Features
Former Winnipegger Zev Cohen publishes book of short stories: “Twilight in Saigon”
Former Winnipegger Zev Cohen, who now lives part of the year in Israel and part of the year in Calgary, has just published a book of short stories titled “Twilight in Saigon”. The book is available for purchase on Amazon. Here is how the book is described on Amazon: This eclectic collection of stories crosses genre lines – war, crime, romance, espionage, science fiction, fantasy –
as it moves in time from World War II through the present and into the distant future. Its common thread is humanity and love in the face of adversity.
A journalist finds love and misfortune in the upheaval of the Vietnam war.
Working for the West, a spy is saved from the hands of the KGB.
A straight-laced British accountant finds the love of his life and evil in Hong Kong.
Immigrants grapple with despair, love, and the vicissitudes of life in new surroundings.
Politics, love and tragedy in the life of a president.
Stationed on a distant world, a Terran ambassador adapts to an alien culture as love overcomes sentient diversity.
A loyal android fights for his cruel leader.
Teenage romance during the Six Day War.
A day in a dog’s life.
…and much more
We present here one of the stories from the book, titled “Gulfs and Pleasures”:
I DO NOT RECOMMEND HAVING SEX WHILE WEARING A GAS MASK. BEYOND the empirical fact that it prevents kissing from being part of the act, it’s difficult to breathe during the strenuous effort. Within a couple of seconds, the mask fogs up, and you can’t see a thing. Moreover, the waves of giggling break your concentration. Try imagining what a naked woman and a naked man look like while wearing gas masks. You’d have to agree with me that it looks funny if not grotesque. But when there’s no choice, you do what you must do and enjoy it, if only in a limited way.
I called Orna’s cell phone as soon as the siren went off in the middle of the night. She picked up after the first ring.
“Are you alright? Is he at home?”
“No. Two hours ago, he was called up and ran off to join the guys and play war. I don’t believe that he’ll be back today. Who knows how long it will last? It’s scary, and we didn’t even prepare an airtight room. He insists that there’s no chance that it will hit us of all people. Anyway, what does he care? He’s sitting in the underground bunker ogling the girl soldiers. Nothing will happen to him.”
Orna was one of the regular participants in my first-year course on the history of European art since the Renaissance that I ran in the large lecture hall of the Gillman building. She used to sit in the front row with the other “stenographers.” Those were the co-eds who conscientiously scribbled down every word that came out of my mouth, including flat jokes and burps. She was older than them, mature and sure of her intelligence amid those Barbie dolls. As opposed to them, she would, from time to time, fire a challenging comment that proved she was listening carefully and under- standing. To my shame, or not, I wasn’t attracted to her brains, although they did arouse my curiosity. As I droned along, lecturing on autopilot, my look wandered from her hazel-green eyes to the swell of her breasts and her shapely legs. What could I do? Even a professor is a human being, isn’t he? On a depressing winter’s day, between perusal of desolate seminar papers on the play of light and shadow in Venetian painting and suicidal thoughts, I ran into her in the cafeteria. The usually hectic and packed room was unusually quiet. We were alone, not counting Sonia behind the counter. Perhaps the atmosphere of impending doom chased the regular café denizens away.
I’ll jump forward because there’s not much to say about the develop- ment of our relationship. We didn’t go for in-depth discussions about art, politics, or interpersonal relations. There was no sophisticated seduction or so-called love at first sight. We were two lonely people with their eyes open, who found something in each other that had been missing up to that specific moment. We went for it. For me, her presence filled a void that was characteristic of my life here since returning from New York and a string of what Erica Jong called “zipless fucks.” She never revealed what she found in me. I doubted that it was about my less than god-like physique. I didn’t ask for fear of bursting the bubble. I didn’t want to find out that I was just a reasonable alternative to Amnon, her here again, gone again husband. And the sex was great.
“Amnon will always be Amnon,” I replied with a tinge of baseless hypocrisy. “With or without Iraqi ground to ground missiles, he’ll always look out for number one. Anyway, you always know how to take care of yourself.”
I couldn’t help adding a bit of pretentious and hollow male know it all superiority, and I said, “But he’s right about one thing. The chance that a missile will land on top of you, in Ramat Gan of all places, is tiny.”
“Yes, definitely, Mr. Professor of art history and great international expert on ballistic missiles,” she shot back, taking me down a few notches. “Do you suggest that I drink a glass of water and calm down? In a minute, you’re going to replace Nachman Shai.”
I tried another tack.
“I can be over at your place in a few minutes to set up an airtight room. I’ve been hoarding plastic sheeting obsessively for months, and I’m sure there’s a technical drawing by Da Vinci that could guide me through it.” She giggled. It worked. She could have guessed that my building skills were negligible, but there was nothing like a bit of self-deprecating humor to bring her around and hide the truth. She accepted my generous offer, and I was on my way before she put down the virtual receiver.
The streets were abandoned at that early hour. The oily puddles left by the rain reflected the brake lights of the few cars on the road. On the radio, there was an endless stream of talking and talking. Nobody could say what was happening. Were we hearing distant explosions or just echoing thunder? Should we put on our masks or take them off? It all just went by me. My thoughts focused on expectations of Orna – hot caresses, electrifying touches, sweet breath, erect nipples, wet, wet, wet.
Here’s another suggestion for my male friends. Don’t come to your lovers tight as a spring, heart beating rapidly with passion and sweaty palms. And it doesn’t matter if it’s the first day of war or any other circumstance. You’ll come, in every meaning of the word, and it’ll be over in seconds. Much too quickly.
We were getting ready for another round when the second siren went off. Being good citizens, we put on our masks and checked the limits of human sexual capabilities under the threat of chemical attack. Between bursts of muffled laughter and the pungent smell of rubber, we got a passing grade for the efforts invested.
The cell phone rang, and Orna answered. “It’s him,” her lips expressed silently. Amnon.
“Yes, I understand. I’ll think about it. I’m not sure that it’s a good idea. She must already be hysterical, and she’ll make me crazy too. That’s the situation. Yeah, it’s disgusting, but I got them out of the attic, and if they tell us to, I’ll put on the mask. Be careful. Call me when you can. Kiss, kiss. Bye.”
She looked pale. “It looks as though it’s serious this time,” she explained after the short conversation with her loving and concerned husband. “His unit is moving, and for the next few days, he’s not coming home and won’t be available on the phone.”
“Where is he going? Somewhere around here?” I wasn’t asking because of some sudden fear for Amnon’s safety. I just wanted to weigh the chances that he might show up by surprise and see what the civilians were doing in the rear…at his home.
“He said that it’s secret and he can’t talk about it. He wants me to move in with his mother in Jerusalem until things calm down. You heard what I told him. It’s out of the question.”
Amnon’s secret location was troubling. My plan to get comfortable in Orna’s bed for the next few days has a whiff of danger about it now. Suddenly he calls. Suddenly he’s worried about her and wants to send her to Jerusalem. What is he scheming? He might even show up unannounced to see if she was okay.
There wasn’t much time to consider the options, as the undulating howl of a siren broke the silence. This time we could distinctly hear the distant boom that followed it. The minute that the all-clear sounded, we were in the car on our way to Eilat. We even sang “Heading South to Eilat” loudly on a childish high at 4 a.m. On the Arava highway, we joined a slowly crawling jam of vehicles. It appeared that others, lots of them, came up with Orna’s brilliant idea to get out of the bull’s eye and as far outside of the missiles’ range as possible.
Orna wanted us to move into a holiday apartment in the southern town owned by her former schoolmate, best friend, and current neighbor, Rachel. Thanks to her outstanding bodily dimensions, Rachel had taken up a modeling career that frequently brought her to Paris, London, and New York. She changed her name to Tiffany and, when traveling, left the keys to her apartment and the Eilat hideaway with Orna. She often invited her and Amnon to use the Eilat domicile. I tried to convince Orna to come to a hotel with me to survive the war in bed with room service.
Near Beer Ora, Amnon called again. He heard as we did that a missile had hit Ramat Gan, destroying his and my low probability theory.
“Calm down. I’m still at home, and nothing happened on our street,” she told him. “There was a giant explosion, pretty close by, and the walls shook, but nothing more than that.” The lies slipped off her tongue smoothly. What else could she say?
“I might go to your mother’s later. In the meantime, if you can’t reach me on the phone, it’s because I’m down in the shelter. I don’t trust that plastic sheeting that we don’t have anyway.”
After saying goodbye with kisses, she reported no chance that he would make it home in the coming days. He must make do with the underwear he took with him. I breathed easier.
In Eilat, we dragged from hotel to hotel, the bed and room service plan falling to pieces. The same scene played out everywhere. Lobbies had turned into battlefields between separate Jewish combatants. Israel war-time solidarity gave way to exchanges of curses, pushing and shoving, and an awakening of Sephardi-Ashkenazi infighting. Never did hotel managers discover so many long-lost close friends from school and the army, relatives on the side of granny from Afula, and various other people with exclusive rights. Everyone was squeezing up against the reception desks trying to get hold of even the smallest partially furnished closet. It was a nightmare. In one of the luxury properties, the security guards were unsuccessfully attempting to take apart an outpost of suitcases and sleeping bags established by two families with a hive full of nervous brats.
Again, it’s Amnon on the phone. Orna shouldn’t try to reach him at his unit. He won’t be available due to radio silence and communications security. That’s fine, I thought. The walls have ears.
We dredged up Orna’s original plan. In a few minutes, we found the holiday apartment building. It was a nondescript structure with balconies overlooking a dilapidated neighborhood minimarket. The elevator was out of service, so we climbed the stairs to the fourth floor. On each landing, we stopped for a couple of moments of hurried necking, expecting what was coming. Hands were sent out to intimate parts, lips locked, tongues writhed. As Orna tried to fish the keys out of her bag while loosening my belt, I was busily unbuttoning her blouse to get at her bra.
The door opened, and we fell into the apartment. A pleasantly cold gust of air from the air conditioner welcomed us in. Someday had left it on since the last visit. We couldn’t wait for the bed. Clothes were rapidly removed and thrown aside, and the plush carpet hosted our vigorous sexual duet.
Eventually, things calmed down, and we could hear muffled, unidenti- fiable voices coming from somewhere else in the apartment: mumbling, quiet moaning, a cadence of creaking. We got up to check the noises that seemed to be coming from behind the closed but flimsy door of the bedroom. Just in case, I picked up a thick rolling pin in the kitchen. I pushed the door open, and no terrorist jumped me. Only Orna’s somewhat hysterical laughter penetrated my consciousness. Amnon pulled back from between Tiffany/Rachel’s legs spread wide as though bitten by a snake and stared at us incredulously.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
Related
None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
Related
- Actor-Director Rob Reiner dies at 78
- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.