Features
Astonishingly good debut novel by former Winnipegger Sandy Shefrin Rabin
By BERNIE BELLAN
One of the great joys of being in the position of editor of a Jewish newspaper is being on the receiving end of what seem to be a never-ending series of well-written books, either by current Winnipeggers or former Winnipeggers.
In the past three months I’ve had the pleasure of reading books by Allan Levine, Jack London, and Mira Sucharov. I would recommend any of them to readers of this paper – as I have in previous issues.
But, when I was contacted by another former Winnipegger by the name of Sandy Shefrin (whose married name is Rabin) some time back, when Sandy told me that she had written a book and was looking for a good publisher, I must admit that while I remembered Sandy’s name as someone who had grown up in Winnipeg around the same time as me, unlike the three aforementioned writers, I had no idea whether Sandy was a good writer or not.
If truth be told, when Sandy had also written in her email to me that what she wanted to publish was her first novel, as someone who has also received many first-time novels, my expectations were not all that great.
And so, when Sandy contacted me again recently to say that she had published her novel – and had followed up my advice to contact Friesen’s Publishers – a company which I knew had a reputation of being a quality publisher, I replied to her that I would get to her book once I finished reading some other books whose authors I had promised I would review.
I shouldn’t have waited.
From the moment I began reading the first chapter of “Prairie Sonata” I realized that Sandy was a writer of immense talent. Her descriptive language was breathtakingly beautiful – not overly laden with the kind of flowery prose that one might have anticipated reading when a first-time writer wants to show off how expansive his or her vocabulary is, but so evocative that I could picture her scenes as vividly as if I were right there with her characters.
And, what should “Prairie Sonata” turn out be about, but a story set in a fictitious Manitoba town called “Ambrosia”, beginning in 1948. Ambrosia actually is a thinly-veiled version of Winnipeg in so many respects (and if you read the following article, in which I ask Sandy why she didn’t just use the real Winnipeg as the location for her novel, you’ll read the answer to that question).
The book opens with the narrator, an 11-year-old girl by the name of Mira, wistfully recalling her childhood:
“And I would go back there if I could. Despite the freezing winters and piercing winds. If I could be in the same house and look out of the same windows at the long, arching tree branches laden with snow and watch the feathery snowflakes waft down from the sky like fairy dust. And if I could hear my mother in the kitchen, the rhythmic tapping of her wooden spoon against the sides of the bowl as she turned flour and shortening into a delicious cherry pie, so delicious it was almost like a miracle.”
As the story develops we learn that Mira has what we might consider an idyllic childhood, surrounded by loving parents – her father the town surgeon, her mother a thoroughly competent homemaker who always seems to find the right thing to say to Mira, and her little adoring brother Sammy, who is three years younger than Mira.
Into this tableaux of happy characters enters “Chaver B”, as he is known – a new teacher in the Peretz School (a name familiar to anyone who grew up in Winnipeg’s Jewish community). Chaver B, or Ari Bergman, which is his full name, is a survivor of the Holocaust and, as one might anticipate, he carries an extremely heavy burden within him.
As it also turns out, Chaver B is an accomplished violinist, but for some reason he does not play the violin himself any more. He is invited to the Adler home for Sabbath dinner and, while there, he discovers that Mira is also studying violin.
He offers to give Mira violin lessons when he is told that her former violin teacher has left Ambrosia. What develops though is not just a warm relationship between student and teacher, it is an opportunity for Mira to learn about life and for Chaver B to have someone to whom he can open up about what has happened to him.
There are many insertions of Yiddish phrases, often whole sentences throughout the book, and while the author does provide translations for many of them, some are undoubtedly included just to add a flavour to the time and place in which the story is set. While it would undoubtedly help to be able to understand Yiddish in order to appreciate the precise aptness of a certain expression, as someone whose knowledge of Yiddish is rather limited myself, by sounding out the words in my mind I was taken back to a time when my own grandparents spoke Yiddish between themselves. I would think that even someone who knows no Yiddish at all can get a sense of the cadence of that wonderful language in reading the Yiddish in this book.
While there have been more books written about the Holocaust than any other subject in history, “Prairie Sonata” is not really another Holocaust book. It forms a major component of the story but, as Mira grows from a bright and cheery 11-year-old to a mature 15-year-old, we get a full sense of what life was like in a bygone era, not too long after the end of the Second World War (which, by the way, precedes Sandy Shefrin’s own childhood by several years; this is not an autobiography, as Sandy explained to me.)
Each chapter of the book begins with a quote from something written by a host of well-known writers – and although they reveal the extraordinarily eclectic breadth of the author’s acquaintance with a vast number of literary works, trying to understand the significance of each quote is a bit of a puzzle. I’ll leave it to others who have far more refined literary tastes than my own to figure that out – and perhaps get back to me with an explanation.
One other wonderful element to the story is the explanation of musical terms that may be familiar enough, but whose actual origin is likely known only by music students themselves. In one vividly drawn chapter, Chaver B explains to Mira how a sonata is actually structured. In doing so, the author is also explaining to the reader why her book is structured the way that it is.
Music plays such a central role in “Prairie Sonata” that I often had to stop reading to go and listen to an actual piece of music that is referenced so that I might understand why that particular piece would elicit the type of reaction that it does from Mira when she first hears it played.
To reveal too much of the plot would be a disservice to readers. Suffice to say that, as Mira learns more from Chaver B about what happened to him during the war, she begins to understand the meaning of anti-Semitism. Having grown up in a rather sheltered environment in Ambrosia she is really quite innocent, even though she would have been a young girl during World War II. Discovering the unparalleled cruelties of what happened to Europe’s Jews through Chaver B’s story is something that will resonate with anyone of any age – not just someone close to Mira’s age.
While “Prairie Sonata” might be considered a work of juvenile fiction, and it is definitely recommended for young readers – perhaps even pre-teens if they would be interested in a coming of age story, I would say that this book – if word of its brilliance spreads, will find an audience especially among Winnipeggers and former Winnipeggers who remember a time when life was somewhat simpler – without all the technological distractions that nowadays seem to combine to rob young people of the pleasures that come with encountering the world without having to experience it through social media.
Our community has produced a number of talented female writers whose books are intended for a young audience, including Carol Matas, Eva Wiseman, and Harriet Zaidman. While we can now add Sandy Shefrin’s name to that list, I would suggest that “Prairie Sonata” can fit into so many different categories of fiction that it will appeal to readers of all ages. And, at a time when so many of us are looking for something that will help take us through what, for most of us, is the most difficult period in history, I could recommend nothing more absorbing than taking your mind off what we are going through than this book.
Prairie Sonata
By Sandy Shefrin Rubin
Friesen Press, published 2020
267 pages
Currently available on Amazon in either print or Kindle format
Sandy Shefrin on growing up in Winnipeg and how she came to write “Prairie Sonata”
By BERNIE BELLAN
When I was first contacted by Sandy Shefrin Rabin quite some time ago, I told her that I remembered the name Sandy Shefrin from long ago – when we both were teenagers. When she went on to tell me that she was a first-time novelist, well – I’ve heard from a fair number of writers over the years asking me whether I’d like to read their books, so I can’t say that I was in any rush to read her book.
At the time that she contacted me I didn’t ask Sandy for any information about her background. It was only after I heard from her again not too long ago to tell me that her book was actually published – and she wondered whether I would like to read it, that I became interested in finding out more about her. I asked her to send me some biographical information.
So, in addition to her book, which she sent me as a pdf, she also sent me a picture of the book jacket. The back of the book jacket contains the following biographical information:
“Sandy Shefrin Rabin grew up in Winnipeg, Manitoba, in a community much like Mira’s. She holds both a B.A. in English and an M.D. degree from the University of Manitoba. She completed an Internal Medicine residency at McGill University and her Neurology residency at the New York Hospital Cornell Medical Center in Manhattan. She currently practices Neurology in Marin County, near San Francisco.
“Sandy has written for the Marin Independent Journal and has been published in several medical journals. She lives in Mill Valley, California, with her husband and has three sons. Prairie Sonata is her first novel.”
In a subsequent email I asked Sandy to expand some upon her educational background and how she ended up where she is.
Here’s what she wrote back:
“I grew up in north end Winnipeg on Inkster Blvd. I am a graduate of I. L. Peretz Folk School and St. John’s High. I earned a B.A. in English from the University of Manitoba and my M.D. degree from the University of Manitoba.” (She later told me she left Winnipeg after graduating from medical school, when she was 25.)
A neurologist, I thought – with a very impressive CV. So, why did she decide to become a novelist I wondered –and, to be honest, since I knew that we are close in age (and I’m not exactly a spring chicken), why did she wait until now to turn out her very first novel?
So, I asked Sandy that question. Here’s what she wrote back:
“I wrote the book for a few different reasons. I had just written an article about my mother in remembrance of the fourth anniversary of her passing, and although I felt good about having remembered her that way, I was left with an uneasiness; after a couple of generations, who would remember her, and who would remember my father who died almost fifty years ago? They would become no more than people in photographs or videos. Who would remember their essence?
“So I decided to write a story set on the Manitoba prairies and use my parents as prototypes for the main characters. I created a fictional town, Ambrosia, since my mother was born and grew up in Winkler. In the end, neither my father nor my mother became any one character in particular, but you can see glimpses of them in several of the characters throughout the novel.
“I feel privileged to have had a wonderful childhood growing up in the north end of Winnipeg. Much of what I create in the novel is based on the Winnipeg Jewish community – especially Peretz School – fictionalized and transplanted to Ambrosia. Peretz School was a unique and wonderful place with caring teachers, and I wanted to capture that experience and hope that I have done so in a positive way.
“Another impetus for the novel was the state of the world at the time I began writing. I started writing in early 2016 when ISIS was at its peak, and we were able to witness their atrocities on television. I was shocked that the world had descended to this level of barbarism, and it made me wonder if civilization had advanced at all over the ages. While growing up, I remember thinking that the world was definitely going to become a better place over the years, but it certainly seemed to be falling very short of that goal. Little did I know at that time that the next four years were going to bring even more turmoil — and not just Covid-19 – but also division among people and worsening racism and anti-Semitism around the world. These last four years serve as a lesson in how quickly a society can change when presented with misinformation and lies, and how we all need to remain vigilant against bigotry and hatred, issues that my novel addresses. Mira, my main protagonist, struggles not only to cope with the random uncontrollable things that happen in her life but also to understand why one human being would willfully perpetrate evil on another. Out of these ideas grew Mira’s journey from innocence to experience.
“There are various themes in the book, both timely and timeless, and I think it would be a great addition to high school and college reading lists, and book clubs. I’ve included a Discussion and Study Guide at the end. I hope people enjoy reading it.”
Once I finished reading the book – and, if you read my adjoining review, you’ll see that I was simply floored at how good it was, I had so many more questions for Sandy. (By the way, as I write this, I’ve handed the book to my wife, who is also an avid reader. She herself said she was astonished at how good the book was when she had only finished the first few chapters.)
I asked Sandy whether she still had any relatives in Winnipeg?
She wrote back: “I still have relatives in Winnipeg from both sides, Shefrin and Danzker. My mom’s maiden name was Clara Danzker and she married my dad, Sam Shefrin. I have a sister, Myrna Shefrin, who now lives in Vancouver and a brother, Hersh Shefrin, who lives near me in Palo Alto. He won the distinguished alumnus award from the University of Manitoba in 2019. He’s an economist.” (We had an article by Myron Love in our May 29, 2019 issue about Hersh Shefrin’s receiving that award, by the way. You can find it on our website jewishpostandnews.ca if you enter the words “Hersh Shefrin” in our search engine.)
Although “Prairie Sonata” is labeled a work of fiction, there are so many passages that will remind quite a few of our readers of their own experiences, especially for anyone who had ever attended Peretz School, that I asked Sandy how much of the novel is based on her own experience?
She replied: “Good question. Prairie Sonata is a work of fiction; it’s not a memoir. Like many authors, my novel is informed by my own experiences, but it’s not autobiographical. I am not Mira. I never had a teacher like Chaver B nor did I ever have a relationship with a teacher even remotely similar to Mira’s and Chaver B’s relationship. “I was the youngest of three, not the oldest of two. My parents were not professionals. I studied piano for most of my youth, and learned a little violin in Junior High School, although one of my sons plays the violin. However, I did go to Peretz School, and I definitely wanted to capture the uniqueness and character of the school.
“Although I grew up in the 60s, the story takes place in the late 40s and early 50s, and the historical events that I describe took place during that time period, or some even earlier. Even some minor things were not part of the 60s. For example, there was no Yiddish theatre in Winnipeg in the 60s, as far as I know. The Friday night get-togethers at Peretz School were long gone by then. So I hope that anyone who attended Peretz School “would identify with the book.”
Something that I kept wondering as I made my way through the book was: Why did Sandy create a fictitious town – Ambrosia, when so much of what happens would be so familiar to anyone who grew up in Winnipeg’s Jewish community?
Her answer was that “I debated that for a long time, and you may be right, perhaps I should have, but ultimately I came to the decision to not set the story in Winnipeg for a few different reasons. I initially thought I would model the protagonist after my mother, who grew up in Winkler, although in the end Mira turned out to be her own character. I was interested in a setting closer to nature, and believed I could best accomplish that in a rural setting. I didn’t want a “city” book; I wanted a “country book,” a book about all that the fields and sky and the landscape evokes. Natural imagery is a big part of the novel, both mirroring and contrasting with what the characters are experiencing, and the landscape almost becomes a character in of itself.
“Someone suggested that I use a real place, such as Altona or Winkler, but I didn’t want to do that either, because I really knew very little about them and didn’t believe that I could accurately portray them in that time period, and would likely receive criticism for my inaccuracies. As I said, the book is not autobiographical, and I thought that if it were set outside of Winnipeg, people would be less likely to view it as a memoir.
“The novel is about Mira’s journey from innocence to experience. Ambrosia is defined as “the sweet nectar of the gods.” I thought that was the perfect name for a place that embodies the sweetness of innocence, in particular Mira’s innocence.
“Overall, I believed that a fictitious town would make the story more universal. So, I don’t consider the town of Ambrosia to be a façade, and I hope others don’t either. I wanted to create a work of fiction, and I thought that was the best way to accomplish that goal.”
Finally, I asked Sandy about her married name. How did she end up marrying someone with the name “Rabin” I wondered- and, was this really her first novel? (which I found so hard to believe because it’s so beautifully polished from beginning to end).
Sandy responded: “Rabin is really my married name. Funny you asked about a nom de plume, because my husband often said I should take one. I was never sure if he was serious. As far as I know, it was just shortened from Rabinowitz, but we haven’t talked about it in a while, so I’ll ask him again tomorrow.
“This is my first novel. I think my last short story was in grade six about the Mystery of Cornelia Hilltop — the mystery being that she had a twin, and then I wrote a short story that I sent into Chatelaine when I was about 14 that was rejected. I don’t even remember what that was about. I wrote a poem when Bobbie Kennedy died and sent it to the family, to which they graciously replied, but no novels.
“I know I’ve said already many times that this is not an autobiography, but I did have to get into my 11 and 12 year old head to write the book, and once I did, it just seemed to take off. I often wonder if I could write the same book again, or any other for that matter. I hope I can and will, but once I got going, it just seemed to flow. It was a lot of fun to write.”
Features
“The Desert Doesn’t Forget” – a short story
By H. C. Piloski
Foreword
This story is loosely based on a true event shared between father and son. The exact year has blurred with time — somewhere in the early to mid1960s — but the Las Vegas my father described was unmistakably the Las Vegas of that era: hot, bright, and dangerous in ways polite men didn’t discuss.
Many years after the incident, my father introduced me to one of the businessmen involved. As we approached him, my father leaned in and whispered that I was not to mention Las Vegas — not to ask, not to hint, not even to let the word cross my mind. The warning was quiet, but firm, and it told me more than any story could.
The details here have been fictionalized, but the core incident — a trip abruptly cut short after a threatening encounter — comes from those private recollections. Some memories fade, others distort, but certain moments remain sharp as desert glass. This is one of them.
Las Vegas, 1965
The desert air hit Harold Bernstein like a blast furnace the moment he stepped off the plane — not just heat, but a smell, too. A dry, mineral sting carrying dust, sun cooked metal, and the faint tang of jet fuel settling over the tarmac.
Winnipeg men weren’t built for this. They were built for honest cold, for wind that cut straight and didn’t pretend to be anything else.
Harold paused at the top of the stairs, blinking against the glare. Miriam had tucked a small prayer book into his suitcase “just in case.” He almost smiled. There was no “case” for this — not the kind Miriam meant, anyway.
He and his business partner, Leonard “Lenny” Krawitz, ran Bernstein & Krawitz Apparel Distributors — a respectable prairie outfit, steady as a metronome. They’d been raised in the North End — synagogue basements, rye bread, and quiet rules — but now lived in Tuxedo, where the houses were larger, the streets quieter, and success felt like something you had to defend.
Harold had known Solly Markowitz since they were boys in the North End — same streets, same synagogue basement — but Solly had always moved faster, talked faster, lived faster. Too fast.
Rumors drifted back over the years like smoke: Vegas. Casinos. “Connections.” And the darkest whisper of all — that Solly had been with Benjamin “Bugsy” Siegel the night Siegel was shot to death in his Los Angeles home in 1947.
Siegel, one of the architects of modern Las Vegas, had built his empire on danger. Siegel’s murder was never officially solved. Men tied to Siegel didn’t retire. They drifted into darker corners.
You don’t play around with the mob.
Still, Solly called every few years. Usually around the High Holidays. Usually to ask if anyone remembered his parents.
This time, he had a business proposition.
“A warehouse,” Solly said. “Distribution. Vegas is booming. You boys could expand. And listen — you’ll be dealing with our people. Markowitz runs things on this end. Good man. Efficient. You’ll be safe.”
Harold didn’t trust men who promised safety.
But Lenny was curious. And Harold had been partners with him long enough to know that curiosity was a tide you didn’t fight. So they booked two tickets, packed their best suits, and flew into the desert.
The Strip
The taxi was a 1965 Dodge Coronet, the kind every Vegas cab company seemed to buy in bulk — boxy, dependable, sun bleached around the edges. Its vinyl seats were hot enough to sting through Harold’s trousers, carrying the ingrained smell of desert dust, gasoline, and a hundred previous fares who’d sweated their way down the Strip.
The driver wore a shortsleeved white shirt and a narrow black tie, loosened past respectability. A pack of Luckies sat tucked above the visor. He didn’t talk. Vegas drivers rarely did. They’d seen too much, and they knew silence was sometimes the safest tip a man could give.
Neon signs flickered to life in the early evening glare — reds, blues, golds shimmering like they were trying to outshine the sun itself. Billboards shouted from every corner:
FRANK SINATRA — LIVE AT THE SANDS; SAMMY DAVIS JR. — TONIGHT ONLY; DEAN MARTIN — MIDNIGHT SHOW; DON RICKLES — ONE NIGHT ONLY — CAESAR’S PALACE
Harold watched the lights smear past the window. Vegas looked like a city built by men who didn’t believe in consequences — men who thought the world could be rewritten in neon and smoke.
At a stoplight, Harold noticed a man in a dark suit standing outside the Desert Inn. Ninety degrees even after sundown, yet the man didn’t sweat. He stared at their cab with the flat, patient look of someone waiting for a decision already made.
Harold looked away.
Their hotel was one of the older ones — brass fixtures dulled by fingerprints, red carpets worn thin, cigarette smoke curling under chandeliers. The casino floor hummed with slot machines, dice clattering, and the low murmur of gamblers who had already lost more than they could afford.
Harold felt the city watching him.
They checked in, rode the elevator up, and began unpacking. Lenny talked about expansion, about opportunity. Harold listened, nerves tight.
Then came the knock.
The Knock
A heavy, deliberate thud — the kind that didn’t wait for permission.
Lenny froze. Harold felt his pulse climb into his throat.
Lenny opened the door.
Two men stood there — tall, broad, wearing dark suits that didn’t belong in the Nevada heat. Their faces were blank, carved from something that didn’t melt. One shifted slightly, revealing the unmistakable outline of a holstered pistol.
“You’re Bernstein and Krawitz,” the first man said. His voice was calm, almost bored — the tone of someone who had delivered this message before.
Harold nodded before he realized he’d done it.
“Mr. Markowitz appreciates your interest,” the second man said. “But he doesn’t want you involved. Not now. Not ever.”
Lenny swallowed. “We just got here—”
The first man stepped forward, jacket pulling back just enough to show steel. “If you stay,” he said, “the desert will take you. And the desert doesn’t give anything back.”
They turned and walked away without waiting for a response.
Lenny closed the door slowly.
“Harold,” he whispered, “we’re leaving.”
Harold was already zipping his suitcase.
The Retreat
They moved through the casino like ghosts. The noise felt distant, muffled, as if the city itself were holding its breath. Harold avoided eye contact with everyone — dealers, tourists, men in suits who always seemed to be standing just far enough away to pretend they weren’t watching.
At the front desk, Harold slid their room keys across the counter. The clerk raised an eyebrow.
“Checking out already, sir? You just arrived.”
“Change of plans,” Harold said. His voice sounded like it belonged to someone else.
Outside, a row of gleaming Cadillacs and Lincolns lined the valet area, their long bodies catching the neon glow like blades. The desert air smelled different now — harsher, metallic, as if the heat itself were warning them. The Strip looked less like a playground, more like a trap.
At the Western Airlines counter, Harold’s hands shook so badly he dropped his wallet. They managed to get seats on a late flight to Los Angeles, with a connection north to Winnipeg. Luck, or something like it, was still on their side.
On the jet, Lenny stared straight ahead, silent. Harold didn’t speak either.
When the aircraft began its run, the engines didn’t just roar — they howled, a rising metallic fury that made the cabin tremble. Harold gripped the armrests as the desert dropped away beneath them, Las Vegas shrinking into a glittering lie the desert never bothers to hide.
Only when they were safely above the clouds did Lenny finally whisper, “What do you think that was about?”
Harold didn’t answer. He didn’t have to.
They both knew.
Home Again
Back in Winnipeg, winter arrived early. Harold welcomed it. Snow didn’t lie. Cold didn’t threaten. The prairie wind didn’t bury men in unmarked graves.
Their wives were waiting at the airport, bundled in coats, cheeks pink from the cold.
“You’re home early,” Miriam said, frowning.
“Business fell through,” Harold said. “Whole thing was a waste.”
Esther looked from her husband to Harold, suspicious. “Barely two days?”
“Solly wasn’t organized,” Lenny said quickly. “Nothing to see.”
Miriam touched Harold’s arm. “You look pale.”
“Heat,” Harold said. “Didn’t agree with me.”
It was the closest he had ever come to lying to her.
That night, Miriam asked again. “Something happened.”
Harold kissed her forehead. “Nothing we need to talk about.”
She didn’t press. Tuxedo wives knew when a door was meant to stay closed.
A week later, Solly called.
“Boys! You never showed! Markowitz said you headed home early. Shame — I had everything lined up. Next time, we’ll make sure things are clearer.”
Harold hung up without answering.
Lenny unplugged the phone.
They never spoke of the trip again.
Not to their wives. Not to their families. Not to the men at shul or the ones they played cards with on Thursday nights.
Some stories were too heavy to carry into daylight.
Years Later
Decades passed. Their children grew. Their hair thinned. Their business went to younger hands.
Sometimes, late at night, Harold would wake in the middle of the dark, heart pounding, hearing that knock again — heavy, deliberate, final.
And he would think of Solly. Of Vegas. Of the desert.
How it didn’t forget. How it didn’t forgive. How close he and Lenny had come to disappearing into it.
Features
Turkey’s Rising Power Worries Israel
By HENRY SREBRNIK It has long shared intelligence with Iran, and it remains the only NATO country to have refrained from sanctioning Russia after its 2022 invasion of Ukraine. It is, along with Qatar, the main international sponsor of the Muslim Brotherhood, including its Palestinian branch, Hamas. Its poor human rights record consistently stir unease among NATO allies.
This is President Recep Tayyip Erdogan’s Turkey. He wants his country to become the preeminent power in the Middle East. If Iran emerges from the current war with Israel and the United States weakened, whether politically, economically, or militarily, Turkey’s relative influence in the broader region will increase. Ankara has already consolidated significant influence in Syria and Azerbaijan, and it continues to pursue strategic connectivity projects across the South Caucasus.
Since Erdogan and his Justice and Development Party (AKP) came to power in 2003, relations have steadily deteriorated. The Hamas victory in a legislative election in Gaza in 2005 felt in Ankara like a personal win for Erdogan, who had advised Hamas on its electoral strategy.
Three years later came the Mavi Marmara incident. A Turkish ship chartered by the Humanitarian Relief Foundation (IHH) attempted to break Egypt and Israel’s blockade of Gaza. The vessel was boarded by Israeli commandos, resulting in nine deaths. Erdogan accused Israel of “state terrorism” and appealed to the “international community” in a speech to the Turkish parliament. Things kept going downhill and are now worse than ever.
Turkish Foreign Minister Hakan Fidan recently remarked that “the Israeli authorities are a burden that humanity can no longer bear.” Fidan’s words came in a TV interview July 2 following Israel’s recognition of the 1915 Armenian genocide: “Israel is not just Turkey’s problem, nor is it just the issue of our president, he said. “But everyone knows it, feels it, whispers it in hidden corners, and occasionally speaks openly. This is what we must call it.” True, he stepped back from those remarks in a later interview, contending that Turkey and Israel aren’t destined for conflict. Was this second comment perhaps made at Donald Trump’s urging?
After Hamas’s October 7, 2023, attack on Israel, Erdogan emerged as one of Israel’s most outspoken international critics, accusing Prime Minister Benjamin Netanyahu’s government of committing grave violations during the Gaza conflict and intensifying Ankara’s diplomatic support for the Palestinian cause. Israeli officials have interpreted this rhetoric as evidence that Turkey increasingly views itself as a political counterweight to Israel across the region.
Already in December 2023, Erdogan had compared Netanyahu to Adolf Hitler, and Israel’s actions in the Gaza Strip to those of the Nazis. In March 2024, he referred to Netanyahu and his government as “modern-day Nazis” and called for bringing these “murderers” to justice under international law.
He subsequently accused Netanyahu of committing “genocide” in Gaza, claimed that his actions “would make Hitler jealous,” and even described the situation in Gaza as “worse than Nazi camps,” while portraying the West as standing aside and enabling the continuation of the “brutality.” In a speech posted on X on March 30 this year, Erdogan called on “Allah” to “damn Zionist Israel.”
The narrative accusing Israel has become a structural component of Turkey’s domestic political discourse. What is new is not the use of extreme imagery and Holocaust terminology, but the role they play. Unlike in the past, the rhetoric is no longer merely an expression of political anger or protest; it has become a component of Turkish policy, intended to lay a normative foundation through which Ankara seeks to deny Israel the moral legitimacy of its actions.
Turkey portrays Israel not as a state confronting a grave security threat from a murderous terrorist organization but as an entity that has crossed the bounds of humanity, committing crimes it equates with those perpetrated by the Nazis. This framing intentionally downplays the severity of Hamas’s actions and prepares the ground for collective action against Israel, including exceptional punitive measures against it. At the same time, it depicts any Western hesitation or lack of restraint regarding Israel as a moral abandonment of Gaza’s residents, expanding responsibility and blame to the international community beyond Israel itself.
On November 7, 2025, the Istanbul Chief Public Prosecutor’s Office announced the issuance of arrest warrants against 37 Israeli figures, including Netanyahu and other senior officials, on charges of genocide and crimes against humanity. Although these domestic warrants lack practical enforcement, their significance lies in the ongoing legal threat they create. They limit the movement of senior Israeli officials, discourage other countries and institutions from engaging with Israel, and enhance the criminal framing of Israel in the international arena.
Its identity as a Muslim state and a NATO member, but critical of the liberal-Western order, has allowed Turkey to position itself as a leading moral voice, strengthening its regional and international standing. In addition to the importance the Turkish government attributes to the Palestinian issue and the broad support for the Palestinian position among the Turkish public in general, and Erdogan’s electoral base in particular, this issue serves as a platform for positioning Turkey as a voice challenging the West and speaking on behalf of “the oppressed in the world.”
Erdogan’s tenure has seen a systematic shift toward Islamization within Turkey. His government has expanded religious education, restricted alcohol sales, and promoted conservative social policies. These measures, coupled with the suppression of secular institutions, align with his stated goal of raising a “pious generation.”
Erdogan, from his comments, seems to consider himself the rightful leader of the entire Muslim world. In the interim, he evidently sees himself as the Middle East’s next great power broker, claiming leadership while chaos reigns.
Already entrenched in Syria, steadily expanding an indigenous defence industry capable of producing sophisticated drones, naval vessels, and eventually advanced fighter aircraft, while seeking a foothold in Gaza, Ankara increasingly appears intent on filling the regional vacuum Iran leaves behind. Tehran sought to surround Israel with a Shi’ite ring of fire. Ankara appears willing to create a Sunni one.
Henry Srebrnik is a professor emeritus at the University of Prince Edward Island
Features
Can Deni Avdija lead Portland to the title next year?
It is too early to say if Deni Avdija is ready to lead the Portland Trail Blazers to the NBA Finals in 2027, but it’s not too much to hope for. But the trade to Washington in 2024 is arguably a signature move for Portland. All those who followed him on basketball results on SportyTrader have seen him grow from an all-purpose prospect into an All-Star creator and a testament to the Blazers’ rebuild.
It is not Avdija’s question as to whether he can be a one-man savior. Whether his scoring and playmaking, defense and competitive edge can support a roster that’s become ambitious.
The catalyst: Avdija’s arrival and Portland’s new hope
Deni Avdija was traded to Portland on July 6, 2024, with Washington receiving veteran guard Malcolm Brogdon, the draft rights to No. 14 pick Bub Carrington, a 2029 first-round pick, a 2028 second-round pick, and a 2030 second-round pick in return. The cost seemed to be very high, but the deal with Deni Avdija is becoming more and more justified.
In the 2025-26 campaign, Avdija averaged 24.2 points, 6.9 rebounds and 6.7 assists in 66 games played, and had a shooting percentage of 46.2 percent on the field and 80.2 percent at the free throw line. He has made his first All-Star call-up, his first call-up as an Israeli player. That was a turning point in his career and catapulted him into one of the most prominent Israeli athletes.
One thing that is still being questioned is his perimeter efficiency. He was 36.5 percent on 3-pointers in 2024-25, falling to 31.8 percent with an average of six attempted three-pointers per game. However, his versatility to attack closeouts, get to the ball, rebound, play several positions defensively, and start transition offense means that he is valuable.
What does ‘leading a team’ truly mean for Avdija?
Avdija is not quite in the Nikola Jokic or Giannis Antetokounmpo class; he doesn’t dominate each possession defensively, nor is he a Giannis Antetokounmpo who sets a championship system in motion. He’s becoming a more realistic high-level foundational leader, a part scorer, a part connector and a part tone-setter.
Standards are as necessary as statistics are in Portland. Avdija is aggressive with the ball, physically in it and plays with his heart. Those habits can become the culture on a young team that will ultimately foster contention.
He could still keep on climbing his ladder. The leap from 16.9 and 3.9 assists in 2024-25 to 24.2 and 6.7 indicates that the new found creation is more than just additional minutes. Whether he will grow into an All-Star every year comes down to avoiding turnovers, being able to break from defenders with pull-up shots and providing reliability in the playoffs.
Analyzing his fit with the current Blazers roster
Earlier discussions about what Portland is to look for at Deandre Ayton and Anfernee Simons are now outdated. Then, the 2026-27 bunch now contains Ja Morant, Damian Lillard, Jrue Holiday, Scoot Henderson, Shaedon Sharpe, and Toumani Camara, and Donovan Clingan should be added as well.
That’s opportunity and tension. The combination of Morant’s rim pressure will be a gamebreaker, and if Lillard is able to come back from the Achilles, he can pose defenses a threat with his shooting. Avdija can be used as a backup secondary initiator, attack mismatches and cover a tough defensive task. Camara and Clingan provide volume and bulk following him.
But, ball placement will be key. Morant, Lillard, Henderson and Avdija are all in need of touches. New coach Micah Nori will have to find a way to build an offense that takes advantage of Avdija’s abilities without it becoming a ‘spot-up’ forward.
The reality check: Portland’s long road to contention
There are no signs of a championship next season. Portland reached the playoffs for the first time since 2021, but were eliminated by the San Antonio Spurs in the first round of the Western Conference playoffs, with Victor Wembanyama’s return from a concussion in Game 4 proving decisive in San Antonio’s series win. That’s good, but not good enough to prove that they are champions.
Blazers still have work to do in the scoring, line-up balance, and postseason experience departments, plus clarity on who they’re going to rely on to be their starting closer. Morant is packed with star quality, and some risk. Lillard is 36 and coming back from a major injury. In the younger core, the prospects are good but not certain.
The rebuilds that generally work the way they’re supposed to go, go through a number of phases: asset building, playoff success, series success, then placing a claim on the title. Although Portland is past the beginning stages, one successful season isn’t going to close the gap between the team and the NBA elite.
The verdict: Can Avdija be a champion in Portland?
Avdija likely will not be the man for Portland to win the title next year. But he can also be the invaluable asset to a future contender. With his shot accuracy back at three-point, the turnovers will come down, his decision-making in the playoffs improves, another All-Star season is possible.
He’s a Portland Trail Blazers development litmus test now. Maybe not the only superstar that brings a trophy, but he can be the multi-faceted cornerstone that makes a real title structure possible.
