Local News
Méira Cook’s latest novel is arguably her most “Jewish” one yet
Review by BERNIE BELLAN I’ve been following the career of poet and novelist Méira Cook ever since her name was first mentioned in this paper in an article written by my niece, Suzy Waldman, in 1995. At that time Méira (who is named for her late grandfather, Meir) noted that she had been sticking with poetry to that point, but was now considering switching to prose.
Well, what a transition it’s been. With the release of her first novel, “The House on Sugarbush Road,” in 2012, Méira has climbed near the top of the list of Manitoba’s most successful novelists. (That book won the McNally Robinson Prize for Book of the Year, by the way.)
In my review of “Sugarbush,” I noted that I was astonished by Méira’s facility with language, and I referenced her own description of having grown up in South Africa, having been exposed to the “snap and crackle of language”, whether it was spoken by whites or blacks.
That ear for language carried forward into Méira’s next novel, “Nightwatching,” which was released in 2015, and which was also set in South Africa. That book won the Margaret Laurence Award for Fiction.
Then, in 2017, Méira released her first novel set in her newly adopted home of Winnipeg, “Once More With Feeling.” I noted in my review of that book though that, if you haven’t read either of Méira’s prior novels, be forewarned:
“None of them unfold in a methodical, easy-to-understand pattern. As a matter of fact, the various chapters in ‘Once More With Feeling’ are largely disconnected. Characters are introduced, only to disappear for long stretches, sometimes appearing later in the book, at other times simply vanishing.”
Now though, Méira has, at long last, written a novel titled “The Full Catastrophe,” that might perhaps be the most accessible of all her novels to readers, in that it follows a more linear path in which characters remain throughout the novel without disappearing for long stretches. Like her three previous novels, however, “The Full Catastrophe” builds to a crescendo – and in this case, it revolves around a bar mitzvah.
Having said that, it must be apparent that this novel is the most clearly “Jewish” of any of Méira’s now four novels. The principal character, Charlie Minkoff, is a 13-year-old boy, who is born with “intersex” traits. Although Charlie clearly identifies as a boy, he is hampered by the ambiguity that his chromosomes have rendered.
Charlie though has a loving relationship with his zaida Oscar, who adores the boy and offers him the kind of emotional support that he so desperately needs.
Charlie’s mother, Jules Minkoff, on the other hand, is so completely involved in her own artistic pursuits that she leaves Charlie to fend for himself in the tenement building in which they live. (Jules, by the way, has lost the ability to speak – and she communicates with Charlie largely by leaving messages for him on a whiteboard.)
There are other characters who offer support to Charlie throughout the novel, particularly Weeza, a rough hewn female truck driver who strives to protect Charlie in the absence of Jules.
As I’ve already noted, Méira Cook is a master of fashioning dialogue. In “The Full Catastrophe” she demonstrates her facility with Yiddish idioms, as expressed by Oscar Minkoff. (Years ago Méira told me that she grew up in a household in South Africa where her grandparents spoke Yiddish. As a matter of fact, Méira speaks several languages, including Afrikaans and a few different black South African dialects. She was also a reporter early on, so being able to craft authentic sounding dialogue is something she honed while she was still quite young.)
Like her other novels, “The Full Catastrophe” is rich in description. Here’s a sample of how the author describes an ice warming hut on a Winnipeg river that Jules Minkoff has designed: “The ice was different from any he’d seen before. He’d been expecting kitchen cubes, the kind that turned opaque when wrenched from their trays. This ice was clear, so transparent he could make out fragile etchings of river scum in its depths – here a haze of silt, there a suspension of foam. The closer he looked the more he could see: a scrim of fish bones, a trail of bubbles, the current folding in on itself.”
In the ten years since Méira released “The House on Sugarbush Road” to today, it seems that she has also developed a keener sense of humour within her writing. Her first two novels, set as they were in South Africa, had as a backdrop the tensions between blacks and whites which pervade that country, and there was always a threat of impending violence within both those books.
“Once More With Feeling” took a decidedly less solemn path and it had several chapters within it that were predominantly humourous, although the book as a whole was quite serious.
In “The Full Catastrophe” Méira often injects entire scenes of dialogue that I told her in an email reminded me of Mordecai Richler in their tone. A good part of the book consists of emails sent back and forth between different characters, including a well-meaning teacher of Charlie’s by the name of Maude Kambaja, who wants Charlie to write an autobiographical essay for class, but who is dissatisfied with how Charlie avoids revealing much about himself.
Ms. Kambaja emails Jules Minkoff regularly to attempt to persuade Jules to exert her influence over Charlie to open up, but Jules consistently retorts in a most amusing and sarcastic manner.
Other characters in the novel, including two of Charlie and Jules’ neighbours in their building, which is known as the “GNC Building” (and from which all the remaining tenants will soon be forced to move as it’s about to be redeveloped), also carry on a hilarious exchange of notes for which Charlie serves as the messenger because they have such a strong dislike for one another.
Yet, through it all – including a crush that Charlie develops on a girl who herself is deeply scarred emotionally, the relationship between Charlie and his zaida is the overriding unifying theme of “The Full Catastrophe.”
Oscar Minkoff is himself a Holocaust survivor and after what he’s endured, he has nothing but compassion for his deeply troubled grandson (whose father abandoned him and his mother shortly after Charlie’s birth to join a Hasidic sect in New York).
Oscar decides that he wants to have a bar mitzvah – something he was never able to have in war-torn Europe, and he wants Charlie to participate with him in the event as well. As part of their preparation, Oscar and Charlie meet with a rabbi, during which they often engage in discussion of Talmudic passages.
(I was deeply impressed by the amount of research Méira put into developing those scenes. See adjoining sidebar for a more detailed examination of her writing process.)
No doubt, based on the past success of Méira’s other novels, “The Full Catastrophe” is going to enjoy a similar reception among her many fans. But, considering the more overtly Jewish storyline of this book, I would rather expect it to do particularly well with a Jewish audience. And, considering that Méira has been quite consistent in producing a new novel every three years for the past 10 years, I can hardly wait for her next one – which should be out in 2025, according to schedule.
“The Full Catastrophe”
Published by House of Anansi Press
376 pages
“The Full Catastrophe” will be publicly launched at McNally Robinson Booksellers on June 16 at 7:30 pm, when Méira Cook will be joined by Alison Gillmor in what Méira describes as “an evening of brilliant repartee, reading, and the joy of seeing each other once again!”
Méira Cook talks about her writing process
By BERNIE BELLAN Once I had finished reading Méira Cook’s latest novel, “The Full Catastrophe” I sent her a series of questions about this particular novel and about her writing process in general.
JP&N: Where did the idea for this particular novel come from? Was it something you had been mulling about for some time? I’m curious how someone with such a fabulous imagination comes up with their ideas?
Méira: My novel is a cross-over story for adults and teenagers about the different ways that masculinity is expressed in our contemporary world — whether religiously, socially, medically and familiarly — as well as the troubling ways that history intersects (collides might be a better word) with the present time. And I wanted to write about the relationship between two unlikely best friends, Oscar and Charlie, grandfather and grandson who, despite their differences in age and experience, love each other dearly.
JP&N: Was Charlie’s zaida based on one of your own grandparents in any way?
Méira: Charlie’s zeide is a product of imagination just as all my characters are. For me the imagination is a more hospitable narrative place than memory is because it owes no debt of accuracy to the dead. What has really delighted me is that some advance readers, including the journalists interviewing me, have shared very positive memories of their own grandparents that were sparked by reading Oscar. That ability for my imagination to connect with others’ memories is always tremendously rewarding.
JP&N: How much research did you have to do about intersex children? It was quite fascinating learning as much as I did from your book.
Méira: I did a great deal of research on intersexuality although I used relatively little of it as I didn’t want to bog down the story with too much exposition. My reading included scholarly texts, history, and memoir. It’s such an important and nuanced subject, and my research taught me so much about the history of intolerance and abuse relating to reassignment surgery, medical interventions, and the sometimes violent societal imposition of gender roles. This reading informed my writing in a fundamental way, but readers won’t come across it directly. My main concern in writing Charlie’s character is that he not be defined by his sexual characteristics. This, in my opinion, would repeat the violent impositions that I was reading about. Charlie’s got so many other interests, concerns, and qualities that have nothing to do with his sex chromosomes.
JP&N: If I have one quibble with the book, it’s that you have Charlie’s zaida constantly calling him “dahlink.” Don’t you think a term like that would only add to Charlie’s insecurity as a boy?
I would have preferred “boychik” as a term of endearment.
Méira: Luckily (and sometimes unluckily) we are not in charge of the terms of endearment offered us! They are what others call us. Oscar is so naturally loving, so open hearted despite his tragic experience in the Holocaust that he is the perfect friend, confidant, and grandparent for Charlie. His words to Charlie are always so filled with love that they could never make the boy feel insecure about anything. We should all be so lucky as to have a zeide like Oscar!
JP&N: I note that in past articles in our paper (beginning with a piece written long ago by my niece, Suzy Waldman), that you’ve stuck to a fairly consistent schedule when it comes to turning out something new: approximately every three years. Do you take a break between writing or do you go at it again immediately after finishing your last project?
Méira: I know many writers take breaks from writing after a large project, and I envy them. I love writing, and I wouldn’t feel healthy or grounded if I didn’t put in my time every day. I don’t work to a schedule until my publisher sets one, but I find the act of writing so necessary that I get out of sorts if I spend time away from my office.
JP&N: It goes without saying that this book is going to receive wide acclaim here in Manitoba. By the way, there were parts of the book that reminded me of Mordecai Richler when you have the email exchanges between various characters (or written notes, as the case may be). Your ability to capture someone through how they send an email, especially Ms. Kambaja, is just so real. You have such a great ear for dialogue. Does that still come from your reporting background?
Méira: Thank you for your kind words, Bernie. I’ve always loved Mordecai Richler, so the comparison is very flattering. I think my sense of dialogue comes from listening to people talk and reading good books. You need to be realistic with dialogue, but not too realistic, as real-life conversations aren’t usually interesting to outsiders. You need to write dialogue that sounds realistic but reads like fiction.
Local News
2026 Winnipeg Limmud to offer a smorgasbord of diverse speakers
By MYRON LOVE There are many facets to the study of Judaism and the Jewish people. The focus may be religious or cultural, historical or Israel-oriented – and Winnipeg’s annual Limmud Festival for Jewish Learning has always striven to cover as many angles as possible.
This year’s Limmud program (now in its 16th year) – scheduled for Sunday, March 15 – is following in that path with a diverse group of presenters.
Limmud’s current co-ordinator, Raya Margulets, reports that all of our community’s rabbis – including Rabbi Yossi Benarroch (who lives most of the year in Israel) – will be among the presenters. Topics to be covered by local experts encompass midrash, Jewish identity, antisemitism, conversion, biblical archaeology, textiles, parenting, art, and more.
But it wouldn’t be Limmud without interesting input from out of town personalities.
Perhaps the most prominent of the guest speakers who are confirmed is Yaron Deckel, an Israeli journalist and broadcaster who is currently the Jewish Agency’s Regional Director for Canada. According to a biography provided by Margulets, Deckel is a highly respected Israeli journalist widely known for his insight into Israeli politics, media, and society. Between 2002 and 2007, Yaron served as Washington Bureau Chief for Israeli Public Television. In that role, he covered U.S.–Israel relations and American politics, also interviewed three U.S. presidents: George W. Bush, Bill Clinton, and Jimmy Carter. As well, Deckel produced two acclaimed documentaries: “The Israelis” (about the lives of Israelis in North America), and “Jewish Identity in North America.”
From 2012 to 2017, he served as Editor-in-Chief and CEO of Galei Tzahal (IDF Radio), Israel’s leading national public radio station. He also hosted a prime-time weekly political show.
As a senior political correspondent and commentator for Israeli TV and radio, Yaron has covered the past 14 Israeli election campaigns and maintained close relationships with top political and military leaders in Israel. He conducted the last interview with Prime Minister Yitzhak Rabin—just 10 minutes before his assassination.
Decker is slated to do two presentations. In the morning, he will be speaking about the crossroads that Israel finds in the Middle East currently and what the challenges and possibilities may be.
In the afternoon, his subject will be “Israel after October 7 and the Iran War “ and what may lie ahead.
Also coming in from Toronto are Atarah Derrick, Achiya Klein, and Yahav Barnea.
Barnea is an Israeli-Canadian educator and community builder based in Toronto, with over a decade of experience working in Jewish and Israeli education, engagement, and community development.
Originally from Kibbutz Shomrat in Israel’s Western Galilee, Barnea’s outlook on life has been shaped by kibbutz values and her involvement in the Hashomer Hatza’ir youth movement.
She currently serves as the North America Regional Program Manager for the World Zionist Organization’s Department of Irgoon and Israelis Abroad, where she leads initiatives that strengthen connection, leadership, and communal life among Israelis living outside of Israel..
Barnea holds a Master of Education in Adult Education and Community Development, with a focus on intentional communities, as well as a Bachelor of Education specializing in Democratic Education, meaningful, values-based communities.
Her presentation will be titeld “A Kibbutz in the City – Intentional Communities and Immigration.”
Atarah Derrick is the executive director of the Israel Guide Dog Center for the Blind, an organization that is dedicated to improving the quality of life of visually impaired Israelis. The charity, the only internationally accredited guide dog program in Israel, was founded in 1991, and today serves Israel’s 24,000 blind and visually impaired citizens.
Achiya Klein is one of the guide dog centre’s beneficiaries. The Israeli veteran was an officer in the IDF combat engineering corps’ elite ‘Yahalom’ unit. In 2013, while on a sensitive mission to disable a tunnel in Gaza, an improvised explosive device was detonated, severely injuring Achiya and robbing him of his vision.
He has been a guide dog client since 2015.
Klein has not allowed his disability to limit his abilities. He competed for the Israeli national team at the Paralympic rowing championship in the Tokyo 2021 Olympics.
He also earned a Masters Degree in the Lauder School of Government, Diplomacy and Strategy in Counter Terrorism and Homeland Security,at IDC Herzliya.
Klein is married and a father to two boys.
Coming back for a second successive year is Dan Ronis from Saskatoon. A plant breeder and geneticist, Ronis has taken a quite different approach to studying Torah. He has sought out the help of a medium to discern the back stories of Biblical figures.
For readers who may be unsure of who or what a medium is, think Theresa Caputo of television fame. Mediums claim to be able to converse with those who have passed on through a spirit guide. While many may be skeptical, there are also many believers.
Last year Ronis focused on women who played a prominent role in the Torah. This year, he will be discussing the “untold story” of Adam and Eve.
Readers who may be interested in attending Limmud 2026 can go online at limmudwinnipeg.org to register.
Local News
Second annual “Taste of Limmud” a rousing success
By MYRON LOVE “A Taste of Limmud” returned for a second go-round on Thursday, February 19, and I have to commend both Raya Margulets, Winnipeg Limmud’s co-ordinator, as well as the Shaarey Zedek Synagogue’s catering department, for an outstanding culinary experience delivered with flawless efficiency.
“Tonight’s Taste of Limmud showcases our diversity as a community and our unity as we come together to break bread,” observed Rena Secter Elbaze, Shaarey Zedek’s executive director, just prior to leading the guests in hamotzi.
The evening featured a sampling of Jewish staple dishes representing Jewish life in six different regions where Jews had settled over the centuries. The choice of dishes also reflected how diversified our Jewish community has become over the past 25 years.
In her opening remarks, Margulets welcomed her 130 guests. “After last year’s success,” she said many of you asked us to bring it back, and we’re delighted to do so, so welcome again. Today’s celebration is all about sharing stories, connections, and flavours, and it is brought to you in partnership with Congregation Shaarey Zedek and with the support of the Jewish Foundation of Manitoba.
“We would like to take a moment and express our heartfelt gratitude to Congregation Shaarey Zedek for their amazing partnership, to Joel, the Head Chef at Shaarey Zedek, and his fantastic staff for their contributions, and to all the volunteers who made tonight possible,” Margulets said.
“Thank you all for joining us tonight. Savour the flavours, the stories, and the connections as we celebrate the richness of Jewish cuisine and community together.
“Whether you’re returning or attending for the first time,” she continued, “we’re excited to stir up a wonderful evening with old and new friends. Some of you may have realized it already, but the name Taste of Limmud has a double meaning. While, yes, this event is all about taste and sampling Jewish flavours from around the world, it is also a tiny glimpse, in other words, a taste, into our established annual Limmud Festival.”
Limmud, she explained – the Hebrew word for “learning”, is a volunteer-run organization that celebrates Jewish learning, thought, and culture. It’s a conference where participants have a choice of dozens of sessions led by rabbis, scholars, artists, authors, and community members. At Limmud, everyone can be a teacher and a student, in other words, more fitting with tonight’s theme, everyone has something to add to the recipe.
Margulets then introduced the “talented cooks from our very own community who prepared the dishes”: Mazi Frank, who presented a “delicious” Mussakah, a Turkish classic; Adriana Vegh-Levy and Karina Izbizky who brought a “tasty” Pletzalej, a type of bread that the forebears of today’s Argenitnian Jewish community brought with them from Poland; Karen Ackerman, with a special Hard Honey Cake; Naama Samphir, who presented a tasty Yemenite Hawaij soup (and that’s right – Hawaij – not Hawaii; Hawaij is Iraqi); Kseniya Revzin ,sharing a rich Kubbete, a savory pie from the Crimean Karaites; and Ruth Harari, (who wasn’t able to join her sister cooks) who had prepared Mujadara, a flavourful lentil-and-rice dish from Aleppo, Syria.
“We would like to take a moment and express our heartfelt gratitude to Congregation Shaarey Zedek for their amazing partnership, to Joel, the Head Chef at Shaarey Zedek, and his fantastic staff for their contributions, and to all the volunteers who made tonight possible,” Raya Margulets concluded.
“Thank you all for joining us tonight. Savour the flavours, the stories, and the connections as we celebrate the richness of Jewish cuisine and community together.”
The six samplings were dished out – one at a time – in either small paper plates or cups with the paper removed after each tasting.
The first recipe to be presented was pletzalej onion bread. As was the pattern for each tasting, the first food presented was preceded by a brief overview of the history of Argentina’s Jewish community and its connection with its local contributor, followed by a plezelaj bun with a piece of meat inside .
Next up was a taste of Hawaij soup, a Shabbat and Yom Tov staple of Yemen’s former centuries-old Jewish community, most of whom are now in Israel. The soup included piecesof chicken, potatoes, onions, carrots, tomato and several spices. Hawaij is a spice mixture consisting of cumin, black pepper, turmeric and cardamom.
Mussakah comes from Turkey – also a homeland for Jews for hundreds of years. It is a mixture of layered eggplant, beef, savoury tomato sauce and spices and is typically served with rice or a piece of bread.
Mujadara is a product of the ancient Syrian city of Aleppo, one of the world’s oldest cities and formerly home for thousands of years to a once thriving Jewish community. The recipe calls for lentils, basmati rice, onions and spices.
Kubbete is a puff pastry originally from Crimea, where the local Jewish community picked it up from the surrounding Tatar population. The pastry is filled with beef (as was the case that evening) or lamb, onions, potatoes and peppercorn, with paprika added for taste.
The last item on the menu was hard honey cake. “This was my baba’s recipem which she brought with her from Ukraine in the 1920s,” noted Karen Ackerman. “Jews like my baba (Chava Portnoy) have lived in Ukraine for over 1,000 years and they used the local buckwheat honey in their honey cake.
“I am honoured to be able to share this recipe with you,” she said.
All the presenters spoke of how the recipes that had been passed down through the generations connected them with home and family and memories of their babas.
I once had a cousin who, after enjoying a hearty meal, would say: “Good Sample. When do we eat? Well, after the sampling, it really was time for a late supper – the main course – and it was a perfect way to end the evening feasting on pita filled with veggies, falafel balls and humus and French fries with a choice of coffee cake or chocolate cake for dessert.
I ‘m really looking forward to next year’s “Taste of Limmud”.
Local News
New kosher caterer providing traditional Israeli foods for Winnipeg palates
By MYRON LOVE The Israeli community in Winnipeg continues to grow and enrich our community. Among the most recent arrivals are Maxim and Olga Markov – along with their children, who settled here less than two years ago. What the Markovs are contributing to our community is a new kosher catering operation – Bravo Good Food – that specializes in traditional Israeli fare.
The senior Markovs are both originally from Ukraine. They came with their families in the early 1990s when they were young teenagers. For the last several years before moving to Winnipeg, they lived in Afula in north central Israel.
After their arrival in Winnipeg, Olga worked for a time in the Chabad kitchen; Yural still works in the Chabad daycare – while Maxim took a job with an HVAC company.
Maxim’s passion however, and his life’s work has been in food preparation. He points out that he worked in the business for 17 years in Israel. In the early part of his career, he was head chef in a dairy restaurant. He was also a cook in wedding halls preparing food for as many as 1,000 guests.
In more recent years, he worked in a private hospital kitchen where, he notes, he gained experience with dietary menus and healthy food options.
“What we do at Bravo,” he says, “is provide our clientele with the authentic taste of the Middle East. We cook traditional dishes, using only fresh ingredients, with our own original recipes.”
Operating out of the Adas Yeshurun-Herzlia kitchen, Bravo’s menu (which readers can view on its website – bravogoodfood.com) features such well known Israeli items as falafel balls and humus, mini shislek (with chicken) on skewers, beef kebabs on cinnamon sticks, and friend eggplant with tahini.
But there is much more to choose from.
Start with salads.
You can choose from coleslaw, purple cabbage salad, beet salad with pears, celery and parsley, mushroom salad, and green herb salad.
Main course options include beef meatballs and tomato sauce with a trio of fish dishes – salmon, Moroccan fish, and custom fried fish. Also available are a broccoli casserole, pasta, and spaghetti.
Bravo also offers a corporate menu featuring a choice of continental or executive breakfast, full breakfast buffet or a buffet of mini sandwiches – and an events menu.
Maxim adds that Bravo offers vegetarian, vegan and gluten free options.
Olga notes that individual dishes or baking can be ready for the next day. “If it’s a small event like a family dinner, we need at least three days in advance, provided the date is available,” she says. “If it’s a large event – then we need at least a week in advance notice.”
“We are not just providing food,” Maxim says. “We are creating an atmosphere. Our catering makes your event unforgettable through taste, freshness and hospitality.”