Arts & Culture – Page 73

Question that won’t die

“How does a housewife decide between generals?” asks Golda Meir (played by Tovah Feldshuh) in Golda’s Balcony. In this instance, she must decide between the counsel of David (Dado) Elazar, her chief of staff, left, and Moshe Dayan, her minister of defence. (production still)

Tovah Feldshuh is incredible to watch in Golda’s Balcony, The Film. Not just in her passionate and sympathetic portrayal of Golda Meir, Israel’s prime minister from 1969 to 1974, but in her depiction of all 45 characters in William Gibson’s one-woman play. She’s Meir, David Ben-Gurion, David (Dado) Elazar, her husband Morris, Holocaust survivors and Israeli soldiers, among many others. She moves as easily between the personalities as a child raised in a multilingual household moves between languages. And with powerful effect.

Golda’s Balcony, The Film has two screenings at the Vancouver Jewish Film Festival – March 1, 1 p.m., and March 2, 3:30 p.m., at Fifth Avenue Cinemas. See it. You will have a more nuanced understanding of Meir, as well as of Israel, its origins and the struggles it has faced and will face. Gibson’s text is superb; it is engaging and insightful, with enough humour along the way that you’ll be able to breathe on occasion, as Meir deals with the existential crisis of the Yom Kippur War. Fluidly switching from wartime to other parts of her life, the play depicts, if nothing else, the stressful, heart-wrenching, thankless job that is being prime minister of a country that is constantly under threat.

The film is a recording of the play’s soldout Off-Broadway première on May 4, 2003, at the Manhattan Ensemble Theatre, presented by Issembert Productions. After a four-month soldout run at MET, the show moved to Broadway, and the Helen Hayes Theatre, where it ran for 15 months, making it, apparently, the longest-running one-woman show in Broadway history. It has won countless awards.

The set is relatively simple. A table with a couple of chairs on a tile floor. On the table, a dial telephone, a pitcher and water glass, an ashtray, cigarettes. Light shines on the table from the right, as if from a window. The backdrop is a wall of reddish stone or metal slabs of varying sizes that protrude outward. Images are projected onto the wall or chairs when relevant, giving the audience a visual of the person Meir is talking about, or that Feldshuh is portraying – though it is hard to see these images in the film version. To the side and a step down is a small piece of stage covered in dirt, with a few rocks, which acts as refugee camps in Cyprus, the kibbutz on which Meir lived for a time, Russia when Meir visits on a diplomatic tour, etc. The focal point for the entire production is Feldshuh.

The play begins in darkness, a man chants a prayer, the words “Golda’s Balcony” appear briefly on the wall. Thunder claps, lightning flashes, gunshots ring out, then darkness again, but the sound continues: guns firing, bombs exploding, planes overhead. A housecoat-garbed Golda, sitting at the head of the table, strikes a match and lights a cigarette; the lights rise a bit and calmer music prevails.

“I’m at the end of my story,” says Golda. “I’m old. I’m tired. I’m sick. Dying, the doctors tell me. The picture you have of me as Mamaleh Golde, who makes chicken soup for her soldiers, it’s a nice picture. And I do make chicken soup. But let’s empty it all out for keeps right now because, at the bottom of the pot, is blood. At the bottom of the pot is the question that won’t die. I can do without that music!” she yells. It stops. The lights come on more fully, as Golda then starts to relate the story of her first voyage to Palestine, with her husband, in 1921 – 52 years later, she would become prime minister.

“I remember, starting with a phone call, that woke me up at four o’clock in the morning. Saturday, Yom Kippur, 1973,” she says, as she closes her eyes, looking exhausted, her right arm holding up her head, the left one sliding off the table. The phone rings. Startled, she answers it, hearing the news that Egypt and Syria have attacked Israel. As she takes off the housecoat, Golda is in her familiar muted woolen skirt suit; energy, anger and fear all come to the surface as she relates her generals’ differing views as to what Israel needs to do. Dado: attack! Moshe Dayan: don’t be seen as the aggressor! “How does a housewife decide between generals?” she asks.

Of course, she does decide. But the agonizing and tension-filled process leads her – and Israel – down some very dark paths and the play masterfully depicts her sadness, anxiety and frustration; the sacrifices to her family, her health, as well as to others. Throughout the many narratives, it is the story of the Dimona nuclear facility to which she will get, the story that haunts her, that took her to hell; the story she needs to gather the strength to tell.

Thunder, lightning and gunfire divide the scenes in the whirlwind of action that Golda describes, her domestic life almost as tumultuous as her political life. We see her humanity, but also her toughness. Luckily, she never had to answer the question that “won’t die”: if Israeli forces hadn’t been able to cross the Suez Canal and if the United States had not come through with the needed military aid, would she have ordered the dropping of the nuclear bombs with which she had armed Israel’s planes?

Golda’s Balcony is a must-see in a festival with many excellent films. For the full schedule, visit vjff.org.

Chasing elusive photo

Picture of His Life follows Amos Nachoum to the Canadian Arctic, where he hopes to fulfil his dream of photographing polar bears underwater. (photo from Hey Jude Productions)

The ocean, in its vastness, suits Amos Nachoum perfectly. It’s big enough for him to hide. Not from the great white sharks, orcas, manta rays and other large sea creatures he has obsessively sought out and photographed for four decades. But from his traumatic memories of the Yom Kippur War, and from his father’s impossible expectations.

“Amos has made a decision to put the war behind him, to put violence behind him, and to use the camera to tell a different story, a beautiful story, about men and nature,” Israeli documentary filmmaker Yonatan Nir said in a phone interview while his family frolicked nearby in the kibbutz pool. “I think, in a way, he’s reframing his life with his camera.”

Nachoum’s complicated saga is rendered with gravity and grace in Nir and Dani Menkin’s Picture of His Life, which screens in the Vancouver Jewish Film Festival March 3, 8:45 p.m., at Fifth Avenue Cinemas.

Picture of His Life is structured around Nachoum’s summer 2015 expedition to the Canadian Arctic, more than 3,000 miles from his Pacific Grove, Calif., home, to try and fulfil his ultimate dream of photographing polar bears underwater. (Hence, the second meaning of the film’s title.)

The epic documentary’s executive producer is Nancy Spielberg, a nice bit of irony given that her brother made a flick called Jaws many years ago that spawned a widespread, irrational fear of sharks.

Nir and Menkin originally wanted to make a documentary about Nachoum diving in Tonga a decade ago, but that undertaking proved too expensive. Instead, they made Dolphin Boy, a redemptive portrait of a traumatized young Arab healed by swimming with dolphins in the Red Sea, which earned worldwide acclaim.

As it turned out, the extra years were essential, and not just to raise the funds for four Jews (Nachoum, the directors, and veteran underwater cinematographer Adam Ravetch) and six Inuit to trek to and film at remote Baker Lake. The filmmakers’ taciturn and enigmatic subject had to reach a point where he was willing to confide his deeply hidden feelings and memories.

“He really didn’t talk until we got to the Arctic,” Menkin recalled on the phone from his car in Los Angeles, “and that’s when he started to open up.” Nir added, “Amos needed time to open up and to be able, finally, to let us deep into his soul and to tell it for the first time.”

After the Arctic trip, Nachoum gave surprisingly candid interviews to the Israeli press about both his postwar trauma and his father, who had fought in the War of Independence. His way of dealing with his past continued – and continues – to expand.

There’s no question that the process of making Picture of His Life contributed to Nachoum’s evolution. Nir and Menkin visited his father in the hospital near the end of his life, capturing a raw, powerful moment. They subsequently showed the footage to Nachoum with the understanding that they would include it in the film only if he gave his consent.

Nachoum was touched by the scene and agreed to its inclusion. He even enacted an onscreen form of reciprocation to complete the circle.

“We were able to create this closure between the father and the son, but only through the film,” Nir said. “It never really happened face to face.”

The personal story in Picture of His Life is wrenching, but the environmental component is pretty potent, too. “I see myself as a soldier for Mother Nature,” Nachoum declares in the film, but his desperate, late-career pursuit of the polar bear goes even deeper.

“At the end of the day, Amos was looking for his family,” Menkin said. “His family is the universe. It’s Mother Nature. He found his family and lives with it in harmony, and that’s what he wants us to do.”

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

Zack Gallery’s new director

Former Zack Gallery director Linda Lando, left, with new director Hope Forstenzer. (photo by Daniel Wajsman)

The Sidney and Gertrude Zack Gallery at the Jewish Community Centre of Greater Vancouver has a new director, Hope Forstenzer – one of the few directors in the gallery’s history to be a professional artist.

Forstenzer is a graphic designer and a glass artist; she is a member of the Terminal City Glass Co-op. She takes over the reins of the Zack Gallery from Linda Lando, who retired at the end of last year.

“I have a background in visual art and performing art,” Forstenzer told the Independent. “For years, I was the artistic director of a multimedia company in New York. We worked on short plays: judged them and then produced them around New York. It was an amazing job, very interesting, but it didn’t pay my bills. For that, I worked as a graphic designer.”

She also taught graphic design, first in the United States – New York, Seattle and Baltimore – and, later, in Vancouver, after her wife accepted a job at B.C. Children’s Hospital in 2012 and the family moved here. Forstenzer has been teaching graphic design at Emily Carr University of Art + Design and at Simon Fraser University.

The artist began working with glass in 2001, while still in New York. She liked it so much that she made it her principal medium. A number of glass shows in Seattle and Vancouver have included her pieces.

“I had two solo shows for my glass, both here in B.C.,” she added. “I also participated in a group show at the Zack in 2015.”

The life of a freelance artist is a hectic one. Forstenzer has had to juggle her teaching schedule and studio time, plus a family with young children. She longed for more professional stability.

“I started looking for a steady part-time job,” she said, “then I heard Linda Lando was retiring from the Zack. I always loved this gallery and its artists, loved the JCC. I decided to apply for the job. I’ve worked in leadership positions in the art field all my life, so this job seemed perfect, both in its essence and its timing.”

Her plans for the gallery are extensive. “I want to do at least as well as Linda did. She was a marvelous director, so I have big shoes to fill.”

Forstenzer is already working on future shows, both solo and group exhibitions, in various artistic formats. “I love diversity,” she said. “But a group show might be harder in some ways to jury and organize. Art is always subjective and, in a group show, some people will always like certain artists more than others. The trick is to make it work for the majority…. When a curator assembles a group show, it is a collaboration, like putting together a puzzle, making as little dissonance as possible from the disparate pieces. On the other hand, in a solo show, you create a flow of energy.”

With regard to the gallery and its place in the community, Forstenzer said, “I want to make sure the gallery is connected to the JCC. We are part of it, and that should be emphasized. It doesn’t mean only Jewish artists – the JCC has a diverse membership, it draws in people of all ages, skills and cultural influences. I want to reflect that in our future shows and programs. Linda started that with her amazing poetry series. I want to do more. Children’s programs. Sessions for older citizens. Workshops for families. I want interactions with the gallery. I want our visitors to be part of the shows.”

As for the artists, she said, “I want to create a nurturing environment for them in the gallery, want to encourage younger artists, not just in age but in experience. Some people only start in the arts after they retire, and their mastery in other areas makes them unique in artistic venues. I want to establish a relationship with our artists, so they will trust me.”

Forstenzer is sure that her being an artist herself is an asset for her work as gallery director. “I’m not only an artist, I’m a fan of the arts, of beautiful things of any kind. It’s not really that common. Many artists are not fans, they prefer their own art to anyone else’s, but I love art. When I visit a museum or a gallery, I want to absorb as much as I can of the other artists’ imaginations.”

Her years as an artist and as an art administrator give her a unique perspective – to see the gallery from both sides. “I can advocate for the artists,” she said, “but I also can and will represent the gallery and its patrons.”

While acting as the gallery director, Forstenzer said she will not exhibit her own work at the Zack. “It would be a conflict of interest,” she said. “I’ll never exhibit here. I will participate in the Terminal City Glass Co-op’s group shows as a glass artist, but, at the Zack, I’m the director, not an artist. I will keep a hard line between my glass-blowing and my gallery.”

To learn more about Forstenzer’s glassworks, visit her website, hopeforstenzer.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

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Editor’s Note: This article has been corrected to reflect the fact that Hope Forstenzer was not the first Zack Gallery director to be a professional artist, but rather is one of the few directors in the gallery’s history to be a professional artist.

Blending families

Rebecca Eckler’s latest book is one of her most candid. (photo from Rebecca Eckler)

Rebecca Eckler knows firsthand the challenges of forming a mixed, blended or bonus family. Based on her experiences, the author, blogger and former National Post columnist has written Blissfully Blended Bullshit: The Uncomfortable Truth of Blending Families.

“Everyone was private messaging me saying, ‘I’m going through this with my blended family. I know you are in one. How do you handle this?’ I’m thinking, ‘People need help,’” Eckler told the Independent.

When the American television show The Brady Bunch first aired 50 years ago, its premise relied on what was then a rarity – two parents on their second marriage, each bringing three children into the same home.

“The difference with The Brady Bunch is you never saw exes. You never saw the grandparents or cousins. It was just about the family. But blended family is so many other people,” said Eckler. “There is a lot of suffering, and people in blended families don’t want to admit how hard it is,” including when parents take sides with their biological children in a tiff between siblings.

“I had no idea all the BS that pops up, and all the variations of people who have to get along,” she said.

Eckler described this, her 10th book, as “my favourite book because it’s so candid.” During the writing process, she and her then-partner “unblended” and she discusses many of the unexpected issues that arose from the breakup. For example, the biological siblings, half-siblings and bonus children now weren’t – quite suddenly – in one another’s lives regularly. The more familiar struggles of breaking up with someone included the division of possessions; in Eckler’s case, agonizing back-and-forths over mundane items like the microwave and bed.

While she and her ex now have new partners, other difficult situations lay ahead.

“You know what was the hardest thing for me?” she said. “Telling [her daughter] Rowan’s dad that another man was moving into the house with two children. I felt like he would feel that another man is taking over the role of ‘dad’ in my daughter’s life. I could hear him choking up when I was telling him.”

Then there was the time that one of her (new) stepdaughters asked Eckler to go prom-dress shopping. While in the dressing room, the daughter took selfies and sent them to her biological mother. “So,” said Eckler, “while I was invited to come with her, it was her mother who had the final say. These are things that you don’t think about until they happen to you.”

One lesson learned through all of this was that partners need to keep open the lines of communication.

“I think one of the biggest mistakes at the very beginning is, we discussed nothing, which was ridiculous, but I had ‘love goggles’ on. He moved into my house and his kids were in my house 50% of the time. So, for them, I think it never felt like their home. To me, it always felt a little like, ‘this is my home’ that you guys have moved into. The [new] kids didn’t even get to pick their room.”

Horns locked over Jewish issues, too. When her partner wanted to bring ham into the home, discussions ensued – over the ‘December dilemma’ of a Christmas tree (she refused), Jewish versus mainstream summer camps, and to which grandparents they’d go to for the Passover seder.

“It’s almost like a cautionary tale, and it’s very juicy. It’s also a book for grandparents to read,” said Eckler. “I think I’d probably make a shitload of money if I came out with a line of greeting cards for blended families. ‘Happy bonus granddaughter’s day!’”

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

A soap-opera comedy

Yaniv Biton as Assi, left, and Kais Nashif as Salam in Tel Aviv on Fire, which screens Feb. 28 as part of the Vancouver Jewish Film Festival. (photo from Cohen Media Group)

Palestinian writer-director Sameh Zoabi achieves something altogether remarkable with his second feature film, particularly at this moment in time: he finds humour in the tattered relationship between Israelis and Palestinians.

“The whole idea of Tel Aviv on Fire is that we have more in common than we want to admit,” Zoabi said in an interview before his movie screened in the San Francisco Jewish Film Festival last year. It screens on Feb. 28, 1 p.m., at Fifth Avenue Cinemas, as part of the Vancouver Jewish Film Festival, which runs Feb. 7-March 8.

“We have to break these stereotypes and talk about what’s in common between us and not what divides us,” he said. “Let’s remind people how humanity can prevail in times where the politics of post-Oslo is, ‘Let’s dehumanize the other to be able to survive.’ I want to do the opposite.”

A sharp, insightful and winning comedy that juxtaposes the delicious absurdity of melodrama with the real-life absurdity of the occupation, Tel Aviv on Fire centres on an underachiever, Salam, who works as a gofer on his uncle’s hit Palestinian soap opera. Through a barely plausible combination of chance, chutzpah and desperation, the shlemiel is elevated to writer. Then he runs afoul of the Israeli commander of the checkpoint he crosses every day, whose wife is a loyal fan of the show.

Salam has to use every iota of guile and cleverness to navigate the opposing agendas that he’s caught between – and to win back the heart of a woman he had dumped. (Even while he’s landing political japes, Zoabi cheerfully seizes every opportunity to lampoon the conventions of both soap operas and movies.)

One of nine children, Zoabi grew up in a village outside of Nazareth, where people went to his grandfather’s barbershop for his humorous stories as much as for a haircut.

“In general, my village is very funny,” Zoabi related. “That’s maybe why comedy has become very easy for me, because I grew up in a place where they don’t take anything seriously.”

Zoabi studied at Tel Aviv University and then at Columbia University in New York, where he discovered the need for Palestinian stories. Returning to Israel, he made a short film, Be Quiet, in 2005 and his feature debut, Man Without a Cell Phone, in 2010. Zoabi’s experience of receiving government funding was the genesis of Tel Aviv on Fire (2018).

“You take money from the Israelis, so suddenly you are watched immediately,” he explained. “Israelis are making sure you are not becoming too Palestinian for them. And the Palestinians are watching, ‘He took money, maybe he’s a sellout, he’s doing a comedy.’”

After presenting Tel Aviv on Fire at several international festivals, Zoabi debuted the film in Haifa and in Nazareth. It was equally well received by both audiences, which didn’t surprise him. But he did have an epiphany.

“All the screenings led to this moment,” Zoabi declared. “Finally I understood – people are fed up. People are fed up of the reality that exists, which is managing the occupation.

“[The film] reminds people of the possibility that used to exist, the feeling that we can be normal people and just get along. I think that’s a fantasy that existed among the Israelis, that we can eat hummus together in Damascus one day. But they aren’t able to see the occupation as a major reason for that not to happen.”

It’s a measure of Zoabi’s skill that the current-events commentary in Tel Aviv on Fire goes down easily for viewers across the political spectrum. The means to that success, in large measure, is Salam’s evolution of necessity from hapless underdog to diplomatic savant.

“I’m attracted to people who don’t wake up knowing what they really want,” Zoabi said. “I think they’re more inspirational for me than black-and-white [characters]. Actually, people who know exactly what they want terrify me. You can’t be so certain all the time.”

For his part, Zoabi grew up in a milieu of group interaction and lots of soap operas, because those were the only two channels the family had. He wasn’t exposed to art, theatre and film until his late teens.

“I always say I’m not an artist, really,” he confessed. “I’m probably a barber of a new era in my family.”

Tel Aviv on Fire is in Hebrew and Arabic with English subtitles.

For the Vancouver Jewish Film Festival schedule, visit vjff.com.

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

Pink Rabbit opens festival

Riva Krymalowski as Anna, in the film, which opens the Vancouver Jewish Film Festival Feb. 27. (photo from betacinema.com)

The Vancouver Jewish Film Festival opens the night of Feb. 27 with the film When Hitler Stole Pink Rabbit, which offers a peek at a pivotal event in writer and illustrator Judith Kerr’s life.

Kerr passed away just under a year ago, at her home in London, England, at the age of 95. She had dozens of children’s books to her credit, including The Tiger Who Came to Tea and Mog the Forgetful Cat; Mog became a series, ultimately totaling 17 picture books.

Born in Berlin, Kerr and her family – parents and older brother – fled Germany in 1933, in the days leading up to the election that brought Hitler into power. Her father, Alfred Kerr (né Kempner), a journalist and writer, was a vocal critic of the Nazis even at that time and was warned that the police were about to arrest him. The story of the family’s journey to Switzerland, then France and, ultimately, England, is told in the children’s book When Hitler Stole Pink Rabbit, which was published in 1971.

The film, obviously, is based on that book, and it captures the fear, excitement, frustration and other feelings experienced by the family as a whole, but mainly by 10-year-old Judith – named Anna in both the book and film. We see that Anna copes, in part, by drawing and colouring pictures of disasters, such as a shipwreck or an avalanche. She, her brother and parents are close, thankfully, as they are uprooted more than once and the family unit is the only constant in their lives.

When Hitler Stole Pink Rabbit is both charming – the family’s interactions – and disturbing, in that the family is fleeing a danger that killed millions. It also raises current-day issues of what it means to be a refugee. Anna and her brother Max are given one night to pack. They are allowed one toy and two books. Anna’s choice of her stuffed dog over her pink rabbit gives the story its name.

For more on the film festival, visit vjff.org.

Hurdles to become a doctor

Ruth Simkin with her dog, Kelly. (photo by Chris Wilson)

Feminism is really true equality between women and men; nothing more, and nothing less,” Ruth Simkin writes in her new book, Dear Sophie: Life Lessons in Feminism & Medicine, a memoir dedicated to her great-niece.

“There are many people who scoff at the word ‘feminism,’” Simkin adds. “But consider this – when I was in my first year of medical school, I, and any other woman, could not get a credit card in our own name. Until 1974, a husband’s signature was needed for women to have credit cards. At that time, I met women who were teachers who lost their jobs because they and their husbands wanted to start a family and they became pregnant – a no-no for working teachers until 1978. I could go on and on with examples like this to show why feminism was, and still is, such an important part of all our lives.”

Born in Winnipeg in 1944, Simkin has prevailed over many obstacles throughout her life and career. In Dear Sophie, readers join her as she struggles to get into medical school.

“There was stiff competition to get into an innovative medical program launched at the University of Calgary in the late 1960s,” she told the Independent from her home in Victoria. “I was one of 32 of roughly 1,200 applicants to be accepted.”

Admission to the program, however, would turn out to be an easier hurdle than those that were yet to come during her schooling and subsequent training. The length of her time in med school is replete with stories of sexual harassment and discrimination by both fellow classmates and senior members of the faculty.

“Male doctors, on more than one occasion, did all they could to get me expelled from med school, but I stood my ground,” Simkin said.

She managed to complete her residency, despite being blocked at almost every step, and clashing with the established medical community. But she prevailed. She was the first U of C med school graduate to open a practice – one that thrived – while also working as a professor and preceptor at the school.

In the memoir, Simkin details her experiences from that time to the present and uses her account as a way to demonstrate to Sophie, and to other women, how to live a happy, feminist life. She hopes that Sophie, a pre-adolescent during the time Simkin was writing the book, will learn from her experiences before entering adulthood.

Simkin’s long and varied career has seen her undertake many ventures. In the 1980s, she learned acupuncture in Shanghai and, ultimately, became the first physician to be approved by the Alberta College of Physicians and Surgeons to incorporate acupuncture in a medical practice. Later that decade, she went to London, England, to study with Dr. Katharina Dalton, who brought premenstrual syndrome to the world’s attention and also coined the term.

Upon her return to Canada, Simkin opened the first PMS clinic in Western Canada. She also has opened Western Canada’s first hologram gallery, produced concerts, been involved in theatre projects and started the lesbian and gay political action group CLAGPAG.

In the 1990s, she moved to Salt Spring Island, where she became a farmer – growing “yuppie” veggies. A return to medicine saw her become the first fellow to study palliative care at the University of British Columbia. In 2014, she was honoured with a life membership from the College of Family Physicians of Canada.

Among her other published works, Simkin has written What Makes You Happy, a collection of short stories, both autobiographical and fictional; The Y Syndrome, a medical thriller set in 1990s Calgary; and Like an Orange on a Seder Plate, a feminist Haggadah. The Jagged Years of Ruthie J (2012) is an autobiographical account of her experiences in Winnipeg before medical school.

Over the years, she has written scores of medical papers and contributed to textbooks, as well as mixed media presentations. Having travelled extensively, she has an (as-yet) unpublished book, Come Away with Me, about her journeys through China.

Dear Sophie received the 2019 Rainbow Award in the LGBT biography/memoir category. In its review of the book, the prize committee said, “Dear Sophie is a flawless memoir that is not only a story of Dr. Ruth Simkin, but a story of feminism and women in Canada and the field of medicine, skilfully woven together with valuable life lessons.”

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Sharing legends of Mossad

Ronen Bergman signs a copy of his book Rise and Kill First: The Secret History of Israel’s Targeted Assassinations for an attendee of his talk at Congregation Beth Tikvah Feb. 2. (photo by Pat Johnson)

Ronen Bergman, perhaps the leading historian on Israeli intelligence, spoke in Richmond recently, engaging a packed sanctuary at Congregation Beth Tikvah Feb. 2 with stories that make Ocean’s Eleven pale in comparison.

Bergman, a staff writer at The New York Times Magazine and senior political and military analyst for the Israeli daily Yedioth Ahronoth, shared the history of the Mossad as told in his bestselling book Rise and Kill First: The Secret History of Israel’s Targeted Assassinations. One had an extremely timely conclusion.

Imad Mughniyeh was the military commander of Hezbollah, who Bergman called “the most wanted and most capable and most diabolical terrorist who ever walked the face of the earth.” Mughniyeh is believed responsible for the 1983 bombing of the U.S. embassy in Beirut and truck bombings in the same city, which killed hundreds of U.S. and French military personnel, and also was involved in the 1992 bombing of the Israeli embassy in Buenos Aires and the 1994 bombing of the AMIA Jewish community centre there, as well as countless other atrocities worldwide.

“He was wanted by 41 different countries and the only thing they had from him is a vague photograph from 1983,” said Bergman. Finally, the Mossad located Mughniyeh in a safe house in Damascus, but, since Israel does not have diplomatic relations with Syria and, therefore, does not have an embassy there, they were at a disadvantage. Embassies are a great boon to spies, he said.

“You can have diplomatic immunity, you have cars, you have diplomatic mail, you can smuggle, it’s wonderful,” he said. “But they couldn’t get to him, they couldn’t kill him in Damascus, because it was so hard to operate, so Mossad turned to the only organization that could: the CIA. Because the CIA had something that Mossad will never have in Damascus: an embassy.”

The CIA required permission from then-U.S. President George W. Bush, so Ehud Olmert, who was then Israel’s prime minister, flew to Washington for a secret meeting with Bush and urged the president to help Mossad take out the terrorist, noting the number of Americans Mughniyeh had killed.

“George Bush was convinced, but he said on one condition – no collateral damage,” Bergman said. No bystanders or associates were to be harmed.

Working with the CIA, the Mossad set up the scenario and then aborted the operation 53 times because the target was not within the defined kill zone or because he was not alone or because, on one occasion, his identity could not be 100% verified because he was wearing a scarf due to inclement weather.

On Feb. 12, 2008, Mughniyeh left the safe house and the Mossad was about to push the button when they realized he was not alone.

“He’s walking with a man,” Bergman recounted. “Someone looks at the monitor and says, oh that’s not just a man, that’s Good Dog. Good Dog was the codename for Qasem Soleimani,” the top Iranian general and commander of the Quds Force, responsible for clandestine operations and global terror.

“So, someone said, how wonderful, let’s take them both,” said Bergman. “They called Meir Dagan [director of Mossad], who was sitting shivah for his mother. He calls Olmert and Olmert says no, abort, I promised President Bush that only Mughniyeh is killed.”

Later that same day, Mughniyeh was found alone outside the safe house and killed by an exploding car as he passed on foot. But Soleimani would live another dozen years – until he was killed Jan. 3 of this year, on orders of U.S. President Donald Trump, sparking a conflict that nearly led to all-out war between the United States and Iran.

Bergman, a lawyer and author of six bestselling books, recently received the Sokolov Prize, Israel’s equivalent of the Pulitzer. In undertaking Rise and Kill First, Bergman discarded all previous work on the subject and interviewed 1,000 intelligence officials and others with inside information on the Mossad and its operations. The book is now being turned into an HBO series.

Bergman recounted how, in 2018, Israel stunned the world when Prime Minister Binyamin Netanyahu invited the media to view a massive cache of documents and other materials related to the Iranian nuclear project. The moment was the culmination of two years of planning, involving 500 operatives, including 18 who located and infiltrated a secret archive outside Tehran, then swooped in, with a five-and-a-half-hour window in the middle of the night, to execute the deed and escape, relocating the ayatollah’s nuclear secrets to Israel.

Even with the Mossad’s expertise at safe-cracking, the team knew that they would not have time, once inside the archive, to fiddle with locks.

“So, Mossad establishes a front company in Europe who orders two empty safes from the same Iranian manufacturer. They ship the safes to Paris, then ship them to the Mossad lab in Tel Aviv, where they start drilling into them, trying to find what’s the fastest way to open them.”

They determined that it would require at least 3,600 degrees Fahrenheit to break into the archives’ security.

“Now imagine what sort of energy you need to shlep with you to Tehran in order to create such energy and do that in four different places because you need to open all the vaults,” said Bergman. They also had to bypass other security systems and interfere with video surveillance to make the cameras continue broadcasting as if nothing untoward was happening.

In the morning, when the heist was discovered by archives security officials, Bergman said, “no less than 12,000 troops, Revolutionary Guards, policeman, army” and others descended on the place, but could not discern how anyone could get in, grab all the contents and get out undetected. It would be two months until Netanyahu went public and the Iranians could finally confirm that the perpetrators were Mossad.

“Someone could ask, why should we write a book about the history of the Mossad? This is secret, right?” Bergman said. He acknowledges he left out a great number of secrets, some of which he will take to the grave, but added that it is impossible to tell the story of Israel without telling the story of the Mossad because any major decisions, any turning points in the dramatic story of the country, have the imprint of the intelligence services on it.

He warned, though, that this is not all derring-do and triumph. “If you want to read a book just glorifying Israeli intelligence, I suggest you don’t read Rise and Kill First,” he said. “Sometimes, the Jewish James Bond looks more like Inspector Clouseau.”

Many people ask Bergman how he got the top intelligence officials in the country – former heads of agency, high-level operatives, spies and agents – to talk, usually quite freely and almost always on the record.

“It was easy,” he said. “I smiled. When you smile to people, they feel comfortable to talk. But that’s not the whole answer. These people wanted to talk because they wanted people to know … what they have done in order to keep Israel safe.”

Some interviewees said they told Bergman things they had never told their spouses. But, when subjects were not forthcoming, he had a trick.

“If someone was not that enthusiastic to speak, I did to him or her the one thing that makes Israelis more ballistic and furious than anything else,” Bergman said. “I told him someone else took credit for his operations.”

He mooted a typical response: “What? He said that he was behind enemy lines, that he planned the operation, that he risked his life? Now I’m going to tell you the truth,” Bergman deadpanned. “Always works.”

In a remarkable number of the interviews, a single phrase frequently stood out: a quote from the Babylonian Talmud: “Whoever comes to kill you, rise up and kill him first.”

“Because the way they saw it, they had no other choice,” said Bergman, noting that outsiders cannot understand the DNA, the genome, the motives of Israelis, without understanding the imprint of the Holocaust and the determination to never be powerless again.

Hamas has bragged that they have more volunteers for suicide bombings than they have suicide belts.

“It turns out the only thing that stops these people from coming is the most extensive campaign of targeted killing ever launched in history – and not against the suicide bombers,” said Bergman. “When the Shin Bet [Israel’s internal security service] and Israeli Air Force started to target the layer above them – the bomb-makers, the indoctrinators, the recruiters, the regional commanders – then it turns out that these people who have no problem with sending everybody to their death, once the price tag is attached to themselves and their families, they say, well, we’ll die, but maybe not today.”

The targeting approach, said Bergman, was adopted by the United States, whose military leaders came to realize that taking out the top leadership of the enemy was ultimately less lethal and costly than the alternatives.

“And so, the CIA started following the successful Israeli experience, started to perform targeted killings,” said Bergman. “Do you know the president who organized the largest number of targeted killings in history? Barack Obama, because he realized that this is the weapon that, at the end of the day, takes less human lives than going into an all-out war. And it’s effective.”

Leanne Hazon, Beth Tikvah’s vice-president of programming, welcomed the audience and noted the size of the crowd despite it being Super Bowl Sunday. Rabbi Adam Rubin introduced Bergman. The author signed copies of his book after his talk.

Canadian refugee law study

Shauna Labman (photo from Shauna Labman)

Amid the world’s largest refugee crisis since the Second World War, Winnipeg-based legal scholar Shauna Labman has come out with the book Crossing Law’s Border: Canada’s Refugee Resettlement Program, an in-depth look at how national and international law and policies have shaped Canada’s resettlement programs.

After growing up in Winnipeg, Labman did her undergraduate degree in English and religion at the University of British Columbia, then went into law school at the University of Victoria.

“At the end of law school, I was called to the bar in Ontario, and then I got a contract with the United Nations High Commissioner for Refugees in New Delhi, India,” said Labman. “I went to India, knowing about refugee laws that I’d studied in law school … which meant I knew about the Canadian context of refugees – how refugee claims are made in Canada, how the Immigration and Refugee Board works. I didn’t know anything about how refugees receive protection in a country like India, which has not signed the [United Nations] Refugee Convention or anything.”

After returning to Canada, Labman accepted a consultancy with the Canadian embassy in Beijing. Realizing that the life of a diplomat was not for her, she returned to UBC in 2007 for a master of laws, which was followed by a PhD. Her graduate supervisor was the current dean of the university’s Allard School of Law, Prof. Catherine Dauvergne.

Of her master’s thesis – “The Invisibles: An Examination of Refugee Resettlement” – Labman said, “It’s about the fact that refugees waiting for resettlement don’t get seen. We only see them when they are resettled … but the program is very ad hoc and there was very little attention given to it at the time.”

As Labman was starting her PhD, the ships Sun Sea and Ocean Lady arrived off the coast of British Columbia, carrying several hundred Tamil migrants seeking asylum from civil war in Sri Lanka. She recalled how resettlement was being discussed then. “The relationship between law and refugee protection and what I call ‘the layer legality of it all,’ how different laws work to position different refugees differently, became the basis of my doctoral work and this book,” she said.

After moving back to Winnipeg 10 years ago, she worked as a law professor at the University of Manitoba. Last July, she joined the University of Winnipeg and its Global College. As a human rights professor, she teaches courses on refugees, resilience, and concepts and conventions of human rights.

“I find this really rewarding work,” she told the Independent. “I sit on the board of the Immigrant and Refugee Community Organization of Manitoba and, in that program, I meet a lot of incredible people who spend a lot of time committed to creating a place of welcome for newcomers in our community.”

Labman’s book looks at Canada’s refugee resettlement program from the 1970s, when there were large numbers of people fleeing Vietnam, Cambodia and Laos, up to the Syrian resettlement that’s been happening in the past decade. It covers the different ways that Canada resettles refugees – the government’s resettlement program and the private sponsorship program, including the newly created Blended Visa Office-Referred program, which works with refugee referral organizations to screen refugees before connecting them with private sponsors.

“One way you can think of it is that resettlement itself is a complement to Canada’s inland refugee protection program,” she explained. “Because not that many refugees are able to come to Canada to claim protection, we have a resettlement program. Within that resettlement program, the government is doing resettlement, but the private sponsorship program allows the broader Canada population, individual citizens, to complement the government resettlement program by resettling refugees as well.

“We need only to look south at the U.S. to see how a change in government can affect refugee resettlement,” she said. “We have a legal obligation to asylum-seekers, but a lot of conversation about the border-crossers right now is about whether they are illegally entering the country and whether they are coming in violation of the law when they cross a border. I would say they’re not. I’d say that part of our recognition in the Refugee Convention is that they cannot be penalized for their entry and that, even within our Immigration and Refugee Protection Act, we recognize that refugees may need to cross in a different way or manner to make their claims of asylum.

“In the same way,” she added, “refugee resettlement isn’t a legal obligation, but law still plays out … in how these refugees are selected for resettlement before they enter our borders, which means that, when they are entering our borders, they are entering with a legal document permitting their entrance. They have a legally valid means of entering the country, even though they didn’t have a legal right to enter the country until they were selected for resettlement. So, the book looks at different ways the law operates within these two programs.”

One area in which the book does not delve, but that Labman said is important, is that the required forms are becoming more complicated to fill out, forcing applicants to seek help from lawyers. “It was too complicated for me to fill out when my family did a private sponsorship application,” she said.

While Labman’s book is academic, it is accessible to a broader readership. “It’s not going to be a page-turner if you’re not interested in refugee resettlement,” she said. “But, if you’ve, say, sponsored refugees and want to understand the program in more detail, it might be of interest. If you’ve worked with refugees, whether in a medical or educational context, in a settlement context … individuals working with refugees, there’s so much history and contextual details to the program. When I was writing this book, that information didn’t exist anywhere particularly clearly. So, if you want a comprehensive understanding of what resettlement in Canada is, this book has that.”

Also, for the main target audience – academics and graduate students in history, philosophy, political science, social work, sociology, law and others – Crossing Law’s Border provides a starting point for their own research on refugee resettlement and sponsorship.

“And, as Canada in the past few years has been promoting the expansion of private sponsorship to other countries, and other countries are taking up private sponsorship models, there’s lots of international interest by governments and policy makers and NGOs in those countries, in what Canada’s resettlement program is about,” said Labman.

The Winnipeg launch of her book took place on Jan. 16, and Labman is planning a launch at the Allard School of Law sometime in May.

Rebeca Kuropatwa is a Winnipeg freelance writer.

Managing our potable water

Seth Siegel’s latest book is Troubled Water: What’s Wrong with What We Drink. (photo from Seth Siegel)

With approximately seven percent of the world’s renewable water resources within Canada’s borders, it would seem that we should have little to worry about when it comes to agriculture and potable needs. But our drinking water is at risk, said Seth Siegel, author of Troubled Water: What’s Wrong with What We Drink.

Siegel has spent the last half-decade studying the quality of drinking water. While his book focuses specifically on U.S. water sources, he said water quality is also a concern for Canadians and he worries that neither country is really prepared to address the threat of contaminants from our technological age: plastics, undetected chemicals and aging, inadequate infrastructure.

All of the issues that Siegel examines in his book regarding U.S. drinking water have been raised in recent years in Canada-based research. In many ways, Siegel’s exposé on the environmental impacts of toxic substances, chemicals and medication in the United States is a mirror into our own environmental dilemmas, as Canada is home to many of the same industries and technological challenges. It’s also home to its own significant problems with water purification in rural indigenous communities.

Lead in drinking water

The Flint, Mich., lead water crisis of 2014 may have faded from newspaper headlines, but researchers are still warning about the levels of lead in American and Canadian drinking water. While we are exposed to lead daily in minuscule amounts from the environment, both countries’ federal governments publish guidelines to stringently limit exposure – because lead is a neurotoxin. In Canada, old (pre-1970s or so) water pipes or solder were made with lead, while more recently made pipes do not contain the substance.

In March 2019, Health Canada tightened the guidelines for lead in potable water from a maximum of .01 micrograms (mcg) per litre to .0005 mcg/litre. The decision coincided with a yearlong investigation by Canadian journalists to determine how prevalent lead was in tap water. Some 300 homes in 11 cities were tested and, as expected, newer homes connected with updated water systems had acceptable readings but neighbourhoods with lead service lines or antiquated interior pipes had excessive lead in tap water. One older home in Whistler produced readings more than 12 times the maximum limit, and some 20 communities in Montreal were found to still have lead service lines.

What often makes things worse, Siegel told the Independent, is that updating service lines and interior water lines aren’t inexpensive undertakings and homeowners, who may not have the expertise to weigh the urgency of those changes, often have to bear the cost of upgrades.

Microplastics and more

Lead isn’t the only health risk homeowners face. Microplastic contamination, which has been traced, in part, to the use of plastic bottles, is a growing concern in Canada, home to a robust bottled water industry. Researchers at McGill University, the University of Toronto and several institutions in the United States are currently undertaking studies to determine the prevalence and effect of microplastics in the environment, including on local marine life.

While the World Health Organization states there isn’t enough evidence to confirm that ingesting microplastics is harmful to humans, Siegel and other researchers disagree. As he details in his book, there is now compelling research to suggest microplastics can actually “disrupt the human body’s hormone-related activity,” especially in children.

Becoming advocates

Still, Siegel cautions that his book isn’t an appeal to simply throw out the technology we use. “None of this is a call to ban plastic,” he said, noting that, “just more than 100 years since its first commercial use, plastic is the dominant material of our times. If one wanted to do so, it would be nearly impossible to go even a day without contact with it in some form.”

The answer, he said, is advocacy: educating ourselves and taking proactive approaches that steer both companies we invest in and the experts that oversee their products’ safety, so that materials are exhaustively tested and verified as safe for dependent, long-term use.

“Because your health and the health of your family rely upon your drinking water being of good quality, it’s important for you to get this right,” said Siegel, who said he hopes the data he has provided will help inspire a “citizen’s movement” to change the way drinking water is tested, approved and protected in the United States and elsewhere.

Troubled Water is Siegel’s second book on drinking water management. His New York Times bestseller, Let There Be Water: Israel’s Solution for a Water Starved World, published in 2015, delved deeply into Israel’s national water management system and the mechanisms that have made the country a sought-after resource on drought management in an era of climate change.

A graduate of the Hebrew University of Jerusalem and a successful entrepreneur and expert in patent law, Siegel said the book’s concept has been licensed in his name, but he is not charging royalties for its use. He said he wants to encourage other countries to use it as a template to inspire environmental change in their communities.

“[Every] country in the world is dealing with the same contaminants,” said Siegel. “They may have a different regulatory regime. Obviously, not everybody has the U.S. [Environmental Protection Agency] … but, whatever the local problems are, they are more similar than different.”

Both of Siegel’s books, as well as other resources, are available through his website, sethmsiegel.com.

Jan Lee’s articles and blog posts have been published in B’nai B’rith Magazine, Voices of Conservative and Masorti Judaism, Times of Israel, as well as a number of business, environmental and travel publications. Her blog can be found at multiculturaljew.polestarpassages.com.