed a concert service called Overture Concerts, with the goal of arranging performances by other artists in small communities throughout Canada. He knew ticket sales would be an impossible way for the concerts to stay afloat, so his idea was to sell subscriptions.
“Basically, we ran a membership campaign, raised the money and then figured out who we could afford to bring in. It worked wonderfully in small towns and it became very successful, with up to 500 performances in 74 towns across the country,” he explains.
Zukerman was fascinated by life in small towns and was thrilled to bring high-quality musicians to their halls. “We sent tenor Ben Heppner to Swift Current, Sask., the Canadian Opera Company to Nelson, B.C., tenor Richard Margison to Prince George, and pianist Anton Kuerti to Merritt, B.C., and Medicine Hat, Alta. Almost any small community would have enjoyed concerts by major Canadian and non-Canadian artists.”
The artists didn’t just perform – they also talked to their audiences about themselves and their music. “It gave a humanity to the concerts and it’s one of the reasons we could succeed at this,” says Zukerman.
His career with the VSO came to a close in 1963 after he led a strike campaigning for more work. “The symphony was running on 23 weeks of pay and we wanted at least 35 weeks, so we were asking for more opportunities to play,” he says. The VSO board refused the demand, settled with the other musicians and did not renew his contract. But, looking back, it was all for the best, he says.
“I became a soloist and, because I had my little business operation with Overture Concerts, I had the potential to get some engagements for myself,” he notes. “I suddenly found myself with the chance to play repertoire that no one knew existed, and I became known as ‘the High Priest of the Bassoon’!”
It would be years before Zukerman would begin to understand the extent of his influence on others. In 2007, while on tour in South Africa, he met several young bassoonists with the symphony of that country and was gratified to learn they’d taken up their instruments after listening to recordings of him performing.
White Rock Concerts was one of Overture Concerts’ first ventures and it flourishes to this day. It was founded on two principles, Zukerman says. “The first is quality attractions, and the second is a refusal to sell tickets, only subscriptions.”
The subscription policy is key, he explains. “The minute you sell tickets, you’re obligated to cater to the common denominator, and classical music is not geared for the common denominator. Good music survives because it’s an elite enjoyment and pleasure, and thank goodness for that!”
While Zukerman retired his bassoon in 2012, he remains active and instrumental in the world of classical music. This spring, his efforts are focused on bringing classical concerts to Parksville, Port Alberni and Agassiz. He’s toying with the idea of writing a book and is excited about an upcoming tribute concert in his honour at the Bell Performing Arts Centre April 27.
If he has one regret, it’s that he never became a father. “I traveled so much I never felt able or willing to have children,” he says sadly. “It’s one of the failures in my life. But, in a way, as a result of the influence I was able to have on a new generation of bassoon players, I’ve had thousands of children.”
White Rock Concerts’ Tribute to George Zukerman is on April 27, 8 p.m., at Bell Performing Arts Centre, and will feature the Elmer Iseler Singers, the Borealis String Quartet, clarinetist James Campbell and the Bergmann Piano Duo. For tickets ($30), visit bpac.stage.digitalshift.ca/event/a-tribute-to-george-zukerman-w or call 604-507-6355.
Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.
Posters from the Six Day War, explaining how to remain safe and be good citizens; the soldier shown is at El Arish, Sinai, in late June or early July 1967. (photo by Shula Klinger )
This year marks the 50th anniversary of the Six Day War. While the conflict may have only lasted a few days, its impact was tremendous. Not only did it lead to the redrawing of Israel’s borders, it sent a powerful message to the rest of the world. Within 20 years of its establishment, Israel had become a strong, united country. Israelis – and Jews around the world – were jubilant.
In addition to the Israelis who walked away from their daily lives to fight in the war, many other recruits flew in from overseas. Keeping Israel safe – and Jewish – was their only purpose.
This year, a group of young Israelis is making a documentary to explore this phenomenon. With funding from Jewish Federation of Greater Vancouver, the production team is filming veterans of the Six Day War as they recall their time at the front. Lior Noyman, who is also a photographer, is the documentary’s editor. He observes that, without fail, “every one of them remembers exactly where they were when the announcement came about the war.”
Dan Gadassi, who worked in television production for 17 years in Israel, before moving to Canada, is fascinated by the impact of the 1967 war on these individuals and their communities.
To get a full picture of what it was like in Israel as the war ended, the local group has interviewed a wide range of veterans: Sephardi and Ashkenazi, secular and religious. “A Canadian woman, a volunteer; South Africans; a former Israeli soldier who liberated the Western Wall; two people who went to Israel to fight,” said Gadassi. Most of these individuals are retired now.
The documentary is not a recapping of the military actions that brought Israel to victory. It seeks to portray the atmosphere in Israel, as experienced by individuals, through “memories, beautiful stories about what happened when it ended.” Their narratives include the story of a young woman “hearing the sirens in Jerusalem … and what it was like approaching the wall after two thousand years,” said Gadassi.
In addition to the oral histories, the film will show archival materials from the Jewish Independent and artifacts from community members. Gadassi described “beautiful old videos, amazing photos of Israel 50 years ago.”
Some of the photos to be shown in the film have only recently come to light, as older relatives have passed on. They depict scenes from the battleground at El Arish in Sinai, shortly after the war ended. Sparsely captioned, these starkly beautiful images are of desert scenes, soldiers and the debris of war. They show the tremendous relief felt by a nation, said Gadassi, “whose survival was assured.”
No war story is uncomplicated, of course, and the situation in the region remains complicated. As Noyman observed, “They thought it would be the last war.”
The filmmakers look forward to taking viewers on a visual journey back to 1967, “on an emotional level,” said Gadassi. “We want to conjure up the atmosphere of the time.” Asked to sum up that atmosphere in a few words, he said, “We are here and we are staying.”
If you have a story to share or any archival materials, contact Noyman ([email protected]), Ayelet Cohen ([email protected]) or Gadassi ([email protected]). The screening and a display will be held on June 5, 7:30 p.m., at the Jewish Community Centre of Greater Vancouver. The entire community is invited to attend.
Shula Klingeris an author, illustrator and journalist living in North Vancouver. Find out more at niftyscissors.com.
Note: This article has been edited to reflect that the screening date changed.
A photograph of Deadvlei in Namibia, by Judi Angel, is part of the exhibit Eye Lines, at Zack Gallery until April 30.
Five years ago at Zack Gallery, Judi Angel had a solo show of photographs from her time as a volunteer in Asia and Africa. Most of her work from that period was portraits of people she met during her travels. By contrast, her new solo exhibit, also the product of her travels, features no people – instead, her latest works transform landscapes into geometry, into lines, colours and shapes. The title of the new Zack show, Eye Lines, reflects the artist’s new approach.
“Each photo in this show has a leading line,” Angel said in an interview with the Jewish Independent. “That line attracts the viewer’s gaze, builds a narrative. It takes your imagination on a journey. You look at the image and you ask questions. Where are we? Where are we going? How do we get there? What is beyond the frame?”
Her fascination with lines started in recent years. “I took a photography class on developing your own style,” she said. “I hadn’t noticed how much I use lines in my images until I went back over my photos, thousands of them. Then the lines emerged as something important, so I decided to exploit that direction and enjoy what comes of it.”
She doesn’t consider herself a professional photographer, despite the artistic quality of her photos. “Photography is a serious hobby for me. I’m not trying to make a living with it,” she said. “I want it to be fun and challenging. I’m looking for new ways to express my vision of the world.”
Judi Angel (photo from Judi Angel)
Awhile ago, she began experimenting with her craft. Layering, double exposure, conceptual photography and a new medium for her images – sublimation printing on aluminum – are only some of the new things she has played with recently. But finding unusual images and original angles are still her primary goals.
“Five years ago, when my husband and I volunteered in impoverished countries, my photos were like a documentary. Now, I want to experiment more,” she said. “We still travel, but the trips are shorter. We don’t want to leave home for long periods of time; we have eight grandchildren. But we often travel specifically to places I want to photograph, like Africa – it is a visual feast for a photographer.”
Earlier this year, she and her husband traveled to Namibia. “We went there particularly for photography,” she explained. A few photos in the exhibit come from one of the major Namibian tourist attractions, a ghost town, called Kolmanskop, in the Namib Desert. According to Angel, Kolmanskop was a mining town founded in the earlier 1900s by German settlers to mine diamonds. The miners built their town in their homeland’s style.
“It had all the amenities: a hospital, a casino, a school, even a ballroom,” she said. “Unfortunately, by the middle of the 20th century, the mine’s diamond production petered out and the town was abandoned.”
Today, only sand and tourists move among the empty buildings, and Angel’s photographs demonstrate the power of both. The desert irrevocably reclaims its own, encroaching on the former human dwellings, creeping in through broken windows and open doors. The rippling sand dunes inside the houses look eerie, almost alien beneath the pastel-coloured walls.
A different alien landscape meets the travelers outside, in the desert. Angel’s photos of the desert reflect the stark contrast of blue sky and yellow sand. The colours are blinding. “There is a new railway there, in the desert, but the sand always moves. It covers the rails every day and has to be constantly cleared,” she said. Her photograph of a sand dune a couple of metres high, piling across the straight line of rails, is awe-inspiring and achingly beautiful.
Another unique desert photograph sports three colours instead of two. A grove of dead trees stretch their long-dry branches upward, adding dark brown to the blue-and-yellow combination of the desert. “The trees have been there for 600 years,” said Angel. “The dryness of the desert preserves the wood from rotting and crumbling, so they just stand there.”
Most other pictures in the exhibit reveal architectural elements, as seen through the artist’s lens. Several of them are in the monochrome palette, while all the desert pictures use colour. “I like colour, especially the warm yellows, reds and blues, but sometimes, black-and-white is the only option,” she explained. “In my geometrical photos, black-and-white emphasize lines, while colours would be distracting.”
Her architectural photos are not precise copies of real life but rather an enhanced fantasy, a capriccio on an urban theme. One of her favourite image-manipulation programs is Photoshop. “Some photographers say that using Photoshop means cheating, but I don’t think so,” she said. “Photoshop is my tool, like paintbrushes for an artist. It has so many creative possibilities, and I experiment with them.”
Angel’s experimentations led her to join the Capture Photography Festival, and the current show at the Zack is part of the festival. Launched in 2013, this year’s festival presents photography at more than 70 galleries and community spaces throughout Vancouver.
“I like visiting their shows – so many outstanding artists,” said Angel, noting, “They have judges to ensure that every participating photographer and every exhibition are on a decent level.”
Eye Lines opened at the Zack on March 30 and will continue until April 30. To learn more about Angel’s work, visit judiangel.com.
Olga Livshinis a Vancouver freelance writer. She can be reached at [email protected].
Dr. Ra’anan Boustan of Princeton University delivers the Itta and Eliezer Zeisler Memorial Lecture at the University of British Columbia on March 23. (photo by Gregg Gardner)
A mosaic from Late Antiquity has lessons for Jewish communities today. According to Dr. Ra’anan Boustan of Princeton University, “Jewish identity, historically, was broader, more porous, and integrated more non-Jewish elements than we might think, and, likewise today, we should not hasten to essentialize or rigidly define Jewish identity or culture.”
Boustan offered this insight when delivering the Itta and Eliezer Zeisler Memorial Lecture at the University of British Columbia on March 23. Called Greek Kings and Judaean Priests in the Late Antique Synagogue: The Newly Discovered “Elephant Mosaic,” Boustan’s visit was presented by the Archeological Institute of America, Vancouver Society, and co-sponsored by the UBC Diamond Chair in Jewish Law and Ethics, and the department of classical, Near Eastern and religious studies (CNERS).
A 2011 dig led by archeologist Jodi Magness excavated several sections at the site of a former village, Huqoq, near the Sea of Galilee. Among the items uncovered was a mosaic that is said to have adorned the floor of an elaborate 1,600-year-old synagogue.
“The discovery of the mosaic was a major find,” Prof. Gregg Gardner of CNERS told the Jewish Independent. “There are very few mosaics from the ancient world that depict biblical scenes.”
The mosaics’ scenes include Samson fighting the Philistines, Noah and the flood, the destruction of the Egyptian army in the Red Sea, and others. A particularly noteworthy element is that the mosaics also show images from Greek history and mythology. “This confluence of biblical and Greek imagery was quite surprising,” said Gardner.
Boustan was in Vancouver to talk about the “Elephant Panel,” which depicts a battle between unknown actors. Although some have argued that the panel represents Alexander the Great, Boustan interprets the mosaic as the depiction of a Seleucid attack on Jerusalem led by King Antiochus VII in 132 BC. “It shows they had a sense of historical connection to predecessors in a more robust way than we might have expected, and wanted to have that memorialized in synagogue art. This shows a historical consciousness, not just the timeless world of rabbis and scriptural interpretation developing in the Talmud of the same period.”
Boustan is a specialist in Judaism in Late Antiquity (circa 200-700 CE) who has focused particularly on understanding “extra-rabbinic culture,” the Judaism that existed outside of what was preserved in the narratives of the rabbis. “The rabbinic writings – the Talmud, the Midrash – preserve the world through their eyes, what they thought was important and how they wanted things to be viewed. The rabbis did not represent all Jews or all Judaism, and the wider Jewish world may have had different viewpoints and priorities.”
Boustan has focused on studying the piyyutim (hymns) written and preserved outside the rabbinic canon and containing some unusual theological ideas, as well as on apocalyptic and mystical literature, which flourished on the fertile edge between Jewish and non-Jewish cultures.
“The mosaic is important for understanding the history of Jews and Judaism and gives us something to think about in terms of Jews living in the Western world today,” he said, noting the broader and more porous nature of Jewish identity in those times, and how we shouldn’t be in a hurry to “rigidly define Jewish identity or culture.”
For example, Boustan explained, “The figural art we are finding at Huqoq and elsewhere upends some of our assumptions that, classically, Jews didn’t do that. In fact, we’ve found many small villages of one to two thousand habitants who built very expensive buildings containing a mixture of folk art and world-class art. In Huqoq, the art is imperial-quality work, which would not be surprising to find in a major landowner’s villa in Antioch. Yet, there it is, being commissioned, paid for and used by a farming village of maybe 2,000 people. That tells us we have a lot more to learn about the Jews of Late Antiquity.”
He noted, “In addition, the synagogue art contains a zodiac wheel with a figure of the sun god, Helios, in the centre. What’s going on there? Is it just a decoration? Was it actually part of religious worship in the synagogue? Was it seen allegorically as a poetic representation of God?
“Helios imagery was adopted by Christians in the third century, along with many other Greek religious symbols,” he said. “As the Greco-Roman world Christianized, however, they distanced themselves from ‘pagan’ imagery. By the late fourth to seventh [century], Jews are the only ones actively cultivating zodiacal and Helios imagery. Ironically, if you find a building with Helios imagery from that period, it’s almost definitely a synagogue.”
Matthew Gindinis a freelance journalist, writer and lecturer. He writes regularly for the Forward and All That Is Interesting, and has been published in Religion Dispatches, Situate Magazine, Tikkun and elsewhere. He can be found on Medium and Twitter.
Left to right are Kaila Kask (Mary Phagan), Emily Smith, Rachel Garnet and Alina Quarin with Riley Sandbeck (Leo Frank). (photo by Allyson Fournier)
On Aug. 17, 1915, 31-year-old Leo Frank was kidnapped from the Georgia State Penitentiary in Milledgeville by a Ku Klux Klan lynch mob and hanged by his neck until he was dead. His alleged crime: the rape and murder of 13-year-old factory worker Mary Phagan. His real crime: being Jewish, successful and a northerner in an impoverished Deep South still reeling from the humiliation of the Civil War and looking for retribution against its perceived oppressors.
The case has been the subject of novels, plays, movies and even a mini-series. But who would have thought that you could make a musical out of such a tragedy. Author Alfred Uhry (Driving Miss Daisy) and Broadway producer Hal Prince (Cabaret) did. Thus Parade was born, with music and lyrics by Jason Robert Brown. It opened on Broadway in 1998, won two Tonys and went on to be produced across America to much acclaim.
Now, Fighting Chance Productions, a local amateur theatre company, is bringing this compelling story to Vancouver audiences for its Western Canadian première at the Rothstein Theatre April 14-29. Director Ryan Mooney and lead actor Advah Soudack (Lucille) spoke with the Jewish Independent about the upcoming production. But first, more background, because it is an incredible story.
Frank was a slight man – five feet, six inches tall, 120 pounds – with a nervous temperament. Born in Texas and raised in Brooklyn, he graduated from Cornell University with a degree in mechanical engineering and was enticed to move to Atlanta in 1908 to run the factory owned by his uncle. There, he met and married Lucille, a 21-year-old woman from a prominent Jewish family. The newlyweds lived a life of privilege and wealth in a posh Atlanta neighbourhood, Frank became the president of the local B’nai B’rith chapter. However, having been brought up in the vibrant Yiddish milieu of New York, he always felt like an outsider amid the assimilated Southern Jewish community.
The journey to his tragic demise started the morning of Saturday, April 26, 1913, when little Mary put on her best clothes to attend the Confederate Memorial Day Parade in downtown Atlanta. On the way, she stopped at the National Pencil Factory, where Frank was the superintendent, to pick up her weekly pay packet from his office. That was the last time she was seen alive. Her body, half-naked and bloodied, was found in the basement of the factory later that day. Shortly after, Frank was arrested by the police and charged with the crime along with the African-American janitor, Jim Conley.
The trial was a media circus fueled by a zealous district attorney, Hugh Dorsey, who was looking for a conviction in a high-profile case to popularize his bid for the governorship of Georgia, and Tom Watson, a right-wing newspaper publisher who wrote virulent, racist editorials against Frank, casting him as a diabolical criminal and calling for a revival of the Klan “to do justice.” Frank was convicted by an all-white jury on the testimony of Conley – who had turned state’s evidence in exchange for immunity – and sentenced to death in a trial that can only be characterized as a miscarriage of justice replete with a botched police investigation, the withholding of crucial evidence, witness tampering and perjured testimony. This was America’s Dreyfus trial and Frank was the scapegoat.
The conviction appalled right-thinking people and mobilized Jewish communities across America into action. William Randolph Hearst and New York Times publisher Adolph Ochs campaigned on Frank’s behalf. The conviction and sentence were appealed. Georgia governor John Slaton was lobbied to review the case. For two years, Frank sat in jail not knowing his fate until, one day, he heard that Slaton had commuted his death sentence to life in prison. In response, frenzied mobs rioted in the streets and stormed the governor’s mansion. A state of martial law was declared and the National Guard called out to protect the city. Against this backdrop, Frank was transferred into protective custody at the state penitentiary but that did not stop the lynch mob, some of whom had been jurors at the trial.
It wasn’t until 1986 that Frank was (posthumously) pardoned by the Georgia State Board of Pardons and Paroles.
Jewish Independent: What attracted you to this play?
Ryan Mooney: Parade has been a favourite musical of mine for as long as I can remember. I was drawn to it because it is such a fascinating story, it speaks so much to its time and continues to speak to us. When people see it, they will want to know more. It has beautiful soaring music, is very emotional, but also it is real, so relatable. It will take you on a journey that will touch you in many ways.
Advah Soudack: The songs, the music. When I was going through the script and getting used to the music, I could not get through some of the songs without choking up, it was so emotional, beautiful and real.
JI: How would you classify it as a theatrical piece?
J.P. McLean (Britt Craig) and Advah Soudack (Lucille Frank) are part of the 25-person cast of Parade, which will have its Western Canadian première at the Rothstein Theatre April 14-29. (photo by Allyson Fournier)
RM: It is, in essence, a love story about a young man and a woman who learn through tragic circumstances to have a deeper love for each other and to appreciate each other’s kind of love.
AS: Leo sees love as a service, being a provider, while Lucille looks for love in spending quality time together and physical intimacy. Over time, their two loves unite.
JI: This isn’t your typical musical. It has a very dark side. It covers the kind of subject matter usually covered in narrative plays. Do you think people want to see this kind of musical theatre?
RM: Our company, as our name states, takes chances and we are taking a chance on this, but I think the risk is worthwhile and that audiences will appreciate the story. It seems to do very well wherever it plays – Broadway, London. We thought the Rothstein Theatre would be the perfect venue and we hope that the Jewish community will support us.
JI: Is this strictly a Jewish story?
RM: It is not necessarily just a Jewish story, it could be about anybody, anywhere. It is a fascinating look at a historic event through a musical lens. I don’t think Prince was trying to make a political statement when he produced the show but rather to educate people about the event. At the time of its first production, 1998, shows like Ragtime and Showboat were on Broadway alongside Parade. It seemed to be a time for examining how mainstream America treated those people it considered lesser citizens.
JI: What was it like to cast?
RM: The production requires a large cast: 25. I needed people who could sing and act. Lots of people auditioned and we ended up with a great cast, with the members spanning the ages of 18 to 60. What makes this show very relevant is that we have actors playing roles for their real ages, not trying to be someone younger or older, and that makes the production more realistic. I wanted at least one of the leads to be Jewish and Avdah was perfect for the role of Lucille.
AS: When I heard about this show, I jumped at the chance to apply. I had been out of theatre for about 10 years and I really wanted to get back into it. I was lucky enough to get a callback after my first audition and felt very proud of my performance the second time around. I was thrilled when I got the role.
JI: What is it like to deal with a true event as opposed to a fictional account?
RM: Because it is a real life story, there is so much more research you can do to make sure you get it right. I read Steve Oney’s And the Dead Shall Rise: The Murder of Mary Phagan and the Lynching of Leo Frank and gave it to members of the cast to read to get a feel for the characters and some background information. There is some material that did not make it into the musical but the play does essentially honour the accuracy of the event.
AS: I am reading the book right now and it is so fascinating to get the story behind the character and be able to use that as an actor.
JI: How are Leo and Lucille portrayed in the script?
RM: He is not portrayed that sympathetically. At the trial, he is really cold and does not look repentant but, ultimately, we see him break. If he were just shown as a martyr and everyone else a villain, that would not be interesting for the audience. Instead, the audience sees his flawed human character and that is why it is a great story to tell – [he’s] a person with faults that anyone can relate to.
AS: She is a Southern woman and a product of the American melting pot, more assimilated than Jewish, and that is how she survives. America wants you to become American first and everything else second. People like her thought like that and assimilated. Then, she is thrust into this case, where horrific things are being said against her husband on a daily basis in the newspapers and she has to deal with that. Yet, she stands by him and is one of his biggest supporters. She even went to the governor’s mansion to personally lobby him to intervene in the case. For a young Southern Jewish woman, that was a big step. So, you see her grow into this strong, independent woman.
She comes across very strong in the play, perhaps stronger than she really was in real life, but she was so committed to Leo’s cause and to him. She came every day to jail to visit him and bring him food. The circumstances of the tragedy allowed her the opportunity to become a heroine.
JI: What will the staging be like?
RM: The set is a long wall with platforms set at different levels. The lights will move through the different levels from scene to scene to create more of a cinematic flow, more like a movie than live theatre. We did not want the story’s flow to be interrupted by the audience clapping after every song. Of course, we do hope the audience will give a standing ovation at the end of the show.
JI: What do you expect audiences to take away from the musical?
RM: I want them to walk out with questions and want to look up more information about the case, but I also want them to leave with the understanding that all good art finds the grey in life and that everything is not black and white. One of the biggest issues in America today is the mentality that you are either with us or you are against us. The world is going in that direction and it is a hard place to be. You have to be able to see issues from all angles if you want to see any positive growth. There are some ambiguities in the show but there are also strong life lessons about the dangers of prejudice and ignorance.
In 2012, Avi Dunkelman and his business partner, Joseph Gault, won a five-year contract from Canada Post to create a postage stamp series celebrating 100 years of the National Hockey League. (image from Avi Dunkelman)
It was as if he had come full circle, when Israeli-born Avi Dunkelman won a five-year contract from Canada Post in 2012 to create a postage stamp series celebrating 100 years of the NHL, focusing on the seven Canadian teams in the league.
Dunkelman was born in Haifa in 1954 and, at an early age, started collecting the stamps from the postcards his father sent him on his travels in Europe. The stamps gave Dunkelman a great appreciation for graphic design, so much so that he opted to go to art school.
“After I finished my military service, I decided to see if I could get some work in graphic design,” he told the Independent. “I soon realized that what I had learned in high school was not enough. I needed to study this very seriously in order to make a career out of it.”
Avi Dunkelman (photo from Avi Dunkelman)
Dunkelman first thought to pursue his studies in the United States but, as all of his mother’s family lived in Toronto, he chose to go there to study for a year. During this time, he also worked on improving his English language skills, with the intention of continuing his studies in the States.
Three weeks after he arrived, in 1977, he was attending Ontario College of Art and Design. He then pursued a post-graduate degree in Switzerland, at one of the top graphic design schools in the world at the time – they only accepted eight students per year.
In 1984, he made his way back to Toronto and got married, opening his own graphic design firm in 1986, called Avi Dunkelman Design Group. In 1987, he began teaching at Ontario College of Art and Design, where he has worked ever since – he’ll be celebrating 30 years there this spring.
“In 2010, I formed a partnership with my business partner, Joseph Gault, who studied with me in Switzerland,” said Dunkelman. “We’ve known each other for 37 years, and decided to form a creative partnership under the brand of Mix Design Group.
“We were invited to compete in designing the stamp for the Year of the Snake in 2011 – we won four design awards for it. In 2012, we were asked to compete on a five-year project celebrating or commemorating the 100th anniversary of the NHL. We submitted our design concept and we won the competition.”
Over the five years, Dunkelman and Gault designed 69 stamps, 32 first editions, about 15 booklets, and all kinds of other materials. It is the largest program that Canada Post has ever tasked.
Dunkelman did not grow up with hockey in Haifa. Instead, soccer was the sport of choice. He recalled, “I saw a glimpse of hockey, but never got to really understand the game like some Canadians do. I don’t know how to skate.
“My business partner is a hockey buff. His father was actually a professional hockey player in Scotland. He’s Canadian-born and grew up playing hockey with his father coaching him. He knows a lot more than I do.
“I think that the fact that I look at it from a layman’s perspective gives us an advantage … looking at things in a different way. And this is what my contribution to this project is.
One of the biggest challenges for Dunkelman was working with six different player photos at a time, editing them so that they work seamlessly together. (image from Avi Dunkelman)
“The way we work is we sit and brainstorm some ideas,” he said. “Then, we work independently on some ideas, designs, get together, analyze them, and decide what works and what doesn’t.”
One of the biggest challenges for Dunkelman was working with six different player photos at a time, editing them so that they work seamlessly together.
“That’s a challenging process,” he said. “If you look at the photograph on the stamp and the original, they sometimes look totally different.”
Over his more than 30-year career, Dunkelman has had to learn how to incorporate computers into the design process. The first computers came onto the scene as he graduated from the school in Switzerland and Dunkelman recalled that one of his teachers received four computers from Steve Jobs as a gift. While not so useful at the time – it was the mid-1980s – as software and computers developed further, Dunkelman began using them in his design process.
“Obviously, I had to adapt to computers, as the technology was growing, too, and going through its own growing pains,” he said. “I’d say I’m not unique in that. I think most designers had to do the same thing. When I was starting out on computers, Photoshop wasn’t around … wasn’t as complex and sophisticated as it is now. So, there were a few things I was integrating at the same time … taking an image, doing something, printing it, re-photographing it, re-modifying it, going back and forth between the computer and the work table.
“By the way, that’s part of the way I teach at school now … because my message to the younger generation is that the computer is not the answer for everything. The idea is not to develop a dependency on it. Depending on the nature of the project and what the opportunities present you with, even today, there are certain things to do in an analogue way.”
Dunkelman works with a production person. “I don’t have the time to get the ins and outs of every little update of software coming my way,” he said. “I try to keep up, but, to do this effectively, I’d need to devote my entire time to it. It’s not feasible for me.”
According to Dunkelman, graphic design has changed a lot in the computer era, opening up opportunities for more people to be in the industry. However, he said, “It’s a little disappointing to me how graphic design in general is going back. A lot of things look the same because people are using the same software, the same tools, fonts and colours. Especially with website design being template-oriented … it’s becoming more about information management and data management, as opposed to creating.”
Dunkelman has a long list of clients, including the Ontario Chamber of Commerce, the Royal Canadian Mint, the University of Toronto and many private companies.
“Right now, I split my time between teaching and working,” he said. “Going forward, the professional work I’m doing is probably going to slowly diminish by choice, while still teaching and being a mentor for the next generation.
“This is one of the things I’m focusing on for my students – mentoring them to a point where I still keep a strong connection with former students who seek advice. They know I’m always available, open and willing to help. This is what I really enjoy seeing – the next generation and my former students getting ahead in their own careers and taking charge of the industry … hopefully, to become leaders.”
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.”
Certain 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.”
Contrary 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.
Certain 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.”