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
Chesed Shel Emes project to improve safety, accessibility and parking after acquiring fire-damaged property
By MYRON LOVE The Chesed Shel Emes, Winnipeg’s non-profit funeral chapel and ritual tahara house, has embarked on a new project that will enhance safety, accessibility and provide more parking opportunities.
The new project stems from the Chesed’s acquisition of the property immediately north of the chapel on Main Street at Magnus Avenue. The plan will involve the demolition of the existing house and paving of the lot. This will allow the use of a pre-existing side door in the chapel to be used to transfer coffins directly to the hearse — thus freeing some additional parking in front of the building.
Rena Boroditsky, the Chesed’s long-time executive director, points out that pallbearers will no longer have to carry coffins down the front steps but, instead, walk along a level surface and place the caskets directly into the back of the hearse. As well, the new parking lot will have room for accessible parking.
“We weren’t looking for a new project,” Boroditsky reports. “About a year ago, we learned that the family who owned the home — and had been renting it out for a number of years — was looking to sell after the property suffered a devastating fire. We seized on the opportunity rather than have a retail business open or an apartment block be built that would further complicate the parking in front of our building.”
Boroditsky notes that the finished product will take a couple of years to complete. “Permits take time,” she says. “I expect that we will be able to demolish the house in the fall and have the paving done next year.”
She estimates that the budget for the work will come to about $190,000. “We have applied to the Jewish Foundation of Manitoba and the Asper Foundation for grants,” Boroditsky reports. “We are also appealing to our many generous supporters in the community.”
She proudly points out that Chesed succeeded in raising $4-million for its most recent redevelopment program, in which the 100 year old office and tahara building was replaced with a new structure designed specifically to meet the needs of the Chevra Kadisha.
The new building includes state-of-the-art equipment for the care of the deceased — a larger tahara room with stainless steel counters, new up-to-date refrigeration, mechanical lifts for transferring bodies more safely, and enhanced safety features to improve the experience of volunteers and ensure the dignity of the deceased. The accessible facility also includes expanded storage space for caskets, shrouds, and supplies, a lending library, and private meeting spaces for mourners to gather. That project was completed five years ago.
“We are happy to report that we don’t have a mortgage,” Boroditsky says. “We have always exercised good fiscal management, and have been blessed with community support”.
Chesed Shel Emes began operations in 1930, serving all members of the community regardless of denomination, affiliation, or level of observance. No one is denied service due to financial constraints. Everyone is guaranteed a dignified funeral and burial care. The chapel was opened in 1947 as an active synagogue and community center.
“Over the past few years, we have been hosting more funerals,” Boroditsky notes, “in part because the Shaarey Zedek was closed for renovations for almost two years, and the Etz Chayim relocated to Wilkes Ave. As a result, more people were able to see that we offer a clean, warm and welcoming space.
Readers who wish to make a gift to support the “Opening New Doors” campaign can phone Rena at 204-582-5088, or visit the website at www.chesedshelemes.org New Chesed Shel Emes project will improve accessibility, allow for more parking in front
Local News
Dina Raihman’s lifelong journey in education
Foreword by BERNIE BELLAN Seven years ago, The Jewish Post & News published a story by Rebeca Kuropatwa about a woman who had arrived in Winnipeg from Israel in 2008. That woman was Dina Raihman.
Before moving to Canada, Dina had spent 25 years working as an educator in Israel. As Rebeca wrote at the time, Dina brought her passion for teaching with her and eventually opened her own private after-school program specializing in mathematics and science.
Over the years, Dina has kept in touch with us as her educational programs have continued to grow. What began as evening classes held in rented classrooms throughout Winnipeg gradually evolved into permanent school locations.
In 2022, she opened Integral School at 1080 Waverley Street in Linden Woods. Since then, a second location has opened in Transcona, and Dina says plans are already underway to open a third location in Sage Creek. All three locations offer after-school educational programs for students of different ages and abilities.
As we noted in a 2022 follow-up article to Rebeca Kuropatwa’s original story, Dina quickly identified a problem after beginning work as a substitute teacher in Manitoba’s public and private schools. She noticed that many mathematically gifted students were not being sufficiently challenged and, as a result, were failing to reach their full potential.
In 2014, she decided to do something about it.
Starting with only 17 students, her evening school steadily expanded. Today, approximately 270 students are enrolled in her programs.
When Dina recently contacted me to tell me about the opening of her second location in Transcona, I told her that rather than simply writing another update about the school, I wanted to know the story behind the educator herself.
Both Rebeca and I had previously written about Dina’s success working with children from many immigrant families, including those from countries where mathematics and science education has traditionally been emphasized, such as Israel and Ukraine. But neither of us had ever explored the experiences that shaped Dina’s own lifelong commitment to education.
So I asked Dina to tell her story in her own words.
Here it is:
My Story
By DINA RAIHMAN My story began long before I was born.
During World War II, my parents, along with my grandparents, were forced to leave Ukraine to escape the war. Fate brought them to Georgia, where our family eventually settled. It was there, after the war, that I was born.
My childhood, school years, and youth were spent in Georgia. It was there that I first discovered my love for mathematics and realized I wanted to become a teacher. I have always believed that a great teacher changes a child’s life not only by teaching a subject, but by teaching a child how to think.
I later attended the Voroshilovgrad Pedagogical Institute (now located in the city of Luhansk, Ukraine), where I earned a Master’s Degree in Mathematics and Physics. Even then, I knew teaching would become my life’s work.
In 1990, my husband and I made an important decision to begin a new chapter of our lives in Israel.
We lived there for seventeen years, raised our two children, and continued building both our family and our careers.
Then, in 2006, we made another life-changing decision.
We immigrated to Canada after my older sister had moved here. Like many newcomers, we knew we were starting almost from scratch, but we believed the opportunities available for our children made every sacrifice worthwhile.
As with many internationally trained professionals, I needed to have my education recognized in Canada. Although I already held a master’s degree and many years of teaching experience, I was required to earn Canadian teaching qualifications.
For a period of time, I worked at the University of Winnipeg. I was even offered the opportunity to pursue a PhD and continue an academic career.
Although it was an exciting opportunity, our family had only recently arrived in Canada. Financially, it was impossible for me to devote several years to graduate research while supporting my family. Instead, I chose another path—one that allowed me to continue studying while working.
I became a substitute teacher in Winnipeg.
Looking back, those years were among the most valuable of my professional life.
Over several years, I taught in approximately 80 percent of Winnipeg’s schools. Every school, every classroom, and every group of students gave me new experiences and broadened my understanding of Canadian education.
While teaching, I also continued studying at the University of Winnipeg to earn my Permanent Professional Teaching Certificate.
In 2010, I successfully received my Permanent Professional Teaching Certificate, allowing me to teach permanently in Manitoba schools.
My first full-time teaching position took me far north to the community of Pukatawagan, where I taught Biology to students in Grades 9 through 11.
The experience taught me resilience, adaptability, and the importance of understanding every student’s individual background.
After one year, I returned to Winnipeg and continued substitute teaching.
During the 2012–2013 school year, I accepted a one-year teaching replacement position in Saskatchewan, where I taught Mathematics to students in Grades 9 through 12.
By then, an idea that had been growing inside me for years had become impossible to ignore.
I wanted to create my own educational program—one that would help students truly understand mathematics, develop logical thinking, build confidence, and prepare for future academic success.
That dream became reality in 2014 when I founded the Physics and Mathematics Integral School.
The school first opened on Corydon Avenue before later moving to St. Vital.
Today, we operate permanent locations on Waverley Street and in Transcona, and we are preparing to open our third Winnipeg location in Sage Creek.
Since opening our doors, our mission has never been simply to teach mathematics.
We have always wanted to create an environment where children learn to think independently, analyze problems, embrace mistakes as part of learning, and believe in themselves.
Over the years, more than 1,000 students have studied with us.
One of our greatest sources of pride is seeing our graduates continue their education at Canadian universities in fields such as engineering, computer science, medicine, economics, and the natural sciences.
Since opening in 2014, we have helped more than 430 students successfully graduate from high school, many of whom have continued into university programs requiring strong mathematical foundations.
For us, however, success means much more than university admission.
We strive to develop logical thinking, independent problem-solving, confidence, perseverance, concentration, and the ability to learn from mistakes.
I often tell my students:
“Mistakes are not failures. They simply show us what we still have to learn.”
Today, approximately 270 students attend our programs.
We offer both in-person and online classes, making our programs accessible to students throughout Winnipeg and beyond.
Our youngest learners begin at 3 to 5 years of age, where they develop early mathematical thinking, logic, concentration, and problem-solving skills through engaging activities designed specifically for preschool children.
For school-age students, we offer both Beginner and Advanced groups, ensuring that every child learns at the level best suited to their abilities.
Our programs include:
Mathematics
Logic
Geometry
Mental Math using the Japanese Abacus program
Biology
Chemistry
Physics
In addition to our regular classes, we prepare students for mathematics competitions. Each year, many of our students participate in contests organized through their schools, where they apply not only mathematical knowledge but also logical reasoning, analytical thinking, and effective time management.
One of our proudest achievements is that 15 of our students have earned certificates recognizing them among the top 25 percent of young mathematics students in Canada through these prestigious competitions.
For me, these accomplishments represent much more than awards.
They demonstrate that every child has the potential to succeed when they are given encouragement, effective instruction, and the opportunity to believe in themselves.
Throughout my career, I have come to believe one simple truth:
Children are not born “good” or “bad” at mathematics.
They become successful when they have a teacher who can explain difficult ideas in simple ways, encourage them during challenging moments, and inspire them never to give up.
That is why every student who walks through our doors becomes part of one large family.
Looking back today, I realize that the journey that began many years ago in Georgia has become far more than a teaching career.
It has become a lifelong mission to help children discover confidence, develop their abilities, and understand that with the right guidance, they are capable of achieving far more than they ever imagined.
Local News
Nakba exhbit at CMHR – you can see it right here and make your own assessment
By BERNIE BELLAN (Posted June 26, updated July 19) The Nakba exhibit at the Canadian Exhibit for Human Rights opened to the public June 27. The morning before the exhibit was set to open to the public, (it had a private opening for invited guests the evening of June 26) we received a press release from the CMHR. That press release gave a very detailed description of what was in the exhibit, along with photos (supplied by Annie Kierans of the CMHR).
There is also a link right at the beginning of the press release that will allow you to watch the same videos that anyone attending the exhibit can watch. We reprinted what was sent to us without making one edit. We leave it to you to form your own opinion as to whether the exhibit is fair in its presentation, and whether it is lacking “context” – which is an accusation that has been levelled at the exhibit’s organizers by some representatives of Jewish organizations.
We have received many emails in reaction to the exhibit. If you have an opinion and would like to see it published on this website, you can send it to jewishp@mymts.net, but please indicate whether you would be willing to have it published on this website.
Here is what we received the morning of June 26:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
