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
Federation mission to Poland mix of heartbreak and celebration
By MYRON LOVE For Sheila Rabb, her first visit to Poland was “both heartbreaking and heartwarming.”
The 90-year-old Rabb was one of 34 participants in the Jewish Federation of Winnipeg’s first ever organized Adult Mission to Poland. The group toured Poland from Wednesday August 26 – Monday August 31, with an entourage of Israel and Polish tour guides, a security guard ,and two bus drivers.
It was Jeff Lieberman, CEO of the Jewish Federation of Winnipeg (and whose late father, Aron Lieberman, was a Holocaust survivor who was originally from Poland) who initiated the trip. “In 2023,” he recounted, “shortly after I was appointed CEO, I learned we had never organized an adult mission to Poland. Given the passage of time since the Holocaust and the tragedy of October 7th, I thought there would be interest in offering this meaningful trip to our community.“
The six-day journey,” Lieberman continued, ”taught us about the 1,000 years of mostly good and impactful Jewish life in Poland before 1939, as well as what happened during the Holocaust. We visited several sites including the Warsaw Jewish Cemetery, the Polin Museum, synagogues, the Krakow Jewish Community Centre, the Lodz Ghetto, Majdanek and Auschwitz-Birkenau concentration camps, and the Chelmo death camp.
Lieberman noted that the group bonded very quickly. ”We learned so much,” he said. “We cried together and we celebrated together. Many of the people that went on this mission have said how life-changing this trip was for them.”
In particular, the Federation CEO singled out the presence of Sheila Rabb. He describes her as “incredible”. It was a difficult tour with much walking and standing at sites, he noted.
“She was a real trooper,” Lieberman said. “Sheila was able to able to experience this meaningful journey with her children. It was truly special for us to have Sheila and her children, Ian and Irene (Zimmer), join us.”
“There was a wheelchair available for me if I needed it,” said Rabb, who looks much younger than her years. “I must admit that the heavy schedule of 12-hour days and late dinners was a challenge. But everyone was so nice and helpful and protective of me.”
Sheila Rabb’s connection to Poland was through her mother, Molly (Horn) Pitch. Fortunately, she was able to emigrate in the early 1930s. (Sheila’s father, Willy, came here from Russia about the same time.) Molly was able to bring one brother over but sadly, all but one sister were subsequently murdered by the Nazis.
The group began their journey in Warsaw with a visit to the Polin Museum which – Rabb noted – was built by Ron Lauder, president of the Estee Lauder Foundation. The museum recounts over 1,000 years of Jewish life in Poland.
“We learned about Jewish life, how Jews contributed to Polish society and the rich communities that existed throughout the country,” Lieberman reported.. “You can’t talk about Poland without including the impact of what Jews did for Poland.”
Both Rabb and Lieberman have fond memories of a group of Israeli high school students that that they met at the museum, who were from Ulpanat Chorev High School in Jerusalem. “We joined them in singing Hatikvah and other songs and danced a hora with them,” Lieberman said. “We ran into them again at Mila 18 and Auschwitz, and their Head of School invited us to join them for Kabbalat Shabbat in Krakow.
“Our group had the amazing experience of celebrating Shabbat with them,” he continued. “The women were so joyous, and their enthusiasm helped us emotionally after what we had experienced during the first few days of the mission. Their presence and the sorrow they expressed at the sites we shared with them had a profound impact on all of us.”
The group’s time in Warsaw also included a visit to a Jewish cemetery with over 250,000 graves and a walking tour of the famed Warsaw Ghetto.
The next stop was Lublin and the Majdanek death camp.
“One can read the books, watch the films and visit the museums, but nothing prepares you for walking the grounds of the death camps and mass grave sites and the profound sadness and shock that accompany them,” observed Jewish Federation staffer Abby Flackman, who was also part of the mission. “Walking in Auschwitz, Majdanek and the forest graves of Chelmno, I felt, validated the lives that were taken. We take the memories of their experiences and assure that they will not be lost with time.
“But,” she added, “we also showed that we are still here. We are still laughing and feeling joy, supporting one another and proud of who we are.”
On the other side of the coin, the group witnessed the ongoing rebirth of Poland’s Jewish community. One site that Sheila Rabb recalled in particular was the reconstituted Lublin yeshiva. The yeshiva, which opened in 1930, was one of the largest in the world. The building was restored by the Jewish community in 2003 and reopened as a synagogue in 2007.
On the Friday of the tour, the group arrived in Krakow, where they toured the old Jewish quarter where, Ian Rabb noted, there are still many Jewish-owned businesses – also the Schindler factory museum. He reported that Krakow has a Jewish population of about 1,200, as well as home to the internationally known annual Krakow Jewish Festival.
Sheila Rabb spoke about a 97-year-old Holocaust survivor the group encountered, who told his story. Although he had lived in California most of his life, he felt the need to return to Poland two years ago.
While in Krakow, the group made a day trip to nearby Lancut, formerly a Hasidic stronghold, where the members of the group toured the synagogue that was built in 1761 and has been well preserved.
“The synagogue was unreal,” Ian Rabb commented. “It has an art deco design that exudes spirituality and kabbalah.”
The Winnipeggers finished their tour with a visit to the Lodz ghetto. Lodz was an industrial city and the last Polish city to be made “Judenrein” because the Nazis needed the Jewish factory workers to build tanks and sew German soldiers’ uniforms.
For Sheila Rabb, one of the most difficult moments was standing on the site of the mass grave in the forest near the Chelmno death camp, not far from Lodz, where up to as many as 300,000 victims of the Chelmno gas chambers were buried.
“We recited kaddish over the site,” she said.
Sheila Rabb hac high praise for the Winnipeggers’ Polish and Israeli tour guides, Janush and Mordechai. ”They were outstanding,” she said. “They really brought history alive for us.”
Ian Rabb reports that his cousin (and Sheila’s nephew), Alan Pitch, who was also part of the group, is working on a documentary of the trip.
The last word goes to Abby Flackman. “My biggest takeaway,” she said, “is that we will control how our story ends. The Nazis tried to end our story of the Holocaust. They failed. We went elsewhere, built communities and institutions, grew again in numbers and continue to strive to become stronger, more resilient and thrive.”
Local News
Gray Academy enrolment continuing steady upward trend
By MYRON LOVE Next year, Gray Academy of Jewish Education will celebrate its 30th anniversary – and Western Canada’s only JK-Grade 12 Jewish day school has much to celebrate.
For starters, enrolment continues to grow. Lori Binder, Gray Academy’s Head of School and CEO of the Winnipeg Board of Jewish Education, is pleased to report that this year’s opening enrolment stands at 521 – the highest number for September in 13 years.
For the third year in a row, Gray Academy is running three kindergarten classes, and all three are nearly full, as are the Grade 1 and 2 classes. While Early Years remains the main entry point for new families, the school also welcomed 37 new students to its elementary and high school this year – a total of 88 new students.
Lisa Boroditsky, the school’s admissions coordinator, points out that many kindergarten children are coming from the Kaufman Child Care Centre at the Rady JCC and Chabad-Lubavitch of Winnipeg’s Torah Tots early childcare program. At the high school level, she notes, Grade seven enrolment is also rising, with more students coming to Gray Academy after completing Brock Corydon Elementary School’s Hebrew Bilingual Program.
“From our parent surveys, we can report that parents are choosing Gray Academy not out of fear, but rather because they value the sense of Jewish community that is only available at Gray Academy,” Binder says. “The fact that so many current Gray Academy students are children of alumni also tells us that parents believe in the high academic standards and the positive Jewish experiences we offer.”
New for the school’s elementary School this year, Lori Binder reports, is a musical theatre program. Over the years, our community has produced a significant number of young performers who have not only graced local stages but have also made their mark in theatre and film throughout North America. (Incidentally, this school year, Gray Academy will present its high school musical production, “Mary Poppins,” in March.)
In addition to the annual musical, Binder reports, Gray Academy this school year will be hosting the annual Canadian Accredited Independent Schools national varsity boys’ basketball tournament. Students and staff alike are looking forward to welcoming participating team from independent schools across the country.
Students are also looking forward to the school’s 50th Yom Ha’atzmaut Song Festival. “We are excited for our current students to continue our long tradition of celebrating Israel through music,” Binder says. “We are also hoping for a lot of participation from past performers from the first five decades.”
Among newer programs for Gray Academy high school students are internship opportunities. One is with Drs. Lorrie Kirshenbaum and Inna Rabinovich-Nikitin at the Institute of Cardiovascular Sciences at St. Boniface Hospital – a great opportunity for students in Grades 11 and 12 who have an interest in pursuing studies in health sciences. The other program, which was piloted last year, is run in conjunction with the Saul and Claribel Simkin Centre, and gives students in Grade 9 and up opportunities to connect weekly with Simkin residents for hands-on activities.
The corollary to that is a new program that focuses on the school’s relationships with grandparents. The Gray Academy Grandpals program encourages grandparents (and other special seniors in the lives of Gray students) to connect with and volunteer at the school. Since the program launched two years ago, Grandpals have attended special events and come into the school to volunteer for challah making, hamantaschen baking, and even with building projects such as at the new Hypedome by the ice rink, which will provide student skaters with shelter to warm up and change their skates in winter.
Lori Binder points out that, in addition to new programming, the school maintains a strong focus on affordability. “It is very important to us that no child is turned away because a family can’t afford to pay,” she says.
She notes that Manitoba is one of only a few Canadian provinces that fund independent schools such as Gray Academy, with the school receiving approximately 50% of the funding public schools receive per student. She adds that the school offers a robust Bursary Assistance program, strongly supported by funding from the Jewish Federation of Winnipeg’s Combined Jewish Appeal. “Over 60% of our families receive some level of bursary support,” she reports. “We work with every family to ensure that no child is ever turned away because of inability to cover the full parental contribution.”
The school also continues to play an integral role in helping families moving to Winnipeg from Israel, Argentina, Brazil and other countries to adapt to their new homes. Over the past few years, the school has expanded its EAL (English as an additional language) programming significantly to accommodate growing needs.
In an increasingly troubled world, Gray Academy remains a beacon of light, offering Jewish students and their families a warm, welcoming environment, along with a top notch Jewish and general education.
For more information about what Gray Academy has to offer and application dates, phone 204 477-7425 or email admissions@grayacademy.ca.
Local News
Veteran actor Harry Nelken first recipient of new Winnipeg Jewish Theatre Chai Legacy Award
By MYRON LOVE The Winnipeg Jewish Theatre (WJT) has introduced a new award – the Chai Legacy Award. The award recognizes individuals for their “artistry, craft and lifetimes commitment to Jewish performing arts in Manitoba” – and the first recipient is none other than Harry Nelken.
A WJT press release described the new award as “a historic first for the company.” In making Harry Nelken the first recipient of the award, the WJT says it recognizes Nelken’s “artistry, craft, and incredible dedication to Jewish performing arts in Manitoba.
“To know Harry is to know the ultimate mensch,” the WJT press release continues. “Whether he is lighting up a room with his infectious, ear-to-ear smile while cheering on his fellow cast members, or bringing profound depth to the stage, his generosity of spirit is unmatched.
In response, Nelken, a veteran of more than 45 years gracing Winnipeg’s stages as well as other performing venues across Canada, says “It was a complete surprise,” to be the first recipient of the award.
The award was presented on Sunday, September 13, during the cast party following the last performance of the WJT’s joint presentation with Rainbow Stage of “Fiddler on the Roof.” “Dan (Petrenko – the WJT’s artistic director) and Carson (Nattrass – Rainbow’s artistic director) were talking about the input of the Jewish actors in Fiddler,” Nelken recalls, “and then I heard my name. I never expected to be singled out for my acting like this. I know I mumbled something. I checked with (fellow cast member) Debby Maslowsky to make sure I said thank you. She assured me that I did.”
Nelken’s history with the Winnipeg Jewish Theatre goes back to the very beginning of the WJT. He recalls that he was cast in the WJT’s first production in 1987. Bev Aronovitch was the artistic director (and WJT founder) and the production was “Today, I am a Fountain Pen,” in which Harry played the role of the bar mitzvah’ boy’s father.
Over the years, he reports, he has appeared in 16 WJT productions. This most recent production of “Fiddler” was also the third time that he has appeared in a Rainbow Stage production of the show. His previous show performances were in 1984 and 1993. It’s also the second time that he has portrayed the rabbi. (He was cast as Lazar Wolf in the ’93 production.)
Nelken reports that he took the initiative to contact Carson Nattrass about the role of the rabbi after he learned about the planned joint production.
“I threw my shtreimel into the ring,” he jokes.
Every role, he notes, is a new learning experience for him. He prepared for the part this time by researching what life was like for a rabbi in a small eastern European shtetl.
“I realized that Jewish life has always been about resilience,” he points out. At the end of the play, after the Jews have been banished from Anatevka, when the rabbi’s son asks his father about how the Messiach will know where to find them, the rabbi replies that they will simply have to wait for him somewhere else.
“There is a great lesson to be learned here,” Nelken continues. “We don’t know what the future will bring. The question is do we put our faith in God or in man?”
Resilience is a primary feature of Harry Nelken’s career. He recounts a story about Abe Vigoda (“Fish” to some of us older readers who, when asked by Johnny Carson how he felt about becoming an overnight star, Vigoda’s response was that “I’m an overnight star but overnight was 25 years long.”)
In a much earlier interview I did with Harry for the Post, he recalled how his first acting gigs were in high school theatre. At the University of Ottawa, while studying criminology, he auditioned for and got a role in a play. From 1972 to 1979, he immersed himself in local amateur theatre.
He noted that even the busiest of working local actors – of which he has been one – barely scrape by and need a second source of income. For over 40 years, he supplemented his income by driving a cab.
”Particularly in my early years, when acting roles were sparse, driving a cab was my lifeline,” he recalls. “On occasion, even when doing a play at MTC, after the show, I would report for taxi duty for a night shift.”
In recent years roles have been fewer. In the last four years, he has been in five locally-shot film projects: two Hallmark films – “ Hanukah on Rye” and “ Haunted Wedding”; the feature film,”Normal, ”starringf Bob Odenkirk and Henry Winkler; (available on Amazon Prime); and the mini series “American Hostage,”,starring Jon Hamm and Giovanni Ribisi (available on Crave).
Nelken’s current film project is called “Pikohowin.” It’s the true story of how in 1990, Saskatoon police officers were revealed to be driving inebriated Indigenous people in winter out of the city and depositing them on the highway. Harry has the role of judge Shiebel.
“I’m 79 now,” Nelken says. “I am no longer willing to go out of town for stage or film work unless it is for a really undeniable role. I am happy to be doing more film work. I feel energized by the work. I am still regularly auditioning for film roles,
“Most of all, I appreciate that I can look back on a fulfilling career doing what I wanted to do more than anything else.”
