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Category: Arts & Culture

Portraying the mess of life

Portraying the mess of life

Claire Hesselgrave as D in Wide Awake Hearts. (photo by Eric Chad)

“I want love. I want only love,” confesses C, a playboy, amid a lengthy list of his shortcomings. A rare, vulnerable moment of honesty? Or is he merely reciting his lines in a movie scene?

Such is the nature of Wide Awake Hearts by Brendan Gall, now playing at Little Mountain Gallery. One is never certain of what is real, or personal, and what is being acted for public consumption.

Of course, being a play, everything is scripted and for entertainment, however, within Wide Awake Hearts are four characters whose professional and personal lives overlap to an indistinguishable degree. Apparently named according to when they first speak/appear, A (Sean Harris Oliver) is married to B (Genevieve Fleming) and he hires his best friend C (Robert Salvador) to perform opposite her in a new movie that he has written and is producing. By the time D (Claire Hesselgrave) arrives on the scene to replace a recently fired editor, the tensions are high, and the line between what is part of the film and what is “actually” happening between the characters is well and truly blurred.

Despite being an editor, part of whose job, as D states, is to make sense out of the senseless, D’s presence only adds to reality’s murkiness. First of all, editors can only work with what they are given, what’s been shot; they can’t create anything, she explains, they can only interpret. And she’s not an objective outsider, which makes her job that much more difficult. D has been in a long-running on-and-off-again relationship with C. Meanwhile, C is in love with B, and A is jealous of what he believes is happening between C and B. As D laments, “Sometimes, the mess wins.”

That mess is life, not Wide Awake Hearts, which is a sharply written, insightful play. Tempers and desires run hot and C’s confession is one of the few quiet, calm moments that, along with the occasional biting (funny) comment, break the tension. Each character has a monologue that also serves to narrow the focus, slowing the pace before it once again ramps up.

All four actors do an excellent job of working in the intimate space of Little Mountain Gallery, sometimes a foot or two away from the audience as they perform, for example, a raucous sex scene. Director Brian Cochrane and stage manager Breanne Jackson deserve kudos for that, too, as does Sabrina Evertt for her set and props, as well as for her costumes; sound designer Jay Clift’s work is only noticeable when it should be. For the most part, everything comes together such that being in the audience is like being a voyeur, part of the action yet removed from it.

The production team being so small, it would a shame not to mention Eric Chad (projection designer), whose talents could have been exploited more; assistant director Jamie King; and publicity and front of house, Angie Descalzi. This combined Hardline Productions and Twenty Something Theatre effort, in which everyone involved seems to be doing double or even triple duty, delivers as much or more than many larger, more flush productions.

Wide Awake Hearts is at Little Mountain Gallery, 195 East 26th Ave., until Dec. 20, Tues-Sat, 8 p.m. Tickets are $22 plus service charge from brownpapertickets.com, with $15 matinées Dec. 13, 14 and 20, 2 p.m. For more information about the production companies, visit hardlineproductions.ca and twentysomethingtheatre.com.

Format ImagePosted on December 12, 2014December 11, 2014Author Cynthia RamsayCategories Performing ArtsTags Breanne Jackson, Claire Hesselgrave, Genevieve Fleming, Robert Salvador, Sean Harris Oliver
Laughter guaranteed

Laughter guaranteed

Left to right, Josh Drebit, Donna Soares, Allan Zinyk and James Long in Cinderella: An East Van Panto. (photo by Emily Cooper)

If Canada wants to be an energy super power, it’s going to have to run some pipelines through some plays. Well, some pantos. Starting with Cinderella: An East Van Panto, now on at the York Theatre until Dec. 28.

As with the inaugural East Van Panto last year, which took Jack & the Beanstalk to strange and hilarious new heights, this Cinderella is only loosely based on the fairy tale. In this version, Ella – Cinderella is only a mean nickname given to her by her wicked step-hipsters (not a typo) – loses her mother in a tragic food truck accident. Her father directs his grief to improving safety standards and is awarded for his efforts with the Mike Duffy Food Truck Safety Award, or something along those lines. He falls in love with the Government of Canada representative who presents him the medal. Marriage soon follows, the father is offered a senatorship, which takes him to Ottawa, leaving his beloved Ella – played wonderfully as the straight man to everyone else’s wackiness by Donna Soares – in the hands of her stepmother.

In true panto fashion, Ella’s new family is played by Allan Zinyk as the matriarch and Josh Drebit and James Long as her sisters. As they order Cinderella about, the audience gets to boo every meanness, and cheer Cinderella’s every win. While Jewish community member Drebit ably pulls off the fishnets, his comedic talents really shine as Feral Cat. Drebit, Long (as Rat) and Dawn Petten (as Old Crow) are about as far away from Disney cartoon birds and other forest animals as one can get, but “the other vermin,” three young actors as mice, are absolutely adorable – and, in a panto, the audience is allowed to “ooh and ahh” at their cuteness.

Zinyk also plays bad guy Ronald Grump, costumed in a business suit and an awful wig that’s only marginally worse than that worn by the character’s inspiration, Donald Trump. King Grump decides to hold a ball (there are lots of ball jokes, FYI) to celebrate the opening of Grump Towers (plural, even though there’s only one). At the ball, there will be a beauty pageant – a speed-dating marathon, actually – to find a wife for his son, played by Petten channeling Justin Bieber. (Petten also plays the hippy narrator/canvasser, Len Til, to perfection.)

And this brings us back to pipelines, and the spills that the suit-wearing, hard-hatted forewoman notes “only happen in movies and on the news.” As the chorus (pipe)line is passing through Cinderella’s family home, sadly, there is a spill – a spill that Cinderella must clean up before she can go to the ball. With the help of her vermin friends and, in one of the funniest scenarios to be conceived, a vacuum-harmonica-playing David Suzuki (played by Zinyk, you have to see it to believe it) and her B.C. Ferry Godmother, the belle gets to the ball.

But does she marry her prince? You’ll have to go to the panto for the answer – and for all the witty, weird, Vancouver-specific humor, the inventive costumes (Cinderella’s gown appears like magic), the charming music, the fitting choreography, the inspired sets and props, the bold and beautiful backdrops.

With Cinderella, the creative team of playwright Charles Demers, musician Veda Hille and director Amiel Gladstone have improved on what was already an intelligent, silly, energetic, crowd-pleasing formula. The lead actors in this year’s production are joined by the very talented chorus of Bailey Soleil Creed, Sean Sonier (who rocks a tutu) and Alexandra Wever, as well as the children who share the roles of the mice.

If you’re wondering what to give that person on your Chanukah list who has everything, at least 99 percent of non-Grumps would enjoy this show. For times and tickets, visit thecultch.com or call 604-251-1363.

Format ImagePosted on December 12, 2014December 11, 2014Author Cynthia RamsayCategories Performing ArtsTags Allan Zinyk, Amiel Gladstone, Charles Demers, Cinderella, Dawn Petten, Donna Soares, East Van Panto, James Long, Josh Drebit, Veda Hille
Estrin captures essentials

Estrin captures essentials

Avie Estrin in Colombia. (photo from Avie Estrin)

On Dec. 4, Avie Estrin’s solo show Blessed People opened at the Sidney and Gertrude Zack Gallery. Many of Estrin’s photos are taken in far-away places. There are Tibetan lamas gardening and a Yemenite bride in her fantastic headgear. An old man in a turban looks as if his perceptive eyes can see straight into your heart. A group of yeshivah students dance in the street. A young girl peeks out from behind a large heavy door. The door is ajar, and only fragments of the girl’s face are visible, but there is joy in her curious eyes. She has escaped her handlers, if only for awhile, and relishes her fleeting moments of freedom. Each picture tells a story.

In an interview with the Independent, Estrin talked about his life with photography, its challenges and rewards.

JI: What prompted you to mount an exhibit of travel photos? Do you shoot photos locally?

AE: Interesting question. I never understood this exhibit as a travel theme per se. While there are images from everywhere, a good number are taken right here, in Vancouver and the Lower Mainland. On the other hand, if “travel” is what others see, I’m OK with that. I can’t dictate what the show is about, since in the end it’s about what you see, not what I think I saw. I would only say that for me, it’s about real people, it’s about real life. It’s about all of us.

JI: Tell me about this show.

AE: The photos span from the early ’90s to as recently as six months ago. Photos were taken with an array of different cameras, from an old-fashioned SLR to early digitals, but nothing more modern than 2004. While I was always very particular about quality, my equipment is modest and minimal.

Photos range from hiking the Himalayas to horse trekking the Andes and Amazon basin, to more domestic venues right here in Vancouver. I could go on about harrowing experiences forging flooded rivers on horseback in Ecuador or negotiating at gunpoint with Colombian guerilla in the outback. While it makes for great storytelling, the real point is that, by and large, my experiences were joy-filled encounters with gracious peoples from across cultures, people who embraced me, brought me into their homes and shared with me the little they had. I hope the exhibit illuminates this sentiment in some small way.

JI: What do you look for in a frame?

AE: Whatever the subject, I am looking for what is essential to it. I don’t for a moment deceive myself that whatever I am experiencing in a given moment can be accurately represented or reproduced in a static concrete format … with any degree of authenticity. But if I can capture just a fragment of whatever the catalyst in that ephemeral moment, that indefinable but quintessential essence of a thing, then maybe I have done it some justice.

JI: Is there a connection between photography and your profession?

AE: It’s been said before, “all things are connected.” When we attempt to compartmentalize our lives, we are merely hanging veils between our bedrooms. The common thread is not so much what we do but how we do it.

JI: You write poetry, too. Are your poems and your photos linked?

AE: To answer this question I would simply recommend going to the exhibit, seeing the work, reading the poems, and then you decide.

JI: Do you ever use Photoshop?

AE: Photoshop? What’s that? Seriously, without getting too technical or mundane, there is no such thing as “untouched” digital photography. The moment you take a jpeg image with your point and shoot, your camera’s firmware is instantly doing a circus act to compress that eight mega-pixel shot you took down to a one or three megabyte image. Aside from losing at least 60 percent of the original image data, you are also letting your camera indiscriminately dictate what 60 percent to throw away. Even in raw format, there is no getting away from post-processing. For better or worse, the days of “untouched” photography are gone forever.

JI: Do you give copies of your photos to your subjects and, if so, do you offer them free of charge?

AE: Various images in Blessed People were taken in the pre-digital era, so showing people immediate results was in many cases not an option. I had a strict practice of sending people hard copies of their images, but often practicalities. such as remoteness, non-existent postal services, etc., didn’t allow for this either. As to charging people for the privilege of capturing their image … isn’t there something in halachah against that? There should be.

JI: What are the biggest challenges and rewards of your work?

AE: I have no idea what a real travel photographer does. For me though, doing is reward in and of itself. Doing without intentionality isn’t “doing” at all. It’s merely a happening. And intentionality implies challenge; otherwise, it would be a redundant endeavor. I love challenge. I love to do.

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

Format ImagePosted on December 12, 2014December 11, 2014Author Olga LivshinCategories Visual ArtsTags Avie Estrin, photography, Zack Gallery
Enjoy an afternoon movie

Enjoy an afternoon movie

Would you like to go to the movies? Yes? That is exactly what about 80 people did on Nov. 25 at the Peretz Centre for Secular Jewish Culture, thanks to the wonderful combined effort of Jewish Seniors Alliance and Vancouver Jewish Film Centre, which co-host a movie screening scheduled on the afternoon of the last Tuesday of every month.

Upon arriving, we were treated to a light buffet of bagels, sweets, fruit and beverages, then we headed to the large auditorium, where VJFC director Robert Albanese welcomed the audience and introduced the day’s film, The Outrageous Sophie Tucker.

After Gyda Chud, on behalf of JSA, made some announcements, including that the previously scheduled JSA Empowerment series talk Oy Vey, My Back! will be presented in March, Albanese spoke of the variety of films that the film centre will be presenting over the next few months. Then, Sophie Tucker “entered” our world.

Tucker was born Sonya Kalish to Ukrainian Jewish parents in 1886 as they fled from czarist Russia. She only became Sophie Tucker after she adopted her former husband’s name, Tuck, and added the “er.” That name became a password that could be used to gain entry to celebrities and even presidents.

In the film, authors and biographers Lloyd and Susan Ecker relate much of Tucker’s story.

When very young, she worked in her parents’ kosher restaurant, a job she did not enjoy. One day, her father asked her to distribute pamphlets at theatres as the actors left, since most of them were Jewish. He thought it would increase the number of diners.

While doing this task, Tucker heard the music from inside a theatre, she snuck in and what she saw changed her life forever, as well as the lives of her future audiences. She ran away to New York, leaving her family, but knowing where she belonged.

She tried vaudeville but, not being a classic beauty, she had difficulty being accepted “as is,” so she sang in “black face.” Eventually, her powerful voice began to be heard. When she forgot her makeup one day and sang as herself, the show was a success – she never performed in black face again.

Irving Berlin wrote music for her and she “stopped the show” when she sang. Tucker worked without a contract; her word or a handshake was sufficient.

Tucker was respected and she respected others, asking for their names, numbers and addresses upon meeting them and entering those contacts in a book, which eventually housed 10,000 names. She would write to these people if she were coming to their towns, asking them to come see her perform. She was the original Facebook – only it was the Tuckerbook.

Ted Shapiro, her accompanist for 46 years, had the unique talent of being able to interpret the mood that Tucker wished to portray.

In later years, mobsters took over the ownership of many nightclubs and Tucker befriended Al Capone. He enjoyed having her sing, as she brought people into his Chez Paris. He called her a “human cash register.”

In the years to come, Tucker decided to share what she knew and opened a school teaching young women how to be “Red Hot Mamas.”

She knew how to market herself: in the 1930s, she was the spokeswoman for soup; in the 1940s, she advertised blouses for the fuller mamas, saying she enjoyed being overweight – “Too much of a good thing is wonderful!” She prided herself on having creative and huge hairdos, calling herself the “Modern Marie Antoinette,” and always carried a large filmy handkerchief as she performed.

In 1929, the biggest entertainer was Al Jolson and he sang in the first talkie. That same year, Warner Bros. had Tucker debut in the movie Honky Tonk, where she sang “Some of These Days,” a song with which she is still identified. Judy Garland learned how to “sell a song” from Tucker.

During the war, Tucker was one of the performers to whom soldiers wrote and received answers. She was a pinup girl along with Betty Grable.

There was a young Jewish soldier who was obsessed with music and hauled around his records, vowing that he would play Tucker’s rendition of “My Yiddishe Mameh” in Berlin when he beat Hitler. Unfortunately, he died before he could accomplish this goal but his fellow soldiers fulfilled his vow, much to the anger of some German soldiers, as that song had been banned in Germany. The victors played it for eight hours through the streets of Berlin.

Tucker remained on top for 58 years, into the television era. Along the way, she befriended many, including Josephine Baker, who, because she was black, was having a hard time being allowed to perform – until Tucker invited her to sing with her.

Tucker’s talent and her voice were both immeasurable, but her true outstanding ability was in marketing herself when there wasn’t the media infrastructure there is now. She was indeed the last of the Red Hot Mamas, a glowing ember, memorable, still admired, still inspiring!

Expressing what we all felt, Chud thanked Albanese for enriching our lives with this movie, then we all went home with the echo of a song in our hearts, “Some of These Days.”

Binny Goldman is a member of the Jewish Seniors Alliance of Greater Vancouver board.

Format ImagePosted on December 12, 2014December 11, 2014Author Binny GoldmanCategories TV & FilmTags Jewish Seniors Alliance, Vancouver Jewish Film Centre, Vancouver Jewish Film Festival, VJFC, VJFF
Herstory on the screen

Herstory on the screen

A corrective of sorts to the Old Testament’s predominantly patriarchal view of seismic events and everyday tribal life, Lifetime’s emotion-tapping adaptation of The Red Tent fulfils one’s modest expectations for a primetime soap opera in period garb.

Anita Diamant’s best-selling saga of female self-actualization and familial tribulation, centred on Jacob’s daughter Dinah, is rendered here as an aspirational fable informed more by Harlequin Romance than hardscrabble reality. Viewed as harmless entertainment and a desert respite from winter, The Red Tent provides acceptable escapism, but if you’re hoping for an earthy, accurate sense of how people actually lived in those days, or a spiritual experience (on television?!), those prayers won’t be answered.

The Red Tent aired earlier this month on Lifetime. If you can get your hands on it, either as a DVD or in rebroadcast, the two-part miniseries comprises three hours of couch time (minus commercials).

The titular scarlet structure serves as a community centre and haven for Jacob’s four wives and their daughters. In this comfy, cozy enclave, the young Dinah acquires extraordinary self-confidence – presumably from seeing firsthand the essential role of women in the family. Their most cherished skill is midwifery, partially for its autonomy (the men assuredly want no part of assisting births) and because it’s closely linked to females’ unique function. As one woman puts it, “We are the lucky ones, for we alone are the ones who can give life.”

The experience of childbirth in biblical times was presumably more primitive than New Age-y, so you’ll be rolling your eyes at the miniseries’ insistence on hinting at suffering without bringing us down by actually showing it. (My biggest peeve about the show’s glamor quotient is that everyone has perfect teeth and nobody ages, despite the skin-wrecking trifecta of sun, wind and sand.)

The film’s greatest challenge, however, is plausibly reconciling a 21st-century feminist point of view (embodied by Dinah) with the societal limitations placed on women in those days. It’s jarringly anachronistic, for example, when Dinah shocks her closest sibling, Joseph, by announcing she’ll choose her own husband at such time as she determines. But it does provide the foundation for her character’s aggressive interfaith love affair with the king’s son, Shechem. This passage of the Bible has been interpreted in several ways, but The Red Tent presents their sexual relationship as mutually consensual and an expression of love.

That doesn’t soothe Jacob’s pride in the least when he’s informed that Dinah and Shechem have married, and things go south in a hurry. Whatever sins the menfolk proceed to commit, the second half of The Red Tent – spotlighting Dinah’s life in exile – takes pains to show that women are as capable of men at inflicting cruelty.

Part 2 of the miniseries embraces such reliably eye-watering themes as separation from, rejection by and reconciliation with one’s children. They may comprise the meat and potatoes of the plot, but the heart of Dinah’s journey involves accepting the family and tradition she was born into and the talent for midwifery that she inherited.

The Red Tent implicitly honors the continuum of women that preceded and followed Dinah, extending to the present day. At the very least, this female-oriented interpretation offers an exceedingly interesting counterpoint to Ridley Scott’s testosterone-fueled Exodus: Gods and Kings, which opens this weekend, and picks up – chronologically speaking – shortly after The Red Tent ends.

Michael Fox is a writer and film critic living in San Francisco.

Format ImagePosted on December 12, 2014December 11, 2014Author Michael FoxCategories TV & FilmTags Anita Diamant, Lifetime, Red Tent

Angry assassin or hero?

A 17-year-old Jewish refugee in Paris on Nov. 7, 1938, shot Nazi diplomat Ernst vom Rath. The assassination provided Nazi Germany with a golden opportunity. Joseph Goebbels, Hitler’s propaganda minister, portrayed the teenager as an agent of the international Jewish conspiracy trying to provoke a war between France and Germany. Two days later, the Nazis orchestrated a surge of horrific violence against the Jews. More than 200 people died, 1,300 synagogues were destroyed and 7,500 Jewish shops were trashed in a spasm of hatred known as Kristallnacht.

image - book cover - The Short, Strange Life of Herschel Grynszpan

The assassin, Herschel Grynszpan, became a notorious figure at the time, both in Germany and beyond. For anti-German voices, he became a cause célèbre. A top newspaper columnist with the New York Herald Tribune, Dorothy Thompson, stirred up widespread sympathy for Grynszpan, raising funds to hire a celebrated defence attorney for him. Grynszpan became so well known that Leon Trotsky, living in exile in Mexico, declared his “moral solidarity” with the assassin.

But, 20 years later, Grynszpan had become irrelevant to history. Hannah Arendt, in her book on the trial of Adolf Eichmann in 1961, dismissed Grynszpan as a psychopath. She wrote that Grynszpan was probably an agent provocateur used by the Gestapo to provide a pretext to escalate persecution of the Jews and eliminate a diplomat who was not an enthusiastic supporter of the regime. Today, historians show little interest in the assassin, believing, as Arendt did, that the Third Reich was looking for an excuse and the escalation of violence against the Jews would have taken place regardless of what happened in Paris. Yad Vashem does not even mention him in accounts of Jewish resistance to Nazi Germany.

Author Jonathan Kirsch says Grynszpan has been shortchanged. In The Short, Strange Life of Herschel Grynszpan (Liveright Publishing Corporation, 2014), Kirsch sets out to convince the reader that Grynszpan is an unrecognized hero of the Second World War. According to Kirsch, Grynszpan was a courageous Jew who stood up to Nazi power at a time that France and Britain were more interested in appeasing Hitler than confronting him. And, four years later, Kirsch writes, Grynszpan did something even more remarkable. He outsmarted Goebbels, undermining efforts to stage a show trial that Hitler wanted in order to justify the mass murder of the Jewish people.

Kirsch sees Grynszpan as a character in a mystery “deeply layered with conspiracy and intrigue, erotic scandal and rough justice.” As he paints his sympathetic portrayal of Grynszpan with colorful anecdotes and captivating details, he also raises intriguing questions about who can rightfully be considered a hero of the Second World War. The issue is complicated, especially since Grynszpan’s motive for shooting vom Rath has never been clear.

What is indisputable is that Grynszpan, caught in a bureaucratic labyrinth in Paris over his residency permit, with no money and fighting with his family, was becoming increasingly frantic in the days before the incident. His parents had moved to Hanover, Germany, in 1911, fleeing Radomsk, Poland, in an effort to escape a rising tide of antisemitism, but they never received German citizenship, despite living in the country for years. Officially, they were classified as Polish citizens living in exile in Germany.

With the Nazi Party victory at the polls in the 1933 election, the Grynszpan family, similar to many others, started to make plans to leave the country. But they never had enough money to do so. In desperation in 1936, they sent their 15-year-old son out of the country.

Grynszpan, staying with relatives in Paris, followed Hitler’s aggressive campaign against the Jews in the Yiddish papers. The news became increasingly alarming as 1938 unfolded. In March, the Third Reich formally absorbed Austria into Germany and Austrians took to the streets to terrorize the Jews of Vienna and other cities. In July, the international community met in the French resort town of Evian to develop a response to Nazi aggression but no one was willing to confront Nazi Germany or provide sanctuary to Jewish refugees. “Nobody wants them,” was the headline in a Nazi Party newspaper after the Evian conference.

Then, on Aug. 22, 1938, Germany revoked all residency permits issued to foreigners. They could not stay in Germany and Poland refused to repatriate Poles who lived in Germany. The Grynszpan family was in effect rendered stateless.

The Third Reich drew up arrest lists of 50,000 names on Oct. 26, 1938. Grynszpan’s family was on the list. The following day, his parents and two siblings were escorted to the police station. They were transported to the Polish border town of Zbaszyn, where they were trapped in a no-man’s land. Media reports provided detailed accounts of 12,000 Jews, deprived of food and shelter, and unable to enter Poland or return to Germany. The Yiddish newspapers reported the spread of deadly diseases and suicides. Grynszpan received a postcard from Zbaszyn on Nov. 3 from his mother. Four days later, he shot vom Rath.

When he was arrested, he had a postcard in his pocket. “My dear parents,” he wrote, “I couldn’t do otherwise. God must forgive me. My heart bleeds when I think of our tragedy and that of the 12,000 Jews. I have to protest in a way that the whole world hears my protest, and this I intend to do. I beg your forgiveness.”

He derailed the show trial shortly before it was to be held in Germany in 1942 by abandoning the rhetoric of heroism and revenge. Those familiar with history will not be surprised by the twist in events. Grynszpan asserted the shooting was as a result of a tiff between homosexual lovers.

Kirsch says his claim, which has never been backed up with any evidence, was Grynszpan’s greatest act of courage. Grynszpan understood Hitler’s loathing of homosexuality and destroyed the propaganda value of the show trial. The Third Reich did not want anything to do with homosexuality, even though Goebbels and others believed the claim to be a complete fabrication.

Despite their reputation for record keeping, the Nazi authorities did not document what happened next to Grynszpan. He just disappeared. A trial was never held; his place of incarceration was not recorded. His death was not documented, feeding conspiracy theories that he may have survived the war and continued living somewhere in Europe under a pseudonym.

So, where should we place Grynszpan in the pantheon of resisters? Can an act of personal revenge be considered heroism?

Grynszpan is clearly not of the stature of Mordechai Anielewicz, the hero from the Warsaw Ghetto uprising. But is he in the same league as Gavrilo Princip, the Bosnian Serb who assassinated Archduke Franz Ferdinand in 1914, sparking the First World War? Or Yigal Amir, who assassinated Yitzhak Rabin in 1995, derailing Israel-Palestinian peace efforts?

Holocaust historian Michael Marrus has said Grynszpan has his place in the register of futile but symbolic acts of resistance against unspeakable tyranny. Grynszpan was an ordinary youth who was driven to lash out against a ruthless tyranny, Marrus has written, and his story deserves to be better known.

Kirsch regrets that Grynszpan remains without honor, even among the people whose avenger he imagined himself to be. However, this well-written book may change how history regards the angry assassin.

Media consultant Robert Matas, a former Globe and Mail journalist, still reads books. The book reviewed here is available at the Jewish Public Library. To reserve it or any other book, call 604-257-5181 or email [email protected]. The catalogue is at jccgv.com, click on Isaac Waldman Library.

Posted on December 12, 2014December 10, 2014Author Robert MatasCategories BooksTags Ernst vom Rath, Herschel Grynszpan, Holocaust, Jonathan Kirsch, Nazis
Arcady survives with soccer

Arcady survives with soccer

Eugene Yelchin’s illustrations are an integral part of the storytelling in Arcady’s Goal.

What a special tribute to a parent. Eugene Yelchin’s most recent children’s book,

image - Arcady's Goal - book cover

Arcady’s Goal, started with a 1945 photograph of the Red Army Soccer Club. One of fewer than a dozen photos of his family that “survived the turbulent history of the Soviet Union,” it includes the team’s captain, Arcady Yelchin, his father.

Historical fiction aimed at kids age 9 to 12, Arcady’s Goal (Henry Holt Books for Young Readers, 2014) will hold the interest of older readers and elicit much discussion. Set in Soviet Russia during Stalin’s reign of terror, its main character, Arcady, is a feisty, self-confident 12-year-old who has lived in several children’s homes (“home” being euphemistic for camp or prison) since he was 3 years old and his parents were arrested on the charge of “participation in a terrorist organization. Preparing to overthrow Soviet power and the defeat of the USSR in a future war.”

Arcady has survived on his wits, his courage to stand up to those in authority and strength to deal with the consequences, and his incredible skill at soccer. Playing one-on-one soccer with other kids for rations, Arcady initially seems ruthless, but the act of it is revealed when he returns his winnings (“an eighth of bread, our daily ration”) to the boy he beats. And, when a group of inspectors comes to the compound, Arcady makes a deal with the director: Arcady will play whomever the director lines up and, for every win, the director will give him and the loser of the match two bread rations.

During the “games,” one of the inspectors seems especially interested in Arcady. While Arcady didn’t believe the director who, when trying to convince him to play, said there might be a soccer coach among the inspectors scouting for new talent, Arcady nonetheless starts thinking that this man is indeed a coach. When Ivan Ivanych returns to adopt Arcady, the boy thinks it’s because of his soccer talent – and that, if he fails to perform as expected, he’ll find himself back at the children’s home.

Without revealing what happens, the relationship between Arcady and Ivan is really touching. Reading how it develops, the hurdles they both have to overcome, the trust they both need to gain, the courage they both need to find, is inspiring, especially surrounded as they are by people who would do them ill out of fear or ambition – with two notable exceptions. Arcady’s Goal is a well-told story that respects its readers and doesn’t shy away from difficult material even while delivering a positive, hopeful message. The black and white illustrations by Yelchin communicate an additional depth of feeling and movement, or stillness.

image - The black and white illustrations by Yelchin communicate an additional depth of feeling and movement, or stillness.
The black and white illustrations by Eugene Yelchin communicate an additional depth of feeling and movement, or stillness in Arcady’s Goal.

Yelchin, who was born in Russia, left the former Soviet Union when he was 27. Arcady’s Goal is considered a companion novel to Breaking Stalin’s Nose (Henry Holt Books for Young Readers, 2011). Also written and illustrated by Yelchin, the 2012 Newberry Honor book centres around 10-year-old Sasha Zaichik, who has wanted to be a Young Soviet Pioneer since he was 6 but when the time comes to join, “everything seems to go awry. Perhaps Sasha does not want to be a Young Soviet Pioneer after all. Is it possible that everything he knows about the Soviet government is a lie?”

In the author’s note that follows the story in Arcady’s Goal, Yelchin writes about an experience he had in the summer of 2013 when he was at Oakland University in Michigan to speak to students who were studying Breaking Stalin’s Nose. After his talk, he caught a cab to the airport. The driver had also come from St. Petersburg. When the reason for Yelchin’s trip came up in conversation, the driver fell silent, then revealed that his grandfather had died as a result of being sent to a hard labor camp for 10 years by Stalin. “I caught myself leaning in close to hear Yury,” writes Yelchin. “He was whispering.

“And so it goes. The terror inflicted upon the Russian people by Stalinism did not die with those who experienced it firsthand but continued on from one generation to the next. It is as if anyone born in the Soviet Union continued to suffer from a post-traumatic stress disorder that has never been treated.” The Communist Party, with its preemptive strikes against people who might disagree with them, “ensured that this trauma would live on even after the demise of communism. It did so by shattering families of the enemies of the people. Their family members were denied places to live, work, permits and food rations. Children suffered the most. Infants were separated from their mothers, placed into the security police-run orphanages and often given different surnames.” Yelchin notes that everything was taken away from these children, and that children could receive the death penalty at age 12. For these and other reasons, says Yelchin, even 60 years after Stalin’s death, a cab driver thousands of miles away from Russia whispered “as he shared the fate of his grandfather, an enemy of the people.”

There is a teacher’s guide for Arcady’s Goal that can be downloaded from eugeneyelchinbooks.com/arcadys-goal.php. It is quite intriguing in and of itself, and would be an excellent resource for non-teachers as well.

Format ImagePosted on December 12, 2014December 10, 2014Author Cynthia RamsayCategories BooksTags Eugene Yelchin, Henry Holt Books, Soviet Russia, Stalin

Writers play with reality

Men’s books. Normally, I don’t classify the novels I read along gender lines, though I have read and reviewed “chick lit.” Both Wiseman’s Wager by Dave Margoshes and Fun & Games by David Michael Slater are far removed from that genre – the sex is less romantic, the language more crude, the energy more confrontational or aggressive. My guess is that the former will appeal most to older male readers, the latter to younger.

Both novels feature main characters with whom readers can sympathize. Despite their faults, they are likable, and they have an energy that drives the narrative, even as it circles, as in Wiseman’s Wager, or spins out of control, as in Fun & Games.

image - Wiseman's Wager book coverIn Wiseman’s Wager, Zan Wiseman, 82, has recently moved to Calgary from Las Vegas. His longtime partner, Myrna, has passed away and his only remaining sibling, Abe, lives in Calgary, where his wife, Dolly, lies in a coma. In the late 1980s, the “A to Z Brothers, together again after all these years.”

Zan grew up with his brothers in Winnipeg, participating in the labor movement through the General Strike in 1919. The family moved to Toronto for a short period after the strike but returned to Winnipeg. Zan himself moved to Toronto soon thereafter and lived there for many years, continuing his union and communist party involvement.

Early into his stay in Calgary, Zan, suffering from severe constipation, lands in hospital, where he makes a joke about killing himself. We mainly learn about his younger days, his one novel – The Wise Men of Chelm, published in 1932 with little fanfare because the publisher goes bankrupt (it was the Depression, after all) and republished some 30 years later to great acclaim – his many wives, his brothers’ escapades (arrest for robbery, going to war, etc.), his relationship with his parents and his feelings about religion, politics and love, through his government-imposed therapy sessions with the “Lady Doctor,” Zelda, on whom he develops a small crush. There are also journal entries, “duets” in which he and Abe exchange brief, rapid-fire repartee, and Abe’s one-sided conversations with Dolly.

Zan is opinionated, sarcastic and difficult at times, but he is also endearing. He has led (perhaps) a fascinating life in an historically fascinating time. The confessional of an elderly man, there is uncertainty as to what did and did not happen, but readers won’t struggle with that aspect. While probably realistic as to how such memories would unfold, the repetition impedes the flow of the story somewhat and, at times, the dialogue crosses into stereotype; two bickering old Jewish men (Zan and Abe) or a crotchety old grump (Zan with Zelda).

The issues raised during the novel, however, are extremely engaging. Zan’s involvement with the Communist Party in Canada; his views on religion, particularly Judaism, of course; the losses we incur as we age; the different paths that members of the same family take; the way in which we fall in and out of love. There is much to recommend this novel, but it just didn’t hold my attention from start to finish. As Zan’s mind wandered, so did mine. A more exacting editor would have helped.

As for Fun & Games, it is much more focused and is also very well written, but it takes many trips to Crazy Town. It is a very stylistic novel that will appeal to many with its dark humor and intelligent take on various aspects of life, but the plot was a little over-the-top unrealistic, though the characters felt real enough.

image - Fun & Games book coverThe expression is, “It’s all fun and games until somebody gets hurt.” And, sometimes tacked on to the end of that is, “Then it’s hilarious.” Well, there is much that is funny in this book but it didn’t reach hilarity for me, despite, not to ruin any surprises, the fact that many, many people get hurt (i.e. die) – I don’t know how high a body count there is for most coming-of-age tales but if there were a list, Fun & Games would be pretty high up on it.

We meet Jon Schwartz, his three main buddies, his parents and two sisters, as well as his grandparents, when he is in Grade 9. It is the late 1980s. Not surprisingly, sex – or, more accurately, curiosity about it – is a prominent part of Jon’s life. He and his friends discuss it a lot, experiment with it a little, and fall victim to Jon’s sisters’ use of it to manipulate them.

Religion and Judaism feature prominently in Fun & Games. Jon’s grandmother is constantly making discomforting “jokes” about Jews, Israelis and the Holocaust – she and her husband are survivors – and his father is an avowed atheist and a respected scholar and author on the topic. One of Jon’s friends covets the rabbi’s daughter, and the rabbi is apparently one of the few people able to argue with his father about religion to any effect.

Jon, who more than one character remarks, “handle[s] everything so well,” handles a lot from Grade 9 to his first semester at university, where Fun & Games leaves us. If you can suspend your disbelief to the full extent, you will enjoy the fast-paced exhilarating ride that is Fun & Games. And it’s not an empty ride. I can still feel the thrill that came for me from the more philosophical parts, the ideas Slater’s presents amid the contrived chaos, and the reflections on family, friendship, loss and life.

Posted on December 12, 2014December 10, 2014Author Cynthia RamsayCategories BooksTags Dave Margoshes, David Michael Slater, Fun & Games, Wiseman’s Wager
Curl up with books from Waldman Library

Curl up with books from Waldman Library

There was an old lady who swallowed a dreidel … perhaps it’s fatal! There are many great stories to read to your kids over Chanukah. What a wonderful way to spend time with your family – curling up with a good book or CD. The Isaac Waldman Jewish Public Library has lots of each from which to choose.

Two of the newest books for Chanukah are Honeyky Hanukah by Woody Guthrie and I Know an Old Lady Who Swallowed a Dreidel by Caryn Yacowitz.

Written in rhyme, Honeyky Hanukah lights the way for a night of family, friends, food and fun in a warm and joyful celebration, and it includes a CD performed by the Klezmatics.

I Know an Old Lady is also a rhyming book, written in a cumulative style, and with the help of the artwork, this well-known folk song takes on a new life in this tale about celebrating Chanukah with Bubbe and her family.

Two of the library’s most popular classic storybooks to read aloud are A Hanukkah Treasury by Eric Kimmel and The Stone Lamp by Karen Hesse and Brian Pinkney.

Treasury is a Chanukah compilation filled with history, flavor, legends, contemporary stories, recipes and games, suitable for the entire family. Stone Lamp comprises a series of eight free-verse poems in which the authors capture the resilient spirit of the Jewish people through the imagined voices of eight children at Chanukah.

These are just some of the Chanukah books available at the library. There are also dozens of holiday CDs and the library even has a Chanukah klezmer collection. To peruse the entire catalogue, go to jcclibrary.ca or just come up to the second floor of the Jewish Community Centre of Greater Vancouver, say hi, and browse through the collection in person.

Format ImagePosted on December 12, 2014December 10, 2014Author Isaac Waldman Jewish Public LibraryCategories BooksTags Caryn Yacowitz, Hanukkah Treasury, Honeyky Hanukah, I Know an Old Lady Who Swallowed a Dreidel, Klezmatics, The Stone Lamp, Woody Guthrie
Eight crazy dog nights

Eight crazy dog nights

Narrated by the dog himself, Latke, The Lucky Dog by Ellen Fischer (Kar-Ben Publishing, 2014) is a charming book for kids 2-7 years old. In it, Latke the dog tells readers how lucky he is that a family with two children came to a shelter on the first night of Chanukah and took him home, naming him Latke because of his color. However, since poor Latke isn’t used to being with a family, his story is all about his eight nights of misadventures, coupled with his repeated acknowledgement that he is such a lucky dog to have been chosen by this family.

Although the story is very cute, there isn’t much about the family trying to train Latke, so parents could use the book as an opportunity to talk with their kids about what it means to adopt a pet and the responsibilities pet ownership entails. Or, parents could broaden the discussion to what it means to bring someone or something new into your environment – what role you might play, what changes you might need to make in your daily routine.

Fischer has written a number of children’s books and lives in Greensboro, N.C. The lively illustrations in a jagged style by artist Tiphanie Beeke, who lives in the south of France, fit the mood of the book very well.

Sybil Kaplan is a journalist, foreign correspondent, lecturer, food writer and book reviewer who lives in Jerusalem. She also does the restaurant features for janglo.net and leads weekly shuk walks in English in Jerusalem’s Jewish food market.

Format ImagePosted on December 12, 2014December 22, 2014Author Sybil KaplanCategories BooksTags dogs, Ellen Fischer, Kar-Ben Publishing, kids books, Tiphanie Beeke

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