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Méira Cook’s latest novel is arguably her most “Jewish” one yet

Méira Cook
cover of “The Full Catastrophe”

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.

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Cheryl Hirsch Katz, Jewish Child and Family Service’s longest serving staffer, set to retire at end of the month

By MYRON LOVE “I loved working at Jewish Child and Family Service,” says Cheryl Hirsh Katz, who is due to retire at the end of June.  “I have always appreciated the warm and welcoming atmosphere here.  I feel that the people working here are my extended family. I am going to miss my colleagues”.
“I have derived great satisfaction over the years to have been able to help many people in our community of all ages through my work at JCFS,” she continues.
After 44 years at the agency, Katz, the longest-serving member of the staff, was given an appreciative send-off at the JCFS’s recent (June 23) Annual General Meeting at the Shaarey Zedek Synagogue.
The daughter of Art and Bess Hirsh, Cheryl grew up in Garden City. She attended Peretz School, then Jefferson Junior High and Garden City Collegiate.  She joined the staff of JCFS in 1981, shortly after receiving her Bachelor of Social Work degree. 
She earned an MSW in 1990.
“I chose to become a social worker,” she recalls, “because I always wanted to be able to help people.”
Katz was originally hired by JCFS to work with newcomers. After a couple of years, she was given responsibility for looking after the needs of older adults.
“I really enjoyed working in older adult services,” she says.  “That is where I spent the bulk of my time at JCFS.”
After ten years as a case worker, she was promoted to a supervisory role.  Later, she was also given responsibility for mental health and addictions programming and settlement services, while keeping the older adult files under her purview.
“As a supervisor, I wasn’t directly involved with individual clients,” she points out.  “I was more involved with programming.  Among the programs for seniors we organized were – for example – sessions on elder abuse, digital storytelling and memory loss.”
She notes that one of the trends she has seen over the last 44 years is that people are living longer and living in their homes longer. A lot more of our clients are living well into their 90s,” she observes.  “We have had to continually expand our staff and the services we provide in order to accommodate the growing demands of an aging population.”   
She also spoke of the mental health needs of seniors and aging Holocaust survivors.
She says that she has mixed feelings about leaving JCFS.  “After so many years working full time, I am going to have to create a new routine,” she comments.
She notes that, now that she is retired, she will have more time to spend with her parents – who are in their 90s.
And then, there are the two dogs to look after. “I will have time now to try new activities,” she says. “ I might learn to play mah-jong.”
She speaks about maybe doing some traveling – although her husband, Murray, is still working full time.
(She and Murray have one daughter, Farah.)
“Retirement may also include some volunteering,” she adds.
It is quite likely, she will be continuing her association with JCFS but in a volunteer capacity. 

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Gray Academy students shine in provincial, national debating competitions

Gray Academy student debaters with debating coach Andrew Kaplan (l-r):Nate Shenkarow, Maxim Moscalenkov, Este Lamai, Andrew Kaplan, Raya Braunstein, Noa Mednikov

By MYRON LOVE It has been another good year for Gray Academy’s high school students who participated in provincial and national debating competitions.  The best results were recorded by Grade 9 student Noa Mednikov, who finished fourth overall nationally, fourth in interpretive reading, and fifth in persuasive speaking  at the junior National Public Speaking Championship in early May in Vancouver.
 
Last October, in the Junior Provincial British Parliamentary Championship – which was held at St. John’s-Ravenscourt – Noa and her partner, Raya Braunstein, finished third as a team while Raya placed third in individual debating.
 
Their fellow Grade 9 student Maxim Moscalenkov tied for first in persuasive speaking in Vancouver, while the Gray Academy team of Gabe Tapper and Aaron Koplovich finished fifth. Aaron also finished fifth in his individual debate.
 
Earlier, in March, Maxim finished fifth in the Provincial Juniors debating competition, which was held at Balmoral Hall  He and his debate partner, Nate Shenkarow, finished seventh among the teams entered.   Last November, he and partner, Ethan Tenenbein, finished seventh in the Junior Prepared Tournament – just behind the Gray Academy team of Nate Shenkarow and Jack Kay.    
 
At the senior high level in that competition, the team of Jacob Tenenbein and Jonah Novoseller finished fourth and Jacob was recognized as fifth best in an individual capacity. Jonah and Jacob also paired up to win the Asper Cup, which was held at their home school.
 
Jacob represented Manitoba at the Junior National Speech Championship in Vancouver in May and, last October, he and Grade 12 Gray Academy students Julie Krozkin and Daniel Bokser represented Canada at an international debating tournament in Bermuda.
 
 Gray Academy’s debating program was introduced by Linda Martin in 2003.  She also led the debating teams at Balmoral Hall.  In 2011, Martin was succeeded by Gray Academy high school English teacher Andrew Kaplan.
“Andrew has done a wonderful job with the debating program” says Martin, who has a debating trophy at Gray Academy named in her honour, as well as a provincial trophy for best individual junior debater. “Over the years, Gray Academy students have done very well in many local, national and international competitions,” she adds.
About three weeks ago, this writer had the opportunity to sit down with Andrew Kaplan and six of the school’s top debaters while they discussed the benefits of learning how to debate.  According to Noah Strauss – who competed in the Junior Provincials at Balmoral Hall in March, public speaking leaves him with a feeling of accomplishment.    
“It’s a good skill set to have,” he observes. “It builds confidence.”
“A benefit of being able to debate is that you learn how to convince people that you know what you are talking about,” adds Maxim Moscolenkov.
Raya Braunstein notes that being able to debate is a skill that she expects to be helpful in many university courses which she may choose to take.
As Andrew Kaplan notes, the ability to express yourself has a great impact in whatever career you choose to pursue. 
He points out that debating is compulsory at Gray Academy for all Grade 7 and 8 students – and students can continue debating as an option in the higher grades
Of course, competitive debating is not for everyone.  For those students who opt to take that path, the journey begins with internal school debate competition – with the top debating teams and individuals qualifying for local tournaments and – potentially – beyond.
Andrew Kaplan reports that a small number of  high schools in Winnipeg and southern Manitoba have active debating programs – including St. Johns Ravenscourt, St. Paul’s High School, St. Mary’s Academy, Garden City and Maples Collegiates in the Seven Oaks School Division, St. Maurice (a Catholic School), as well as Morden Collegiate and Dasmesh, a Sikh private school.
Kaplan expresses his appreciation to the Asper Foundation and an endowment spearheaded by the Kives Family  for providing funding for the Gray Academy debating program – as well as the Andrew Slough Foundation – which was established by his friends in memory of the outstanding former Ravenscourt student debater and lawyer who passed away suddenly two years ago at the still young age of 38.    
I am confident that our Jewish community can look forward to the continued success of Gray Academy’s star debaters and to the continual emergence of future stars as the times goes by. 

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Antisemitism has crept into grade school in Canada

Antisemitism in Canada has moved beyond protests and politics; it is now entering classrooms and altering how Jewish children see themselves functioning within them.
A a university student I have observed the experience of my younger brother in grade eight as a Jewish student. Over the past few months, his school has been at the center of several deeply troubling incidents that have made him feel unsafe in our parks, community, and even his school. Swastikas were drawn around the community, in parks and ponds. Additionally, an older man, who claims to be a pro-Palestinian influencer, stood outside his predominantly Jewish school wearing a keffiyeh, filming a video which then circulated between students on TikTok. 
This same man later showed up to our local Jewish community center in keffiyeh to allegedly watch his son play basketball where my brother and many of his classmates go for their lessons, basketball games, and Jewish events. These moments made him and his peers feel watched and targeted just for being Jewish. Local political representatives condemned the incidents and raised awareness about antisemitism, but the fear among students didn’t go away. The feeling of being targeted for simply existing has been taught to my brother, something my parents had tried their hardest to escape from. 
Most recently, my brother was chosen to represent his school at a regional science fair. When one of the judges arrived wearing a keffiyeh, he froze. For many, including my brother after the incidents he has faced, the keffiyeh represents a political message. But even more so for my younger brother, it is tied to the fear and intimidation he had already experienced. He felt nervous, distracted, and unsure of how to act.
This is not about silencing political expression. It is about a child who came to share his ideas and left feeling uncertain and afraid. It is about the atmosphere forming in Canadian schools, where Jewish students are being made to feel targeted and unwelcome.
His school made an effort to address the incidents, but the impact is lasting. Posts on social media, much can be very vague at times about inclusion cannot fully undo the feeling of being singled out. A kind word from a teacher does not erase the fear that builds when threats are left unspoken but deeply felt.
I am writing this as a sister who watched her younger brother lose a moment that should have been filled with confidence and pride. He deserved to feel safe. So do all Jewish students in this country.
Moving forward, schools must take concrete steps to protect all students. Antisemitism cannot only be addressed when it becomes violent or overt. It must also be recognized when it appears as intimidation, symbolic targeting, or political messaging that creates fear among students. Children should never have to question whether they are safe in their own classrooms or community spaces.
Events that are meant to support and celebrate students must remain focused on them. Individuals who feel the need to bring political symbols or messages into school grounds or children’s events should not be welcomed in those spaces. Schools must make it clear that their environments exist to support learning, safety, and inclusion, not to host agendas that can intimidate or isolate students.
Administrators and educators must develop clear guidelines for identifying and responding to antisemitic behavior in all its forms. This includes strengthening security measures, offering ongoing staff training, and engaging directly with Jewish families to understand their concerns. Inclusion is not a one-time statement. It is a responsibility that must be reflected in everyday decisions and actions. No child should ever feel unsafe or unwelcome because of their identity.

The author is a Campus Media Fellow with HonestReporting Canada and Allied Voices for Israel who lives in Toronto.

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