Yiddish

Song in My Heart delights

Spring forum? What spring? Heavy rain and cold weather welcomed Jewish Senior Alliance’s spring forum that took place at the Peretz Centre for Secular Jewish Culture May 15. But the forum’s title, With a Song in My Heart, was more than fitting and filled the audience with warmth and, I would add to it, “And a Smile on My Face.”

The first hybrid program of JSA attracted 40 people attending in-person, as well as another 40 people by streaming links. Gyda Chud, co-president of JSA, welcomed the audience and reminded them of the work JSA does in outreach, advocacy and, especially, peer support.

The program featured Wendy Bross Stuart, ethnomusicologist, music director, composer and piano accompanist, and was dedicated to the memory of two musicians of exceptional talent: Claire Klein Osipov z”l and Joan Beckow z”l. Bross Stuart said she was pleased to have been able to engage three superb singers for the performance – Erin Aberle-Palm, Kat Palmer and Chris Adams, who delighted the audience with not only their beautiful voices but also with their charming stage presence.

The program started with the beautiful title song, “With a Song in My Heart,” which is a show tune from the 1929 Rodgers and Hart musical Spring is Here.

Bross Stuart spoke about the Joan Beckow Legacy Project, started by Bross Stuart’s daughter, musician and composer Jessica Stuart, which spotlights works of the brilliant, prolific and totally under-celebrated composer, who died in January 2021. Beckow had been Michael Bublé’s vocal coach, as well as Carol Burnett’s music director. She wrote “Pretending” to capture the sense of wonder provided by “Somewhere Over the Rainbow.” Burnett learned it in a day and it became part of their production.

The forum performance included the Hebrew song “Tov L’Hodot,” as well as George Gershwin’s “Someone to Watch Over Me,” which was most famously sung by Ella Fitzgerald. It continued with my all-time favourite Yiddish song, “Oyfn Pripetshik,” which made me think of my mother, followed by “Rozhinkes mit Mandlen,” which prompted many in the audience to sing along.

“Guided by the Stars” was a conversation between husband (Captain Cook) and wife, who pleaded him to be careful upon his forthcoming voyage. Alas, Captain Cook’s life came to a fatal end on that last journey.

While almost all of us are familiar with the song “Somewhere Over the Rainbow,” how many of us know that it was written by sons of Jewish immigrants from Eastern Europe, who escaped the pogroms to “a land they only imagined in their dreams”? Edgar Yispel (Yip) and Harold Alan wrote the song for The Wizard of Oz, which came out on New Year’s Day 1939, less than two months after Kristallnacht. The music is deeply embedded in the Jewish experience, and the lyrics become more about Jewish survival than wizards.

A medley from Fiddler on the Roof further entertained listeners, followed by Beckow’s “On the Other Side of Nowhere.” Her son, David Beckow, selected his mother’s lyrics to inscribe on her gravestone: “When this life is over, we will meet somehow, on the other side of nowhere, on the far side of now.”

The performance ended with a singalong of “Tum Balalaika” and an encore of “Dona Dona.”

Shanie Levin thanked the performers and spoke of the importance of remembering and honouring Beckow and Klein Osipov.

The next JSA event takes place on June 27, 1 p.m., at Congregation Beth Tikvah, and features tenor Gustavo Herrera. The hybrid event is co-sponsored by Kehila Society and the synagogue; if attending the lunch portion, the cost is $12. Register by June 24 with Toby Rubin, [email protected], or via jsalliance.org.

Tamara Frankel is a member of the board of Jewish Seniors Alliance and of the editorial committee of Senior Line magazine.

Poetic auto/biography superb

Lisa Richter, author of Nautilus and Bone, joins the Jewish Book Festival Feb. 7 (photo from Lisa Richter)

Nautilus and Bone: An Auto/biography in Poems by Toronto poet Lisa Richter – who takes part in the Cherie Smith JCC Jewish Book Festival on Feb. 7 – will send readers down many proverbial rabbit holes. They will want to know more about the writings and life of Yiddish poet and journalist Anna Margolin – not only to better understand Margolin, but to appreciate more fully Richter’s poetic biography of Margolin and her conversations with Margolin’s works.

Margolin is the pen name of Rosa Lebensboym, who was born in Brisk (now Brest, Belarus) in 1887. She immigrated to New York City in 1906, “spent time in London, Paris, Warsaw, Odessa and Palestine before eventually settling permanently in New York in 1913, where she died, in 1952.”

Says Richter: “I was enticed by this Russian-Jewish-American woman writing a hundred years ago about myth-making, roots, identity, alienation, gender fluidity, Eros and desire (at times unmistakably queer, arguably pansexual). Her poetry felt bold and subversive, even by modern standards: H.D. meets Patti Smith.”

Richter does not speak Yiddish, so has relied on Shirley Kumove’s Drunk from the Bitter Truth: The Poems of Anna Margolin, a translation of Margolin’s volume of poems, Lider (Poems), with a “thorough and comprehensive introduction to Margolin’s life and work.” Richter also accessed Margolin’s files at YIVO and read Reuben Iceland’s (Ayzland’s) memoir, From Our Springtime: Literary Memoirs and Portraits of Yiddish New York, as well as other source material.

Richter discusses her many reasons for feeling connected to Margolin, including that, as Lebensboym adopted the name Margolin upon arrival in New York, Richter’s maternal great-grandfather, born Samuel Margolin, “changed his surname to the more Russian-sounding Lapitsky to avoid antisemitism when he immigrated to Montreal as a young man in 1903.”

Richter writes, “I like to imagine him meeting Miss Rosa Lebensboym. In my imagination, he passes his old birth name to her, much in the way one would pass along a string of heirloom pearls to one’s daughter (though they would have been roughly the same age, both born in the 1880s).” Richter notes that the name Margolin and its variations come from the Hebrew margoliyot, meaning pearls.

The emotional and spiritual connections come through in Nautilus and Bone. Richter does not claim to explore every facet of Margolin’s life and work. She explains, “The persona I have enacted in these poems hovers on the periphery of my imagination, filtered through my own dreams, preoccupations, (dis)pleasures, experience. I try my best to give a lyric voice to the most essential, enduring aspects of the poet’s life and work as I see her, and to engage in conversation with those parts of myself that are most closely, most symbiotically intertwined with her story.”

And she does so in a wide variety of poetic forms, all of which she wields with great skill. Among the recognition the book has garnered are the Canadian Jewish Literary Award for Poetry and the National Jewish Book Award for Poetry (United States) – “the first time a Canadian poet has ever received this honour,” Richter shared with the Independent.

In Nautilus and Bone, most readers will encounter forms of poetry they’ve never encountered before. “A City at the Sea’s Mouth” is a homolinguistic translation (in this case, English to English). “Primeval Murderess Night Talks Back to Anna Margolin” is a Golden Shovel poem – the “end-words of each line make up the first two lines of Anna Margolin’s poem ‘Primeval Murderess Night,’” notes Richter, crediting the creation of the form to Terrance Hayes. And, as the name suggests, “Anna Margolin Cento” is a cento, in which a poem is composed of lines from other poets’ poems.

“A poem’s form and content are inextricably linked, in the same way that a particular dish can only be made or served in certain kinds of containers,” Richter told the Independent in an email interview. “The same raw dough can be shaped into dinner rolls, pretzels or challah bread – the way you present and shape the material will affect the way it’s consumed and experienced.

“In some cases,” she said, “the form came to me later (the prose poem form of ‘So Uncommonly Smart for a Girl,’ for example) after a traditional, lineated form didn’t seem to be working. In other cases, the form came first, and the poems later. For instance, the long sequence of sonnets at the end of the book became the vehicle for telling the love story of Anna Margolin and her final life-partner, the poet Reuben Ayzland, as the sonnet has a long and distinguished history of wrestling with matters of the heart.

“The process of homolinguistic translation, or ‘re-translating’ a poem from the same language, is a means of engaging/wrestling/ conversing with a source text, and keeping it alive by breathing new life into it, using fresh grammar, syntax and language. I see it as an act of homage and tribute.”

Some of the poems were written as early as 2017, said Richter, shortly after her first book – Closer to Where We Began – was published, but “the bulk of the poems were written over the course of a year-and-a-half, from 2019 to spring 2020,” she said. “The original manuscript was much more autobiographical, but once I started researching and writing the Margolin poems, it became clear that the book was to become ‘an auto/biography in poems,’ as the book is subtitled, and was much more about Anna Margolin than it was about me. I have to credit my editor at Frontenac House, Micheline Maylor, for her vision and encouragement for this project. Both she and George Elliott Clarke, my mentor at the Sage Hill Spring Poetry Colloquium, were extremely supportive.”

While Richter’s conversations with Lebensboym/Margolin left her with more questions than answers, Richter said, “I think that’s a good state of mind for a poet to live in. As Rilke famously put it in Letters to a Young Poet, ‘Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now.’ I don’t think I’ll ever be entirely ‘done’ with Anna/Rosa, but it’s not entirely up to me. For all I know, she’ll be with me for some time…. I would love to learn to read Yiddish someday so I could read and appreciate her work in its original form.”

As for what she hopes readers take away from the conversations, Richter said, “Mystery, uncertainty, history, complexity, ambiguity, ancestral lineage, eros/sensuality, mythmaking. But if a reader just finds one poem in the book that speaks to them, I’m happy.”

Richter will be joined Feb. 7, 6 p.m., by local translator Rachel Mines (Jonah Rosenfeld: The Rivals and Other Stories; see jewishindependent.ca/stories-that-explore-the-mind) in a discussion with moderator Faith Jones. Visit jccgv.com/jewish-book-festival.

Gritty, moving, funny stories

Stephen Aberle, Nicola Lipman and Geoff Berner will perform stories from Vilna My Vilna: Stories by Abraham Karpinowitz, as translated by Helen Mintz, as part of Western Gold Theatre’s Virtual Gold series.

Vilna My Vilna: Stories by Abraham Karpinowitz (Syracuse University Press, 2016) is a collection of 13 short stories and two brief memoirs by Abraham Karpinowitz (1913-2004), translated from Yiddish into English by local storyteller Helen Mintz.

Thanks to Mintz, “more of us can now visit Karpinowitz’s Vilna – a city full of colourful characters, both real and not, and share in a small part of their lives.” (jewishindependent.ca/vilna-the-place-its-people) And, thanks to Western Gold Theatre, even more people will be able to visit Karpinowitz’s Vilna this Chanukah.

When Vilna My Vilna was published, actor Stephen Aberle both helped present the book and interviewed Mintz at the JCC Jewish Book Festival.

“As part of the presentation, Helen and I read excerpts from several of the stories. I was struck immediately by how engaging and naturally theatrical these stories and characters were, and I’ve been thinking ever since that a dramatic rendition would be a great thing,” Aberle told the Independent. “Then, earlier this year, Tanja Dixon-Warren, Western Gold Theatre’s artistic director, approached me with the idea of curating one of their Virtual Gold series around Chanukah time. I immediately thought of Vilna My Vilna as the perfect material for such a project, pitched it to Tanja, and she loved the idea, as did Helen. So, I set about to recruit my luminously wonderful co-presenters, Geoff Berner and Nicola Lipman, to be part of it all.

“When Helen and I first began talking about some kind of performance of these stories, we thought of Geoff and it just clicked perfectly. His ‘klezmer-punk’ material and presentation and his beautiful selection and rendition of Yiddish songs provide exactly the flavour to suit these rather gritty stories,” said Aberle. “And I had got to know Nicola through working together on the development of a wonderful new play by Manami Hara, Courage Now (coming soon to a theatre near you – but that’s another story) about Chiune Sugihara, the Japanese diplomat who helped thousands of Polish and Lithuanian Jews escape the Nazis.”

Lipman was “another perfect fit,” said Aberle. “And here we are!”

Western Gold Theatre will release individual video recordings of the selected stories, one at a time, throughout Chanukah, said Aberle, “and Geoff will frame each of them with some of his stirringly beautiful Yiddish music – an intro and an ‘extro,’ if you like – thematically linked to the content of the story. I won’t say a lot more except to add that, when Geoff and I were talking about which songs to do where, what connections to make and so forth, I think we both found it haunting and moving. Chills.”

Deciding which of the short stories to include in the production wasn’t easy.

“I have pages and pages of notes about the stories, characters, settings, arc of the narrative and so forth,” said Aberle. “In the end, I felt like a lot of my choosing was helped along by the format: we’ll be recording ourselves reading over Zoom, so we need to keep things fairly simple, with not too many characters and not too much complex action. I chose stories where the scenes tend to involve one or two characters at a time, so the performers can dig in and work off each other.

“I also tried to choose a variety of themes and moods. The stories are written against the backdrop of the writer’s awareness of what was to come: the Nazi annihilation of Vilna’s Jewish community. We have to be true to that bleak awareness; at the same time, there’s a lot of joy and humour. I tried to make choices to honour the depth and balance Karpinowitz brings to his work.”

Of the stories to be presented, the production’s press release highlights “Vilna Without Vilna,” describing it: “A Vilna native (a pickpocket in his youth, now grown up and respectable) comes back to visit his home city and finds that not a trace of what he remembers remains.”

In “The Folklorist,” a “researcher into Yiddish folklore finds himself professionally drawn to the Vilna fish market – and personally drawn to one particularly expressive fishwife.” And “Chana-Merka the Fishwife” picks up this story, “continuing the adventures of the Vilna fishwife and the school of Yiddish Institute scholars who swim after her.”

Finally, “Tall Tamara” recounts how a “Vilna prostitute and her friend find their way out of the brothel and into very different lives.”

The performances will all be online.

“Theatres are just starting to re-reopen up to in-person performances, but, for this project, we’re sticking to video presentations,” said Aberle, thanking Dixon-Warren and Western Gold “for their vision in creating the Virtual Gold series.”

“When the pandemic shut things down,” he said, “they decided they weren’t going to let it stop their work. They also decided it was important to provide opportunities to artists from a diverse spectrum of communities. And to make all the presentations free! That all takes courage and generosity of spirit.”

For those who watch the Virtual Gold series, Aberle said, “I think I can pretty much guarantee there will be laughs; there may be a few tears. It’s an honour to help share these works so more people can get to know them.”

The stories from Vilna My Vilna will be posted throughout the week of Chanukah, Nov. 28-Dec. 6, at westerngoldtheatre.org/virtual-gold. The full name of the series is Look! Listen! and Learn! Virtual Gold, and the Learn! segment will feature a video interview with Mintz about Vilna, Karpinowitz and being a translator, which will be posted on the Virtual Gold page, as well as on Western Gold Theatre’s YouTube page.

A great-grandmother’s song

Jesse Waldman was inspired by his great-grandmother Adele Waldman to reimagine the Yiddish song “Papirosen.” (photo from Jesse Waldman)

Several weeks ago, I was offered a commission by the Shadbolt Centre for the Arts to do a musical piece for their Covid Chronicles series. A Jewish musician living in Vancouver, I made a video of the classic Yiddish tune “Papirosen.” It has special significance, and it’s something I want to share with others.

As far back as I can remember, my family has been into taking photos, videos and recordings – I have at least three huge albums and a bunch of VHS tapes from birthdays, bar mitzvahs, etc. As well, there was a piano in my grandparents’ living room and music was always part of our lives. Before my grandmother passed away, she gave me a cassette that had been made on a reel-to-reel tape machine in Toronto in 1958. It included my mom at 2-and-a-half-years-old singing nursery rhymes, interviews with other family members, and my great-grandmother, Adele Waldman, singing traditional Yiddish folk songs.

Adele was my grandfather’s mother and she died before I was born. The quality and soul of her voice is absolutely stunning – some of the most moving singing I’ve ever heard, both haunting and soothing at the same time. I could listen to the recordings a million times and still be amazed by the off-the-cuff performances she did in the kitchen of my grandparents’ house.

photo - Jesse Waldman — Jesse Waldman *(photo from Jesse Waldman)*

I recently went through my storage closet and found a binder of sheet music that used to live in my grandparents’ piano bench. It was mostly big band and jazz tunes, but also a handful of Yiddish songs, including “Papirosen,” which was one the songs Adele sang on those tapes. As I put the sheet music on my music stand and began to study it, I was transported back to Eastern Europe in the 1920s.

Written by Herman Yablokoff in that decade, this song has the most dark yet beautiful melody, and I absolutely adore it. I looked up the lyrics (translated into English) and was struck again by the powerful storytelling about a young boy selling cigarettes, or papirosen, on the streets, offering an introspective look at his inner world.

For the Shadbolt-commissioned piece, I combined Adele’s recorded performance of “Papirosen” and a reimagined rendition of the song that I performed on guitar. After trying a few different things, I landed on the idea of sharing the first segment of her performance (her rendition is five minutes long) followed by a one-take performance by myself. The video can be found at youtube.com/watch?v=RWAVr2W0vvo.

Life-changing impact

Sandy Shefrin Rabin’s debut novel is a far-reaching account of Jewish life in a small town in the late 1940s and early 1950s. Targeted to young adult readers, Prairie Sonata may focus on 11-year-old Mira’s friendship with her school (and violin) teacher, a Holocaust survivor, but it touches upon countless issues, from dealing with trauma, to preserving a language and a culture (Yiddish), to understanding different musical forms, to interfaith dating, to society’s views of mental illness, to learning about the impacts of physical disease (polio).

Set in the fictional town of Ambrosia, Man., an adult Mira reflects back on the impact that one of her teachers – Ari Bergman, called Chaver B by his students – had on her.

Chaver B is introduced to his Peretz School Yiddish class by the principal, who only shares, “Chaver Bergman has been living in Europe and just came over to Canada two weeks ago.” But Mira sees his vulnerability right away, the “melancholy about him,” and senses “that this was a man who needed kindness.”

Invited to Friday night dinner by Mira’s mother, Chaver B spots Mira’s violin and offers to teach her. He becomes a friend to the whole family – Mira’s parents and younger brother – but especially to Mira.

The novel is structured in three parts, like a sonata. As Chaver B explains to Mira, a sonata is comprised of an exposition, in which its themes are declared; a development, where the themes are explored and expanded; and a recapitulation, where the themes are repeated, leading to a resolution. In some cases, a coda is added, “to provide a sense of closure.”

Overall, Prairie Sonata is an intriguing novel, and even older readers will enjoy it, especially those who attended a Peretz School or who grew up in the era of the book. At times, when a character is explaining something, it sounds a bit like a Wikipedia entry, but the writing is strong overall and readers will relate to and empathize with the characters. In addition to all of the questions Mira raises throughout, there is a discussion and study guide at the end, with 17 thoughtful exercises for a school group or book club.

Kirman Library spans the arts

The Kirman English and Yiddish Library at the Peretz Centre for Secular Jewish Culture is available for anyone in the community to access. (photo from Peretz Centre)

“Books are humanity in print” – Barbara Tuchman

The Kirman English and Yiddish Library at the Peretz Centre for Secular Jewish Culture was set up in 1976 by Paula and Shaya Kirman, members of the Peretz Institute – as it was then known – and dedicated Yiddishists. The two main purposes in establishing the library were, first, to collect and preserve the books that were scattered in different places in the community, and, second, to make these books available to the whole community in a lending library.

Paula Kirman, who worked as a cataloguer at the University of British Columbia library, volunteered many hours to set up a card catalogue and shelve the Peretz library in an organized way. Eventually, she resigned from her volunteer position because of a perceived lack of support from the Peretz Institute’s board of directors.

In 1999, in preparation for the construction of the Peretz Centre’s present building (in the same location the institute had been since the 1960s), the library books and card catalogue had to be boxed and removed. With the completion of the new building in 2000-2001, the organization was renamed the Peretz Centre for Secular Jewish Culture and the words of I.L. Peretz, considered by many as the “father” of modern Jewish culture, were prominently displayed above the entrance foyer: “A people’s memory is history; without a history, a people can grow neither wiser nor better.”

Sporadic attempts to restore the library were made, but, when Al Stein returned to Vancouver and joined the centre’s board of directors in 2001, much of the library was still in boxes and Kirman’s card catalogue was in disarray. Stein volunteered to lead the effort to restore the library, if the board would support it in two ways: vote for funding for new shelving and support Stein’s effort to obtain a grant from the Jewish Community Foundation of Greater Vancouver to hire a library technician and digitize the entire library, including the Yiddish books.

The grant proposal was successful. A newly graduated library technician, unfamiliar with Yiddish, was contracted and many hundreds of hours were spent properly transliterating each Yiddish book and journal title, digitizing the entire collection in accordance with the latest electronic library standards, relabeling each book, arranging for electronic hosting of the library catalogue, supervising the installation of new shelving and then, finally, shelving the books and journals in an organized fashion.

Thanks to large and small donations of both English and Yiddish books from individuals, from the Winnipeg Jewish Library and from the Isaac Waldman Jewish Public Library at the Jewish Community Centre of Greater Vancouver, as well as a small number of purchases, the Kirman Library of the Peretz Centre now contains nearly 4,000 books and journals and is almost at capacity. The collection includes titles by kabbalists, rabbis, atheists, historians, politicians, musicians, artists, humourists, and those who wrote fiction, plays and poetry – in other words, the entire spectrum of Jewish creativity, encompassing all the arts.

Most of the collection is now in English and is a unique treasure trove of information and pleasure for the casual reader and the scholar. Two collections are of note. The late Dr. Gersh Winrob donated his English-language collection of Holocaust literature, memoirs, history and analyses, certainly one of the largest in the community. And the late poet Miriam Waddington donated part of her library, mostly English-language literature and essays, with a bit of Yiddish poetry.

The Peretz Centre is a proud member of the Yiddish Book Centre, now the largest Jewish cultural organization in the United States.

The Peretz’s library catalogue may be searched from any computer via the Peretz Centre website, peretz-centre.org: click the Kirman Library tab and then the Catalog link. The library ID is Kirman Library. No password is needed.

Books and periodicals can be borrowed for a $10/year fee. Four items may be borrowed at a time, for a period of four weeks, which may be renewed if no hold has been placed on the item. And the library may be used whenever the Peretz office is open, so call ahead before coming down, or for more information about library policy in general, such as its overdue or lost items policy, or to obtain a library card: 604-325-1812, ext. 1, or [email protected].

If you have any specific questions or comments about the library, or wish to make a donation to it, Stein can be reached at 604 731-1193 or [email protected].

Song’s enduring popularity

How does a 1940 Yiddish theatre song – probably based on a passage from the Talmud’s Tractate Bava Metzia – end up becoming a popular piece sung around the world?

Over a 75-year period, Aaron Zeitlin’s “Dona Dona” (in Yiddish, “Dos Kelbl,” “The Calf”) has been sung by some of the 20th century’s biggest English-speaking performers, including Joan Baez, Donovan, the Chad Mitchell Trio, Chad & Jeremy, and countless others. It has been sung in Japanese, German, French (in this version, the calf is replaced by a boy trying to figure out his future) Swedish, Hebrew, Russian, Italian, Catalan and Vietnamese. Zeiltin’s original “Dos Kelbl” was put to music by Sholom Secunda; in 1956, Arthur Kevess and Teddi Schwartz translated it into English.

“Dona Dona” was part of Zeiltin’s Yiddish play Esterke, based on the legendary relationship of a Jewish woman named Esther and King Casimir of Poland. Zeitlin first published it in 1932 in Globus, the Yiddish literary journal he edited. The play about Esterke and Kazimierz the Great was a Polish-Jewish mystery in four acts. Male and female actors sang “Dona Dona” as a solo, as a duet and as a chorus with orchestration.

Zeitlin was invited to New York for the performance of Esterke, which is an indication of how influential Yiddish theatre was in the pre-Second World War Jewish cultural world. With the outbreak of the war, however, he was unable to sail back to his family. His wife, two children, father and brother were killed in the Holocaust.

This terrible loss haunted Zeitlin for the rest of his life. Indeed, some maintain that “Dona Dona” represents the tremendous suffering and loss of life Jews experienced in the Holocaust. While Zeitlin – who was living in Poland in the 1930s – was certainly aware of the growing threat of Nazism, he composed the song before the Holocaust began.

Over time, the song has been interpreted in many different ways. In a 2010 article in The Jewish Magazine, Mendel Weinberger understands “Dona Dona” as a reference to the struggle between the physical and the spiritual. The calf represents the body, the seat of desire. The body seeks pleasure, wealth and honour, and is a slave to these desires. The calf on the way to the slaughterer is a metaphor for the body’s journey towards death. The calf (i.e. the body) is mournful because it has become attached to life and fears the unknown of the next world. The swallow, on the other hand, represents the soul, in Weinberger’s interpretation. The Divine Soul is a part of G-d’s Being and is not bound by the material limitations of the physical world; it is free to soar in the spiritual realms high above the earthly one.

Baez, who, probably more than anyone else in North America, was responsible for popularizing the English version of the song, has said she was attracted to the “beauty of the melody.” At the beginning of her long career, she started singing “Dona Dona” as a civil rights protest song. It appeared on her first album and became a “staple” in her performances.

In 1975, Seoul, South Korea, banned the playing of “Dona Dona.” The government considered the song to be leftist and violence-inducing. Two hundred and sixty other songs appeared on this blacklist.

Pointing to how times change or perhaps stay the same, in 2018, Liao Yiwu, a Chinese writer in exile, used “Dona Dona” to boost the morale of someone under long-term house arrest. He had been trying to get permission for poet Liu Xia (widow of Nobel Prize winner, dissident Liu Xiaobo) to immigrate to Germany. In a phone call that year, the severely depressed widow cried continuously, saying, “It is easier to die than to live.” Liao Yiwu played “Dona Dona” for his desperate friend, who has since been released and allowed to leave for Germany.

Given that Zeitlin had religious training, the Gemara of Talmud Bava Metzia 85a is a likely inspiration of “Dona Dona” and, therefore, probably best explains the song’s true meaning. The Gemara tells the story of how Rabbi Yehuda HaNasi, the redactor of the Mishnah, came to endure terrible pains. A young calf, destined for the slaughterhouse, met up with the rabbi. The calf placed its head under the rabbi’s coattails and cried. Yehuda HaNasi said to it, “Go! It was for this that you were created.” Because he should have shown greater mercy to the calf, the rabbi was punished for 13 years with great suffering. Only when he expressed pity for some baby weasels did his pains leave him.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

***

“Dona Dona”

On a wagon bound for market
There’s a calf with a mournful eye
High above him there’s a swallow
Winging swiftly through the sky
How the winds are laughing
They laugh with all the their might
Laugh and laugh the whole day through
And half the summer’s night
Dona Dona Dona Dona Dona Dona Dona Don Dona Dona Dona Dona Dona Dona Dona Don

Stop complaining, said the farmer
Who told you a calf to be
Why don’t you have wings to fly with
Like the swallow so proud and free
How the winds are laughing
They laugh with all the their might
Laugh and laugh the whole day through
And half the summer’s night
Dona Dona Dona Dona … Don

Calves are easily bound and slaughtered
Never knowing the reason why
But whoever treasures freedom
Like the swallow has learned to fly
How the winds are laughing
They laugh with all the their might
Laugh and laugh the whole day through
And half the summer’s night
Dona Dona Dona Dona … Don

Stories that explore the mind

A husband competes with his oldest daughter for his wife’s affections, a man ponders whether he is more attracted to a 10-year-old girl or her divorced older sister, a woman has an abortion she didn’t necessarily want, a young man violently rebels against his abusive father. Jonah Rosenfeld tackles difficult subject matter in his short stories, with no compulsion to solve any particular problem or correct behaviours, but to explore the thoughts and feelings of his characters, and thereby offer insight into parts of humanity that we may shy away from contemplating. English readers can now access these stories and ideas, originally conceived in Yiddish, thanks to a newly published translation by Langara College’s Rachel Mines.

The Rivals and Other Stories (Syracuse University Press, 2020) comprises 19 of Rosenfeld’s stories. Born in Chartorysk, Russia (now, Chortorysk, Ukraine), the prolific writer lived from 1881 to 1944, immigrating in 1921 to New York, where he was a major contributor to the Forverts. In total, he wrote 20 volumes of short stories, a dozen plays and three novels. Rosenfeld’s “stories provide a corrective to the typical understanding of Yiddish literature as sentimental or quaint,” writes Mines in the book’s press materials. “Although the stories were written decades ago for a Yiddish-speaking audience, they are surprisingly contemporary in flavour.”

The first Rosenfeld story Mines read, in Yiddish, was The Rivals (Konkurentn), six or seven years ago. “I’d only been studying Yiddish for a few years at that point and was reading to improve my language skills,” she said. “I was so impressed with the story that I decided, just for practice, to translate it into English. Later on, I found out that an English translation had already been published in [Irving] Howe and [Eliezer] Greenberg’s A Treasury of Yiddish Stories, but, by then, I was hooked on both Rosenfeld and Yiddish translation.”

Mines was a Yiddish Book Centre Translation Fellow in 2016 and The Rivals was her translation project during that fellowship year. “I’d already translated several stories before that, but 2016 was when everything started coming together in terms of improving my skills as a translator,” she said.

The project was her own idea, not work assigned by the Yiddish Book Centre, although the centre did support it.

“I should also mention,” she added, “that Vancouver is a veritable hotbed of Yiddish translation (who knew?), with a number of active translators, all of whom have been helpful at various times. Helen Mintz, in particular, was a huge inspiration and support. Her book of translations, Vilna My Vilna, a collection of Abraham Karpinowitz’s short stories, was published (also by Syracuse UP) in 2017. Helen and I spent several years together on Skype, regularly workshopping each other’s translations and helping each other out with advice and information. We’re still doing that, in fact.”

It is his exploration of the psyche that attracts Mines to Rosenfeld’s work.

“I’m interested in psychology – always have been – and particularly in people’s unconscious, and sometimes counterintuitive, reasons for thinking and behaving the way they do. So Rosenfeld’s insight into the darker corners of the human mind was an instant draw. I should say that his stories stand up very well to many current theories of human thought and behaviour. For example, the protagonist of The Rivals is a classic malignant narcissist – he ticks all the boxes. It’s interesting to note that Rosenfeld’s story was first published in 1909, several years before Otto Rank’s and Sigmund Freud’s theories of narcissism came out. Rosenfeld was an intuitive psychologist, and a very perceptive one.

“Another reason Rosenfeld’s stories appeal to me is that they work very well in a 21st-century, multicultural setting,” she said. “I’ve taught a number of the translations to first-year students at Langara, and students are attracted by his stories’ takes on immigration, women’s rights, male-female relationships, generational conflict, culture clash – this list goes on. Clearly, these ideas are as relevant today as they were when the stories were first written.

“Finally, I like Rosenfeld’s attitudes to his characters, even the less admirable ones. He seems interested in and sympathetic to their dilemmas; as an author, he doesn’t judge or blame his characters – he leaves that up to his readers. I like that Rosenfeld is more interested in exploring his character’s situations and psychology than he is in blaming or moralizing.”

Mines, who is retiring this year, taught in the English department at Langara College since 2001. One of the department’s main offerings has been a first-year class on the short story, she said. “Around the time I started translating, I started introducing stories with a Jewish theme to my classes. A bit to my surprise, despite coming from non-Jewish backgrounds, my students found the stories interesting and engaging, so I gradually added more and more stories with Jewish content. The last few years, I’ve been teaching Rosenfeld’s stories exclusively. My students love the stories and readily identify with (or at least understand) the characters and their predicaments. We’ve had many lively discussions!”

In an introductory chapter to The Rivals, Mines poses several questions she hopes keen PhD students or other researchers will take on, including where Rosenfeld’s place might be in the American literary canon. With the disclaimer that she is “just a lowly translator,” Mines said, “But, if pressed for an answer, I’d have to say it’s Rosenfeld’s psychological insights. He’s not entirely unique – other Jewish and/or American authors of his time were psychologically astute and wrote compelling character studies. But Rosenfeld went a bit beyond, in that his stories are almost Greek tragedies – his protagonists fail in their quests (for love, belonging, security, etc.) not because of external forces, but because of some internal, self-defeating habit of thought that they may not be consciously aware of. Rosenfeld isn’t the only author to explore this type of psychological dichotomy, but he does so very consistently.”

Uprising observed

The Vancouver Holocaust Education Centre and the Jewish Community Centre of Greater Vancouver were among 125 partners presenting a global commemoration of the 77th anniversary of the Warsaw Ghetto Uprising recently.

Beginning and ending with stirring renditions of the “Partisans’ Hymn,” the online event, which also commemorated the end of the Second World War 75 years ago, featured a long list of singers and performers from Hollywood, Broadway and elsewhere, including Dr. Ruth Westheimer, Mayim Bialik, Whoopi Goldberg, Adrien Brody, Lauren Ambrose and dozens more.

We Are Here: A Celebration of Resilience, Resistance and Hope, which took place June 14, was produced by the Museum of Jewish Heritage: A Living Memorial to the Holocaust, Sing for Hope, the National Yiddish Theatre Folksbiene and the Lang Lang International Music Foundation.

“Zog Nit Keyn Mol” (“Never Say”) is generally called “The Partisans’ Song” or “The Partisans’ Hymn” in English and is an anthem of resilience amid catastrophe sung at Holocaust commemorative events. Written in the Vilna Ghetto by Hirsh Glik after he learned of the six-week uprising by Jews in the Warsaw Ghetto, its stirring concluding lines translate as, “So never say you now go on your last way / Though darkened skies may now conceal the blue of day / Because the hour for which we’ve hungered is so near / Beneath our feet the earth shall thunder, ‘We are here!’”

Other musical performances included a Yiddish rendition of Leonard Cohen’s “Hallelujah,” adapted and performed by pianist and singer Daniel Kahn; “Over the Rainbow,” from the 1939 film The Wizard of Oz, composed by Harold Arlen with lyrics by Yip Harburg, two friends from the Lower Eastside of Manhattan, against the spectre of a darkening Europe; and “Es Brent” (“In Flames”), a musical cri de coeur written in 1936 by Mordechai Gebirtig after what he viewed as the world’s indifference to a pogrom in the Polish town of Przycik.

Andrew Cuomo, governor of the state of New York, spoke of his father, the late former New York governor Mario Cuomo, who helped ensure the creation of the Museum of Jewish Heritage, the world’s third-largest Holocaust museum.

One of the other presenting partners, the National Yiddish Theatre Folksbiene, is the longest continuously producing Yiddish theatre company in the world, now in its 105th season. It was founded to entertain and enlighten the three million Jews who arrived in New York City between 1880 and 1920.

Sing for Hope, another partner, believes in the power of the arts to create a better world. Its mission is to “bring hope, healing and connection to millions of people worldwide in hospitals, schools, refugee camps and transit hubs.”

The Lang Lang International Music Foundation aims “to educate, inspire and motivate the next generation of classical music lovers and performers and to encourage music performance at all levels as a means of social development for youth, building self-confidence and a drive for excellence.”

The program, which runs approximately 90 minutes, is available for viewing at wearehere.live.

Nieces enjoy new kids books

I review a lot of books for the Jewish Independent. Over the years, that has included many children’s books. I do my best in these instances but, as much as I like to let my inner child run free occasionally and as much as I’d one day like to create a children’s book or two, I’m a grown-up. What do I really know about how enjoyable the single-digit-age set will find a publication? Well, for my latest two reviews, I turned to a couple of experts for advice.

With COVID-19 causing the shutdown of schools, my youngest nieces – Fae, 8, and Charlotte, 6 – were suddenly available to be put to work. With their parents’ blessing, nay, encouragement, I scanned and emailed them two recent books published by Intergalactic Afikoman (see jewishindependent.ca/new-publisher-set-to-launch). The assignment was to read Asteroid Goldberg: Passover in Outer Space by Brianna Caplan Sayres and illustrator Merrill Rainey and Such a Library! A Yiddish Folktale Re-imagined by Jill Ross Nadler and illustrator Esther van den Berg. As my nieces were new to the reviewing world, I gave them a handful of questions to answer: What did you like about the books? What did you not like? What did you learn? Would you recommend the books to your friends?

Their mother, Deborah Weiss, sent me summaries of their answers, as well as Fae’s handwritten responses – I’d asked her to be the family’s scribe for the job.

They started with Asteroid Goldberg, which features Asteroid and her parents on their way home from Pluto for the Passover seder. When the family gets to earth’s orbit, they are not allowed to land (for an unstated reason), so they must make alternate seder plans on the fly (pun intended). A few of Jupiter’s moons for kneidl, a piece of Saturn’s rings for matzah, the Milky Way as their pantry. Who to invite? Family members close by, including Grandma Luna, who was biking on Venus, and Uncle Cosmos, who was hiking on Mars. When they come to the Mah Nishtanah, Asteroid asks, “What makes this night so different?” to which the answer is “Everything!” Caplan Sayres couldn’t have known how relevant her Passover story would be this year.

photo - Fae’s note on what her mother, Deborah (D.), thought of the book Asteroid Goldberg: Passover in Outer Space — Fae’s note on what her mother, Deborah (D.), thought of the book Asteroid Goldberg: Passover in Outer Space.

Both Fae and Charlotte loved the story and the artwork. Even though Charlotte found it a bit too long, Fae recommended it for kids 7 and under.

“I like this book because it was a rhyming book and because it had lots of play-along words,” wrote Fae, who explained to her mom that “play-along words are words with multiple meanings.”

As for lessons learned, Fae “did not learn anything.” However, her sister, who can be a pistol, said she learned that one should “never go on a rocket before Passover.”

As for their mom’s thoughts, Deb said, “I really liked this book. As we get ready for a Passover that will be very different this year, I loved reading about a family that had to change their Passover plans and still had lots of fun and found new ways to celebrate. This really resonated with me!”

Deb and the girls also enjoyed Such a Library! “I thought this was a really clever and imaginative take on a well-known folktale,” said Deb, who noted, “Both girls liked the funny text, the story and the artwork. We also liked the clever name of the librarian.”

In Such a Library!, Stevie heads to the public library to read his book – “With three brothers, two sisters and a baby at home, Stevie’s house was never quiet.” As he starts to read, though, he hears pages turning, computer keys tapping. He tiptoes to the librarian, Miss Understood, and says, “This library is too noisy.” He tells her, “It’s like a party in here.” Thinking that a party sounds like a wonderful idea, she opens a book: “Hundreds of colourful balloons flew from the pages, followed by party hats and horns.”

Each time Stevie goes to Miss Understood to complain, she opens another book and the library becomes a zoo, then a circus, as the characters jump out of the pages of the books she opens and take over the library. Only once the characters are all returned to their books can Stevie enjoy reading his, to the relatively quiet sounds of the pages turning, computer keys tapping.

Such a Library! is an interpretation of the Yiddish folktale about a man who thinks that his small house is too crowded with his wife and many children. The rabbi recommends that the man also bring into the house the family’s cow, chickens, goats, geese and ducks. When the man can’t take it anymore, the rabbi tells him to kick out all the animals, after which, the small house seems quite big and spacious.

Fae would recommend Such a Library!, once again, to kids age 7 and under, while Charlotte really liked it and would recommend it to anyone.

As for what the girls learned, Deb said, quoting Charlotte, “We learned that, if you’re looking for a quiet place to read, to not to go to the library when it’s full of acrobats!”

To order either book, visit intergalacticafikoman.com/books.