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
Richard Morantz and Sheree Walder contribute $1 million to ongoing Shaarey Zedek Synagogue Capital Campaign
By MYRON LOVE “We really welcome the decision of Richard Morantz and Sheree Walder to donate $1-million to our ongoing capital campaign,” said Rena Secter Elbaze, the Shaarey Zedek Synagogue’s executive director, on October 9. “They and their families have a long history of supporting our community organizations and the State of Israel. Their contribution to the Shaarey Zedek is inspirational.”
The husband and wife team officially presented the cheque to Elbaze at a brief ceremony at the synagogue the morning of October 9, in the newly renamed Richard Morantz and Sheree Walder Auditorium.
In their remarks, both Morantz, the president and CEO of Globe Property Management, and Walder, a lawyer who is a former partner in the law firm Myers LLP, spoke of their long family connection to the Shaarey Zedek. “My mother’s family were Jewish pioneers in Winnipeg,” Walder noted. “My great-grandfather, Samuel Cohen, for whom I am named, was an original member of Shaarey Zedek Synagogue. I started coming here with my own grandfather, Sidney Cohen, when I was about two years old. I remember exactly which pew we sat in and how my grandfather helped me to follow along in the siddur during services. Shaarey Zedek has always been a place of great comfort for me.”
Morantz added that his own bar mitzvah took place at Shaarey Zedek Synagogue on April 29, 1972. “I learned my maftir from the legendary Rabbi Berkal,” he recalled. “We continued to celebrate here with our own children’s bar and bat mitzvahs. I am very grateful that we got to watch our own children shine on the bimah.”
It was the Hamas-led assault on Israel and subsequent tsunami of antisemitism worldwide that prompted the couple to consider stepping up and contributing to the Shaaray Zedek campaign in such a magnanimous way.
“I have never been a religious person,” Morantz remarked. “While I may be more secular, I strongly believe in the traditions of Judaism. I had a charmed upbringing in the 60s and 70s in River Heights. It is not the case that I experienced no antisemitism, but those experiences were very minimal. Post-October 7th, I found myself, for the first time in my life, having to judge every situation and every person I came across before divulging the fact that I am Jewish or discussing Israel. I came to the realization, during the process of considering this donation, that a primary driver for us is that this synagogue is a safe place for Jews, where we can comfortably be ourselves.”
Walder pointed out that while her mother’s large family were Jewish pioneers, her father was a Romanian Holocaust survivor, with almost no family after the war. “Family matters a great deal to us,” she said. “In addition to strongly agreeing with Richard that the tragedy of October 7th and continuing and growing anti Semitism are big drivers for us in making this donation, we also want to see Shaarey Zedek be a safe and special part of the lives of our now adult children and the generations that will follow them. It is very fulfilling to us that we are contributing to making that happen.”
Walder further credits the encouragement of her old friend and law school classmate, Neil Duboff, for helping to clinch the decision for her and her husband to make the donation. “Neil has worked so hard for the synagogue and our community for so many years and we applaud his efforts and commitment,” she noted.
(Duboff is a past president of the Shaarey Zedek and chaired the capital campaign.)
Walder also mentioned the support of Gail Asper in making the decision. “I met Gail on our first day of law school in 1981,” she recalled, “and we have been very close ever since. While we can all agree that Gail certainly knows how to talk, she also really knows how to listen. Through all of our discussions with her about making this donation, she listened hard, she came up with solid answers, and she was instrumental in leading us to the decision to donate. Shaarey Zedek is extremely lucky to have such a talented fundraiser.”
“We have to make special mention of Rena Secter Elbaze,” Morantz noted. “Rena literally blew me away when I met her for a tour of the synagogue. Her passion and knowledge are remarkable. We believe that our synagogue is in great hands and we feel much comfort and confidence making this donation.
“We are very proud of the recent renovations and upgrades to the synagogue,” he added. “This place is absolutely beautiful. We also feel privileged to have met with Rabbi Carnie Rose. We know he will be a great asset to the synagogue and all of its members for a long time to come.
“We are so honoured to be here with you today and to feel that we are making a difference to this special place”.
He concluded his remarks with an observation by Elie Wiesel that “a synagogue is a house of memory as well as a house of prayer. It reminds us of who we are and where we come from.”
Local News
Winnipegger Charlotte Kittner traces ancestry back to the Jewish expulsion from Spain
By MYRON LOVE Ladino was long the spoken language of the Jews from the Iberian peninsula and North Africa just as Yiddish was the day to day language of the Jews of Eastern Europe. Charlotte Kittner is most likely the only Winnipegger – and one of the few left in the world – who still speaks Ladino.
But Ladino is just one of eight languages that Kittner, who turned 100 in August, can speak – the others being Bulgarian, Romanian, Czech, Spanish, French, Hebrew, Turkish and English.
Charlette (Sarlota) Kittner was born in Bulgaria – in a Jewish community whose members were largely descended from the Jews who were forced out of Spain in 1492 (and Portugal a few years later) by the Spanish expulsion.
A few days after her birth, that part of Bulgaria became part of Romania. She was so small at birth, she recounts, that the doctor had little hope she would survive more than a few years. She slept in a drawer of a chiffonier lined with many layers of cotton for the first year.
The youngest of three sisters, she recalls growing up comfortably in a warm and observant community. Her father, Avram, who operated a textile factor, attended synagogue on Shabbat and all the Yom Tovim.
The family – along with all the other Jewish families in Romania, fell on hard times with the advent of World War II. Although Romania was an ally of Nazi Germany and was never occupied, members of the Romanian Iron Guard – the local equivalent of the Nazis – could be just as sadistic and murderous as their German counterparts. Although most Romanian Jews outside of Bucharest were murdered, those living in the capital city, while facing much discrimination and many restrictions – were spared internment and deportation.
Kittner notes that mother, Minduch, died in 1945 and she lost her father in 1946.
During the war Charlotte and her sister, Lisa, were assigned to a factory making linens and garments for the Nazis.
She recalls that life was tough after liberation and continued to be difficult after the coming of Communism in immediate post-war Romania.
After the war, Kittner trained as an accountant and found work with a large manufacturer. That is where she met her husband, Mike (Misu) Kittner. They were married in Bucharest in November,1952.
Kittner’s sisters, Suzanna and Lisa, both made aliyah after the war. Charlotte and Mike followed in 1964. They lived in Israel for three years. Charlotte quickly learned Hebrew and found work as an accountant.
But life in Israel was difficult economically in those days. Mike’s brothers, Fred and Serge, had previously settled in Winnipeg and encouraged Mike and Charlotte to join them. They did – in May 1967.
The next year, Chralotte’s sister Lisa and husband, Nick, also moved to Winnipeg.
Their other sister, Suzanna, and her husband, Selu, a well known painter, remained in Israel.
Over the years, Kittner has visited Israel – where she has numerous nephews, nieces and cousins – as well as having taken trips back to Romania and to other European countries.
Once in Winnipeg, she and Mike quickly found work in the garment industry. She was first hired as a bookkeeper by Stall and Son. After a short time she moved over to Silpit Industries, where she served as chief accountant for many years. Kittner has favourable memories of her boss, the late community leader Harry Silverberg. She later worked for another Silverberg firm, Brown and Rutherford, a lumber processing operation.
Mike only worked in the garment industry for a short time. He found his niche in insurance sales – where he excelled. He also founded Broadway Agencies and became a booking agent for budding new performing artists in Europe whom he brought to Winnipeg to appear in popular local night clubs.
Mike and Charlotte’s nephew, Brad Kittner, recalls as a youngster going with his
parents, aunts and uncles to those clubs and watching what he describes as “these fabulous singers.” He says that they inspired him to pursue his own successful career as a karaoke singer and performer for hire.
Charlotte and Mike first lived in East Kildonan for a year, then moved to Partridge Avenue in West Kildonan. A few years later, they bought a new house on Drimes Place, north of Templeton, in northwest Winnipeg.
While Mike Kittner passed away in 1991, Charlotte continued to work into her 70s.
Through the years, she has led a busy social life with family and friends. As Brad Kittner notes, even at 100, “Aunt Charlotte continues hosting friends and family for full course meals and gatherings at her place.”
Charlotte celebrated her hundredth birthday with more than 20 relatives and friends at the Ichiban Restaurant.
Although hard of hearing and somewhat frail of body, her mind remains relatively clear. She still enjoys reading fiction, doing crosswords and looking forward to her weekly card games with her sister-in-law, Sylvia, who also lives at Chateau West on Jefferson, and other friends.
May she live to 120!
Local News
Over 2000 supporters turned out for walk for Israel despite overcast skies, rain
By MYRON LOVE October 5 started out overcast and rainy. The rain – which fortunately stopped just before the Walk for Israel began – didn’t prevent over 2,000 supporters of Israel – both members of our Jewish community and those from outside of our community from turning out for the second annual Walk for Israel commemorating the horrific events of October 7 – two years ago – the darkest day in post-Holocaust Jewish history
As with last year, the 45-minute walk began and ended at the Asper Campus. While last year the walk was followed by speeches from community leaders and various politicians, this year the only speaker was Paula Parks, President of the Jewish Federation of Winnipeg, who pointed out that the ongoing anti-Israel and antisemitic demonstrations- post October 7- have strengthened the bonds within our community and spurred more people to affiliate with our communal organizations. She further noted that more of us are speaking out and we need to continue to do that.
“The number of people who participated was inspirational,” says Gustavo Zentner, the representative for Manitoba and Saskatchewan for the Centre for Israel and Jewish Affairs. “We had numerous allies as well as members of our Jewish community. We had people from all walks of life.”
“We had a fantastic turnout,” added Jeff Lieberman, the Jewish Federation of Winnipeg’s CEO. “Paula spoke very well. Her comments were meaningful.”
He expressed his hope that the hostages would be released very soon, the war would be ended, and Israelis can finally live in peace.
The commemoration’s focus this year was primarily on visual images rather than words. The walk featured a number of photos taken by local members of the Winnipeg Jewish community who visited the Nova site in person or attended the Nova exhibit that travelled to various parts of Canada and the United States. The photos were displayed for the day along the fence on Doncaster Avenue – the first stage of the walk. Participants were handed Israeli flags and kalaniot (red anemones) flowers, the official flower of Israel, and were encouraged to place them around the photos on the fence.
As well, as part of the October 7 commemoration, 33 paintings depicting some of those taken hostage on October 7 were put on display along Main Street of the Campus from the week of October 3-October 10. The paintings were the work of well-known Israeli illustrator, cartoonist, humourist, performance artist and political activist, Zeev Engelmayer.
The walk on October 5 concluded with Israeli shimshinim – Israeli youth representatives here in Winnipeg from Israel – and other young people from our community reciting a prayer for the hostages (who were finally freed last week), and members of the IDF, followed by the singing of “O Canada” and “Hatikvah.”