Features
New thriller by Israeli-Canadian Herschy Katz combines love of hockey with intrigue behind the Iron Curtain in 1972
By BERNIE BELLAN In 2019 I wrote a review of a book titled “The Clarinetist”. It had been sent to me by an expatriate Canadian who had moved to Israel in 1984 by the name of Herschel Katz.
As I noted in that review, the book was quite good for a first-time author. In it we were introduced to a young Montreal high school student by the name of Danny Kahn who ends up enmeshed in an intriguing situation having to do with the Montreal father of his girlfriend.
The father, it turns out, is tied in with some very shady characters and, one thing leading to another, Danny becomes involved in some hair-raising adventures that take him from Montreal to New York, and then Israel.
Katz had become a writer, he noted on the book jacket, because “Several years ago, the author worked as a part time book reviewer, then decided to try writing his own story.”
Now, two years later, Katz has come up with another mystery novel, again featuring Daniel Khan (who, I guess, has graduated from being called “Danny”). By this time Daniel has progressed to becoming a 22-year old medical student at McGill, also a writer for the McGill student newspaper. The book is titled “The Ninth Terrorist” and, after reading it, I sent Katz a note saying he had the makings of another Daniel Silva, who is one of the world’s most popular mystery writers and who has also created a recurrent hero by the name of Gabriel Allon.
As good as “The Clarinetist” was for a first-time effort, “The Ninth Terrorist” shows terrific improvement on Katz’s part in terms of plot structuring and dialogue. The book actually blends three different plots into one overarching story, which has to do with nefarious activities involving East Bloc bad guys in the 1970s – when the Soviet Union was still very much a Communist dictatorship and closely aligned with Palestinian terrorist organizations .
The story begins with the legendary “Summit Series” between Canada and the USSR in 1972, in which a team composed of Canada’s best professional hockey players from the NHL faced off against the powerful Soviet team in an eight-game series.
I had forgotten though, that at the same time as that series was being played, the Munich Olympics were also being staged and, anyone who was around then will no doubt recall how horrified we all were at the tragic murder of 11 Israeli athletes by members of the terrorist group known as “Black September”.
Into that backdrop of high drama Katz inserts Daniel Khan, who continues to display the ability as a clever agent that he first demonstrated in “The Clarinetist”. This time, however, Daniel is enmeshed in a series of events in which he has to play multiple roles, all the time fully aware that one slip-up could lead to his arrest and imprisonment in the Soviet Union.
Katz is clearly a great hockey fan and his depictions of the action during games are quite vivid. You don’t have to be a sports fan at all in order to enjoy the book though, as hockey merely serves as the excuse for Daniel to be able to go to the Soviet Union as a reporter. Still, setting so much of the action in venues that would resonate with Canadian sports fans makes “The Ninth Terrorist” all the more appealing.
I would note, too, that in my review of “The Clarinetist” I was somewhat critical of the dialogue in that book, writing that Katz could have used help in creating some more authentic sounding conversations between characters. This time around, the dialogue is much improved and sparkles with often very clever exchanges.
Turning Khan into a reporter is an especially credible device, as reporters have often served as agents for various intelligence services. The fact that Khan is a Canadian Jewish reporter who can easily substantiate his wanting to go to the Soviet Union (and who also speaks German, it turns out) certainly adds plausibility to his becoming an agent for not just one intelligence agency, but several, all of which are aware just how useful he can be to them.
One aspect of “The Ninth Terrorist”, however, that seems drawn straight out of the 1960s “Mission Impossible” television series (and later, the movies as well), is the use of facial disguises. Having a number of different characters put on masks that are so lifelike they can get you through any number of checkpoints is something that still remains a largely fictitious plot device – even at a time when 3D print technology has certainly made it more feasible.
Still, the ruse that Daniel Khan must employ in going back to the Soviet Union a second time – four months after the first Canada-Soviet series, certainly adds to the complexity – and intrigue of what is already a terrific spy novel. In fact, not only must he adopt a disguise at various times, he has to help others disguise themselves. At times it all becomes a little dizzying trying to remember just who it is that not only Daniel is pretending to be, but others as well.
Into this already fairly complicated plot Katz inserts a quite clever subplot having to do with someone who purportedly assisted the members of Black September when they went about kidnapping the 11 Israeli athletes in 1972. The individual, who is the “ninth terrorist” referred to in the title, turns out to be an extremely dangerous agent and Katz certainly makes this character come alive.
With action aplenty and very creative plotting, “The Ninth Terrorist” is an excellent thriller. When one considers that both “The Clarinetist” and “The Ninth Terrorist” have been self-published by Herschy Katz, one wonders how long it will be before he’s approached by a major publisher with a juicy offer to continue producing more in what could become a Daniel Khan series.
I asked Herschy how one could buy “The Ninth Terrorist”. (He had sent it to me as a pdf.) He replied that “My book is available directly from Pomeranz Booksellers in Jerusalem. www.Pomeranzbooks.com. My previous book, “The Clarinetist”, is also available through them.”
Both “The Clarinetist” and “The Ninth Terrorist” are now available on Amazon – Kindle for $9.99 CDN.
Then Herschy sent me another quite interesting tidbit of information after I told him that I was going to print an accompanying article, also about someone who entered into some subterfuge in the Soviet Union (in his case, smuggling tallisim and sidurim), during a hockey tournament. (See my story about Sherry Bassin on the opposite page.)
After I wrote Herschy about Sherry Bassin’s escapade, he sent me this note:
Dear Bernie,
A personal note about me you may want to add to your book review. My late father, Boris Katz, z”l, escaped Stalin in 1924 and came to Montreal as a young man. He and his nephew founded a business making men’s clothes, which became quite successful. During the 1950s, 60s and 70s, he would send packages of clothes to his family back in the USSR. Knowing how the Russian customs inspectors would steal the contents, he would pack extra jeans and put some American dollars inside the box, which, of course, were stolen. However, inside the cuffs and collars of the clothes that weren’t stolen, he sewed large amounts of cash, which his family ended up getting.
This tidbit I incorporated into my story, “The Ninth Terrorist”.
Herschy
I enjoy helping to publicize Jewish writers (in particular, writers from Israel) whose works might not otherwise receive much publicity because they’re self-published. In Herschy Katz’s case, providing a boost to a former Canadian who made aliyah 37 years ago, but who’s also remained a huge hockey fan, should be ample reason for some readers to want to proceed to buy “The Ninth Terrorist”. Herschy even sets some of the action in Winnipeg – in case you needed any more cajoling!
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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- 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.