Features
How did someone who “died” 20 different times survive?
“The Summer I Died Twenty Times”
Reviewed by BERNIE BELLAN
In the summer of 2009 Winnipeg-born Fred Rutman claims to have “died” 20 times. As he writes in the prologue to his newly-released book, “The Summer I Died Twenty Times,” “I was clinically dead twenty times that we know of – heart stopped, no breathing, ready for the toe tag. And then I wasn’t.”
What happened to Fred Rutman, why it may have happened, and what he says he discovered has become the most effective treatment for his extremely rare condition is the subject of quite an intriguing 275-page account.
Fred had contacted me some time back to ask me whether I’d be interested in reading his book. Naturally, being the publisher of the Winnipeg Jewish newspaper, I was interested in knowing whether he had any Winnipeg relatives. It turns out Fred has strong Winnipeg roots, having been born here and having grown up here. Also, I remember being in school with his brother, Ray.
But, his book only deals tangentially with his Winnipeg connection. What Fred does is tell a story – a lengthy story that at times can bog you down with descriptions of what seem to be endless medical procedures he has undergone over the past 14 years, but one that is nonetheless thoroughly intriguing.
“The Summer I Died Twenty Times” is unusual also in how breezily it’s written. Chapters are short and are often given very humorous titles. Fred actually began writing the book during Covid as a means of passing time, he says. By the way, he also mentions that he’s had Covid three times – and, for someone who “died” 20 times before that, one has to wonder just what keeps this guy alive.
But, no matter what his medical history is – and how confounding it has been to what seem to have been a never-ending series of medical professionals, one is constantly left wondering: How did Fred Rutman survive?
Here’s how he describes his condition at one point: “I have a heart condition called a severe full AV block. Why, they don’t know. What they do know is it prevents your heart’s electrical signals from telling the atria and ventricle to beat in synch. That is to say, my heart stops. Now I am fully 100% dependent on a pacemaker to keep me alive…Collectively, my heart has stopped 50 plus times. Sometimes for extended periods of time. During many of these stoppages, I collapsed and bashed my head, resulting in concussion/brain damage…”
Fred also explains that at one point one of his doctors determined that Fred had suffered a stroke at birth, “which caused all sorts of brain trauma that no one caught.”
But, there is no conclusive evidence, he writes, that the stroke at birth is what has led to his heart problems.
No doubt, at this point, anyone reading this would be wondering: Was Fred Rutman clinically dead? The answer, as he discusses thoroughly, is an emphatic “yes.”
And then, of course, you would likely want to know: What was it like? Did he have an out-of-body experience at any time? Did he see a light? Did he go through a tunnel?
The answers, again, are: none of those things. Fred apologizes if a reader had been hoping to find some hint of an afterlife while reading his account.
Not that Fred Rutman is irreligious – far from it. He’s an observant Jew, not that he was always one, he explains. His becoming observant happened over time after he had moved to Toronto. In many ways, as he writes about the warm and loving Jewish community of which he’s now a part, he makes a convincing case for the merits of adhering to an Orthodox lifestyle.
In fact, because Fred does not refer to the many characters that populate his book by their real names, instead choosing to use often hilarious pseudonyms, it’s not always easy to remember just which member of his synagogue it was that administered to his needs at any particular point, including taking him to the hospital, visiting him there, bringing him kosher food to eat while he was there, or often letting him stay at their home, either while he was convalescing or after he had just experienced another near-death experience on the way to synagogue or on the way home.
I don’t know Fred Rutman, but after reading his story, I can’t help but think that someone who has as many friends as he does must be one terrific guy. He describes his academic and work background to some extent, but doesn’t really explain how he was able to support himself all the many times he ended up in hospital or later, while he was recovering.
Another aspect of the book, and perhaps one that will resonate with Manitoba readers in particular, is that no matter how often Fred’s condition may have been misdiagnosed and no matter how many times he may have been subjected to tortuous tests and procedures – he still received care within the Ontario health system.
One cannot help but wonder how long Fred Rutman would have survived had he still been living in Manitoba. Would he even have been able to see a doctor? you might wonder – and when you start to see the list of doctors who attended to Fred over the years, you might gain a fuller appreciation of our Canadian health care system, at least at it has developed in Ontario. In Manitoba, no doubt, he would have been put on a wait list and then subjected to numerous postponements of tests, procedures, and ultimately, life-saving operations,
At the same time though, the frustration that accompanies the numerous occasions during which doctors go over Fred’s medical history from the start, rather than just reading what other doctors have already determined is wrong, is just another example of how inefficient our Canadian medical system can be. (Since the book isn’t a scientific paper, it’s impossible to know whether Fred would have received better care within a different medical system, but his story certainly calls for a case study of that sort.)
Fred Rutman has had four pacemakers implanted underneath his chest wall over a relatively short number of years. Three had failed – something which, in itself, is especially disconcerting. The most recent one, which he has had now for three years does seem to be working properly, at least as of the current moment. But, when he describes being awake while surgeons thread leads into his heart to regulate its heartbeat – several times when he should have been asleep but the anesthetic was not given properly, well, it’s hard not to squirm as you’re reading that.
So, in the end, what has kept Fred Rutman alive? And, this is the part of the book that I’m sure will arouse the greatest controversy – it’s Fred’s categorical acceptance of Intermittent Fasting as a cure-all for a myriad of conditions he has experienced which he now says have either been eliminated of have been greatly relieved.
Without going into the details of Intermittent Fasting, which Fred does, suffice to say that it can be approached in a number of different ways. Here is how Wikipedia describes what Fred refers to simply as IF: “Intermittent fasting is any of various meal timing schedules that cycle between voluntary (or reduced calorie intake) and non-fasting over a given period. Methods of intermittent fasting include alternate-day fasting, periodic fasting, and daily time-restricted feeding.”
Upon further reading, however, I could find no conclusive scientific support to substantiate Fred’s claims for the wonderful effects of intermittent fasting. Perhaps, just as what exactly led to his experiencing so many heart stoppages still remains a mystery to the many doctors who treated Fred over the years, so too do the apparently wondrous effects that IF has had for him – and for many others who swear to its absolute usefulness.
“The Summer I Died Twenty Times” is hardly a medical treatise. Fred writes in a charmingly breezy manner. As I wrote to him an email though, there are a number of spelling and grammatical mistakes, but perhaps only a nit picker like me would notice them. In addition, Fred did admit to me that the first 40 pages of the book are a bit of a slog, as he describes the process that led to his writing the book.
By the time that you begin to read the details of what happened to Fred though, at first you’re bound to think: How did he even survive that very first episode in which his heart stopped, never mind the 19 others that followed? As you read on, however, reading about one episode after another where first Fred would have what he describes as a “brainquake”, followed by his blacking out totally when his heart stops, only to revive time and time again for mostly inexplicable reasons, it all seems to become a continuous cycle of events that may even seem monotonous.
But – what Fred Rutman experienced – and regardless how much stock he may put in Intermittent Fasting, may experience again, is absolutely riveting. He remains a medical mystery, although in time perhaps someone will come up with an explanation how someone who had “died” so many times was actually able to survive.
“The Summer I Died Twenty Times” is available on Amazon.
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.)
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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.)
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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.