Features
From painting and making bead necklaces as a teen – to nursing for most of her life – as well as writing a recipe column for the Jewish Post from 2010-2014, Francine Kurlandski has had a myriad of interests.
By BERNIE BELLAN We are often asked by readers why we profile so many ex-Winnipeggers.
“Aren’t there enough Winnipeggers with interesting stories to tell?” is what a lot of readers ask us.
The truth is that finding interesting people to write about is the easy part; finding writers who want to take the time to interview those interesting people though, and then turning that interview into a well-written article is the hard part.
When I was the publisher of this paper I generally shied away from doing exactly that kind of profile. It was time consuming and, knowing how fussy many individuals are about what’s written about them, I always felt an obligation to let the interview subject vet what I had written – even to make changes if they didn’t like how some things came out.
I started to record all my interviews – few as they might have been, and then transcribe them using a transcription service on my Mac computer.
But, for quite some time I had refrained from conducting any interviews. Then I was contacted by someone at the Jewish Post office in the Gwen Secter Centre who told me there was a very nice woman who was going to be visiting Winnipeg soon – and this particular woman thought that I might have an interest in interviewing her.
I was told that her name was Francine Kurlandski. “Why does that name sound so familiar?” I wondered to myself. With my curiosity whetted I phoned the number Francine had left with the Jewish Post and said to her, when she answered the phone, that her name was very familiar to me, but I couldn’t quite place her.
Francine answered: “Don’t you remember? I used to write a recipe column for the Jewish Post?”
It all came back. Of course, now I remembered, but didn’t Francine also have another name when she used to write for us? I asked.
“Yes, I was Francine Teller to start. Then, when I got remarried, I started using my new married name – Kurlandski.”
“But most of my friends in Winnipeg will remember me for my maiden name, which was Wise,” Francine added.
The daughter of Marion and Israel Wise and sister to Elaine, Francine, who was born in 1957, said she grew up in River Heights – at 756 Lanark to be specific. She attended, in order: John Dafoe, J. B . Mitchell, and then Grant Park.
Along the way, when she was 17 years old, Francine was also Miss Israel for the Israel Pavilion at Folklorama.
Francine had told me prior to the interview that her first career was as a nurse, so I asked her whether she had long had a desire to study nursing. Initially, she was unsure, but she says she “inherited the caring feeling that is so instrumental in nursing” from her father.
Israel Wise had a degree in social work, Francine said, and “worked for the province helping Indigenous people.” In addition, “he was also the youth director at the Shaarey ZedeK Synagouge and president of the General Monash branch of the Canadian Legion for veterans.” Francine’s mother, who worked for Technion Canada “also had a social service bent, so nursing was a natural fit,” Francine suggested.
Still, before eventually entering the Misericordia School of Nursing, Francine said her first love was art, a talent she now says “lay latent within her. “She recalls going downtown on weekends: “I remember going to the stores that had sold these little tiny beads – and that was so popular then. And I got into making beaded and feather necklaces.
“And then that led me into teaching myself how to do macrame, needle point and knitting. So, I loved all those crafty things. My parents had a cottage at Gimli. I remember loving to draw, and would go into the dock and sketch the boats and the birds. I loved all that.”
But, aside from her love of art, Francine found that enrolling in nursing school was a perfect fit for her. She remained a nurse until quite recently.
Francine was married at what we would now consider a very early age, when she was only 21. When she was 23 she and her then then husband moved to Toronto where Francine began “painting suede kippas with Sesame Street characters, also Ghostbusters, and I sold them to a couple of Jewish bookstores here.”
She began to study watercolouring in earnest, inspired, she said, by a trip she took to Israel where she saw the artists’ colony in Safed.
Francine noted that “once my children were in their teens, I had time to explore my painting. And that’s when I started a painting course from the city of. Toronto. I also connected with a group of artists in North York, and to this day, I belong to the Toronto Watercolor Society where I got to meet like-minded artists.”
Francine said she just recently retired from nursing after 45 years. The last 20 years of her career, she said, were spent working for another former Winnipegger, Dr. Rochelle Schwartz.
The mother of three sons, Francine explained that her home could be described as modern Orthodox. All three of her sons had the opportunity to study in Israel, she noted. Two of them studied at Yeshiva University while another one attended at Touro, in New York.
When the oldest was 18, she said, she took up painting more seriously.
I wondered though, about Francine’s cooking expertise. From where did that come?
“Was your mother a really good cook?” I asked.
“My whole extended family were good cooks, especially my late aunt, Karen Wise,” she answered.
In 1997, Francine noted, hospitals across Canada embarked on a downsizing campaign.
“I was on leave because I had a baby at that time. I really needed to bring in income. So, for extra income. I started to cook from my home… wholesome, nutritious food. I started a vegetarian food business, and did that for four years. And with that food business I thought I could teach cooking lessons, and write recipes for the paper.”
As a sidenote, I said to Francine that I didn’t remember when she actually wrote a cooking column for the Jewish Post, but when I checked our archives, it turned out that it was from 2010-14.
Francine’s food business lasted until 2003, until she began working for Rochelle Schwartz.
It was around that time that Francine started trying to enter some of her paintings in juried art shows. She continued to study art for a certain period with a private art teacher.
“Every course you take as an artist, you learn how to improve,” Francine observed.
“After I experimented with all kinds of different subjects I focused on portraits and Judaica art. I’ve always had a deep interest in the Jewish lifestyle.”
When it came to marketing her paintings though, once again Francine had to ” learn, even to put something on Instagram. It was all baby steps. And you’re doing this all by yourself. You don’t wanna hire someone to do it.”
Francine has had her art exhibited in many of the art society’s exhibitions and is working with Toronto’s United Jewish Appeal for a future showing.
You can imagine the excitement Francine must be feeling. If you want to see samples of Francine’s art you can check out her Instagram page. Just go to Instagram and look for @artistfrancine.
Features
In Dan Brown’s chaotic tale of a rampaging Golem, a case of missing Judaism
By Mira Fox September 27, 2025
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
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Strap on your best smooth-soled Italian loafers and get ready to spring over some cobblestones, because Robert Langdon — everyone’s favorite tweed-jacketed, baritone-voiced, handsome Harvard “symbologist” — is back, and he’s racing through the streets of Prague.
In Dan Brown’s newest thriller, however, there’s no Dante or Mary Magdalene; Brown is finally veering away from the Christian mythos that drove all of his previous adventures such as The DaVinci Code and Angels and Demons. This time, he’s taking on something older and far more mysterious: Judaism.
Each of Brown’s symbology books has a central guiding myth or story, i.e. the Holy Grail, Dante’s Inferno or the Founding Fathers’ involvement with Freemasonry. The Secret of Secrets follows the same formula, and its opening moments make its central myth obvious. Within the first few pages of the book, the Golem of Prague — which for some reason Brown insists on spelling as Golěm — has already murdered someone.
The story proceeds about as you’d expect, if you’ve read any of the previous Robert Langdon novels; though it has been eight years since we last read about the Harvard professor’s misadventures, he remains dashing and impressively fit for his age, as Brown reminds us regularly, though this time we hear less about his penchant for tweed. Langdon still has a photographic memory, which still comes in handy as he deciphers various codes, and the book is still loaded with long tangents about the history of various buildings and artifacts that Langdon is sprinting by. (Even while desperately attempting to escape from a gunman in a historic library, the symbologist has the presence of mind to consider the artist behind the frescoes on the ceiling.)
But the book is notably lacking in something surprising: the Jewish history of Prague, or of the Golem, or blood libel. There are no Hebrew translations or reinterpretations of Talmudic texts. We don’t learn some little known midrash that holds a secretive double meaning. These are the kinds of factoids that usually drive Brown’s mysteries, yet they’re absent.
The plot revolves, instead, around a damsel in distress, who readers may remember from the previous Langdon books: The beautiful “noetic scientist” Katherine Solomon, who is about to publish an academic treatise detailing her research on human consciousness and death. Apparently some very powerful people want to destroy her manuscript, so the action and mystery unfold across Prague as Langdon attempts to save Katherine, save her book, and — hey why not — save all of Prague and also maybe the United States. And, somewhere in there, a Golem is on the loose.
Brown’s previous novels have delved into various Christian mysteries with vigor and palpable fascination; whatever Brown’s many foibles as a writer, you could tell that he was excited by the myth of the Holy Grail, which took centerstage in The DaVinci Code, which he reinterpreted to be an allegory about a love affair between Jesus and Mary Magdalene. In Angels and Demons, Brown has great fun with the secretive inner workings of the Vatican, and Inferno is laden with delighted diversions into Christian history and ideas about the afterlife, courtesy of Dante Alighieri’s Divine Comedy.
In The Secret of Secrets, Brown outlines the basic myth of the Golem: Rabbi Judah Loew, a 16th century Talmudic scholar and leader of Prague’s Jewish community, created a magic guardian out of clay to protect the ghetto from antisemitic attacks. Loew engraved the word “emet,” or truth, in Hebrew on its forehead to bring it to life. Eventually the Golem turned on the rabbi, almost killing him, until Loew managed to rub away the aleph in “emet,” turning the word to “met,” or death, and stopping the creature; its body was placed in an attic in case it was needed again.
That’s about all we get, yet there’s so much more to explore. In another version of the story, Loew made sure to erase the aleph from the Golem’s forehead every Shabbat to allow it to rest; instead of going on a murderous rampage, the creature was eventually destroyed because it desecrated the holy day. According to some stories, a Nazi tried to ransack the attic where the Golem was stored, and died mysteriously. Others say its body was stowed in a genizah, where sacred Jewish texts are placed since they cannot be destroyed.
Then there is the actual Jewish history, the blood libel, accusations of witchcraft and antisemitic laws that kept Jews segregated in Prague’s ghetto. There is also Loew’s own life as a lauded Talmudic scholar — not a Kabbalist, as Brown describes him — and, of course, a rich tradition of Talmudic and midrashic exegesis. The setting is rife with the kind of symbols and mystery that Brown uses as fodder in all his other thrillers, inventing secret societies and mystical artifacts lost to history.
Instead, The Secret of Secrets has no Jewish characters and very little Jewish history. Though Brown sprinkles in a few of Prague’s Jewish landmarks — the Old-New Synagogue and the city’s historic Jewish cemetery — the book still manages, despite its Golem centerpiece, to spend most of its time in churches. When Langdon first encounters the Golem and sees its forehead inscription, Brown notes that the symbologist “did not read Hebrew well,” though the professor, who specializes in religion, regularly relies on his fluency in Greek, Latin, Arabic, Cyrillic and even a fake angelic language invented by two crackpot mediums that was never spoken by more than a handful of people. At one point, the Golem is described as arriving “like some kind of ascendant Christ.”
The real focus of the book is an imaginary bit of science having to do with human consciousness and life after death, a topic Brown has been exploring in the Langdon books for some time now. His interest in religion seems to stem from the idea that they are all, fundamentally, the same, and that all religions are reaching for proof that life persists after death.
But Judaism doesn’t. There are concepts — which Brown overemphasizes — like gilgul or gehenna that imply some post-death experience, but they’re not central to Jewish thought. Though one of the characters reads Loew’s most famous text, Brown clearly didn’t. (Like most works of Jewish commentary, it’s hardly the kind of work one buys in a bookstore and reads in a sitting.)
It’s not as though Brown’s previous books got everything, or even most things, right about Christianity. His wacky inventions are part of the fun — no one is reading a thriller about a fictional professor of an imaginary discipline for accuracy. The Golem is a myth, a rich story that has remained resonant over the centuries due to its flexibility and ability to be reinterpreted; Brown can make whatever he wants of it. The problem is that he has made so little.
Mira Fox is a reporter at the Forward. Get in touch at fox@forward.com or on Twitter @miraefox.
This story was originally published on the Forward.
Features
Top Free Slot Demos You Can Play Right Now
Sometimes, you might not want to pay for spinning reels. Maybe you just don’t have cash at the moment, or you want to just play for fun without any responsibilities. And that’s totally normal. Free slot demos are there for you. If you’re looking for some great options to play right now, here are the top free slot demos that are worth checking out.
Free slot demos that bring the fun
Sweet Bonanza
Fans’ favorite Sweet Bonanza demo play offers a candy-themed slot. Instead of traditional paylines, it uses a 6×5 grid where wins happen when you land eight or more matching symbols anywhere on the screen. Every win triggers the tumble feature. It means that winning symbols disappear, and new ones drop in. Potentially, they chain multiple wins together.
The highlight, though, is the free spins round. If you land four or more lollipop scatters, you’ll get 10 free spins. They’d be complete with colorful multiplier bombs that can reach up to 100x. Since the game is known for high volatility, demo mode is a nice way to test whether you enjoy the thrill of chasing those big but less frequent wins. Plus, the candy graphics and upbeat soundtrack make the whole experience surprisingly addictive.
Big Bass Bonanza
If you prefer fishing rods to candy canes, Big Bass Bonanza is another top demo slot you should try. It’s simple and fun. It has a free spins feature where the fisherman collects money values that are attached to fish symbols. As you progress through levels, multipliers increase. And it gives you a shot at some impressive wins. The demo version is a great way to see how often the fisherman shows up and whether this type of slot is what you might like.
Cleocatra
Cleocatra slots are about ancient Egypt with adorable cats. As fun as it sounds, it somehow works. The base game features wild multipliers. However, the free spins round is what makes it truly interesting. Sticky wilds lock in place and can quickly build up some wild combinations. In demo mode, you’ll get to see how powerful those sticky wilds can be without risking any cash.
Boom!
Among the slots that are packed with features, Boom! is worth a spin in demo. This game offers expanding wilds, free spins, jackpots, and even multiple bonus games. It might not be the greatest choice if you’re new to slots. There are just so many different things that it might feel overwhelming. Well, it’s free. So, even if you want to try, there’s nothing to be afraid of. That’s exactly why demo play is so useful. You can try out each feature and figure out whether you like the layered gameplay.
Sweet Bonanza 1000
Yes, Sweet Bonanza deserves two mentions. The newer Sweet Bonanza 1000 takes the original formula and cranks up the intensity. There are bigger multipliers, higher max wins, and even more fun. It makes this version perfect for people who just want extra adrenaline. Why should you try it? You can actually see if the higher risk is what you can go after. It’s more volatile than the original. That’s why trying the demo play is a wise choice.
Why play free demos?
Of course, the feeling is completely different from playing for real money. However, there are people who enjoy slots not because of the potential winnings. Here are some other reasons to pay attention to them:
- You can get the full slot experience without spending anything at all;
- You can actually figure out the bonus trigger, scatter, and volatility;
- You can see how bonus buys, multipliers, and jackpots actually play out;
- You can choose if you like slow and steady play or big swings.
Final thoughts
With the option to play free slot demos, you can try popular titles like Sweet Bonanza without any risks. Surely, they can help you just kill the time. However, they can also let you figure out the mechanics and test features. There are lots of them, and you can test them all. After that, you can decide you’re up to bet real money.
Features
New movie, “Bau, Artist at War,” now playing in Winnipeg, tells the amazing story of Joseph Bau, whose marriage to his wife Rebecca was made famous in “Schindler’s List”
“They can starve us, beat us, cage us – but they could never kill our spirit.“ – Joseph Bau
A gripping new movie, titled Bau, Artist at War, is now on at the Cineplex Odeon McGillivray Theatre.
The movie tells the story of Joseph Bau, whose dramatization of his marriage in Plaszow concentration camp to his wife Rebecca was an unforgettable scene in the movie Schindler’s List.
The film is based in large part on Bau’s memoir, Dear God, Have You Ever Gone Hungry? (published in 1998). The film was written by Deborah Smerecnik, Ron Bass, and Sonia Kifferstein, and is directed by Sean McNamara.
Featuring stellar performances by Emile Hirsch (who appeared in Once Upon a Time in Hollywood) as the protagonist, and Inbar Lavi (who appeared in the Israeli television series Fauda and the U.S. television series Imposters) as Rebecca, the movie is a combination love story and espionage tale that deserves attention in an era, as one commentator has said, “where survivors are fading away, and the Holocaust is slipping from memory.” It’s also a story about resistance during the Holocaust.
In the movie, during his time in Plaszow Concentration Camp, Bau is a Jewish forger, an artist and a designer. He is employed by the brutal commandant Josef Liepold to draw a newly planned wing in the prison. He is simultaneously forging IDs for Jewish inmates helping them escape the prison. Hirsch as Bau, also draws comics for the prisoners, and his gift of art inspires his future wife with his colorful “lifegiving” creations, to which she responds in the gloomy setting of the death camp. McNamara cleverly intercuts these wonderful artworks within the film’s action.
Joseph Bau was a man who defied the darkness of the Holocaust with art, humor, and an unbreakable spirit. A gifted artist and master forger, Bau risked his life to save others, using his talent to create false documents that helped fellow prisoners escape certain death. But in the depths of despair, he discovered something even more powerful…love.
In the Plaszow concentration camp, amid relentless brutality, Joseph met Rebecca – a woman whose courage matched his own.
Years later, when Joseph is called to testify against the sadistic Nazi officer who tormented him, he is forced to relive the horrors of his past. But through it all, he draws strength from the love that saved him, the art that sustained him, and the unyielding will that kept him alive.
A gripping war drama, a daring espionage thriller, and one of the greatest love stories of our time, Bau, Artist at War is a testament to the power of resilience, the triumph of the human spirit, and the unbreakable bonds that even war could not destroy.
More stills from the movie:
