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New Reviews

Friday, September 14, 2012 | Permalink
This week's reviews:

Writing in a Foreign Language

Wednesday, September 12, 2012 | Permalink
Earlier this week, Shani Boianjiu explored the book of Jonah. She will be blogging here all week for Jewish Book Council and MyJewishLearning.

I was born and raised in Israel, and my novel The People of Forever Are Not Afraid takes place in Israel. Because of that, many people wonder why I wrote my book in English. Someone asked me if I had something against the Hebrew language. One Israeli person speculated online that I chose to write in English because I was looking for a shortcut into getting published widely. 

That's not at all true, but the question of why I chose to write in English is a valid one. 

The truth is—it happened by accident. I wrote my first book while I was studying at a US college. That's the only reason I wrote it in English. It wasn't really a conscious choice, and I never expected the book to get published, so I didn't give the decision to write in English too much thought.

Whatever I write next may be in Hebrew, or it may be in English. It all depends on what I feel like doing. I am terrible at writing English with pen and paper—I never quite got used to drawing those strange Latin letters, and I need my spell check, so it is easier for me in some ways to write in Hebrew because I don't need a computer for that.

Yet I believe writing in a foreign language helped my fiction. There is something about writing in a language that does not truly belong to you that is liberating. It is easier to create a new world from scratch when the words you are using are not the ones you used as a child, or those you use to talk to the people you love. Just the knowledge that the characters and places I was describing belonged to the Hebrew language meant that by using English, I was firmly footed in the realm of fantasy, where anything I wanted to make happen could happen as long as it made sense in the world of the story.

Additionally, writing about Israel in English meant that I sometimes had to translate Hebrew phrases and metaphors. The process of navigating between the two languages often resulted in some of the most significant parts of my book. My title, The People of Forever Are Not Afraid, is actually a translation of a Hebrew bumper sticker and slogan.

I also found that at times it was advantageous not to know all the words that I needed. I often knew what I wanted to say, but did not have the words to say it in English. This forced me to turn to a dictionary, then to others' fiction. To consider different possibilities, to examine how the new words I considered using were used by others. When writing in English, I am often at a loss for words. I have to fight harder for what comes naturally to native speakers. In Hebrew the choice of words is quickly obvious to me. I don't have to discover them.

My book is in the process of being translated into several languages, and I have found in my interactions with my translators that they ask the best questions. In my book, I describe the hairs inside a mean base commander's nose as looking like "the life lines of spiders." My Croatian translator recently asked me about that image. She wanted to know whether I meant "'life lines', the ones you throw into the water when somebody's drowning or just life + line?"

The truth is I meant both meanings, but even I didn't realize that was the case until my translator asked about it. She needed to know which of those two meanings I meant in order to accurately translate the text.

Unlike most readers, translators are forced to care about every word and comma. They really read what is in front of them. They press me to explain what I fully meant by every image or dialogue line. Is it a common Hebrew metaphor? Is it an American figure of speech? Did I just invent that image on my own? Could this or that line be a combination of a common metaphor and invention? I myself translate fiction, so I understand exactly how translating forces you to engage with a text in a way merely reading it never does.

I wrote my book in English, but when I wrote it I was often translating from Hebrew in my head. English was an accident, but not, I think, a bad accident.

Shani Boianjiu was born in Jersualem in 1987. She served in the Israeli Defense Forces for two years. Her fiction has appeared in The New Yorker, Vice magazine and Zoetrope: All Story. Shani is the youngest recipient ever of the National Book Foundation’s 5 under 35, and The People of Forever are Not Afraid is her first novel. She lives in Israel.

Book Cover of the Week: Jewish Radicals

Tuesday, September 11, 2012 | Permalink

Posted by Naomi Firestone-Teeter

In Jewish Radicals: A Documentary History (published in July by NYU Press), Tony Michels explores the history of Jews and the American Left through primary documents written in English and Yiddish:


JBC Bookshelf: A Nod Toward the Past

Monday, September 10, 2012 | Permalink
Posted by Naomi Firestone-Teeter

Each of these upcoming books nod toward the past in one way or another,  be it the republication of the first Jewish cookbook in America (original pub year: 1871) and a 1962 classic of German short fiction, a look back at the life of Leonard Cohen, or an exploration of the true story behind a young man's death. While these titles leave much to look forward to, here are a few more titles to be on the lookout out for: Michael Chabon's Telegraph Avenue, Jami Attenberg's The Middlesteins, Shani Boijaniu's The People of Forever Are Not Afraid, Marc Tracy and Franklin Foer's Jewish Jocks, and Amos Oz's Jews and Words.

Speaking of fall delights....JBC's Annual Raid the Shelves event will be on October 10th at JBC HQ. Find more information, including a link for registration, here

Finally, Jewish children's book authors and illustrators should click here to find out more information about the November conference in NYC.


I'm Your Man: The Life of Leonard Cohen, Sylvie Simmons (September 2012, Ecco) 
A biography of one of the most important and influential songwriters of the past fifty years.

Jewish Cookery Book: On Principles of EconomyEsther Levy (October 2012, Andrews McMeel Publishing)
This was the first Jewish cookbook publishing in America (1871) and it was written to help European immigrants adapt to life in the New World while maintaining their religious heritage.

El Iluminado: A Graphic Novel, Ilan Stavans and Steve Sheinkin (November 2012, Basic Books)

When young Rolando Pérez falls off the cliffs outside Santa Fe, New Mexico, the mysteries begin immediately. Was he pushed or did he jump? What are the documents he’s willing to give his life to protect from his family, the police, and the Catholic Church? Ilan Stavans tries to seek the truth about Rolando and the secret documents that reveal the mysterious sect of crypto-Jews (whose lineage is traced back to the Inquisition, and who still live today, partially concealed, in the American Southwest).

The Jew Car, Franz Fühmann; Isabel Fargo Cole, trans. (December 2012, The University of Chicago Press)
Originally published in 1962, The Jew Car is an examination of the psychology of National Socialism, beginning with childhood anti-Semitism and moving to a youtful embrace—and then an ultimate rejection—of Nazi ideology.


The Book of Jonah

Monday, September 10, 2012 | Permalink

Shani Boianjiu's debut novel, The People of Forever Are Not Afraid, is now available. She will be blogging here all week for Jewish Book Council and MyJewishLearning.


The characters in my novel, The People of Forever Are Not Afraid, are Israeli. Because of that, my writing will undoubtedly be considered to be Jewish fiction. Yet the truth is there are only a few instances in which Judaism as a religion is a topic in the novel. The most significant instance involves the book of Jonah.

Religious feelings, if we narrow religion to mean having something to do with God, are perhaps not a large part of my novel because they haven't been a big part of my life. For me, being Jewish had nothing to do with God or even the bible. All of my friends at school were Jewish. Nearly all the people in my town were Jewish. I have fasted on Yom Kippur since I was in second grade and observed Passover, but never once went to temple while I was growing up. In my house, we never once discussed the existence of God, or the meaning of the bible.

At my secular school, as in all Israeli schools, Bible was a required subject. Yet our teachers never stressed theological issues, and the bible was taught just as literature was taught—the focus was on the bible as stories. The emphasis was placed on understanding what a parable meant, or on learning to understand biblical grammar and vocabulary.

Although my first book is just being published, I’ve learned from the few interviews I have already had that people love asking writers whether or not their fictional stories are based on real life experiences. I don't know why that is. Almost none of my book is based on my own experiences. The few details that I did draw from my own life are small moments that are in service of a larger narrative that comes directly from my imagination.

The part in the book that most closely resembles a personal experience is the section in which one of my characters describes studying the book of Jonah when she was in middle school. My character, Yael, is frustrated by having to learn about the book of Jonah three times in the same year. She finds that even though she is lectured about the book repeatedly, it still doesn't quite make sense to her.

When I was in seventh grade, I was forced to study the book of Jonah three times—the second time because of the change of a teacher, the third time because I think that new teacher had forgotten that we already spent months on the book of Jonah. One of the odd products of a secular education in Israel is that the student is made to become an expert on certain parts of the bible deemed test worthy by the minister of education, while knowing absolutely nothing about the other parts of the bible.

Like my character, I was confused by the book of Jonah, no matter how many times I had to study it. It is a strange tale, which many have found to be completely different from the stories of other prophets.

Here's what I think happens: as far as I can understand, God tries to force Jonah into being a prophet and orders him to tell a city full of really bad people that God is going to kill them all. Jonah is scared and doesn't want to, because he doesn't want the whole city to get pissed off at him. So he runs away from God, gets eaten by a whale that later vomits him up (the best part!), and in the end he realizes that running away from God was just about the world's a dumbest idea (duh), so he becomes a prophet and tells all these bad people they are super bad and God is going to kill them all. The bad people turn out to be surprisingly receptive to criticism, so they repent and become good. God spares them all, and then Jonah gets really pissed, because it is like so awkward— he already told all these people God is going to kill them. To top off the peachy month Jonah is having, he ends up in the desert and the heat almost kills him. The whole getting lost in the desert thing is actually a part of God's educational mission, so he creates a tree that saves Jonah from dying. Jonah is happy to be saved, but then God kills the tree and Jonah is so pissed he is suicidal. Then God says something to the effect of: "Ha! I got you Jonah! You see? You were so sad about the death of this tree, even though you did nothing to help it grow, and I am supposed to just kill all those people I worked so hard to create?"

This is where the story ends, and that's also the part that makes no sense to me. Jonah was sad about the death of the tree because it was giving him shade. He didn't love the tree, he needed it. But assuming there is a God, what does God need people for? I mean, the claim is he is almighty and all that. This metaphor makes zero sense to me. It didn't make sense to me in eighth grade, and it makes no sense still. In middle school it was not cool to ask the kind of questions that were not going to show up on a test. But I still wonder about it, which is maybe why I chose to include the book of Jonah in my novel, although I usually never write about real experiences. What does the ending of Jonah's story mean? And what does God need people for? I actually want to know. If anyone can get back to me on that, do let me know!

Shani Boianjiu was born in Jersualem in 1987. She served in the Israeli Defense Forces for two years. Her fiction has appeared in The New Yorker, Vice magazine and Zoetrope: All Story. Shani is the youngest recipient ever of the National Book Foundation’s 5 under 35, and The People of Forever are Not Afraid is her first novel. She lives in Israel.

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New Reviews

Friday, September 07, 2012 | Permalink

This week's reviews:



 

The Real Flavor of the Streets

Thursday, September 06, 2012 | Permalink
Earlier this week, Steve Stern wrote about embarking on a quixotic journey and his decision to teach creative writing in Vilnius. He has been blogging here all week for Jewish Book Council and MyJewishLearning.

There’s a district in Vilnius called Užupis, which has seceded from the rest of Lithuania and established its own republic. To get there you cross over a river on a bridge festooned in padlocks engraved with the names of lovers. On the riverbank below the bridge is the statue of a mermaid. It’s a bohemian neighborhood with its own whimsical constitution (“Everyone has the right to understand nothing,” “Everyone has the right to encroach upon eternity,” “A cat is not obliged to love its master, but it must help him in difficult times,” and so on) mounted on a wall in a dozen languages. There’s a café in Užupis with a terrace overlooking the little river, where I sat drinking beer with some Lithuanian poets. They were impressive company, the poets with their chiseled Slavic features, who recited their poems from memory and, unlike Americans, made no apologies for their art. The subject of conversation was Lithuanian identity and the national narrative the citizens were struggling to cobble together since gaining their independence from the Soviet Union. It was a narrative the Jewish component had been mostly edited out of.

“You people are so lucky,” I submitted. “You’ve been persecuted for centuries by the Russians, the Poles, the Germans, whereas I’ve had to punish myself all these years.”

Understand, I’m a cheap drunk, and the beer in Vilnius is very good, especially the dark Baltic variety with its tincture of caramel. Well past my limit (of a single beer) I was inclined to presumption. Also, I wasn’t especially sympathetic to the Lithuanian national identity crisis, having recently visited their Museum of Genocide Victims. This is the museum housed in the old KGB headquarters, a forbiddingly grim building where thousands of Lithuanian partisans were imprisoned, tortured, and murdered by the Soviets. With its punishment cells and execution chamber, it’s a chilling monument to inhumanity, and there’s no question that the Lithuanians suffered disproportionately at the hands of the Russians. But I was more than a little uncomfortable with calling their particular tragedy a “genocide.” I reminded the poets that the Jews had constituted nearly half the population of Vilnius before the war, that theirs had been arguably the richest Jewish culture in Europe. I called the roll of Jewish geniuses from Vilna—the Gaon and the Chazon Ish, Moishe Kulbak and Chaim Grade, the scholar-rabbis, the Yiddish authors, actors, and artists—and suggested that, if the Lithuanians were so desperate for a narrative, they could do worse than to appropriate that of the Litvak Jews. After all, while the official identity of Vilnius had long been Russian, the public life was largely Polish, and the real flavor of the streets was distinctly Jewish. The scant native Lithuanian population was, at least until recently, negligible and ghostly.

I waited for my remarks to revive some atavistic form of anti-Semitism among my listeners, who merely registered then dismissed the suggestion; my reputation as a nudge had preceded me. Lithuania, they explained, was the last nation in Europe to be converted to Christianity. In the late 14th century, when the rest of the continent was building its high gothic cathedrals, the Lithuanians, it seemed, were still worshipping trees. In their zealous quest for identity many of the young were now looking back to the mist-shrouded pagan past. Shikkered from a second beer, I recalled an item of graffiti I’d seen on a crumbling wall earlier that day. It was a more or less stick figure with a protracted middle limb and a legend chalked above it reading in English: Long Dick Boy. It struck me in retrospect that what I’d seen was a pagan scrawl from the Lithuanian Stone Age, possibly the image of some trickster god. I presented my theory to the poets, supporting it with improvised episodes from a cycle of tales about Long Dick Boy: how he stole borsht from the gods, lassoed a dragon with his schlong, etc. “And a little known fact,” I added as a postscript, “Long Dick Boy was circumcised.” I think the Lithuanians were as glad to see the back of me as I was to go home, but I cherish the souvenir hangover I brought back from my time in Vilnius.

Steve Stern is the author of several works of fiction, including A Plague of Dreamers, The Frozen Rabbi, and North of God. His honors include twoNew York TimesNotable Books, a Pushcart Writer's Choice Award, an O. Henry Prize, and the Edward Lewis Wallant Award for Jewish American Fiction. Stern was born in Memphis, Tennessee and now lives in Saratoga Springs, New York.

Book Cover of the Week: Approaching You in English

Wednesday, September 05, 2012 | Permalink

Posted by Naomi Firestone-Teeter

Approaching You in English, the first book to appear in English by noted Israeli poet Admiel Kosman, was published last year by Zephyr Press:

Read a review in Words Without Borders here.

Listen to an interview with Admiel Kosman over at the Forward here.

Illusions and Remembering

Wednesday, September 05, 2012 | Permalink

Yesterday, Steve Stern wrote about his decision to teach creative writing in Vilnius. He will be blogging here for the Jewish Book Council and MyJewishLearning all week.

I liked to sit sipping coffee in the tall kitchen window of my apartment in Vilnius. The window overlooked the broad Town Hall Square teeming day and night with international tourists. Gold-domed churches and pastel houses with terra cotta roofs bordered the square above which loomed the red brick castle on its hill. Beyond the castle were the dense pine forests that surrounded the city like a green velvet setting for a diadem. The window coincidentally faced the corner where the Nazis had staged their so-called Great Provocation. This was the faked sniping incident they used to justify the “retaliation” that led ultimately to the extermination of the Vilna Jews. Turn left outside of my apartment and you entered the Square, with its wind-tossed fountain, linen and amber boutiques, and outdoor cafes. Turn right and you found yourself in a dreary, cavernous courtyard carved out of what had once been the small ghetto. In this area women, children, and the elderly were corralled and starved before being marched out to the killing fields of Paneriai, where they were summarily shot and tossed into open pits.

During my first week in Vilnius, whenever I left the apartment, I always turned right. I walked through the twisted streets of the former ghettos, the large and the small, and read the signs in Yiddish commemorating the slaughtered; I went to the little Holocaust Museum in the Green House and fed my revulsion on the names of both the ordinary and celebrated citizens that had perished. I made the pilgrimage out to Paneriai and tried to identify with the men assigned to burn the corpses, who might discover among the dead the body of a wife, a father, a child or two. I tried in my fashion to obey the 11th commandment: Zakhor! Remember! and its more piquant Yiddish corollary, “Zolstu krenken un gedenken,” may you sicken and remember. I believe that the Shoah diminished the whole human enterprise, that as a race we’ve been missing vital parts of ourselves ever since. So shouldn’t it be incumbent upon persons of conscience to return to the scenes of the crime in the hope of retrieving something of what was lost? Of course it’s a quixotic exercise; language and emotion are unequal to the task. Poetry, as Theodor Adorno famously pronounced, is barbaric after Auschwitz. Besides, there’s nothing to be found in such places but the stray stones placed atop the monuments by mourners. And even the Jewish graveyards of Vilnius have been removed. Meanwhile, from my kitchen window, I watched the early morning theater: young men stumbled cartoon-like from all-night benders, scattering pigeons as they soaked their sore heads in the fountain; a pair of lovers, still tipsy from their the previous evening’s carouse, performed the comic pantomime of a mating dance; a street sweeper whistled as he worked to a tune played by a solitary Gypsy accordionist. And later on, when I left the apartment, I turned left—as I did every day after that first week in Vilnius—ducking under the arch to enter the carnival atmosphere of the square.

I’m not entirely a fool. I knew that the city was largely illusion, its crooked streets and fanciful facades reconstructed after the war upon a foundation of ashes and bones. I knew that, if you walked beyond the perimeter of the precious Old Town, you immediately found yourself in a soviet wasteland, where impoverished and often suicidal alcoholics sold their daughters into slavery. I knew that, in the face of the nightmare of history, even the Deuteronomic injunction to choose life is a flimsy excuse. But the square was so full of a number of things and the city such a goddam gem.

Steve Stern is the author of several works of fiction, including A Plague of Dreamers, The Frozen Rabbi, and North of God. His honors include twoNew York TimesNotable Books, a Pushcart Writer's Choice Award, an O. Henry Prize, and the Edward Lewis Wallant Award for Jewish American Fiction. Stern was born in Memphis, Tennessee and now lives in Saratoga Springs, New York.

A Yiddishist in Vilnius

Tuesday, September 04, 2012 | Permalink

Steve Stern's most recent book, The Book of Mischief, is now available. He will be blogging here all week for Jewish Book Council and MyJewishLearning.

I had fun in Vilnius, despite my low tolerance for fun. Not to mention that fun in Vilnius seemed like a betrayal of everything sacred. So what was I doing in Lithuania? A good question, and having traveled all the way to that small Eastern European nation to teach English-speaking students the same stuff (creative writing) I routinely taught at home, I asked my class at our first meeting, “What the hell are we doing in Lithuania?” But the truth was that the question was disingenuous. I knew perfectly well why I’d come. When first invited to teach there in the Summer Literary Seminars, I instantly declined. I don’t travel well; I like to hang on to my desk with my teeth—that was my default reply. Then I remembered that I am a lover of Yiddishkeit. What reputation I have is as a writer inspired by Yiddish culture and folklore, and old Vilna once boasted the mother lode of that culture before it was utterly erased. So I complained to everyone I knew that I’d had a chance to go to Lithuania and blown it. Eventually I received another email from the program, saying, “We hear by the grapevine you might be having second thoughts.” I considered my bluff called.

It’s a beautiful city, Vilnius, a hard place in which to imagine the unimaginable. Especially when you’re strolling serpentine streets flanked by blue and yellow houses, some squat as toadstools, others narrow as the spines of books, most sprouting scrollworked balconies. The baroque churches look like pink cupcakes, the hidden courtyards beckon like grottos, and the women (Sabrina, I can look) are whip-thin and sleek as cats. It was a storybook milieu, complete with an argosy of hot air balloons overhead, and it dazzled me to the point where I forgot to miss what was missing. What was missing? Only about 1000 years of the most vibrant Jewish life to be found anywhere on the planet. It was here that the Vilna Gaon sprang from the womb reciting Talmud, and the poets of Yung Vilne kept the printing presses busy until the plates were melted into bullets for the resistance. Here the shelves of the YIVO archive and the Strashun Library groaned from the gathered weight of the Diaspora, and the cauldron of conflicting ideologieHasidim vs mitnagdim, bundists vs Zionists—boiled over in the streets. Here Chaim Soutine and Jacques Lipchitz plied their visionary trade within earshot of Jascha Heifetz’s violin. All that remained of that world, however, was a handful of memorial plaques, some busts and a couple of signs informing the tourist that history was once here but had since moved on. Not that I’d expected more; though I’ll confess to a romantic hope that, if I connected my passion for Yiddish culture to its source, sparks would fly and the streets swarm again with Jews. Instead there was only a sputtering of my good intentions before the impulse fritzed out and expired. Then it was easier to brood over what was absent than to try Grande syna Vilnaand recover what was lost.

So I abandoned my role of amateur Yiddishist in exchange for professional mourner. I gave a fiction reading in an old church outside of which the first Jewish victim of the Nazi occupation (a woman) was shot. “It’s wonderful to be here in a city where you can picture a Jew hanging from every lamppost,” I quipped, embarrassing everyone. The audience, comprised of Vilnius’s tiny Jewish community come to hear a concert of Yiddish music for which I was the opening act, sat in deadly silence. When I was done, a man like a steamer trunk in a tuxedo marched to the stage and, accompanied by a classical pianist, belted a medley of Yiddish folksongs that exorcised the chapel of my sarcasm. He ended with a Kaddish that rocked the foundation of the church. Chastised, I too dropped a tear into the overflowing bucket of Jewish grief and tried to hold that thought. But the music was truly cathartic, and afterwards, exhilarated, I went off with colleagues to drink too many beers in sidewalk cafes, in cafes tucked away in vaulted catacombs, in cafes with terraces overlooking the river, where I wallowed in guilty pleasure.

Steve Stern is the author of several works of fiction, including A Plague of Dreamers, The Frozen Rabbi, and North of God. His honors include two New York Times Notable Books, a Pushcart Writer's Choice Award, an O. Henry Prize, and the Edward Lewis Wallant Award for Jewish American Fiction. Stern was born in Memphis, Tennessee and now lives in Saratoga Springs, New York.