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‘Fleishman is in Trouble’ hits FX Thursday. Just don’t call it a Jewish series, says its creator.
(JTA) — From Taffy Brodesser-Akner’s point of view, her best-selling 2019 novel “Fleishman Is in Trouble” wasn’t all that Jewish. She’s a little perplexed by the deluge of press junket questions about its Jewish essence.
“It’s funny: I don’t think of it as a Jewish book. I know people do,” she said.
Brodesser-Akner, a journalist famous for her sharp celebrity profiles, is now the showrunner of the book’s star-studded TV adaptation, an 8-episode FX series that debuts on Hulu on Thursday. In the story, Toby Fleishman (played by Jesse Eisenberg) is a 41-year-old Jewish hepatologist who has recently divorced Rachel (Claire Danes), his ambitious, icy, blonde theater agent wife. Early on in the story, Rachel disappears in the middle of the night, leaving Toby with their two children and a truckload of resentment. Toby, who had a nebbishy and romantically insecure youth before marrying Rachel, is now drowning in the sexual bounty of dating apps.
On Zoom, Brodesser-Akner was speaking a few days after the show’s blowout bash at Carnegie Hall and Tavern on the Green, an iconic Central Park restaurant. “I’ve never been to an event like that. It was 600 people,” she said. It sounded like a scene that could have been plucked right from “Fleishman,” which is set on the extremely wealthy Upper East Side, and in which the responsibilities of marriage and parenthood are at odds with the ambitions and personal longings of its middle-aged characters.
Brodesser-Akner, 47, who was both adrenalized and a little frazzled, had to balance the premiere with parenting duties — she’s a mother of two boys, ages 15 and 12. “I’m still picking sequins from my teeth.”
As a writer, Brodesser-Akner likes to play with the power of subjectivity, and she built “Fleishman” on it. Though the story begins as Toby’s, it eventually morphs into a “Rashomon”-esque take on the divorce and what really went wrong in the Fleishmans’ marriage. The story is narrated by Libby (Lizzy Caplan), Toby’s friend from their year abroad in Israel. A former men’s magazine writer, Libby is now a lost and frustrated stay-at-home mom in suburban New Jersey (and a stand-in for Brodesser-Akner). Adam Brody steals scenes as Seth, an immature finance bro and another year-in-Israel friend with whom Toby reconnects after the divorce. (His presence is a homecoming of sorts for those of us who spent our tween years watching him play a different Seth in “The O.C.”)
“I don’t think of it as a Jewish book,” says Taffy Brodesser-Akner.
Brodesser-Akner pieced together the story’s Jewish elements: a doctor named Fleishman, a bat mitzvah, Friday night dinners, a year abroad in Israel, a few jokes about Jews being bad at home repairs (which is the subject of a very funny scene in episode six between Toby and Seth). There are a few insidery details that she fails to mention, like a fake Jewish sleepaway camp called Camp Marah, which sounds like the real Camp Ramah but roughly translates to “Camp Bitter” in Hebrew. Does all this add up to a “Jewish” story?
“I read ‘The Corrections’ by Jonathan Franzen, and it mentions Christmas I think 47 times. I read ‘Crossroads’ and it’s about the family of a youth minister. But neither of those is ever called a Christian book. This is called a Jewish book. I don’t object to it being called a Jewish book. But to me it’s mostly an American story. As a writer and as an observer of the culture, I think that calling this a Jewish book is proof of the answer to an old question: are Jews considered Americans? And the answer is no.” She threw in her characteristic meta analysis: “So now you have a very Jewish profile. How Jewish is that, Sarah?”
The self-aware comment is a good reminder that although her responses may be unguarded, she has not forgotten that she’s on the record. A name in New York media, Brodesser-Akner wrote for GQ and is now a staff writer for The New York Times Magazine, having profiled Gwyneth Paltrow, Ethan Hawke and Tom Hanks and written about the Joshua Cohen novel “The Netanyahus,” the television show “Thirtysomething” and much more. She inserts herself often into her writing, not to make it about herself, but to remind the reader that every profile is by nature filtered through the lens of the writer crafting it. Her writing is searing, self-deprecating — so raw it’s still bleeding and often quite funny.
“I wrote the book the way I would write a profile, just like I always do. But this man doesn’t exist,” she said.
RELATED: 5 Jewish places that inspired Taffy Brodesser-Akner’s ‘Fleishman Is in Trouble’
We had tried to meet in person near her home on the Upper West Side, but by the time she was available, I was in Tel Aviv, placing us along the Israel-New York axis on which “Fleishman” is set. When Toby suddenly calls Libby to tell her he’s getting divorced, he catapults her into memories of their early twenties in Jerusalem. Those thoughts make Libby miss the possibilities of her youth, the ones time has ruthlessly and inevitably extinguished. Eventually her longing for her past becomes so overwhelming that it threatens her marriage to her menschy and patient husband, played by Josh Radnor. (For more longing-for-younger-days while in Israel content, Brodesser-Akner wrote a Saveur essay about vegetable soup in Jerusalem — her Proustian madeleine. Interviewing Brodesser-Akner from my friend’s apartment in Tel Aviv, a city where I lived in my twenties, I found the theme of longing for the past hit almost too close to home.)
Part of the reason Brodesser-Akner doesn’t think the “Fleishman” story is all that Jewish is that she doesn’t feel all that Jewish — at least not relative to her mother and sisters, who are aligned with the Hasidic Chabad-Lubavitch movement and live within a few blocks of each other in Crown Heights, Brooklyn.
“I don’t think any writer has ever gotten it right,” she says of her Jewish background. “They say I was raised Orthodox. It’s interesting because it always makes me look like the black sheep in my family, when really they are. I’m exactly how I was raised to be until I was 12.”
After her mother, a secular Israeli, and her father, a Conservative Long Islander, divorced, her mother put Brodesser-Akner and her sisters in Jewish school. Some Jewish observance trickled back to her mother, who ended up going the Chabad route.
“My mom had never been inside a synagogue until the day she married my father. Now that is what we call ironic,” Brodesser-Akner said.
Brodesser-Akner’s two sisters followed, and her mother eventually remarried and had another child, the only sibling born into a religious household.
“The thing that made me a journalist was being raised in a home where, at age 12, I was relegated to observer. I had to learn how to understand other people’s points of view. And now that’s what I do,” she said.
Despite their religious differences — Brodesser-Akner attends an Orthodox synagogue but sends her children to an unaffiliated Jewish school and says she wakes up “every morning with new ideas” — the author is very close with her family, and her sisters were at the “Fleishman” premiere.
“They were at the premiere of my perverted sex show,” she joked with a laugh referring to the Hulu series, which features some sexual content as Toby explores the post-divorce New York dating scene. “They show up for me and I show up for them. I have my challenges with it, but I think their challenges must be greater. They never say this to me, but they must think that my life is comparatively…” She looked away thoughtfully, trying to find the right words. “They must think my lifestyle is comparatively less worthwhile. But we really love each other.”
To Brodesser-Akner, the most Jewish show on television is “The Patient,” which she calls “the best show I have seen in 100 years.” And that’s not because it (like “Fleishman”) is on FX. “I’m not that kind of interview!” she said.
Lizzy Caplan plays Toby’s friend Libby. (FX Networks)
“It’s the most Jewish show in all of the Jewish ways. It grapples with a Jewish prisoner; with the difference between a Conservative Jewish female cantor whose son becomes ultra-Orthodox — I’d never seen that on screen. It was kind of the only relatable Jewish matter I’ve ever seen. People ask me if I’ve watched ‘Shtisel.’ And I always say, I’m in the 47th season of an ultra-Orthodox family drama myself and not really interested!” She laughed. “But also I think of the other Jewish matters on television, which are adapted memoirs of people who were ultra-Orthodox and now aren’t. It’s like no one can imagine religious people being happy in their lives. And that’s really shocking to me. My family is very happy.”
Brodesser-Akner wound up with her dream cast: she had a list of five actors — Lizzy Caplan, Jesse Eisenberg, Claire Danes, Josh Radnor and Adam Brody — and no backup plan. She noted the fact that viewers have seen them grow up on screen as one reason they were right for the roles. For many, watching Caplan, Eisenberg and Brody sit across from each other in a diner will feel like a camp reunion, the fulfillment of a Jewish television fantasy they never knew they had.
“One thing that we were trying to get across is ‘how could it be that I am this old when I was once this young?’ And the fact that you have a memory of Claire from ‘My So-Called Life,’ or Jesse from ‘The Squid and the Whale’ — that does so much of the work of the show without writing a word,” Brodesser-Akner said.
Besides Danes (who plays the only main character with a non-Jewish parent, whom the book makes clear she resembles) the lead actors are all Jewish — a notable fact in a time when Jewish representation on screen, and who should be allowed to play Jewish characters, is the subject of continued debate.
Last month, New Yorker TV critic Emily Nussbaum, who is Jewish, tweeted, “There is a simple solution to the question of whether various non-Jewish actors are allowed to play Jews & that is to ask me.” Brodesser-Akner responded to the tweet, writing “[Non-Jew] Oscar Isaac in Scenes from a Marriage is the best ex-ortho I ever saw on screen!”
About casting Jewish actors, Brodesser-Akner noted a legal issue rarely mentioned in the representation debate: one can cast based on looks, but it’s illegal in the United States to cast based on religion. She took this very seriously.
“I spoke to [‘The Plot Against America’ director] David Simon about it and he said, ‘They’re actors. You let them act.’ And I agree with that. The question that I asked myself was who was perfect for it?” she said.
Even if Brodesser-Akner rejects the claim that “Fleishman” is a definitively Jewish story, wasn’t she consciously playing with some Philip Roth-inspired Jewish archetypes? Toby the nice Jewish doctor, the devoted, idealistic dad who’s also self-righteous, horny and insecure.
No, she insists she wasn’t. But also Philip Roth is so ingrained in her that who’s to say? And isn’t the question flawed in the first place?
“All I can say is that I am made out of Philip Roth. I’m so formed by his books. I actually would say that you have a bias in the asking of your question, in that you’re Jewish too. And you also are made out of Philip Roth books since you’re a writer. Again, that goes back to the same question as ‘are we American?’ To me, Toby is not ‘a Jewish guy.’ He’s just a guy! He’s the kind of guy I know! I was just trying to be myself.”
“Fleishman is in Trouble” premieres its first two episodes on Hulu on Nov. 17. It will release each of its six remaining episodes weekly on Thursdays.
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Mamdani joins Theo Von’s podcast. They find common ground in criticizing Netanyahu.
(JTA) — New York Mayor Zohran Mamdani appeared for an interview with “manosphere” podcaster Theo Von, during which he called for the United States to join the International Criminal Court and enforce its arrest warrant for Prime Minister Benjamin Netanyahu.
“If I had my say, the U.S. government would have joined the ICC, honored every single warrant that they issued,” Mamdani said near the end of the 75-minute interview that was posted on Thursday.
“F–k yeah,” Von replied.
The interview came one week after Netanyahu visited the United Nations and delivered a speech during which he called Mamdani an “antisemite” and a supporter of Hamas. (Mamdani has condemned Hamas as a terrorist organization.)
Von, meanwhile, is part of a growing ecosystem of everyman “manosphere” podcasters who host sprawling conversations with a wide array of famous guests — he has hosted Donald Trump, Bernie Sanders, JD Vance and Mark Zuckerberg — and increasingly are seen as representing a crucial sector of the electorate. He drew an invite to Trump’s inauguration in 2025 after hosting him on the campaign trail the year before.
Since then, Von has become increasingly critical of Israel and pressed the case in his Vance interview that Israel is committing genocide in Gaza. The International Court of Justice, which is separate from the ICC, is adjudicating charges Israel committed genocide — which the country rejects — but has not issued a ruling. Von has also hosted guests who have spread conspiracy theories about Israel and Jews.
At the end of his interview with Mamdani, Von thanked the New York mayor for “talking a little bit about the genocide” during their podcast, noting that “a lot of people are afraid to speak about it in politics.”
“One thing I would just say is, your curiosity is a beautiful thing,” Mamdani told Von.
The chummy conversation was notable, arising as it did out of a meeting between an icon of the libertarian-leaning “manosphere” and a self-declared socialist.
Mamdani decried Israel’s campaign in Gaza during their conversation.
“People talk about a ceasefire — just last week, the Israeli military killed an 11-year-old boy, Palestinian boy in Gaza, in a section that’s considered to be a safe zone,” he said. “This is continuing.”
He also recalled hosting Palestinian families at Gracie Mansion, the mayor’s official residence, where they told him about “the ways that their lives have been shattered.”
Von asked Mamdani how he keeps people “from misdirecting energy that’s against Israel towards their Jewish friends,” especially as the mayor of the country’s most Jewish city.
Part of that, Mamdani said, is being clear that “no Jewish person in New York City is responsible for the actions of the State of Israel. And if you want to hold anybody accountable, it’s the people who are making those decisions — the prime minister, the State of Israel, also our complicity as American taxpayers knowing how many billions of dollars we have sent in bombs and continue to send.”
Mamdani also pointed to his administration’s official strategy to combat antisemitism, which it released earlier this week, as an effort to both condemn and prevent antisemitism. Some groups said the strategy “failed to address” anti-Israel rhetoric and links between anti-Zionism and antisemitism, while applauding aspects like security funding boosts and Holocaust education expansion.
Finally, he added, it takes “being very clear that critique of the State of Israel, the policy actions, the genocide — that in and of itself is not being antisemitic.”
“Yeah, I agree, speak up about it,” Von said.
Von, who has nearly 700 podcast episodes and more than 4.7 million YouTube subscribers, has interviewed or spoken positively about multiple controversial figures who have spread conspiracy theories about Israel and Jews, including former Fox News personality Tucker Carlson, streamer and Holocaust denier Nick Fuentes and commentator Candace Owens.
During an episode from this past January with comedian Dave Smith, Von called Fuentes “fascinating” and said, “He’s f–ing brave, dude.”
Von hosted Carlson on his show in December 2025. The two men spoke at length about Israel and Von criticized what he said was a lack of transparency in the control that Israel and corporate interests have over American politics.
“If they would just say, ‘Hey, America is a country that’s owned by Israel,’ or that it’s always been this outpost or this LLC of Israel — or maybe not even of Israel, it could just be of corporate entities, I’m not really sure exactly — but if they would just tell us, you can operate from a place of knowing what’s going on,” Von said.
Pro-Israel lobbies have repeatedly defended their role as no different than any other interest group seeking influence, citing the successes over the years of pro-choice and anti-abortion groups, environmental groups and gun owner groups, among others.
During that interview, Von also played a clip of CBS News editor-in-chief Bari Weiss calling Carlson anti-American and anti-Jewish, which elicited laughter from both Von and Carlson. Von then read out an AI-generated overview that described Weiss as “a vocal supporter of Israel.”
“If her allegiance isn’t to America first, how is she the head of an American network?” Von said.
“Well that’s of course an entirely fair question, that you’re not allowed to ask,” Carlson replied.
Von’s conversation with Mamdani this week covered a number of topics including socialism, the achievability of the American Dream and their preferred fish.
When asked about Netanyahu’s U.N. speech, Mamdani explained that he’d been meeting with the prime minister of the Netherlands about an LGBTQ center and the community’s history in New York.
“Then I get back from that meeting and it’s like, ‘Oh by the way, here’s what he was saying at the U.N.’,” Mamdani said.
“It’s so bizarre. Did it feel personal then?” Von asked.
Mamdani replied that “all of this is an attempt to distract from responsibility, name as many people as possible, try and make it into a back and forth.”
He added, “It’s not about me and him. It’s about the fact that he’s the architect of a genocide.”
This article originally appeared on JTA.org.
The post Mamdani joins Theo Von’s podcast. They find common ground in criticizing Netanyahu. appeared first on The Forward.
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A Jewish journalist recorded pro-Palestinian protesters outside services. He was reportedly suspended from his job
(JTA) — TORONTO – A number of Canadian groups are demanding answers in the wake of media reports that the country’s national broadcaster suspended a Jewish reporter after he posted a video of pro-Palestinian protesters outside Yom Kippur services and wrote about his pained reaction.
The reported suspension came after Neil Herland shared footage of protesters gathered outside the Meridian Arts Centre in north Toronto, which on Sept. 20 was hosting Yom Kippur services for The Song Shul.
Herland, who has worked for the Canadian Broadcasting Corporation for nearly 30 years, began his post on X, “On Yom Kippur I went to a synagogue service in Toronto and was met by protesters trying to taunt and intimidate me from entering the building.”
A man can be heard yelling “Zionist alert!” through a megaphone, while another masked protester approaches the camera and screams, “You’re going to hell.”
A pro-Palestinian group, Canadians for Justice and Peace in the Middle East, filed a complaint against Herland with the CBC, saying he had mischaracterized the protest.
“It is clear to CJPME that Mr. Herland was aiding the pro-Israel side of these demonstrations defending Mark Regev’s presence, while smearing these pro-Palestine protesters as antisemitic for their criticisms of Regev’s awful record on Palestinian human rights,” their complaint said, referring to the presence of a former Israeli diplomat at the event.
The Toronto Sun reported the suspension on Sept. 24. CBC declined to confirm the suspension and said reporting had mischaracterized what had happened.
“We don’t comment on internal matters,” a spokesperson said. “That said, we are aware of reporting on this matter which has errors and mischaracterizations but we can’t get into the specifics given the confidentiality of the situation.”
Reached by JTA, Herland declined a request for comment.
A press freedom group decried the reported suspension, however.
“Recording events in a public place and reporting them to the public is not misconduct,” Sheila Gunn Reid, president of the Independent Press Gallery — a non-profit advocating for independent and nongovernmental journalist organizations — said. “It is journalism. It is not the role of a public broadcaster to punish its journalists for doing their jobs to appease activist groups. Its role is to defend their right to report.”
In a thread under his tweet about the protest, Herland noted that “The guest speaker at the Toronto synagogue tonight was an Australian-born university teacher who lives in Israel and once served as Israeli ambassador to the UK. His speech was about making peace in the Middle East. Let’s hope that happens this year.”
He was referring to Regev, formerly the Israeli ambassador to Britain, who gave a talk during Yom Kippur services. Online defenders of the protesters chided Herland for not personally naming the prominent media defender of Israel’s war in Gaza in his post.
Commenters also scored Herland for describing the venue as a synagogue even though the service was held in a public events space.
However, Jewish groups who reviewed the video or otherwise tracked the protest said that Regev’s presence did not seem germane to the protesters’ chants, and noted that synagogues often move to event venues for the High Holidays because of the volume of congregants attending.
“The protesters claimed to have been demonstrating against the speaker, but I don’t recall seeing anything that particularly said they were targeting [Regev],” Rochelle Direnfeld, senior criminal counsel for the Alliance of Canadians Combatting Antisemitism, said in an interview. “It seemed to be much more general against Jews and supporters of Israel.”
Criticism of Israel is not inherently antisemitic, Direnfeld said, but the protesters’ apparent targeting of worshipers was worrying. “It’s not okay to blame Canadian Jews for what’s going on in the Middle East,” Direnfeld said. “Given what [the protesters] were saying to the people trying to enter the building for services, that’s what they were doing.”
Simon Wolle, CEO of B’nai Brith Canada, said the protests on Judaism’s holiest day amounted to intimidation. “It is deplorable that members of the Jewish community are subject to these incessant acts of hatred and intimidation,” he said. “It is especially alarming when these protesters target members of the community as they enter their houses of worship, in this instance on Kol Nidre, the holiest night of the year.”
Wolle said the CBC needed to explain its reported disciplinary measures. “Neil Herland had every right to document his lived experience, and the very idea that he would face disciplinary action for that is deeply concerning,” he said. “As Canada’s public broadcaster, the CBC owes the public an explanation for its inexplicable treatment of Mr. Herland.”
Vivian Bercovici, a lawyer as well as former ambassador of Canada to Israel and a CBC board member, said the alleged discipline Herland has faced is cause for concern.
“Herland didn’t say anything derogatory, rude or inappropriate,” said Bercovici. “He told us what was happening in a very clear and factual way, and so I think that the CBC owes us an explanation as to why that post was so egregious.”
Herland’s tweet thread also included a post noting that his late father was an Austrian Jew who survived the Holocaust in Romania, and that he “came to Canada as a refugee. This year I got an Austrian passport, in case Canada becomes unsafe for me as a Jew. I fear that moment is approaching, here in Canada and elsewhere.”
Herland’s expression of his own distress at the alleged harassment is not usual practice for reporters, but it is also not unheard of.
His comments echo those of many Canadian Jews, who increasingly are saying they do not feel safe in the country and even considering taking up potential offers to move to the United States as refugees.
Direnfeld said the incident reflected what is becoming a pervasive complaint among Canadian Jews that the authorities are not doing enough to decrease tensions. The police practice of deescalation was failing, she said.
“De-escalation can quickly turn into capitulation, which only serves to embolden these protesters to continue,” she said. “We’re now seeing the fruits of that capitulation in conduct such as what happened in Belleville,” she continued, referring to a gunman who tried to attack the Sons of Jacob synagogue on Yom Kippur but was killed in a shootout with police.
Bercovici said the protest was no less distressing because the Meridian Arts Centre is an events space.
“A synagogue can be anywhere, and there are a lot of religious groups that rent space over specific holidays because they don’t have their own building,” she said. “That’s just a fatuous, ridiculous argument.”
Herland has posted only once to X since his reported suspension: A photo of Shabbat candles on Friday, Sept. 25.
This article originally appeared on JTA.org.
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A great Jewish intellectual understood the Kafkaesque horror of Tennessee’s botched execution
Two days ago, the state of Tennessee tried to kill Christa Pike, the Death Row prisoner who, in 1995, was found guilty of the torture and murder of her classmate Colleen Slemmer. After spending more than 30 years on death row, Pike was strapped to a prison gurney and, as journalists watched through a window, an execution team cycled through at least a half-dozen syringes before finding a vein suitable for the injection of pentobarbital.
Or so they thought.
After Pike herself tried to help the team find a vein, they injected her with a supposedly lethal dose of the barbiturate. Though it caused an intense burning sensation in Pike’s arm, the dose failed to do its job, leading the executioners to empty a second dose into what they thought was a vein but turned out to be the surrounding tissue. Shortly thereafter, a curtain was drawn across the window and, for an hour, the journalists heard Pike continue to breathe and snore. Pike’s legal team eventually learned that their client, barely but still stubbornly alive, had been rushed to the emergency room of a nearby hospital.
While Pike’s physical prognosis is uncertain, there is nothing uncertain about the ethical diagnosis of this event. At least this would be the case for two earlier journalists who wrote at length on the death penalty: Arthur Koestler and Albert Camus. Long after they both became celebrated novelists and intellectuals, the two men each wrote essays on state-sanctioned killing, which were combined and published in France with the title Réflexions sur la peine capitale, or Reflections on the Death Penalty.
These reflections are as relevant in our own age of drug-induced executions as in Koestler and Camus’ era of where the delivery system of death was a noose or the guillotine.
Born into a secular Jewish family in Budapest, Koestler was, as the phrase goes, a child of his century, one convulsed by catastrophic wars, murderous ideologies, and multiple genocides. Described by his friend George Orwell as an “outstanding figure” of his time, Koestler, like Orwell, fought in and reported on the Spanish Civil War. As a member of the Spanish republican forces, he was captured by Franco’s intelligence service and sentenced to death — a fate Koestler escaped when, after several months of imprisonment, he was released in a prisoner exchange.
Yet this experience deeply marked him. In the mid-1950s, he rallied to the campaign to end capital punishment in Great Britain, penning the essay “Reflections on Hanging.” Serialized in two newspapers, the essay galvanized public opinion and played a pivotal role in the parliamentary vote that, while not entirely abolishing the death penalty, severely limited it. Given the clarity and ferocity of Koestler’s writing — which, Rebecca West observed, was as historically misleading as it was rhetorically moving — this sea change in the public’s attitude and parliament’s position is not surprising.
One passage seems especially relevant for the recent events in Tennessee. “There is indeed a Kafkaesque horror attached to an execution,” Koestler writes, “which goes beyond the mere fear of death or pain or indignity. It is connected not with the brutality but with the macabre, cold-blooded politeness of the ceremony, in which the person whose neck is going to be broken is supposed to collaborate in a nice, sensible manner, as if it were a matter of a minor surgical operation…it is present in the delinquent’s knowledge that in the embarrassed stares of the officials he is already mirrored as a dead man with a blue face and ruptured vertebrae; and that what for him is the final, violent termination of life is for them merely an unpleasant duty, followed by a sigh of relief and a plate of bacon and eggs.”
Did the unnamed doctor, I wonder, stare with embarrassment as he repeatedly tried but failed at killing the — perhaps this is not the best word — patient? How, I also wonder, should readers respond to the description of Pike’s attempted execution? (With embarrassment, I admit while I was revulsed, I also continued sipping from a mug of coffee as I read the New York Times’ account.)
We can guess how Lucien Camus might have responded. His son, Albert Camus, told and retold the story in his writings of his father who, having witnessed a public execution by guillotine, returned to the house, vomited in the sink, and never spoke about the experience. In the essay “Reflections on the Guillotine,” which accompanied Koestler’s, Camus suggested that rather than telling the condemned man or woman that they will pay the ultimate price or their debt to society for their crime, they instead be told the truth. “If you kill you will be imprisoned for months and years, torn between impossible death and constantly renewed terror, we shall slip into your cell…tie your hands behind your back [and] bind your arms with a strap to that you are forced to stoop [and] then carry you through the corridors [and] seize you by the seat of your pants and throw you on a board [then] let fall from a height of seven feet a 120 pound blade that will slice off your head like a razor.”
What, then, did the judge overseeing the 1995 trial tell Christa Pike when the sentence was rendered? The delivery system for death then was the electric chair and, to the judge’s credit, she did inform Pike that she would be subjected to a degree of electroshock sufficient to kill her. I do not know when the agent of death shifted from electroshock to pentobarbital nor do I know if a judge explained to Pike how the drug would act on her brain and organs to bring about her death. But I am pretty certain that none of the judges informed Pike of one legal scholar’s assessment of this form of death: “It is not the most humane, it is the most humane-looking.” I am even more certain they did not inform her, in case she survived another botched execution by the state of Tennessee, which boasts a history of such botches, that her brain would be irreversibly damaged.
Finally, I am most certain that, whether strangled by a tightened noose, decapitated by a sharpened blade, or injected by what was possibly an expired dose of pentobarbital, the sheer barbarism exercised by officials wearing white coats remains constant.
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