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Tag: Isa Milman

Book festival is shaping up

The 37th annual Cherie Smith JCC Jewish Book Festival takes place Feb. 6-10 at both the Jewish Community Centre of Greater Vancouver and online, with authors joining from across Canada, the United States, Israel, Australia and Great Britain.

“We look forward to welcoming our live audiences to the joyful experience of a shared literary event,” said festival director Dana Camil Hewitt. “The Jewish Book Festival strives to reflect and showcase recent literature that revels in the lively and pivotal ideas stemming from the modern world and, in the process, expose our city and community to meaningful and captivating conversations about the written word in every shape and form.

“And, while the nucleus of our festival is Jewish-themed, our speakers, events and audience happily represent a diversity of experiences and cultures that defy narrow categorization. We are attuned to timely and universal themes and we thrive on the interdisciplinary, always inviting visual arts and performance art into our events.”

Opening the festival are American novelist and journalist Dara Horn, with her book People Love Dead Jews: Reports from a Haunted Present, and British comedian and writer David Baddiel, with his book Jews Don’t Count. On the closing night, Daniel Sokatch, an expert who understands both sides of the Israeli-Palestianian conflict, will present his book Can We Talk About Israel? A Guide for the Curious, Confused and Conflicted.

Winner of the Canadian Jewish Literary Award for fiction Gary Barwin joins the festival with Nothing the Same, Everything Haunted: The Ballad of Motl the Cowboy, together with U.S. author Jai Chakrabarti, who brings A Play for the End of the World.

Short stories will be celebrated in an event with Vancouver’s Rachel Rose and her collection The Octopus Has Three Hearts, long-listed for the Scotiabank Giller Prize, together with Montreal’s Ami Sands Brodoff presenting her intricately linked stories in The Sleep of Apples. From Toronto, novelist and cultural critic Hal Niedzviecki discusses his latest novel, The Lost Expert.

Stories of artists in the Second World War era are presented by two U.S. writers: Meg Waite Clayton (The Postmistress of Paris) and painter/writer Michaela Carter (Leonora in the Morning Light). History also has an important place in the work of Leah Garrett, who presents X-Troop: The Secret Jewish Commandos of World War II (who were the inspiration for Quentin Tarantino’s Inglourious Basterds), and Menachem Kaiser, whose Plunder: A Memoir of Family Property and Nazi Treasure won the Canadian Jewish Literary Award for non-fiction.

The annual Book Clubs event features Australian author Heather Morris, with her novel Three Sisters, the last in the Tattooist of Auschwitz trilogy.

Among the B.C. authors represented are Isa Milman, with her memoir Afterlight: In Search of Poetry, History and Home, and Rachel Mines, with her translation of Jonah Rosenfeld’s The Rivals and Other Stories. An epilogue event (i.e. after the festival run) moderated by Yosef Wosk features Robert Krell and his memoir Sounds from Silence and Alan Twigg’s Out Of Hiding: Holocaust Literature of British Columbia.

Regular updates can be found at jccgv.com/jewish-book-festival, where the digital program guide will be available after Dec. 28.

– Courtesy JCC Jewish Book Festival

Posted on December 17, 2021December 16, 2021Author JCC Jewish Book FestivalCategories BooksTags Alan Twigg, Ami Sands Brodoff, Dana Camil Hewitt, Daniel Sokatch, Dara Horn, David Baddiel, fiction, Gary Barwin, Hal Niedzviecki, Heather Morris, Holocaust, Isa Milman, Jai Chakrabarti, Jewish Book Festival, Leah Garrett, Meg Waite Clayton, Menachem Kaiser, Michaela Carter, non-fiction, Rachel Rose, Robert Krell, Second World War, short stories, Yosef Wosk
Our obligation to remember

Our obligation to remember

Isa Milman, a member of the Second Generation, lights a candle of remembrance at the Victoria Shoah Project’s Kristallnacht commemoration Nov. 9, accompanied by grandson Isaac Phelan. (screenshot)

In a Kristallnacht commemoration no less poignant because it was held virtually, speakers emphasized the responsibility to remember.

“Why do we keep remembering?” asked Isa Milman, a Victoria writer and artist who is the daughter of Holocaust survivors. “Why does it matter? Isn’t it time to let go, to move on, to stop looking back and turn instead to the present and the future?

“We believe that the lessons of the Shoah, the Hebrew term for the Holocaust, are more important than ever,” she said. “We must speak out against injustice wherever we find it and as soon as we find it.”

Milman was speaking Nov. 9, the 83rd anniversary of Kristallnacht, at the commemoration organized by the Victoria Shoah Project. It was the second annual such event held virtually in the city of Victoria, because of the pandemic.

“Every day, I am filled with grief when I think of my murdered family, shot into pits,” said Milman, “and my 2-year-old cousin Mordecai, who was buried alive because a bullet would be wasted on him.”

As she leaned in to light a candle of remembrance for family members, Isaac Phelan, Milman’s grandson, six days shy of his second birthday, ambled to his grandmother’s side.

“But here I am appearing before you, throbbing with life despite everything,” said Milman. “Tonight, we are reminded of our moral imperative to remember, to speak out and join together in the strength of community to protect everyone from harm, wherever and however it arises. That is the lesson of the Shoah we must never forget.”

Rabbi Lynn Greenhough of Victoria’s Kolot Mayim Reform Temple spoke of the precedents that allowed an event like Kristallnacht to occur.

“Kristallnacht reminds us every year that those buildings, those synagogues, those shops that burned across Germany were what was seen above ground,” she said. “Underneath that same ground were seams of hatred and fear of ‘those people,’ those ‘not Christians,’ that existed and smouldered for centuries and for generations. Hitler was not an anomaly.

“Tonight, we remember,” she went on. “And, tomorrow, we continue to do the work of bringing greater peace and greater justice into this world. We stand for our place in this world as Jews, as Israel, to ensure those underground seams of hatred never burst through the ground again.”

Congregation Emanu-El’s Rabbi Harry Brechner said he misses the power of having religious, ethnic and communal leaders stand with him on the bimah on the anniversary of Kristallnacht, something that has not been possible since the beginning of the pandemic.

“Kristallnacht is really about the entire city coming together to say: not here. I think that we are in a time now where so many injustices of our past are coming up, not just in Kamloops but all around us…. And, really, for us to really talk about reconciliation, we do need to face really difficult truths,” said Brechner.

Highlighting the theme of this year’s commemoration – “Communities standing together” – Richard Kool spoke of an encounter, when he was a young adult, with a figure who may have been the Prophet Elijah. Kool lent the man a copy of The Atlantic magazine and, when the man returned it, it included a handwritten note with a surah (chapter) from the Koran, in Arabic, and, in Hebrew, the words of Leviticus 19:33-34, which is a directive about the treatment of sojourners in your midst, because “for sojourners were you in the land of Egypt.”

Dr. Kristin Semmens, an assistant teaching professor in the department of history at the University of Victoria, noted that it was her sixth year participating in the commemoration, but the first time she shared her personal motivations.

“The Nazis sent my maternal grandfather, a 17-year-old Ukrainian boy, to be a forced labourer on a farm in Austria during the war,” she said. “He never saw his family again. My maternal grandmother was an ethnic German growing up in the former Yugoslavia. She fled the advancing Red Army to end up on that same farm. She also never saw her village again.”

Semmens’ mother was born in 1949, in a refugee camp for displaced Germans.

“My family’s experiences were, of course, nothing like the suffering of the Jews of Europe during the Shoah,” she said. “I mention them now only to tell you why I became an historian. I wanted to know more about that time. And I did learn more. As an historian of Nazi Germany and the Holocaust, I know more than I ever wanted to about how awful human beings can be to one another. Every year, I stand before you and recount the events that are themselves horrific, but which only preceded far worse horrors to come. This year, given our world’s current challenges, I want to do something different. I want to highlight those who stood up to the Nazis at each stage, no matter in how small a way. I must stress at the outset they were exceedingly few. One of the most upsetting outcomes of my research is endless evidence about how ordinary Germans not only passively accepted but also often enthusiastically supported Hitler’s persecution of other Germans.”

In response to the 1935 Nuremberg Laws, there was precious little opposition. A rare exception, she said, was Carl Friedrich Goerdeler, the mayor of Leipzig, who expressed outright criticism of the laws. In 1944, he would be executed for his part in the plot to kill Hitler.

She also cited Otto Wels, chairman of the Social Democratic Party, who spoke out in parliament, but who soon had to flee the country as the Nazis cracked down on their opponents.

“The regime imposed a boycott on Jewish-owned stores, businesses and practices. Brown-shirted Stormtroopers and Hitler Youth stood outside, refusing customers entry. Many ordinary Germans obliged and even openly jeered the humiliated shop owners,” Semmens said. “Others, though, bypassed the … sentries and went shopping. They apologized to Jewish business owners. They brought flowers to their Jewish doctors to express compassion. That they rejected injustices directed at individual Jews was encouraging, yet it must be said that they almost never openly criticized the Third Reich’s newly realized systemic racism.”

While the murder of almost 100 Jews, the arrest of 30,000 more and the destruction of hundreds of synagogues and thousands of Jewish-owned businesses over that one night is widely known, she said, extensive damage to private residences is less well remembered. Semmens spoke of survivor testimonies of the night.

“They recalled spilled ink on paintings, rugs and tablecloths, and that blankets were cut with glass shards. Many dwellings were now uninhabitable,” she said. “Though such wanton damage and public violence upset many Germans, there were almost no cases of open opposition to Kristallnacht – but some defied the Nazis’ intentions in other ways. They denounced assailants, vandals and thieves to the police – not surprisingly, to no avail. Others assisted Jewish Germans directly by providing food, shelter and loans of household objects to replace those destroyed or stolen. They warned Jewish neighbours about impending arrests and even, albeit infrequently, hid them from the Gestapo. Some brave police officers and firefighters protected synagogues and doused their flames against the Nazis’ orders to refrain.”

Despite these anecdotes, important and uplifting as they may be, Semmens said, “Far, far too many merely stood by.”

She said, “It is easier to turn a deaf ear or a blind eye to discrimination and defamation – yet we must find courage to challenge the wrongs of our society.”

Format ImagePosted on November 19, 2021November 18, 2021Author Pat JohnsonCategories LocalTags commemoration, Harry Brechner, Holocaust, Isa Milman, Kristallnacht, Kristin Semmens, Lynn Greenhough, memorial, Richard Kool, Shoah, Victoria Shoah Project
Exploring her family’s past

Exploring her family’s past

Afterlife is Isa Milman’s first work of nonfiction. (photo by Shea Lowry)

Midway through Isa Milman’s Afterlight, which came out this week, the author cites Reb Nachman of Breslov, who said, “The whole world is a very narrow bridge.” In Victoria-based Milman’s new work, we encounter bridges of various sorts: those that serve as a crucial lifeline to the survival of the denizens of cities, particularly at a time of war, and the bridges that bring together people from different continents in the pursuit of understanding an unconscionably horrific time in Eastern Europe.

And then there are the bridges that link us poignantly to our past – to those we know through words and photos but have never met. In Afterlight, one such bridge connects Milman to her mother’s twin sister, her aunt Basia, who perished in the Holocaust, and who, like Milman, wrote poetry. (Milman is a recipient of the Canadian Jewish Book Award for poetry.)

Milman’s journey began in 2013, when, following her mother’s death, she sought to find Basia’s poems from the 1930s. The book alternates between the present and the past (the war years), as Milman tries to uncover a layered tale. She travels to Europe where, at times, her quest for information leads to dead ends and, at other times, she finds details in unlikely places – a photograph in Amsterdam, for example.

At one stage, Milman finds poetry written in a Polish publication from the 1930s. She writes, “Reading the children’s poems, I felt a terrible nostalgia rise up – a dangerous nostalgia. Even now it hurts too much, this intense longing for a conversation with Basia, for a meeting, a recognition that we’ve lived on the same planet, come from the same earth, share blood and bone. We share a love of poetry, but I shall never know her, not even as smudged ink on a page.”

At one point in her exploration, Milman pens a poem to her aunt. “How many tiny flowers make one lilac sprig? / How many stars in the night sky have names? / How many yet to be seen? They disappear with morning sun too soon but in darkness or in light tucked in their beds they remain,” the poem reads.

image - Afterlife book coverBasia’s story is but one piece of the book. Afterlight also traces the journey of Milman’s parents and her other surviving aunts through the Holocaust and examines questions about the trauma, displacement and identity caused by the Holocaust to succeeding generations.

“I’d lived my life in a black hole of absence, of never having the experience of grandparents, of feeling rooted and at home with extended family. And this was not because of a tsunami, an earthquake, forest fire or plague. It was because of tribal hatred,” Milman writes.

As well, she explores the issue of reconciling the Poland that Jews thought of as their home with rampant antisemitism and the brutality of the war years. “Why couldn’t I choose how to think about Poland, even if it meant going against most everything I’d learned?” Milman asks. “Why couldn’t I revise my notion and accept that Poland is a place that I can love as well as despise and fear? Why must it be either/or? Was it possible to live in the uncomfortable in-between, where both realities coexist?”

Afterlight is Milman’s first work of nonfiction. At first, Milman, whose collections of poetry include Prairie Kaddish, Between the Doorposts and Something Small to Carry Home, was reluctant to write a nonfiction account of the Holocaust. However, recent surges in antisemitism around the world led her to change her mind.

“The lessons of the Holocaust need to be taught, and not just by citing facts and reportage,” she said. “Telling stories about real people and their experiences is the most effective way of reaching and teaching people about how evil can happen, and how we must fight our worst human inclinations and speak out against hatred and inhumanity.”

A big part of her decision to write a memoir was realizing that her family’s story did not match a more common Holocaust narrative. Hers is a lesser-told account of Jews from eastern Poland, some murdered in what’s known as “the Holocaust of Bullets” and others, like her parents, who survived because of deportation by the Soviets to the Gulag.

“I loved entering the world of creative nonfiction,” she said. “Using my imagination to create scenes where I clearly was not present enabled me to inhabit the places and people I needed to describe. Everything became more real as I entered into the minds of my characters, who happened to be my parents and close family.”

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

Format ImagePosted on September 10, 2021September 9, 2021Author Sam MargolisCategories BooksTags Afterlight, history, Holocaust, Isa Milman, memoir, Poland
Encounters with the divine

Encounters with the divine

Barbara Pelman speaks at the opening of the exhibit Encounters, which is at Congregation Emanu-El in Victoria this summer. (photo by Frances Aknai)

On June 3, the exhibit Encounters opened at Congregation Emanu-El in Victoria. It is the culmination of the most recent Calling All Artists exchange, a project that has been going on for more than a decade.

“Bible has to be interpreted to be relevant,” said Barbara Pelman, coordinator of Calling All Artists since its inception. “All Renaissance art is Bible interpretation. That’s what we do with this project.”

In 2004, Pelman was the head of the adult education committee at the synagogue.

“Rabbi Harry [Brechner] came up with the idea to gather a bunch of artists and writers for a few study sessions to teach them a particular theme and its rabbinic interpretation,” she recalled. “I thought it was a wonderful idea. The sessions were conducted once a month for five months. Afterwards, the artists would offer their own interpretations of the theme, and the synagogue would have an exhibit of their works.”

While the congregation also produced colourful chapbooks – mini catalogues of the exhibitions – in previous years, they did not do so this year.

Over the course of the project, the artists have studied a variety of subjects. The first exchange was based on the topic of Paradise, and the exhibit was held in 2005. In subsequent years, themes have included dreams and prophecies; creation; the Book of Ruth; death and afterlife; and reinventing rituals.

“We missed a few years since the beginning,” said Pelman. “Once, we thought that maybe we are finished with the project and won’t do it anymore, but everyone involved said, ‘No! No! We should continue.’ Another year, holidays interfered.”

This year’s theme examines divine-human interactions.

“What happens in these encounters? What does one look like and how is it reported and remembered? What are some examples in biblical and rabbinical tales? How do we understand divinity and how does that understanding affect our worldview? These are some of the questions the artists of different genres have been exploring,” Pelman explained.

She said that not all participating artists are members of the congregation, or even Jewish. “The project is open to the community,” she said. “This year, 30 people signed up for the project; 17 artists remained to the end to exhibit their works. Five of them are not Jewish, but all of them are interested in learning.”

Studying with the rabbi is a mandatory part of Calling All Artists, Pelman said. “This entire project is about learning from those who know more than we do. The point is not to exhibit but to learn. That’s why the art is not vetted.”

photo - Encounters features a range of artistic genres, including pottery
Encounters features a range of artistic genres, including pottery. (photo by Frances Aknai)

Participating artists represent a wide variety of media and genres, as well as skill levels. Some participants are professionals; others do art as a hobby. The exhibits feature photographs and paintings, fibre art and pottery, sculpture and poetry. Every piece is accompanied by an explanation of the work by the artist.

Pelman is a poet, so her involvement in every year’s project has been a poem. For her, divinity is not an all-knowing old guy somewhere above. “It’s the biggest and best part of you, of us all,” she said. “How do we find it? How does it inform our muse?” This is what she contemplates in her poem for this year’s explorative journey.

Pelman worked as an English teacher for many years. She taught high school, college and university classes, and she has been writing poetry for a long time. “I have three poetry books published,” she said. “The last two by Ronsdale Press, a Vancouver publisher.”

Another frequent participant in the project, artist and writer Isa Milman, said, “I participated in the first Calling All Artists, The Paradise Project, in 2005. It was a spectacular experience. The combination of Rabbi Harry Brechner’s teaching, the group of artists who gathered and learned from each other, wrestling with text that most of us were unfamiliar with, was truly energizing. The process involved five sessions spread over a few months, to learn from Harry’s teachings and engage with one another, as we entered a spiritual quest for meaning. Then we went off to put our learning into practice and create our responses.”

Milman has taken part in a number of Calling All Artists projects. “I’ve written poems as well as created paintings for these projects,” she said. “Learning with Rabbi Harry is an inspiration. He’s a gifted teacher and a wonderful spiritual guide. My Jewish education was extremely Orthodox and doctrinaire and I rebelled against it. Learning Torah with Rabbi Harry is so different. It’s an invitation to engage and converse, which I so welcome.”

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

Format ImagePosted on June 29, 2018June 28, 2018Author Olga LivshinCategories Visual ArtsTags art, Barbara Pelman, Emanu-El, Isa Milman, Judaism, spirituality, Victoria
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