humour

Interview insightful, fun

Israeli writer Eshkol Nevo, whose latest novel is The Last Interview, opens the JCC Jewish Book Festival Feb. 20. (photo from JBF)

This year’s Cherie Smith JCC Jewish Book Festival opens online Feb. 20, with Israeli writer Eshkol Nevo, whose latest novel, The Last Interview, brilliantly sprinkles facts amid a lot of fiction and interjects humour into much pathos. It entertains, of course, and, as all good books do, it raises many salient points that will get readers thinking – and feeling – about, in this case, storytelling, marriage, truth, parenting, friendship, lies, family, identity, media, politics and relationships. So, life.

In The Last Interview, the protagonist, who is suffering from a chronic form of depression and writer’s block, responds to an interview sent to him “by an internet site editor who collected surfers’ questions.” He later notes, “It was supposed to be only an interview, nothing else, but slowly – it seems I can’t do it any other way – I’ve been turning it into a story. I was supposed to leave Dikla and the kids and the dysthymia out of it. And all of them are in it.” This inability to stop himself from telling stories about others in his published writing is an Achilles’ heal in his personal life, but a boon to his professional one.

His interview answers are sometimes short and direct:

“How do you manage to deal with the loneliness that’s part of writing?

“I don’t.”

But, most often, they are quite involved, going into more detail, retrospection and introspection than the questioners would ever have expected. We learn about his failing marriage, but also its sweet beginnings. We are privy to his feelings about his best friend, who is dying of cancer. We see how he struggles to be a good father to his three kids. We hear some of his travel adventures. We witness his attempts to extricate himself from an unwanted speech-writing gig. We share his discomforts with the Israeli-Palestinian situation. We find out a bit about his motivations for writing:

“If I don’t write, I have nowhere to put my memories, and that’s dangerous. I have a problem. I don’t forget anything. My forgetting mechanism is completely screwed up. All the partings, the deaths, the unexploited opportunities. They are all trapped in my body, and writing is the only way to release them … if I don’t occasionally unburden myself of the weight of some of those memories, I won’t be able to breathe. No air will enter my body. Or leave it.”

Part of his current creative block – “I was supposed to be writing a novel this year. Instead, I’m writing answers to this interview” – is that he and his wife are becoming more distant. “I can’t say that I became a writer to win Dikla’s heart, but I can assume that with another, less stimulating woman, I wouldn’t be writing.” He notes that, since his first letter to her, “In fact, everything I’ve written since then, eight books, is one very long letter addressed to her.” At the end of a lengthy response to the question, “All of your books are written in the same style. Have you ever thought of writing something completely different? Maybe science fiction? Fantasy?” he says that genre wouldn’t make any difference: “In any case, it would turn out that, once again, I wrote about an impossible love.”

While the overall mood of The Last Interview is solemn, there are many funny parts. One especially hilarious section is the writer’s response to the question, “When will they produce a film adaptation of your latest book? When I read it, I could actually imagine the movie.” As the writer shares the details of an encounter with a filmmaker of a similar opinion, the conversation cynically – but with the ring of truth – moves from flattery to the many ways in which the movie will ultimately be unrecognizable from the book, yet concluding nonetheless with the filmmaker enthusing, “The minute I finished it, I said to my wife: This is a movie!”

With a writer as intelligent, sensitive and amusing as Nevo and an interviewer as experienced as the Globe and Mail’s Marsha Lederman, the book festival’s opening event should be well worth attending. For tickets to it, and for the full lineup of events, visit jccgv.com/jewish-book-festival. The festival runs to Feb. 25.

Not what you expect

So much of what we do in life we do almost automatically. For better or worse, we anticipate what’s coming next and, often, we’re right. But a trio of children’s books just published by Tradewind Books will amuse young readers and refresh the perspectives of their adults. Crocs in a Box, written by Robert Heidbreder and illustrated by Jewish community member Rae Maté, contains three expectation-smashing little hardcovers: Crocodiles Say …, Crocodiles Play! and Crocs at Work!

In Crocodiles Say …, it’s the bright, cheerful and iconic crocodiles of Maté that are at odds with Heidbreder’s words. In one scene, for example, we see three restrained crocs, the epitome of manners, “never rude.” The crocs “chew and swallow, their mouths closed tight. Crocodiles say … [page turn] Always be polite!” Well, it has to be said that the crocs are doing anything but eating politely.

In Crocodiles Play!, the crocs get all dressed up for one type of sport, such as baseball, but then play … basketball?! And, in Crocs at Work!, we are treated to a healthy dose of silliness, as the crocs engage in doctoring, cooking, painting and other work, all with a small twist, lots of joy and no little mess.

This collection would make a great Chanukah gift, expected or not!

Novelist explores Trump era

Gary Shteyngart opens the Cherie Smith JCC Jewish Book Festival on Feb. 8 at Rothstein Theatre. (photo by Brigitte Lacombe)

“You want to know the first rule of running a billion-dollar-plus hedge fund?” Lake Success protagonist Barry Cohen recalls telling the high school boys who invited him to speak to their Investors’ Club. “Don’t sweat the metrics. We’re not really about the numbers. Do you know what we are? We are a story. Hedge funds are a story about how we’re going to make money. They’re about being smart, gaining access, associating with someone great. You. You are someone smart enough to make others feel smart. You are bringing your investors something far more elusive than a metric. You’re bringing them the story of how great you’ll be together.”

Through the character of Barry Cohen, on his journey to what would be self-discovery if he were at all self-aware, author Gary Shteyngart explores the societal circumstances in the United States that led to the election of President Donald Trump – and could well do so again.

Shteyngart opens the Cherie Smith JCC Jewish Book Festival on the night of Feb. 8. In conversation with CBC’s Lisa Christiansen at Rothstein Theatre, he will no doubt talk about his latest novel, Lake Success, about a hedge-fund manager who flees his wife and young child, who has recently been diagnosed with severe autism, as well as a Securities and Exchange Commission investigation into his financial dealings.

Barry is stuck in a childlike state. He had a difficult father and his mother was killed in a car crash, a death Barry witnessed and which haunts him. Barry yearns for affection; he cannot regulate his emotions. He believes himself to be a self-made man and he is constantly coming across people he thinks would benefit from his mentorship, from fellow fund managers to a poor black youth he encounters on his travels to his first girlfriend, with whom he is trying to reconnect – hence, the bus trip. He is trying to find her, in the hopes of rekindling that relationship, and all the lost hope it encapsulated, while disregarding all the relationships – personal and business – he has left behind in New York City.

The main female characters in Lake Success – Barry’s wife, Seema, and his former girlfriend, Layla – are not as well-constructed as is Barry. Despite a sympathetic portrayal, it is hard to understand what anyone would see in Barry, yet he manages to attract smart and beautiful women. The novel provides some explanation as to why Seema would marry him, including family expectations. And, after meeting him for the first time, she recalls, “she went home and Googled Barry’s net worth and found it comforting. A man that rich couldn’t be stupid. Or, Seema thought now, was that the grand fallacy of 21st-century America?” So, she thought she was connecting with an intelligent and wealthy man, but how Barry continues to be an attractive prospect to women (and men) after he cowardly runs away from his responsibilities and is nearly penniless is a bit of a mystery.

For some readers, Shteyngart might come down a little too easy on the one-percent, as exemplified by Barry, Seema and the few people we meet in their realm. When the Jewish Independent asked the author why it was important to imbue the character of Barry with humanity, Shteyngart said, “Books about inhumane characters are not fun to write. Imagine an entire novel set from Trump’s point of view. Eat burger, get angry, eat burger, get angry. It’s just not 330 pages worth of material.”

That is not to say that Shteyngart is condoning the lifestyle of the ultra-rich; in fact, quite the opposite, though he does so with seeming resignation.

“Without giving too much away for the new reader,” he said, “Barry does change. Somewhat. Slightly. But the damage that has been done to the country socially and politically by Barry-like oligarchs is not going to go away, even if the next election ends the so-called Trump Era.”

While Lake Success doesn’t offer insight into how the divisions in Trump’s United States could be repaired, Shteyngart’s acerbic wit and astute observations offer an entertaining read that will hopefully elicit readers’ introspection about our own privilege and identities, how we define and carry ourselves in the world. Both Barry and Seema have a conflicted relationship with their cultural heritage; Barry his Jewish, Seema her Tamil.

As Barry holds his three-week-old son in his arms – long before the autism has been diagnosed – “he whispered through all his agnostic lapsed-Jew bullshit, ‘Please, God, just don’t do anything to him, okay? My sins are my own.’”

Later in the novel, on the bus as it enters Louisiana, Barry overhears a conversation between two white men, one an aspiring preacher who declares hatred of “any kind of ignorance,” then goes on to explain why “they nailed Jews to the cross” and that “Muhammad was killed, because he couldn’t accept Jesus Christ as permanent.” At that moment, “Barry realized that the man was now looking at him. And also that he was a Jew. He hadn’t really thought of being Jewish since he was in grade school. But he did now.”

Even later, Barry would again look at his heritage differently, considering how it could be passed on to his son. For the most part, though, Barry is perceived as a white male throughout the novel.

“Yes, it’s very strange,” said Shteyngart about being Jewish in America. “I was being interviewed by a Jewish intellectual who was trying to convince me that we weren’t white. Which is oddly enough the talking point of the neo-fascist right. In any case, the feeling that Jews were a part of the American mainstream – think Seinfeld – has been badly shaken both by the physical attacks against Jews and by the general feeling that the country is now being run as an exclusive enclave for straight white Christian males with the occasional sprinkling of Sheldon Adelson.”

Lake Success is a provocative read with some brilliant one-liners, such as the description of neighbours in their building, whom Barry hates, as being “so featureless, they could have come with the hallway,” and, when he faces difficulty becoming a writer, Barry concludes, “He was a damaged person, but not damaged enough to make a life out of it.”

The Jewish Book Festival runs to Feb. 13 at the Jewish Community Centre of Greater Vancouver and other venues. For the full lineup, visit jewishbookfestival.ca.

A history of Jewish humour

Matthew Gindin takes a pause in his talk, The History of Jewish Humour. (photo from Jewish Seniors Alliance)

On Nov. 24, the first session of the 2017-18 Empowerment Series started with a bang. Almost 80 people came out to launch the series’ season, which has the theme of Laughter and Music: Feeding the Soul. This first meeting was co-sponsored by Jewish Seniors Alliance and Sholem Aleichem Seniors of the Peretz Centre for Secular Jewish Culture, and it took place at the centre.

Featured speaker Matthew Gindin spoke on the topic The History of Jewish Humour. Gindin is a journalist, lecturer and teacher, and a regular writer for the Jewish Independent.

Gyda Chud, coordinator of Sholem Aleichem Seniors and vice-president of JSA, began the session by introducing JSA president Ken Levitt, who spoke briefly about JSA, and urged those who hadn’t yet joined, to become supporters and members.

Gindin began his talk by posing the questions, Why speak of Jewish humour; why do these words go so well together? He then proceeded to answer the question.

Jews have been over-represented in the comedy scene. At one time, they comprised 75% of the comics in America, while they were less than three percent of the population, he said.

Humour has a long tradition in Judaism dating back to biblical times. The name Yitzchak, Isaac, means “he will laugh,” explained Gindin. The prophet Elijah said that two jesters in the marketplace already had a place in the World to Come because they made people laugh. Reb Nachman of Bratzlav, the founder of the Chassidic movement, preached about the importance of happiness. Sigmund Freud also spoke of happiness and humour in his book Jokes and Their Relation to the Unconscious.

Jews are known for making fun of themselves, said Gindin. They have used humour as a means of preparing for things that could go wrong. It was a method of coping with the many negative experiences in their lives. He pointed out that this type of humour was mainly a product of Ashkenazi culture.

Gindin described several different types of humour. For example, jokes about assimilated Jews trying to fit into non-Jewish society, Chassidim telling jokes about themselves, Jewish folk humour, jokes told under Nazism and communism in order to relieve tension, and jokes about Israeli life. An example of folk humour can be found in Sholem Aleichem’s glossary of his stepmother’s curses. For example: “May you grow so rich that your wife’s second husband never has to work for a living.”

In the United States, Jewish humour became popular in theatres and comedy routines starting in the Borsht Belt, said Gindin. Much of this humour was self-deprecating. The comedians focused on such themes as Jewish-gentile differences, Jewish family dynamics, the stereotype of the Jewish mother, Jewish professions, the diminished role of the rabbi. An example is a joke about waiting for Moshiach (Messiah) – “at least it’s steady work.”

Gindin told many stories and had the audience in stitches. He then asked if there were questions or comments and if anyone had any good stories. The audience responded with many amusing jokes of their own.

Chud thanked Gindin and commented on how well he wove the theme of humour into its time and places and how well he explained how the words Jewish and humour went together. She then invited everyone for coffee and dessert.

The second session in this season’s Empowerment Series will take place on Jan. 24, in cooperation with Jewish Community Centre Seniors and will feature the film Broadway Musicals, A Jewish Legacy. This documentary, by Michael Kantor, narrated by Joel Grey, explores the unique role of Jewish composers and lyricists in the creation of the modern American musical.

There will be three more sessions on the Laughter and Music theme: March 21, with Temple Sholom seniors; April 17 with Beth Israel seniors, in conjunction with Jewish Family Services’ lunch program; and June 25, with Kehila Society in Richmond. For more information, visit jsalliance.org.

Shanie Levin, MSW, worked for many years in the field of child welfare. During that time, she was active in the union. As well, she participated in amateur dramatics. She has served on the board of the Jewish Federation of Greater Vancouver and is presently on the executive of Jewish Seniors Alliance and a member of the editorial committee.