Swiss Consul General Urs Strausak at the opening reception of the Carl Lutz and the Legendary Glass House exhibit, which features panel displays as well as various artifacts. (photo by Cynthia Ramsay)
He was the first Swiss national to be awarded the Righteous Among the Nations by Yad Vashem and he is credited with using his diplomatic privileges to save tens of thousands of Jewish lives during the Holocaust. However, an exhibit dedicated to him had eluded Vancouver – until now.
Last week, Carl Lutz and the Legendary Glass House in Budapest opened at the Vancouver Holocaust Education Centre (VHEC). A partnership between VHEC, the Swiss consulate in Vancouver and local Jewish families, the opening reception on Oct. 23 drew a full house, with a wide range of ages represented, from Holocaust survivors to young children, who attended with their parents. Several volunteer docents were on hand to walk the public through the displays and take questions.
An example of the artifacts on display at the exhibit. (photo by Cynthia Ramsay)
Panels display various topics, including Jewish life in Hungary before the Second World War, the rise of Nazism and the Glass House, where thousands of Jews found refuge, as well as personal stories from the era. The exhibit, sent by the Carl Lutz Foundation in Budapest, is enriched by a companion exhibit that includes testimony and artifacts from local Hungarian Holocaust survivors, showcasing important themes relevant to Lutz’s environment and life.
Nina Krieger, VHEC executive director, said the exhibit demonstrates the complexity of moral decision making in a turbulent time.
“Alongside narratives of moral courage and rescue, we must recognize, of course, that these were the rare exceptions,” she said.
She went on to discuss the artifacts, which bring a direct connection between the era and a visiting audience.
“On display are materials that reflect a vibrant prewar Jewish life in Hungary – a cherished prayer brook and photographs of everyday life – as well as evidence of antisemitism and persecution,” she said.
“An 18th-century silver chanukiyah buried by Dr. Joseph and Anna Lövi in the basement of a neighbor’s home on the eve of their deportation to Auschwitz survived; its owners did not. The chanukiyah was retrieved in July 1945 and given to one of their daughters, Judith Lövi Maté. Judith and her infant son Gabor had found refuge in the Glass House, representing a local family intimately connected to Carl Lutz.”
Swiss Consul General Urs Strausak, whose participation helped make the exhibit possible, emphasized the need for education about the Holocaust in his country and around the world.
“The study of the Holocaust shows the danger of being silent in face of evil, and education is a tool to make sure atrocity will never happen again,” he said in his speech at the exhibit opening. He explained the place of Holocaust education in Swiss education, saying, “The topic of [the] Holocaust is taught within the context of history teaching and civic education. Some aspects of the Holocaust are also addressed in social science, religious studies and literature.” Switzerland joined the International Holocaust Remembrance Alliance, an intergovernmental organization dedicated to promoting Holocaust education and research, in 2004.
Asked about his connection to the exhibit, Strausak, who is a personal friend of Lutz’s daughter and current curator of the Carl Lutz Foundation, said it was an important event to reach out to the Jewish community and beyond and help support further communal education. Teaching has to start early, he said, and it is important to emphasize figures such as Lutz since he was more than simply a person who saved Jews. “He was a mensch and people need to have the courage to speak out [regarding evil],” he said.
Carl Lutz and the Legendary Glass House in Budapest will be at VHEC until Feb. 15, and is open to the public by donation. More information on the exhibit and becoming involved with VHEC can be found at vhec.org.
Gil Lavieis a freelance correspondent, with articles published in the Jerusalem Post, Shalom Toronto and Tazpit News Agency. He has a master’s of global affairs from the Munk School of Global Affairs at the University of Toronto.
Michael Fish initiated a unique VSO-JFSA collaboration, which will see JFSA clients attend the symphony on Nov. 15. (photo from Michael Fish)
“There is a direct relationship between cultural experiences and good health. Whether it’s participation in the arts or appreciation for the arts, there is an emotional response for those who engage in these experiences,” said Joel Steinberg, president of Jewish Family Service Agency (JFSA).
Steinberg was offering this observation in the context of a unique opportunity that JFSA has to help 200 clients attend a special concert of music by Jewish composers performed by the Vancouver Symphony Orchestra (VSO) at the Orpheum on Nov. 15.
Michael Fish, who has been a board member for the VSO for four years, wanted to encourage more Jewish community involvement with the symphony.
“In an effort to promote the VSO, as well as bring our community more into the fold, I decided to try to do something special,” Fish told the Independent. “With the support of the VSO’s conductor and musical director, Bramwell Tovey, the VSO agreed to put together a concert of all Jewish composers that I could use as a vehicle for my goal.”
Fish continued, “I then approached Jewish Family Service Agency and asked if they would be interested in sending some of their clients to an evening of Jewish music with the VSO. Knowing that many of their clients would not have the means to purchase a ticket for themselves, I took it upon myself to raise the funds from within the Jewish community to make it happen. I was thrilled at the fantastic response.”
According to Steinberg, Fish has used his advocacy very effectively for JFSA. In addition to organizing this concert, Fish secured a full page in VSO’s Allegro magazine recognizing “Friends of JFSA,” thereby helping JFSA communicate its mission to VSO patrons.
“Many people do not realize that about 10 percent of our clients are non-Jewish,” said Steinberg. “They are mostly users of home support and counseling services, both of which are fee-for-service and help generate critical revenues for our organization to support our other programs. This is a great opportunity for JFSA to raise its profile in the general community while benefitting our clients.”
According to Alan Stamp, JFSA’s director of counseling, the agency sporadically provides “tickets for inclusion” to clients who are in need and who have identified an interest in the arts. The program is managed by JFSA social workers on a case-by-case basis. One of the challenges with the existing system is that tickets are often donated last minute by supporters of JFSA who realize that they will not be able to use them. It can be difficult to match tickets with clients, many of whom face mobility challenges, on short notice. This event with VSO is on a different scale.
Silkie Wong, who works in development and communication at JFSA, has been assisting the department’s director, Audrey Moss, with coordinating the project from the JFSA side. Wong noted that JFSA organizes transportation where possible to ensure that clients can attend, as some of their clients find it difficult to get out on their own. Wong pointed out why this type of event is important: “This is a unique and meaningful experience. Attending cultural events enables our clients to live life, not just survive it.”
Steinberg hopes this avenue for inclusion, initiated by Fish, will spur others to step up and bring such more initiatives forward. “We hope that we will have an ongoing partnership with VSO, and that more of our friends connected to other organizations will help us open more doors and build similar partnerships,” said Steinberg.
Fish considers this is a win-win situation. He is excited about the beautiful music that both JFSA clients and members of the greater community will share, as well as the concert’s potential to raise the profile of VSO in the Jewish community. He summed up by saying, “The musicians will be playing to a larger audience, JFSA’s [clients and] patrons will enjoy a great evening, and perhaps the VSO will pick up a few patrons along the way. What could be better than that?”
To learn more about this concert, visit jfsa.ca.
Michelle Dodek is a freelance writer and community volunteer living in Vancouver.
Julie Cohen’s The Sturgeon Queens is informative and delightful.
From the fraught origins of the state of Israel to what a possible peaceful future for Israel might look like, this year’s Vancouver Jewish Film Festival, which runs Nov. 6-13 at Fifth Avenue Cinemas, should inspire even the most cynical. Documentary or narrative feature, there seems to be an underlying theme of hope. And who couldn’t use more of that. Here are reviews of a handful of films that the Jewish Independent was able to preview.
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Dove’s Cry (Israel) follows Hadeel, a 27-year-old Arab Israeli teacher, over the course of a school year as she teaches Arabic and Arab culture to a group of students at a Jewish Israeli primary school near Tel Aviv.
Dove’s Cry follows Hadeel, a 27-year-old Arab Israeli teacher, over the course of a school year.
The film begins with a school-wide celebration of Rosh Hashanah. Hadeel is cheerful, energetic and inspired. Her personality is electric and she connects easily with her students. The children vie for her to call on them in class, they are excited to be learning. Her Jewish co-workers seem to respect and admire her.
About a third of the way through the documentary though, a tearful Hadeel tries to process the racist outburst of one of her students, who calls her a “stinking Arab” after a disciplinary incident. Speaking to her family, Hadeel admits that this is the first time she’s experienced such overt racism in five years of teaching. Her shock and disappointment are palpable.
More significant, perhaps, are the casual, daily prejudices that Hadeel experiences, most often from her co-workers, the school’s administration and parents. And, however open the children, they know very little about Arabic, Islam, Christianity or Arab culture, and freely express their apprehension about Arabs, Arab neighborhoods and their fears around terrorism. Hadeel is patient, authoritative, good-humored and kind throughout. During a drill, a teacher asks Hadeel if she has a bomb shelter in her community; Hadeel reminds her that, of course, she does, that she is an Israeli, and faces the same physical threats.
There are stark reminders everywhere that Hadeel is creating a bubble of tolerance in her classroom and, perhaps, at the school, but not beyond that. “In the classroom, I teach one thing and, at home, they teach the opposite,” Hadeel laments. One of the central relationships in the film is with the principal, who reminds Hadeel of the limits of her program and often sides with the parents.
By the time Yom Hashoah, Yom Hazikaron and Yom Ha’atzmaut arrive, Hadeel expresses how torn she is about her position in the school and, by extension, in Israeli society. “Suddenly, I feel like I don’t belong to the place where I was born,” she explains.
Ganit Ilouz’s documentary is a sobering look at the strictures and complexities faced by Israel’s minority citizens. It is a potent reminder at how much better Israelis would be served if all citizens were conversant in Hebrew and Arabic and knew some basic facts about each other’s culture and customs. It’s something Jewish Diaspora communities should consider, as well. Hadeel’s name means “dove’s cry,” a fitting name for a woman tireless and steadfast in her pursuit of a better Israel.
– BL
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At the centre of Hanna’s Journey (Germany/Israel) is Hanna, a smart, driven woman. We first meet her in a waiting room with several other candidates for a job. As one exits her interview, obviously disappointed, Hanna follows her into the bathroom to find out what type of employee the company is seeking. When she finds out that grades alone won’t be enough, that the company wants someone who’s also dug wells in Africa or is an “eco-freak,” she lets down her hair, removes her lipstick and earrings, and undoes the top button of her blouse. When one of the interviewers notes, “this resumé doesn’t wow me with its diversity,” Hanna lies to them, saying that she only just received her acceptance to go work in Israel with people who have mental disabilities. If she provides them with proof, she has a great chance at getting the job.
At the centre of Hanna’s Journey is Hanna, a smart, driven woman. Here she is seen with Itay – someone to love or hate?
Problem: Hanna’s mother, who runs a social-service nonprofit that sends young Germans to Israel, won’t fake the letter. Solution: Hanna actually goes to Israel, both to work at a village for those with mental disabilities, and also to spend time with a Holocaust survivor.
“In Hanna’s Journey, I’m attending the question [of the] impact the Holocaust has for Israelis and Germans of the third generation, how the shared past is affecting our lives up to today and inseparably connects us,” writes Julia von Heinz in her director’s statement. “The mixture of fascination and disgust which forms the German-Israeli relations, the neurotic, gets symbolized by my film’s complicated love story.”
In the film, Hanna leaves behind her businessman boyfriend Alex. Their relationship seems solid. Certainly no one in the nonprofit’s house where Hanna is billeted will threaten it, as Carsten is gay and Maja is not only unfriendly, but a full-on antisemite. However, Itay, the social worker at the village is another story. The antithesis of Alex, he is not so fond of Germans, at least at first.
During her time in Israel, Hanna discovers much about herself and her family, in particular, her mother, with whom she doesn’t get along. It turns out that the survivor who Hanna visits knew her mother.
Billed as a romantic comedy, Hanna’s Journey is more contemplative than funny and even the romance part is questionable. It’s really a drama, touching on many important topics and allowing various complexities to remain unresolved. The acting is strong, the script is compelling, and it’s a movie that should be taken seriously.
– CR
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Even if you’ve read Russ & Daughters: Reflections and Recipes from the House that Herring Built by Mark Russ Federman (click here for the review in the JI), Julie Cohen’s The Sturgeon Queens (United States) is informative and delightful. For whatever reason, the story of Russ & Daughters never fails to captivate.
Niki Russ Federman and Josh Russ Tupper are the fourth generation of the family to run Russ & Daughters. The family’s business story is told in The Sturgeon Queens.
Joel Russ came to New York from Germany in 1907. He joined his older sister and started working right away to contribute to the family income. He married Bella in 1908 and, in 1913, the first of their three daughters – Hattie, Anne and Ida – was born. In 1914, he opened his first store, on Orchard Street. In 1920, he moved it to Houston Street and there it has remained, joined in 2014 by a new family restaurant, Russ & Daughters Café, located on, appropriately enough, Orchard Street.
Cohen’s documentary came out during the store’s centennial year and it features interviews with the two surviving “sturgeon queens,” Hattie Russ Gold, then 100, and her sister Anne Russ Federman, then 92. Mark Russ Federman, who ran the store from the 1970s until 2008, and his daughter Niki Russ Federman and nephew Josh Russ Tupper, who now run the store, are interviewed, and longtime employee Herman Vargas is also featured.
Other interviewees include Ruth Bader Ginsburg, Morley Safer and Maggie Gyllenhaal, as well as chef Mario Batali, as an example of how the customer base has expanded beyond the Jewish community, and writer Calvin Trillin, who’s written stories inspired by Russ & Daughters and wrote the foreword to the book Russ & Daughters. Narration is provided by a table-full of longtime (from one since 1929 to one since 1976) customers, with other historical and family and business information provided by the family interviewees. The use of animation, music, archival photos and film clips all add to the quality of the documentary and the credits are especially cute: they indicate when the film’s major makers’ families each came to America from a wide range of places around the world.
– CR
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The Jewish Cardinal (France) by Ilan Duran Cohen is based on the true story of Jean-Marie Lustiger, born Aaron Lustiger, a Polish Jew who converted to Catholicism at age 14, during the Holocaust. When we meet him in 1979, he is a vicar in Paris who is being promoted to bishop of the city of Orléans – the location of his conversion and where he was hidden during the war.
The Jewish Cardinal by Ilan Duran Cohen is based on the true story of Jean-Marie Lustiger.
A temperamental and intense man, Lustiger causes a stir when he tells a reporter that he remains a Jew, he is Jewish and Christian, “like Jesus,” he says defiantly. He is “convinced that God has willed” his nomination. “I am a provocation that compels reflection on Christ,” he says, without a hint of irony.
The more we learn about Lustiger, played by a magnificent Laurent Lucas, the better we understand his fervor to reconcile his identities and make peace with his few remaining family members, including his father.
Lustiger has advocates in the Church, but also detractors. Though Pope John Paul II is a robust supporter and promotes Lustiger to archbishop of Paris and then, finally, to cardinal and trusted papal advisor, there remains a tension between the two men. (There are several wonderful scenes of Lustiger’s audiences with the Pope, who is deftly – at times, sinisterly – played by Aurélien Recoing.) Lustiger’s relations with the Jewish community are strained and we see Lustiger harassed by antisemites who accuse him of defiling the Church.
After a group of Polish Carmelite nuns establishes a convent at Auschwitz (not incidentally the site of Lustiger’s mother’s murder), he is asked by the Jewish community and the Pope to negotiate a solution. Many viewers above age 35 will remember the convent and the turmoil it caused for nearly a decade until it was removed in 1993. The film captures the politics and nuances of the incident with terrific results.
Throughout, we sense Lustiger’s confusion over how to balance on the edge of Jewish-Catholic relations, once he loses some of his hubris, that is. On a visit to Auschwitz, he can neither say the Lord’s Prayer nor Kaddish for his mother; when his father passes away, he’s distraught, unable to fulfil his promise to say Kaddish.
Lustiger died in 2007 of lung and bone cancer. Kaddish was recited at his funeral outside the entrance to the Notre Dame Cathedral in Paris.
– BL
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Israeli Shaul Cohen and Palestinian Nizar Ahmad cooperate in a joint business venture in Under the Same Sun.
For the dreamers of the world, there is Under the Same Sun (United States/Israel/Palestine), written by Yossi Aviram and directed by Sameh Zoabi. The film starts in a mockumentary style, with all hell breaking loose. The media has discovered that Israeli Shaul Cohen and Palestinian Nizar Ahmad are cooperating in a joint business venture to bring solar energy to West Bank villages, and all the talking heads have their opinions about it.
The film then jumps back a year to a meeting in Marseilles, where Shaul approaches Nizar about the project. From this point to near the end, it’s a regular movie, progressing linearly through time, from the project’s genesis, the difficult search for investors, the effects of the venture on their respective families. Skepticism, anger and obstacles must be overcome. We learn more about each man as each confronts their own prejudices and fears. And all looks lost until Nizar comes up with the idea of using a Facebook campaign to create a groundswell of public opinion that will force political leaders to make peace – and, hence, let their energy project proceed. If only social media were so powerful.
Under the Same Sun is crazily optimistic. With solid acting all round, good pacing (helped by Hilal Zaher’s score) and well-written dialogue, it is a thoroughly enjoyable way to conclude a film festival.
– CR
For showtimes and the full festival schedule, visit vjff.org.
Israel’s L-E-V is at the Playhouse Nov. 14-15. (photo by Gadi Dagon)
It feels like it’s all been leading up to this. In 2009, Israel’s Batsheva Dance Company performed at DanceHouse. In 2013, Norway’s Carte Blanche brought Corps de Walk, a work commissioned from former Batsheva dancer and choreographer Sharon Eyal and her partner Gai Behar, to DanceHouse. And, in two weeks, Eyal and Behar’s own troupe, L-E-V, will be at DanceHouse to perform House, a piece originally imagined for Batsheva.
The multiple-award-winning Eyal danced with Batsheva from 1990 until 2008, served as its associate artistic director from 2003-2004 and as house choreographer from 2005-2012. She began choreographing works for other companies in 2009, including Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche. Eyal and Behar launched L-E-V in 2013, with musician, drummer and DJ Ori Lichtik an integral part of the creative team.
“I first saw the work of Sharon Eyal and Gai Behar in 2011 at Jacob’s Pillow Dance Festival [in Becket, Mass.], and it was unlike anything else I have seen before – and I have seen a lot of dance,” said Jim Smith, producer at DanceHouse, in an interview with the Independent.
“When L-E-V had its U.S. debut, the New York Times referred to House as ‘a Hieronymous Bosch painting of an extraterrestrial rave.’ Visually, you can see these two very contrasting images at play together.
“I think the work being created by Sharon Eyal and Gai Behar is very much of our time, as they appear to represent a cross-disciplinary confluence of movement, music, lighting, fashion, art and technology. And this very much appears to be part of the changing world around us.”
DanceHouse, which has “has taken on presenting larger scale dance works (i.e. larger number of performers and/or work requiring a significant level of technical support) that are recognized to be touring internationally,” presents “a mix of both Canadian and international companies and artists,” said Smith. “We are part of a larger national dance touring network that includes such organizations as Danse Danse in Montreal, the National Arts Centre in Ottawa and Harborfront in Toronto.”
Before its arrival in Vancouver on this fall tour, L-E-V will have performed House in Mexico (Guanajuato, Mérida and León), Calgary and Ottawa. After Vancouver, it heads to Los Angeles.
The blurb on the DanceHouse website reads: “With a sensibility seen here in 2013’s Corps de Walk, House’s fiercely talented dancers move with expressive precision as they explore what a house truly is: a home, a club, an asylum, a way station.”
House was first commissioned by the Batsheva Dance Company in 2011. It has developed since then.
“Changes always happen in the piece; it can only be an eye, movement or breathing, but there will always be more layers and renewals,” Eyal told the Independent. “The work is dynamic and alive, so is the music. You can always grow and add a new dimension, it is our fun. It’s not like in a museum – the ones who make it are people and each moment they feel something new.”
A combination of “a lot of talent” and “exhausting work alongside endless happiness,” L-E-V is seeing success. “The company is currently touring many places in the world and receives recognition and a lot of love,” said Eyal.
“In terms of the dancers, we began with eight dancers and reduced it to six. Now we have become more exact and effective. The dancers are wonderful and do not cease to amaze, develop and become more sophisticated. Each one of them is a different star in heaven.”
“The opportunity to present the work of Eyal with her own company of dancers is a way of giving a great range of exposure to her for Vancouver audiences,” said Smith. “She is of a generation and stage of development in her career as such dance artists as Barak Marshall, Wayne McGregor, Benjamin Millepied, Hofesh Shechter, and even Vancouver’s own Crystal Pite, all of whom are making big waves in the international world of dance, and all of whom have been presented on the DanceHouse stage in the past.
“In a relatively short time since leaving Batsheva, Eyal has enjoyed a meteoric rise both as a choreographer for hire and also with her new company of dancers, many of whom are ex-Batsheva dancers. In 2013, Eyal’s company made its North American debut [with House] at Jacob’s Pillow and this past summer was programmed at the prestigious Montpellier Danse festival in France.”
DanceHouse generally presents four productions a season at the Vancouver Playhouse and one in partnership with other presenters at the Fei and Milton Wong Experimental Theatre at Simon Fraser University, explained Smith.
“DanceHouse aims to reflect the range and diversity of the different stylistic approaches being seen in the development of dance as an art form. In many ways, we think about DanceHouse as providing a window on the international world of dance – with dance being a reflection on the world we live – like other art forms.”
House is at the Vancouver Playhouse Nov. 14 and 15, 8 p.m., with a pre-show talk at 7:15 p.m. For more information and tickets, as well as information on other DanceHouse offerings, visit dancehouse.ca.
Buckminster Fuller in front of the Montreal World’s Fair geodesic dome. (photo from Magnum Photos)
Most of us know Richard Buckminster Fuller as “the dome guy” or, more formally, as the 20th-century genius whose life and vision eventually led to the creation of that most unusual architectural form, the geodesic dome. His early architectural designs, set in the 1970s, would go on to win him worldwide acclaim as an early pioneer in environmental stewardship.
Although it’s no surprise in a city that has always lauded ingenuity, that vision would eventually help remake both Vancouver’s skyline and our concept of enduring, smart, contemporary architecture. But what many 21st-century Vancouverites may not know is that Bucky – as he was equally affectionately called by friends and even strangers – was much more than an architect and a futuristic designer. He was a utopist, a scientist, an idealist, a linguist and probably one of the world’s earliest pioneers in sustainable living.
Sam Green (photo by Joanna Eldredge Morrissey)
In fact, he was more than that, says filmmaker Sam Green. Green, who received an Academy Award nomination for his documentary on the Weather Underground in 2003, will be presenting his live documentary of Fuller’s life and accomplishments, The Love Song of R. Buckminster Fuller, at the Vogue Theatre on Nov. 12. Green spent several years pouring through the archives of Bucky’s famous Dymaxion Chronofile to compile this synthesis of the futurist’s life, a legacy that is euphemistically reflected in the title of the film.
Fuller, Green said, “spent almost every waking moment trying to make the world a better place,” a vision that was reflective of the immense affection he carried for the world around him. “There was something about him that struck me as very loving about his enormous amount of energy he put into his projects.”
It’s vigor that seems incredibly relevant to today’s sustainability movement, and our increasing focus on climate change. “I was very struck by the fact that he had these conflicting set[s] of messages,” said Green. “His whole life, or the entire 50 years he spent working on this project [what Green sums up simply as his effort to make the world a better place] are more relevant now than they have ever been.” Doing more with less, smart design, harnessing our resources, “and at the core of all of that is this idea that we have all the resources now to make a high standard of living for everybody on the planet.” It was a viewpoint that not only reflected his unbridled idealism, but his intuitive understanding of the precarious balance of life on what he referred to as “spaceship earth.”
“He was a great poet,” said Green. Fuller instinctually understood the power of allusion. “[He] definitely had a fantastic way with words. A lot of his books have just the most wonderful titles.” Poems with names like “God is a Verb,” whose title might have seemed irreverent at the time, captured the drive of a nascent environmental movement. The name of early work An Operating Manual for Spaceship Earth “would have been a cool title in 1975,” said Green. The treatise clearly showed he was ahead of his time when it was first published as a scientific paper in 1967, and it took readers by storm when it was published as a book a year later. His poems, literary works and uncanny insights into human nature have stood just as much the test of time as his many inventions and forays into architectural design.
Green’s live documentary is an exploration into form and allusion in itself. While this isn’t the first time that the filmmaker has combined live narrative with a pre-recorded film to tell a compelling story, the unorthodox format he uses seems to lend itself to the tale of a man who was clearly not afraid to step outside of the bounds of convention. Green’s personal narration, combined with the live accompaniment by American indie rock band Yo La Tengo, seems to resonate with viewers who, like Green, seek the intimate experience of that old pre-digital-age theatre production.
“One of the reasons I like this form is it keeps the experience in the realm of a kind of cinematic context,” Green explained. “You come to the theatre – we’re going to travel all the way from New York – you’ll buy a ticket and come to the theatre. Everybody will turn their phones off [and] we’ll all experience this piece together. It’ll never be the same way twice, and there is something just wonderful and magic about that.”
For Green, who identifies himself as “culturally Jewish,” Fuller’s story resonates with an element that he finds drives much of his cinematic work: “a kind of yearning quality to it,” he said, “a combination of idealism and yearning, and a little bit of heartbreak that I think is very Jewish.”
It’s the same essence he said that drew him to Yo La Tengo’s emotive work. “I very much wanted to work with them because they had the sound that expresses that. Their sound is beautiful. They make beautiful songs with a little bit of yearning and melancholy to them. And that kind of emotional palate to me is very Jewish.”
Green’s earlier cinematic work includes Utopia in Four Movements, which was featured at the San Francisco Jewish Film Festival in 2010; The Weather Underground (2003), which premièred at the Sundance Film Festival and was nominated for an Academy Award; and Rainbow Man/John 3:16 (1997), detailing the tragic story of unusual sports fan Rockin’ Rollen Stewart. His most recent live documentary, The Measure of All Things (2014) about the Guinness Book of World Records, has also been featured at the Sundance Festival.
But, to be sure, The Love Song of R. Buckminster Fuller isn’t just about an American idealist who helped broaden global viewpoints. The Vancouver première, said Green, is also about Vancouver’s intimate relationship with Bucky and the vision he helped create when he visited the city in 1976.
“There are some great Buckminster Fuller connections to Vancouver,” Green acknowledged, noting that Fuller was a frequent visitor to the city that would eventually lay claim to a geodesic dome of its own – today’s Telus World of Science (better known as Science World), one of this city’s most enduring symbols.
The Love Song of R. Buckminster Fuller will be presented by the PuSh International Performing Arts Festival Nov. 12, 8 p.m., at Vogue Theatre. Tickets, $30.50, can be purchased at voguetheatre.com or by calling Northern Tickets at 1-855-551-9747.
Left to right, Jerry Wasserman, James Gill and Mehdi Darvish star in United Players’ production of Facts. (photo by Doug Williams)
United Players is set to present Canadian Jewish playwright Arthur Milner’s provocative political drama Facts, loosely based on the true story of the 1992 murder of an American archeologist in the West Bank and the joint Israeli/Palestinian police investigation that followed.
The play has been produced in Ontario and the United Kingdom and was translated into Arabic for a tour of various West Bank cities in 2012. The United Players’ production marks the play’s Western Canadian première, with Jerry Wasserman as Yossi, the hot-headed Israeli detective; Mehdi Darvish as Khalid, Yossi’s Palestinian counterpart; and James Gill as Danny, the fervent settler accused of the murder. Adam Henderson helms this production as it navigates its way through some rough waters, exploring not only the Israeli-Palestinian conflict but also the religious-secular divide between Jews within Israel. The action takes place in a cramped, hot interrogation room in the West Bank and, as the story unfolds, it is revealed that the archeologist was unearthing facts that brought into question some accepted historical beliefs fundamental to Judaism.
The Jewish Independent sat down with Wasserman, Henderson and Darvish one morning before a rehearsal.
Wasserman – who is also a theatre critic and head of the theatre and film department at the University of British Columbia – described himself as an American Jew brought up by liberal Jewish thinkers. He said his research and immersion into this play angered him, but made him see the Middle East conflict in a new light. “This play really presses a lot of emotional buttons for me,” he said. “It digs down through layers into very specific details of [the] lives of people and, through this complexity, we see things more clearly.”
As to his character, Wasserman said, “Yossi’s father was a Zionist who had a dream of a state which has been compromised by the new wave of radical settlers who he sees as having a medieval way of thinking…. This has changed the state of Israel that Yossi loves. The real conflict in this story is not between Yossi and Khalid, but between Yossi and Danny.
“Because Yossi operates at a high emotional temperature, I had to find the proper rhythms and the right places to come up and go down so that I did not peak too early. There were many challenges, but it was infinitely fascinating. You don’t get too many chances to play a role like this.”
The heart of the story is the investigation, as the two detectives sift through various pieces of evidence and theories on the murder.
“I have acted in over 100 police dramas, both television and cinema, and I have to say that this, by far, is the most complex, sophisticated and confusing ones I have ever been involved in,” said Wasserman. “The research has been very detailed and the play is very accurate, re: police investigation and techniques. It is a tremendous intellectual puzzle. The evidence is circumstantial and we never find the smoking gun. The dialogue is an emotional mine field that we, as actors, all have to move through.”
Police dramas often feature a good cop/bad cop relationship. As to whether or not audiences will get to see that dynamic, Wasserman said, “Yossi tries to act the good cop but he is the bad cop by nature. He has lots of emotional buttons to press. The great thing about this play is that everyone’s buttons get pressed. Everyone has a turn to make impassioned monologues and everyone gets to lay his emotional/political cards on the table.”
Gill finds his role of Danny an interesting challenge. “While so much of his absolutist approach to his faith and his politics is antithetical to my own liberalism, nonetheless, being a Jew gives me an empathy for where his faith and politics are grounded,” he said in an email. “That gives me a starting point from which I can start to encompass the character.”
He sees the essence of the play as “the way in which these three men both conform to and transcend their stereotypes. We start with the ‘facts’ of an Israeli, a Palestinian and a settler and, on one level, each of these men is true to those simplistic profiles, but we discover that each of them is much more complicated.”
For Darvish, his involvement in the play also gave him new insights into the conflict. “I came to understand the Israeli position from an emotional perspective better as a result of working on this play,” he said, “but I also see more deeply the Palestinian position. I see the characters often acting like children throwing tantrums instead of sitting down and logically dealing with the situation. It saddens me because right now I do not see a resolution to the dilemma.”
Henderson said he enjoys working with a small cast and a modern-day setting, which contains no idiosyncrasies as to period or language. With an all-male cast, the action is testosterone driven and reflective of the politics of the Middle East, he said.
Henderson expressed surprise that more Canadians do not know about Milner, whose work he has come to appreciate more during the course of his research and preparation for this production.
“Milner has taken a very sensitive subject and effected meticulous research to create a platform to encourage serious dialogue,” he said. “His position is Socratic – he wants to encourage discussion versus making a point and this is brought home by his equivocal ending.”
Henderson acknowledged that the play is likely to be controversial but stressed that, “the key to theatre is that it is a thought experiment where we can do dangerous things with no consequences except people might have their perspectives broadened. If that is what happens in this play, then we will have accomplished something.”
He added, “As the news media move toward ‘infotainment,’ and the sound bites become faster and shallower, the longer form of theatre allows us to look a little deeper at things. For me, it is critical to protect ourselves from merely having our prejudices reinforced. Theatre was invented as a public forum, and we need to gather, to discuss, now more than ever.”
As to why Vancouverites should see the play, Henderson said, “It is an unusually well-crafted play. It is funny, witty, challenging and surprising, and you won’t find anything like it on television. Also, this is a great opportunity to dress up, go out and mingle with community and exercise the soul. Parking is easy and you come out after the show by the beautiful Jericho Beach with something new to talk about.”
Facts is at Jericho Arts Centre from Nov. 7-30. As an added feature, there will be a reading of Masada, Milner’s companion piece to Facts, after every Friday performance. Milner will be in Vancouver the week of Nov. 11 and will be attending performances during that time. For tickets and more information, visit unitedplayers.com.
Tova Kornfeldis a Vancouver freelance writer and lawyer.
Jewish Seniors Alliance of Greater Vancouver board and staff 2014-15. Standing, from left: Janet Kolof, Timothy Newman, Marilyn Glazer, Barbara Bronstein, Lyle Pullan, Claire Cohen, Gyda Chud, Ida Gitlina, Rubin Feldman and Binny Goldman. Seated, from left: Karon Shear (staff), Shanie Levin, Ken Levitt, Serge Haber, Marilyn Berger, Milton Adelson and Rita Propp (staff). Missing from the photo are Debbie Cossever, Marie Doduck, Lionel Fishman, Sylvia Gurstein, Sylvia Hill, Pamella Ottem, Rita Roling, Edith Shier and Jackie Weiler, as well as peer support staff Charles Leibovitch and Grace Hann. (photo from JSA)
As the Jewish Seniors Alliance of Greater Vancouver marked its 11th annual general meeting on Sept. 11 at the Sidney and Gertrude Zack Gallery, it was indeed an evening of celebration inspiration and innovation.
JSA past president Serge Haber welcomed a standing-room-only crowd and led them in a minute of silence to honor those who had passed away during the year.
Natasha Likholatnikov, nominated by Chabad of Richmond, has been a volunteer since her arrival in Canada from Ukraine. (photo from JSA)
Adolf Zilbershtain, president of the Most Bridge Russian seniors group, brought greetings and extended thanks on behalf of its 150 members for the financial support JSA had given them.
Bernard Jackson, president of Jewish War Veterans Shalom Branch – one of only three branches in Canada – followed and gifted JSA with greetings and a monetary donation.
Treasurer Milton Adelson reported that JSA is in good standing but that adequate funding remains an ongoing challenge and priority.
Attendees learned from Pamella Ottem that JSA’s peer support program is now the largest in the city, and that JSA is looked to for guidance, mentorship and support by many organizations offering similar services. Ottem lauded the peer support leadership of Grace Hann and Charles Leibovitch in building the program, which now serves more than 150 seniors and includes peer counseling, a home visiting program, phone calls to isolated seniors, an information and referral phone line, transport to medical appointments and a new bereavement support group.
Representing the membership committee, Lyle Pullan reported that JSA gained 46 new members this past year. He encouraged attendees to consider themselves as committee members, and to “Sign ’em up!” The goal is 100 new JSA memberships for the next year.
Joining the meeting was Shelley Rivkin, associate executive director of the Jewish Federation of Greater Vancouver, who spoke about how much JSA and Haber are valued. She said Haber served as a mentor not only for Federation, but for all who advocate for the well-being of the community’s elders, who number 5,000 and whose numbers are expected to double in the next decade.
Stacey Kettleman was put forward by Congregation Beth Tikvah. (photo from JSA)
As JSA celebrated its 11th year and Haber’s nine as president, his report highlighted JSA’s numerous accomplishments in advocacy, outreach, the Seniors Line Magazine, the Empowerment Series, fall symposium and spring forum, where JSA has achieved a 25 percent increase in attendance. He honored the work of executive coordinator Karon Shear, his “right hand,” for her conscientious hard work and dedication, and the commitment of Rita Propp, office assistant. Together with the 4,000 hours of JSA volunteer activity, this is what makes JSA the “best of the best,” he said.
Ken Levitt, board vice-president paid tribute to Haber. Levitt asked the audience to ponder how many 86-year-olds they know who are such exemplary leaders and contribute with such vitality on a tiny, shoe-string budget. Very few, he suggested. Haber was elected president emeritus in a unanimous vote.
Certificates of merit were presented to “retiring yet always rewiring’’ board members, Pullan presented the nominations slate of returning and new board members and the election included the executive board for 2014-15.
Incoming JSA president Marilyn Berger, in her acceptance speech, concluded the AGM with the message, “Let’s do this together, as JSA continues to grow, flourish and thrive.”
After the meeting, there was dinner in the Wosk Auditorium with entertainment by Tzimmes, after which four honorees were celebrated, each of whom were nominated by their individual organizations for their contribution in service to others and ensuring that they enjoy life to the fullest.
Natasha Likholatnikov, nominated by Chabad of Richmond, has been a volunteer since her arrival in Canada from Ukraine. She volunteers in an ongoing capacity often several times each week. According to Rabbi Yechiel Baitelman, Likholatnikov spends more hours at Chabad than he does. She is involved in the Women’s Art Club, whose participants are from the former Soviet Union, and in Chabad’s Community Kitchen. She cooks for Chabad community activities, helps coordinate volunteers, and much more.
Binny Goldman, left, Serge Haber and Edith Shier also were honored. (photo from JSA)
Stacey Kettleman was put forward by Congregation Beth Tikvah. She has been a part of Beth Tikvah for many years, and works hard to help many seniors and people who are isolated and need assistance. She thinks nothing of whipping up a meal, whether it be for Shabbat, a Yom Tov or just a warm dinner, and then delivering it to a senior in need. She also ensures the senior has food in his or her home, getting groceries for them if they do not. If Kettleman hears about a senior perhaps not attending an event, she will make a point of getting that person a ride – trying to make sure the senior is not alone, but part of the community.
As a writer, photographer, tribute-card creator and honorary JSA life member, honoree Binny Goldman brings an enthusiastic and positive presence to the many activities she undertakes for JSA. She rarely misses meetings, voluntarily undertakes assignments with devotion and the results are extraordinary.
Last but not least, Edith Shier created Senior Line Magazine, now published three times each year. To quote Haber, the magazine “is the only written communication to the seniors in the Jewish community and continues to receive rave reviews as the best of the best.”
Concluding the festivities, Haber was presented with a gavel and plaque by Berger for the work he has accomplished, the legacy he leaves and the contribution he will continue to make to JSA. He received a standing ovation. For his outstanding contribution to JSA and in memory and honor of his late wife Elinor, the Serge and Elinor z”l Haber Peer Support Fund has been established.
Haber urged everyone to be here and there with all our heart, and to press governments at all levels to play a much stronger role in the well-being of seniors.
Dinner co-chairs were Bernice Dorfman and Regina Boxer.
Gyda Chudis secretary of the Jewish Seniors Alliance of Greater Vancouver executive and board of directors.
Glenn Greenwald, the journalist who came to our attention as the conduit for Edward Snowden’s Wikileaks cache, has a theory on why members of the Canadian military have been killed in terror attacks like the one last week in Ottawa. They died for the sins of Canada’s foreign policy.
Greenwald wrote a piece after the incident in Quebec on Oct. 20, in which two soldiers were run over – Warrant Officer Patrice Vincent fatally – in a deliberate attack. Greenwald’s article was rerun at rabble.ca on Oct. 22, apparently posted to the site about the time another attack was taking place on and around Parliament Hill in Ottawa.
“It is always stunning,” Greenwald wrote, “when a country that has brought violence and military force to numerous countries acts shocked and bewildered when someone brings a tiny fraction of that violence back to that country.”
Greenwald shifts blame for the soldiers’ deaths from their murderers to Canadian involvement in Afghanistan, Canada’s newly announced air support for the Western battle against ISIS, and on Canada’s being “an enthusiastic partner in some of the most extremist War on Terror abuses perpetrated by the U.S.”
The article has been shared around social media and similar assertions have been made by other commentators.
It needs to be said that both of these incidents, in which the perpetrators themselves were also killed, were apparently “lone-wolf” attacks. Also popping up in social media are demands for greater attention to mental illness in Canada, the implication being that mental instability may have trumped ideology for one or both of these perpetrators. This is an important issue to consider.
Greenwald anticipates the inevitable comeback to his argument – that Islamists are not driven by reaction to our foreign policy but by hatred of our values. That is, they hate us not for what we do, but for who we are.
“They even invent fairy tales to feed to the population to explain why it happens: they hate us for our freedoms,” wrote Greenwald. “Those fairy tales are pure deceit. Except in the rarest of cases, the violence has clearly identifiable and easy-to-understand causes: namely, anger over the violence that the country’s government has spent years directing at others.”
It’s not a stupid idea, but it’s simplistic in the extreme. It suggests not only a self-deception about the ideology driving worldwide terror, but an almost understandable, desperate hope for safety: if we just stop provoking the terrorists, they will leave us alone.
What his position ignores – though it is shared by many – is that the perpetrators are fundamentalists, seeking the destruction of the existing order not only in Syria and Iraq, but worldwide. The deceitful fairy tales are those told and believed by those who refuse to acknowledge evil when they see it beheading people on the internet.
Greenwald’s position, in fact, is a version of the Western colonialist mentality. The actions and worldview of ISIS and other extremists are not born of ideology or theology. No, they are solely a reaction to our actions. It’s all about us. It’s a weirdly imperialist view in its own way.
But even if he is correct, even if the attacks we saw last week and those endured by other democracies including Israel in recent years, were motivated by government actions and policies, his solution is suicide.
Even if there were proof positive that terrorists were motivated by our policies, rather than the fact that we like freedom, equality, an after-dinner drink and mixed-gender dancing, the solution would still not be to change our policy.
For a country to base its foreign policy on whether or not it will be liked or hated by ideologues who scythe off the heads of innocents is a map to self-destruction. The idea that terrorists will target our soldiers and civilians because our government is engaged in far-off conflicts is not completely outlandish, but its corollary – that we should change our foreign policy to one more agreeable for the worst elements in the world – is horribly wrong. That is, to use a hackneyed and ridiculed phrase that is nonetheless spot on, how the terrorists win.
Sarah Marel Schaffer, left, and Sandy Hazan pause while sorting clothing for Operation Dress-Up, a social action project sponsored by the National Council of Jewish Women, Vancouver section. (photo from NCJW Vancouver)
Shlepping bags of new underwear and socks plus bundles of gently used, donated clothing to inner-city Vancouver gives Sarah Marel Schaffer and Sandy Hazan a sense of fulfilment.
The two women spearhead Operation Dress-Up, a social action project of the National Council of Jewish Women, Vancouver section. The clothing they buy, collect and distribute goes to needy children identified by school counselors and principals, by neighborhood youth and family workers, or by the Jewish Family Service Agency.
On Sunday, Nov. 16, the Vancouver section of NCJW will celebrate 90 years of education, advocacy and social action projects such as Operation Dress-Up. The event is set for 11 a.m. to 2 p.m. at VanDusen Gardens, and all are welcome.
Operation Dress-Up, begun 20 years ago, is supported by NCJW fundraising and by grants. United Way recently awarded the project $6,000. Schaffer said they are “quite lucky” to get this amount at one time and will soon call schools to see what’s on their wish lists and determine where the money will be best used.
Both women have been involved in Operation Dress-Up for 10 years. Schaffer said that for her it’s a way to give back to the community. “It’s a joy to dress your own kids in nice clothes and it’s a joy to help out in this way,” she said.
Hazan has found her participation to be a learning experience. “When you see the desperate need in Vancouver, it’s very humbling. I never knew that the poorest postal code in Canada is on the Downtown Eastside. I was shocked,” she said.
While Operation Dress-Up is a hands-on project, NCJW works with many local organizations, mainly by providing grants. One recipient is Children of the Street, whose mission is to intervene to prevent the sexual exploitation and human trafficking of children and youth.
Human trafficking, a modern form of slavery, is a focus for NCJW nationally and internationally. Council has advocated for passage of Bill C-36, to protect girls and women from sexual exploitation, sponsored by MP Joy Smith (Kildonan-St. Paul, Man.).
International Council of Jewish Women has joined with Stop the Traffik (stopthetraffik.org), devoted to ending human trafficking worldwide. ICJW also works on various projects with nongovernment organizations at the United Nations.
In Israel, ICJW lobbies on behalf of women kept captive by unfair divorce laws (agunot), and supports the Women of the Wall in its quest for gender equality. NCJW of Canada supports ALUMA, formerly known as IFCA, Israel Family Services Association.
At the 90th anniversary celebration, a roving magician, speakers – national NCJW president Sharon Allentuck from Winnipeg and international president Robyn Lenn from Australia – and finger food will be part of the fun. Organizations that partner with Vancouver NCJW will be arranged in a “farmers market” of informational booths. Some of these will include the Vancouver Public Library, Richmond Jewish Day School, Vancouver Coastal Health, Elizabeth Fry Society, Jewish Book Festival, Children of the Street, Home Instruction for Parents of Preschool Youngsters (HIPPY), B.C. Transplant Society, Barefoot Books and the Jewish Community Centre of Greater Vancouver. Council’s own projects, Books 4 Kids and Operation Dress-Up, will also be on display.
Tickets to the 90th celebration are $18, available at Vancouver NCJW’s office at the JCCGV. Call the NCJW office at 604-257-5180 for reservations.
“Do it! Just do it!” Cherie waves her hands impatiently, puzzled by my hesitation. We are sitting on the white sofa in her bright living room on Point Grey Road. Behind us, through the large picture windows, I see the waters of Burrard Inlet shimmer in the morning sun, framed by the blue mountains of the North Shore.
Cherie Smith (photo from Jewish Book Festival)
It is mid-morning and light is streaming into the comfortable open space, where each corner bears Cherie’s personal stamp: the beautiful flower arrangement on the glass-top coffee table, the white sculpture on a stand, the painting above the fireplace and the colorful blanket thrown casually over the back of a cozy armchair. Further in, two low steps up, is the large dining room table with the eight high-back, white leather chairs. Behind it, a cupboard with glass doors displays Cherie’s collections of china, glasses of all sorts and other small trinkets. More artifacts are displayed on the heavy, black wood buffet against the wall. The kitchen is small, but efficient, just off the dining room. From where we are sitting, we can see the entrance door and, on the right, a small corridor leading to the second floor where a large triptych, my own painting, hangs over the stairs. One entire wall of the hallway is covered with books.
Books are Cherie’s world.
I met Cherie at a party, a casual encounter in a room full of people. Despite her friendly manner, I was intimidated by her, knowing that she and her husband were not only affluent, but also people who could be defined as pillars of the community. Little did I know that, in time, we would become close friends; much more, that she would become my mentor, giving me all her support and encouragement in my attempt to publish my first book.
Sylvia Barbara, nicknamed “Cherie” by her father, was born in in the middle of the Great Depression, in the small town of Kamsack, Sask. Her father, a general practitioner, delivered her himself, since the local obstetrician was too drunk to perform. Both parents were Jewish immigrants from Poland and Russia, now living in this tiny town of 2,000, including many Doukhobors and First Nations. As a child, Cherie became keenly aware of the racism against minorities, and saw her father trying to offer assistance to those in need at every opportunity. Growing up in Kamsack was a very long way from Cherie’s later life in Vancouver. But, as I was to find out when I got to know her better, her modest childhood was the foundation for her generosity of spirit, her lack of prejudice, her warmth and her humanity.
Slim, well-groomed, her brown-reddish hair cut short, her dress casual but of good quality, Cherie was unaffected and friendly, a mover and a shaker. Once she made up her mind about a certain activity, there was nothing that could stop her. Speaking in quick, concise words, waving her hands about, she passionately advocated her ideas.
As I said before, books were Cherie’s world. She and her husband Buddy owned a bookstore for some time and later promoted writers whenever they could. Cherie would invite writers to speak and even subsidized them by paying their expenses. She was the founder of the Jewish Book Festival, which she tirelessly supported and organized, and now bears her name.
But I digress. Let’s return to that particular sunny morning in Cherie’s living room, where she listens to me worrying about the crazy idea of publishing a book.
“How can I do this? I have never done it before, what if it fails?” I am quite anxious. Perhaps the work is not good enough, perhaps I shall lose all the money lent to me so generously by friends, and perhaps I won’t find a publisher, perhaps, perhaps. But Cherie will have none of that. Doubt and fear of failure are not in her vocabulary.
“Do it! Just do it!” she urges me.
We revisit all the risks and all the benefits of this adventure. She tells me again and again that The Trials of Eve, the largest, most daring and risky work I have ever done, has to be published; it has to be launched into the world. She cajoles, encourages and prods me into taking the plunge. She is willing to help edit my poems; she will help with information and with whatever is needed for the publication process. “Just do it!” she says again and again.
And I did do it. The book came out in due time, first as a limited edition that won the Alcuin Citation Award and, later, as an expanded soft-cover version; both a victory of Cherie’s indomitable spirit.
Cherie Smith published her memoir as a legacy to her grandchildren in 2001.
When Cherie became ill with the cancer that would eventually take her life, she took it in her usual commonsensical style, bravely fighting her way through without complaining. While visiting her, she told me about her swimming routine at Kitsilano Pool and about her efforts to publish her own book as a special gift to her grandchildren. We would take long walks on the beach, soaking in the beauty of English Bay. She, as usual, continued asking about my activities rather than talking about herself, her warmth and interest flooding over me like sunshine. Later, when she lost her hair due to the harsh chemotherapy she endured, she bought an elegant wig, always putting on a brave front, always concerned about her appearance, but almost never talking about her illness. Only when it became apparent that she was losing the battle did she begin making remarks about luck and fate. She became obsessed with the urgency of finishing the book that she was working on, and kept writing as much as she was capable of in her condition. The book was published before her death.
My last visit with Cherie in her white, sunny living room, took place shortly before her death. Her illness had taken a huge toll. Her body, devastated by the disease, was like a shadow of itself, transparently thin, her face lined, her voice a whisper. She still wanted to know what was happening in my life, but this time she also talked about her own death. I could barely answer her, my voice choking in my throat, tears welling in my eyes. We said goodbye and I left. It was the last time I saw my friend, Cherie.
After this, she refused all visits other than family. She wanted us to remember her as the vibrant, energetic and lively person she had been. And this is how I remember her. But each time I walk past her house, which has now been sold, a dull ache in my chest reminds me that I have lost a very rare, true and irreplaceable friend.
For information and a full schedule of events for the Cherie Smith JCCGV Jewish Book Festival, which runs Nov. 22-27, visit jewishbookfestival.ca.
Pnina Granirer is a visual artist who has exhibited locally, nationally and internationally and whose work is found in numerous private and public collections. Over the years, she has written short essays and poetry, some of which were published in Pnina Granirer: Portrait of an Artist by Ted Lindberg (Ronsdale Press). The Trials of Eve, a work of 12 mixed-media drawings and 12 poems, received an Alcuin Citation Award. This work is in the special collection of the Glenbow Museum in Calgary. The soft-cover edition features a lengthy essay written by the author. Granirer is currently in the process of working on a memoir. This article was originally written in 2009.
