Wednesday, November 29, 2006
Aaron/Wayne Bulletin #5

Dear Aaron and Wayne,

“Put your tallit inside your jacket,” the woman in front of me turned to say quietly, “so you don’t get arrested.”

Hold the phone.

If I hadn’t been standing in front of Israel’s most iconic backdrop, I would have sworn I was in Soviet Russia. Arrested? For wearing a prayer shawl? In what’s considered the holiest site in Judaism? What the crap is going on?

Oh right. I’m a woman. I tucked the cream and red silk underneath the sides of my open sweatshirt. I was shocked—I could get arrested for this?—but did it anyway, not so much out of fear as solidarity.

I’d almost missed the Women of the Wall. It was seven o’clock in the morning and I’d managed to bumble my way to the Kotel (Western Wall) after Yonatan’s mother dropped me off outside the Old City’s Jaffa Gate on her way to the Mt. Scopus campus of Hebrew University. “Enjoy,” she said, hugging me as I got out of the car. “Be many!” I’d made a special mid-week trip to Jerusalem just for this. And I walked right past them.

The Women of the Wall is a feminist group that has held services at the Kotel every Rosh Chodesh (the holiday celebrating the New Month in the lunar calendar). It’s an appropriate opportunity because Rosh Chodesh is traditionally a women’s holiday, stemming from tribal times when the women’s menstrual cycles not only synchronized amongst themselves but also with the phases of the moon. The Women of the Wall protest the chauvinistic Rabbinical regulations governing acceptable practices at the Kotel by holding a monthly service using traditional religious garments and reading from the Torah—both of which are prohibited for women to do there.

I have some serious ideological issues with the Kotel, and they don’t only have to do with the aforementioned chauvinist regulations (which, I might add, also prohibits men and women from even approaching the wall together—there is a wooden “mechitza” separation barrier that cuts the space into single-gendered sections, the men’s being about twice the size of the women’s.) In all honesty, I see the Kotel as more than vaguely idolatrous. It’s completely un-Jewish. We’re not supposed to pray to things. The Kotel is most certainly a thing. And it’s not even a particularly important thing, it’s an outer retaining wall of what used to be the Holy Temple, before it got destroyed [and rebuilt and destroyed again]. I can’t imagine what the Temple’s architects would think if they knew that millions of people would come to worship their outer retaining wall over thousands of years. (“I designed that wall in about ten minutes—can’t you go pray to one of the nice arches or something?”)

And then there’s the tradition of writing prayers on tiny notes and sticking them into the wall. In fact, there’s now a service provided by the ultra-orthodox community that allows you to fax your prayers from the US and have someone reduce it to spitball size and cram it into the spaces between the stones with everyone else’s, only to be swept up with the tissues and gum wrappers at the end of the day. It’s like a giant Jewish wishing well.

I remember my first time at the Kotel. My parents encouraged me to write a little note and stick it in. I remember exactly what I wrote, because my goody-two-shoes seven-year-old self felt guilty about it for years. I wished for a kitten, which was the same thing I wished for with every blown out birthday candle and every thrown penny and every victoriously severed wishbone until I was about 12. I felt guilty about it because even at seven I realized you weren’t really supposed to wish for a kitten at the Kotel, you were supposed to wish for something important. But I really wanted the kitten. So I wished for it. Never did get it though. Must be karma for picking a kitten over the classics, like world peace or an end to a terrible disease like AIDS or gastroenteritis or Republicans.

The whole thing is faintly ridiculous when you look at it like that. I mean, a lot of things in Judaism are faintly ridiculous when you look at them critically. Maybe that’s where the Jewish sense of humor came from—we have to laugh at ourselves because the other option is saying “Eh, fuck it, lets go get a cheeseburger and wait around for the next life like everyone else.” So the idea of praying to a big inanimate object that used to be kind of close to something actually important a few thousand years ago and abiding by a bunch of fascist rules about what I can and can’t wear and read and say based solely on my Double-X chromosomal status doesn’t exactly sound like the breathtaking spiritual experience they tell you it is at Sunday school. (I don’t tell my kids that, by the way. I tell them what the Kotel is, and why it’s very important to a lot of people, and why some people find it problematic, and I let them make up their own minds, because they are a hell of a lot smarter than a lot of adults I know.) Needless to say, I wasn’t itching to go back. But since I’m in Israel, and since it’s the first question a lot of people are going to ask, and since I’d like to be able to answer with “Yes, I went to the Kotel” rather than having to launch into a detailed explanation of my moral and religious objections to the place (the answer to “What’s your major?” takes enough energy) I figured I should probably go anyway. But I wanted to do it right, and for me, that meant doing it in protest. Which meant waiting for Rosh Chodesh and Women of the Wall.

They stand in tight cluster just at the bottom of the ramp to the Women’s side of the Kotel, and I didn’t know it was them until I walked past them, did a double take, noticed a few kippot, and asked a woman towards the back of the group, just to make sure. In addition to hiding their tallitot under their coats—necessary these days in Jerusalem’s November mornings—the woman leading the service stands in the middle of the group, singing so softly I could barely hear her from where I stood.

I had a hard time following the service. In addition to the deliberately low volume, I decided not to bring a siddur (prayer book) with me to Israel—the weight limit on baggage is a bitch—so I had to use one from the pile provided at the Kotel, and of course couldn’t find one I was familiar with. No matter. I know most of the shacharit service by heart anyway, a fortunate byproduct of nine summers at Jewish summer camp and regular attendance at Shabbat services when I was little, until my family became uninspired to go due in large part to frequent moral objections to various practices at our Conservative (Jewishly, not politically) Raleigh, North Carolina synagogue. Because my pluralistic tendencies have led me to many different types of services over the years, I knew most of the tunes as well, so when the words failed me I sung along in monosyllabic harmony.

I think it was the least spiritually fulfilling service I’ve ever participated in. It was hard for me to feel prayerful while half whispering the prayers, hiding my tallit under my jacket, and being watched closely by three police officers in case someone decides to start trouble. After the morning service was finished, the women closed their prayer books and began gathering their things. I started to take my tallit off, thinking to myself, “That’s it?” But I quickly noticed that I was the only one removing my tallit. One woman produced a large green duffel bag from a bench nearby. The rest of the women began following her.

I quickly deduced that the duffel contained a Torah, and we were moving to another site in the Temple Mount area—but not at the Kotel itself, in accordance with a Supreme Court decision on the matter—for the Torah service. Safely away from the police and Hareidim (ultra-orthodox Jews), we liberated our tallitot from our jackets and extracted the Torah from its duffel bag ark. One of the women was celebrating her 55th wedding anniversary and her husband, sons, and grandsons came to meet us at the new site. To my surprise, they were told to stand away from the rest of us, on the other side of an imaginary mechitza. We read Torah and concluded the service.

Afterwards, I got a chance to talk to some of the women. I asked if you could really get arrested for being female while wearing a tallit at the Kotel. They said they didn’t know of anyone who had recently, but that yes, if the right people made enough noise about it, you certainly could be. I asked about disturbances the group has experienced.

“They’re never spontaneous,” one of the group’s organizers said. “They only happen when someone comes to make trouble. And then they start a commotion and we get blamed for it.” She noted how unobtrusive the group is, and she’s right, as I said, I almost missed them myself and I was looking for them.

The women were extremely warm and surprisingly grateful I’d come from Tel Aviv just to join them. I seem to have found myself in that position many times over the years, participating in events I hear about by chance and shocking the hell out of the organizers. I don’t see why Women of the Wall should fall into this category—they’ve been active for about 20 years now, and they’ve even had a movie made about them. Some women are regulars, and some have participated whenever they happened to be in Israel during Rosh Chodesh for the past number of years, and some were first-timers, like me.

The sun had barely decided it was officially time to start the day when I walked out of the Temple Mount. I had some time to kill before meeting up with Yonatan, so I decided to get myself lost in the Old City for a while and think about things. I followed one of the Women of the Wall into the Jewish Quarter, and followed my fancies from there. Taking random turns and passing through stone arches, I came across little plaques set into the walls: “Here stood the such and such Yeshiva, which became a hiding place for the Irgun in 1946 and eventually moved down the block.” Children’s voices rang out from a playground of a religious school. From one of the classrooms, a heavily Ashkenazi-accented man read short lines of prayers, echoed by a juvenile choir. As I eavesdropped, I thought about whether these kids were thinking about the prayer, or, more likely, like any other kids, concentrated on who said it the loudest or the fastest or in the ear of the person in front of them or with emphasis on the syllable that turns a holy word into a dirty one. I wondered if the heavily accented man knew that’s what they’re thinking.

Men in dark suits with long pe’ot (sideburns on steroids) and huge fur hats looked at me as I walked the alleys of the Jewish Quarter. Am I supposed to be here? Is this private property? I got more and more nervous the deeper I got in, but consciously set these thoughts aside. This was the Jewish Quarter. I’m a Jew. I shouldn’t feel like I’m intruding on someone else, right?

Then why did I feel so out of place?

It’s not that I hadn’t realized it before, it’s just that the notion hadn’t congealed completely from a viscous pool of experiences into a more solid conclusion: I don’t feel I have anything more in common with these Jews than I do with someone of a completely different religion. I feel just as uncomfortable in the orthodox streets as I do in the mainly Arab neighborhoods. The difference is that in the Arab neighborhoods I worry that they’ll see my presence as an arrogant flouting of my freedom to travel where I please and intrude on their lives, while here I worry some fanatic will spray bleach on me for not being dressed to their definition of modesty, even though I’m wearing calf-high boots, long jeans, a crewneck shirt and a sweatshirt and jacket. In the Jewish neighborhoods I’m not necessarily trying to offend by my immodest secular womanly presence, but I’m not displeased if I do. I feel it’s my place to be positive in my Jewish identity and not defer to their standards just because I’m around them—they don’t change the way they dress to honor my understanding of Jewish texts, so why should I change mine for them? I’m a Jew by even the strictest definition, regardless of what I’m wearing or doing or saying. My customs and interpretations are just as valid as theirs.

I was talking to my suitemate’s boyfriend once about how I’m not completely convinced Judaism is monotheistic based on the multiple names of God and their distinct personalities, and in the discussion I mentioned something about the multiple writer theory, which postulates that there were several biblical editors, if not writers, that correspond to the various names of God. “No,” interrupted one of my suitemates, “the Torah was written by Moses.”

I guessed she’d never heard the multiple-writer theory before. “Well actually, there’s a theory that there were several writers, and each of them used a different name for God. In fact, they even think one of them was a woman—“

“No,” she shook her head, bemused, “the Torah was given to Moses on Mt. Sinai, and Moses wrote it down.”

“There’s really no point in me telling you about this then,” I said to her, “because you have a religious belief and I’m not going to convince you otherwise.”

“Yeah, you’re probably right,” she replied, and went back to whatever she was doing. I continued the conversation with my suitemate’s boyfriend.

I’ve had similar conversations throughout my life, although admittedly they’ve been mostly with Christians who were convinced that, despite my being (even in their eyes) a very good person, I’m still going to hell in 70 or 80 years. It’s bizarre to encounter the same [more than faintly ridiculous] religiosity here, and the difference is that I feel much more empowered and much more justified in challenging these interpretations. I have no grounds on which to challenge misogynist practices in Islam or Christianity, but I feel not only fully vindicated but morally obliged to challenge them in Judaism.

A couple weeks ago, I was explaining to Yonatan about how I really oppose the idea a lot of Americans and other foreigners have that they can come to Israel to study Torah and “explore their Jewish identity” which has nothing to do with the conflict or the Palestinians. I was telling him that, in fact, the Torah is a system of values, and it has a hell of a lot to say about how we treat other people, other peoples, and our neighbors. If someone wants to really “explore” Judaism in the context of Israel, I feel these things are completely unavoidably applicable to the modern situation of the Jewish state.

He said, “The Judaism you know is a lot different from the Judaism we have here.”

He’s right. The progressive Jewish community doesn’t exist in Israel like it does in the Diaspora. It exists, to an extent, but only to an extent. Even the feminist congregation Shira Chadasha (“New Song”) in Jerusalem operates with a mechitza; even the feminist Women of the Wall don’t allow men to pray with them at the non-Kotel site where they’re permitted to read Torah. No one here knows about the Reconstructionist movement, and for Israelis, post-denominationalism necessarily means secularism.

I find it difficult to explain my Jewish identity here. I’ve never considered myself a religious person, but I enjoy certain practices for traditional and non-traditional reasons, and I feel they enrich my life. I have studied and learned religious texts practice, and made my own decisions about how to incorporate them into my life. I don’t allow it to be dictated to me by a religious movement or a particular Rabbi, and I feel connected to other Jews with similar attitudes, whether they draw the same conclusions as me or not.

But I feel supremely disconnected from this militantly orthodox world that defines religious Judaism in Israel. Either you’re orthodox, or you’re not religious and you don’t participate in religious practice, aside from perhaps celebrating holidays, but that doesn’t include attending any kind of service. After I wrote about my experiences at the pseudo-orthodox synagogue in London, Aaron wrote that I’d find a similar attitude towards Judaism among Israelis. You’re right, Aaron, it is similar; only Israelis make no postures at being orthodox once or twice a year, they just say “fuck it” and disengage themselves from any possibility of Jewish practice. In the progressive Jewish communities I’ve visited since I’ve been here, almost everyone—all the Women of the Wall, nearly everyone at the Beit T’fillah Yisraeli congregation Rachel and I went to for Simchat Torah services—is American.

“The Judaism you know is a lot different from the Judaism we have here.” So I guess the question becomes, if I feel so utterly void of connection to the only viable Israeli religious sect, what connection do I feel to secular Israelis? The truth is that we make these statements about Israeli secularism, but in my experience, secular Israelis are not as secular as they think they are. Whether they realize it or not, they incorporate a lot of Jewish practice into their lives, be it surrounding holidays, Shabbat, or lifecycle events. The Judaism I know is certainly different from what exists in Israel. I have a distinctly Diaspora experience, even more so, one could say, than someone who grew up in the largely Jewish enclaves of New York or New Jersey, where the secularism that emerged is very similar to Israeli secularism because one didn’t have to be actively Jewish or part of a religious Jewish community to maintain any sense of Jewish identity. I grew up in Raleigh, North Carolina. I went to public school where I was one of a small handful of Jews. I can’t even tell you the number of times I’ve been “saved” (or at least had attempts made on me). I think the first time I can remember was when I was in Kindergarten and a girl on my bus told me she had to prepare my soul for the messiah. Neither she nor I really understood what any of that meant, but it’s the thought that counts I guess. I like to tell the story of when I was a sophomore in high school and I had a crazy Spanish teacher, three hundred years old and spoke Spanish with a deep Southern accent: “Bwaynos Deeos, Clah-say.” One day, she was teaching us the word “costumbre” which means “custom”. Of course, she turns to the one Jewish girl in the class.

“Charro,”—that was her chosen Spanish name for me—“why don’t you tell us about one of the kow-stoom-brays your family has for Hannukah.” I came down to a choice between taking the opportunity to educate my classmates even though I was being put into a fishbowl, or just giving a smartass answer. I’ve been in classes with you both. Guess which option I picked.

“Animal sacrifice,” I said, deadpan, straight into her eyes. She almost had a stroke. Needless to say, she never called on me again.

That was growing up Jewish for me. It was also summers at Jewish summer camp where I finally felt relieved, if only for a short period of time, that my Jewish identity wasn’t what made me stick out. (Instead it was my frequent use of multi-syllabic words and lack of the Tiffany’s bracelet that seems to be standard issue among the rich girls at my camp.) It was going to a Conservative synagogue but teaching at a Reform temple because my own congregation wouldn’t have me as a teacher when I wanted to start at age 15. It was having my mom come into my classroom every year to talk about Rosh HaShanah and Passover because she refused to only speak about Hannukah (as if it were the Jewish Christmas). It was always knowing I was different for some reason, that I was living in a culture that wasn’t completely mine and wouldn’t completely understand me, ever.

When I was nine and my family moved to Israel, I felt more at home than I ever had, but I remember even then feeling somewhat alienated from the typical Israeli notion of Judaism by orthodox standards. Once, the family of one of my classmates came to lead my class in some Jewish ritual or other, and when I volunteered to my classmates that I knew a lot of this already, they shushed me, “Listen to them, their family used to be Dati (orthodox)”. Even in the minds of these kids, there was no way I could know anything about Judaism compared to someone who used to be orthodox.

My Jewish identity is no mistake. My parents raised me with a more than cynical attitude towards orthodoxy of any kind. So now I find myself in a tiny cross section of my already tiny minority that doesn’t believe the orthodox own the religion and the traditions, but also that refuses to forget the culture entirely.

So what do I do with all of this? Does it change the fact that I feel uncomfortable walking around orthodox neighborhoods of any kind, but I get really mad walking around orthodox Jewish neighborhoods? It’s judgmental. If I’m honest with myself, I judge their society as much as they judge mine. I believe misogyny and chauvinism and homophobia are wrong, just as their society perpetuates the notion that women are worth less than men and gay people are an abomination. I make assumptions based on how they look about what they think just as they make assumptions about my knowledge of Judaism based on how I look. I can recognize it for what it is, but it doesn’t change the fact that the worry going through my head as I walked the streets of the Jewish Quarter was of violence enacted upon me for bringing my secular, mainstream society self where I’m not wanted. It’s not out of the question. I could be sprayed with bleach, or stabbed, and it wouldn’t be the first time. And I had the thought, even though I’m sure no one I passed on the street is probably the kind of person who would do such a thing. I judge them for how they look, but I feel less guilty about it than if I were to judge religiously-garbed Arabs in the shuk, who I make a point of associating in my mind away from negative, violent images because I know that’s the Western impulse. So what do I do with it all?

But enough about religion. Lets talk about politics.

Racism in Israel is funny. In America, racism is against Black people and Latin@s. In Israel, racism is against Kurds and people from Georgia (the country, not the state). It’s funny. There’s no noticeable difference among various European peoples, but there’s still racism. Of course there’s also racism here against Black people—there’s a sizeable Ethiopian population—and Arabs, including Mizrahi (Eastern) Jews, who are physically identical to Arabs. And of course there are other racisms in America. But Kurdish jokes, Georgian jokes, they strike me as so ridiculous. And the split between the Ashkenazim (Jews of Eastern European descent) and the Sefardim (Spanish, Portuguee, French, etc.) and Mizrahim is much greater than I thought it was. I never knew racism when I was little here, not that I could remember. And it never occurred to me to have “other-ist” feelings towards Arabs in the sense of race because I never saw a physical difference between Arabs and Jews in Israel. It’s interesting now, from an adult perspective, to discover that regardless of how arbitrary the differences, racism can be found in any society. Dr. Seuss’s story of the Star-bellied Sneeches comes to mind. How strange, how completely bizarre these miniscule distinctions are. As an Ashkenazi and American Jew, I always felt the Israeli and largely Mizrahi culture was just as much my own as traditionally Ashkenazi culture. I identified—and still do—with the beats of the music, the language, and especially, the food.

I would be remiss, in this discussion of Mizrahi culture, if I failed to discuss the very important issue of hummus. I’m thinking of changing my Div II title to specify just what kind of hummus is on the side.

A few weeks ago, I was coiling cables in the theatre when Ziv came over to me and told me to put the cables down. “We’re going to eat hummus,” he proclaimed. I wasn’t going to argue.

The two other stagehands knew where we were going. Abu Hasa is famous. It’s only open until around 3 pm, so you have to get in while you can. The place is packed, and it’s impossible for a group of four to sit together without a significant wait. There’s little choice, they pretty much just serve hummus, prepared on the premises, with either whole chick peas, pine nuts, or ful (a similarly pasty food made of ground fava beans) and plenty of olive oil in the middle. With it comes a plate stacked high with pita and another with a quartered onion, if you’re really in it for the experience.

This is hummus like you’ve never had it before. It’s an event. The waiters fly through the room, nearly impossible to catch to ask for a coke or a napkin. They hastily set the plates on the table and leave you to sort out which belongs to whom. And it’s completely worth any discomfort or inconvenience. This is not the hummus you buy in the grocery store. It’s smoother but with less thina (tahini), and much more flavorful. I don’t know how they do it. I think they boil the chick peas for a long time. It’s no small feat. There are only a few places like it in the country; this one in Yafo, one in Acco, and of course, in Jerusalem.

I was waiting at the Migdal David (Tower of David) for Yonatan after Women of the Wall. He found me writing furiously in my yellow steno pad—the beginning of this entry, in fact, because I wanted to get my impressions and thoughts written down as quickly as possible. Hummus and k’nafe was the plan, so we set off for the shuk.

Yonatan is what we call “yerushalmi”, a native of Jerusalem, so walking around the city with him is an educational experience. I had just finished telling him what a good tour guide he is when a little man popped out onto the sidewalk next to us. Infer a heavily Arabic-accented English.

“Yes please, excuse me,” he started as they all do “but are you looking for a tourguide?”

I pointed to Yonatan as we passed. “I’ve already got one.”

“No no,” he called after us, “I am not a boyfriend, I am a tour guide.” A pause. We laugh as we continue walking. Then, from behind us, we hear, in the same less-than-accurate intonation, “He is a very lucky guy.”

“There are two places to get hummus,” Yonatan began to explain as we entered the shuk. “One is Abu Shukri, and the other is Lina. They’re both very, very good, but different from each other, and people have very strong opinions about which is the best—you either like Abu Shukri, or you like Lina.”

“Which one do you like better?” I asked.

“I like them both.”

We went to Lina, and I have to say, it was delicious, but I’m still going to say Abu Hasa in Yafo is better. I don’t know what I’m going to do without good hummus. I have to get someone to teach me to make it. We always made it in my house growing up, but it’s not nearly as good as this. Canned chick peas in the blender with some garlic and lemon juice is just not going to cut it anymore.

It’s that time again: time to update on my classes. This will be short. There’s not much to say. They still suck, and I wish I weren’t taking them, because it would mean I’d have more time to do other things I feel are actually productive. In the Hampshire Student’s Guide to Field Study in Israel, I will strongly recommend against taking classes here at Tel Aviv unless the student is a native (or as in my case, semi-native) Hebrew speaker and can take all their classes through the regular University. The regular classes through the Overseas Studies Program here are a joke, and the Hebrew class is terrible for someone who doesn’t have a classroom Hebrew background (adapting to this learning style would essentially mean un-learning all the Hebrew I know already, and I’m just not willing to do that) and there is no spoken Arabic class offered by the University. There are a number of spoken Arabic classes offered by other organizations, which would be a better use of money. Also the dorms are terrible, and although I guess I’m glad I was immediately in an environment with lots of people around, these are certainly not Hampshire students. I think at this point my official recommendation would be to get an apartment with other Hampshire students or a room in a young-ish group house, work at some interesting places in the city, and take language classes as desired without enrolling. You can take the Hebrew class without being a student here, and lots of people do. It’s a normal Ulpan like any other.

I have mixed feelings about Tel Aviv. I definitely wouldn’t say I love it here, although it is a fun city with lots of clubs and an endless nightlife, if that happens to be what you’re looking for. While I love the bar scene in some cities, I just haven’t been able to get into it here. I think it’s because the crowd tends to be either American or skeezy Israeli, and I am not particularly interested in hanging out with either Americans or skeezy Israelis at clubs. The cool Israelis have better things to do with their time, even in Tel Aviv.

I like the city for its beaches and openness, and the plethora of organizations and things to keep me busy. But when it comes down to it, it’s a city, mostly like any other, only with much better Falafel. I spend much more of my time in Yafo, where it’s magical and beautiful and full of culture and light.

In the next update, expect news of a new draft of my play Yackagdayou, Brateslayou (And Other Such Nonsense), my day trip to Nazareth, and my upcoming weekend return to Haifa. If I can make myself sit in front of the computer and not move until I finish, I’ll get it to you early next week.

L’hitra’ot from Tel Aviv, where it’s almost December and I still wear tee shirts and sandals in the afternoon.

~Sharon

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Sunday, November 26, 2006
Site Updates
  • New title image, and added a border around individual posts to the new site design. Comments?
  • FAQ added, mostly because people keep asking me why I like feet so much, and this just makes it easier. Leave a comment here or in the FAQ post to add a question. Aaron/Wayne Bulletins also linked. See top panel in the sidebar.
  • Thanks to Work in Progress Jessie, I have this cool thing that shows you where my readers are located in the world (see "footprints" panel in the sidebar, towards the bottom). I have a good idea who a lot of you are, but totally surprised by some--click "Comments" below to let me know you're reading!
  • Are you a college student? Do you care about students' sexual health? See the big star in the "backpack" panel in the sidebar? Be great. Click it.
  • Pictures uploaded (finally!) to the TravelPod (see second panel in the sidebar). You can now view my adventures from Raleigh to Yisrael. Expect more from Nazareth (Wednesday) and Haifa (this weekend) in the coming week. Just so you know, the reason it's taken me so long is that I don't have internet in my room here because TAU just sucks like that, and the wireless connection downstairs in my building is shared by, um, everyone, so it's really slow, and also I can't upload more than five at a time. So savlanut, chevre.
  • Aaron/Wayne Update #5 is forthcoming so you can see what I've actually been up to in the past week.

Love,

Sharon
Wednesday, November 15, 2006
The Most Sensible Girl I Know
raven13n: oh wow

raven13n: someone outside of my room is banging very loudly on a pot

dramakweeen: ?

dramakweeen: hahaha

raven13n: and also, smoking pot

raven13n: they have a whole pot thing going

dramakweeen: HAHAHA

raven13n: it's a theme

dramakweeen: that's fantaastic

raven13n: it would be more fantastic if he wasn't drumming on a pot right outside of my window

raven13n: this actually happens on a fairly frequent basis

raven13n: i'm worried that one day, it will stop seeming odd to me

raven13n: like, "oh, there goes that pot guy again"

raven13n: as i continue on with my work

raven13n: (this may be the closest i come to crazy life stories)

dramakweeen: hahahahaha

dramakweeen: that is going on the blog

dramakweeen: right now
Tuesday, November 14, 2006
Aaron/Wayne Bulletin #4
Dear Aaron and Wayne,

I wrote before about my first visit to Jerusalem a few weeks ago. The first night, Samantha took me to her friend Tal's house to meet her Cadre of Most Excellent Revolutionaries. It should be noted here that all of the Most Excellent Revolutionaries are Israeli and all of them speak Hebrew as their native language, although hanging out with Samantha gives them the opportunity to practice their already excellent English. So I introduced myself to them in English. Quickly, Tal began speaking to me in Hebrew. The others looked bewildered at him.

"At medaberet Ivrit, nachon?" (You speak Hebrew, right?) he asked me.
"Nachon." (Right.)

Yonatan, who had driven us to Tal's house, was more astonished than the rest of them. "I had no idea you spoke Hebrew until now. Are you Israeli?"

I explained my background quickly. "But how did you know I speak Hebrew?" I asked Tal.

Tal is a very perceptive guy. While I certainly don't have an Israeli accent, he noticed in something that I said to Samantha a common error made by Israelis speaking English, and thus assumed I was Israeli. This was a pretty cool trick to pull, but it severely wounded my prided prowess in the English language. It made me realize that being around Israelis has caused me to inadvertently assume some linguistic errors characteristic of non-native English speakers. This is a serious problem. I clearly need to exercise this muscle.

(The writing up here at the beginning of this letter is atrocious. If I weren't so tired already I'd be tempted to go back and rewrite all of this. An apology will have to suffice. Don't worry. I hit my stride before to too much of this shameful shameful prose.)

It's been two weeks since I last updated you, and I'm feeling crappy about it because, as I suspected, the more time that goes by, the harder it is to recount everything I've been thinking and feeling and the longer these updates get. So I'm sorry in advance if this one turns into a monster, I'll try to get it done quickly and have another shorter one to you this weekend.

I guess one of the reasons I didn't write before is that, as per my need to maintain some ability to put together coherent English prose, I've been writing consistently in my blog. It also helps me to process everything that's happening here: all the intensity, all the challenges, all the true joys. I wrote a post last week about my experiences watching a film in my Hebrew class and my memories of being a child in Israel that I felt was really fulfilling to write and speaks a lot to my train of thought over the past couple of weeks. If you haven't read it already, it's the post titled "What Will You Do When You're a Soldier?". I won't recount the entire story here because I wrote it already, but essentially it got me thinking a lot about the army and the effect is has on people and on the country.

Another aside, in the name of full disclosure. Last week my Hebrew teacher was teaching us the words "nafotz" (common) and "nadir" (rare). She asked us to give an example of something that is rare in Israel.

I offered, "Anashim she'lo medabrim anglit?" (People who don't speak English?). It was funny, but it's also true.

Fast forward through the week, and we're still stuck with the prevailing method of learning Hebrew by what I like to call the Sledgehammer Method. The Sledgehammer Method is where the language is taught through highly technical grammatical constructs and written practice exercises that feel a lot like being hit over the head repeatedly with a sledgehammer. The idea is that the more you are hit over the head with the sledgehammer, more Hebrew will be forcibly implanted into your skull. Unlike some of my classmates, instead of impaling me with the intended words and phrases, the Sledgehammer Method causes me to learn exactly the words I need to complain about how painful the class is. So I now have lots of practice conjugating the verbs "to frustrate" and "to annoy" and the phrase "I just can't learn this way" rolls off my tongue with ease. In considering my options, I've decided to remain in the class, mostly because I feel I have to at this point even though it's not helping me learn Hebrew. For a time, I considered getting a private tutor. Instead, I got an Israeli boyfriend.

As I mentioned, people who don't speak English are extremely rare in Israel, and Yonatan is no exception, so I have to constantly urge him to speak to me in Hebrew. And I can confidently say that I remember every word he's taught me so far, which leads me to conclude that getting an Israeli boyfriend is definitely the best way to learn Hebrew. It helps a lot that, unlike most of the students in my program, I use my Hebrew on a regular basis in a work setting. Ziv and everyone else at the Arab-Hebrew Theatre speak to me only in Hebrew. But Yonatan, so long as I can convince him to speak with me in Hebrew, is the best teacher.

I said that was an aside in the name of full disclosure, so I guess I should explain the connection. If you read "What Will You Do When You're a Soldier?" you'll remember Yonatan as one of the two refuseniks Samantha and I were with at the memorial service for Yitzchak Rabin. Uri, the other refusenik, is Samantha's boyfriend, and he and Yonatan are childhood friends. They are both members of Samantha's Cadre of Most Excellent Revolutionaries, and as I mentioned before, I met and befriended them on my first trip to Jerusalem. (I just told Yonatan about the moniker I have for their group. "Revolutionaries?" he scoffed. "We're not revolutionaries. We talk a lot more than we do." I said, "That's most revolutionaries." He replied, "That's why there are no revolutions and lots of noise.")

Wayne, a quick note on the terminology, because Aaron is all too familiar: Israel has mandatory conscription at age 18 for all young men and women. A "refusenik" in modern Israeli vernacular is someone who either refuses to serve in military missions in the Occupied Territories, or refuses military service altogether.

Yonatan, Uri, and the rest of the Cadre of Most Excellent Revolutionaries are all refuseniks, so interacting with them has contributed to my recent reconsideration of Israel's draft. Is it really so normal for everyone to be a soldier for a period of time in his or her life? Is it really so normal to see soldiers everywhere? I talked to my parents about it briefly. What would they say if I was to be drafted? Would the want me to go? Could they picture me, younger even than I am today, with an AK47 dangling from my shoulder? Would they want me to refuse? Would they want me to go to prison for it?

The other day, I was showing Yonatan some pictures of my travels. (I'm in the process of uploading them to the blog, so you should be able to see them soon if you're interested. I've gotten through London so far and there's plenty more to go.) In the album of pictures I've taken in Tel Aviv so far is one of a graffiti tag I see all over the city. It's simple, unadorned, scrawled usually in black marker in minimally stylized English: KNOW HOPE. I began to explain the homophonic pun but Yonatan got it already. I've been thinking a lot about this plain imperative. I wonder how many Israelis get it. I wonder who the tagger is. I wonder to whom it is directed. I'm sure if I decided to I could look into it, use my connections to the English-speaking alternative/anarchist youth subculture and track the tagger down. I may do so.

And now for the really important news: I think I've been inspired for my Div III play. I want to write about Yafo. The more I sit with the more exciting it seems. I have lots of connections to people who live and work in Yafo through Windows and the theatre, both Jewish Israelis and Palestinians. This evening, I left the Windows office with Zuhiyye, The Palestinian co-editor of Windows magazine. I asked where she was headed.

"Yafo," she said.

"I love it there." I gushed. "It's so beautiful."

"It was much more beautiful before," she replied, a little wistfully.

"Before when?" I asked.

"Forty-eight," she replied. "It used to be the center of Palestine. Now it's been...brushed to the side."

I told her I still thought it was beautiful, although I knew she was probably right, and that although I'm there all the time working at the theatre I don't really know the story of Yafo. A little is all. Rutie, the Israeli director of Windows, mentioned briefly about the program they conducted there for the youth. In essence, the Palestinian families living in Old Yafo were forced out in 1948 and the area is now a Jewish neighborhood, and the mosque that is still there is not allowed to be used. I told her I'm interested in hearing the story.

"We'll go together and I'll tell you," she offered.

I was ecstatic. "Really?"

"Yes. Sometime when we have some time off, we'll go."

We made plans to go next week. I can't wait. She also gave me the name and phone number of the woman who runs the Jaffa Bookstore and Cafe, which has lots of resources on the history of the city. I wonder if the Arab-Hebrew Theatre has done any work on the city where it lives. If so, I'm sure that would be fascinating to get my hands on. If not, maybe they'd be interested in this project? Could it perhaps be produced here in Yafo as well? My head is spinning with ideas. I'm seeing simultaneous threads: interviews with people from the theatre, with the kids from Windows, with friends and soldiers and students; the street cats; a romance by the water. I have to keep myself focused on the play I'm working on now without getting too carried away, but I'm really excited about this.

As you can probably tell, I've absolutely fallen in love with Yafo, in large part due to my work at the Arab-Hebrew Theatre. Over the past two weeks I've seen three more plays there, plus a very bad "international poetry festival" and what I was told was an Iraqi music concert but turned out to be much, much more. I'll leave you with that cliffhanger while I talk a little about the plays.

The first was called "Ga'aguim", which roughly translates as "Longing", but that doesn't really do the word justice; it's really the plural of "longing". The play begins with the audience sitting in the theatre's foyer. A live band plays a song in Russian, Arabic, and Hebrew. On a small side stage, an Arab woman wearing a wedding dress emerges from a large vinyl garment carrier singing a mournful Arabic song. She steps off the little stage, walks through the rows of seats, and stands in front of the entrance to the main part of the theatre. "B'vakasha," (please) she says, and gestures for us to follow. As with most interactive theatre, it takes the audience a minute to realize that we're actually supposed to move, but quickly everyone stands and follows the woman inside.

Everything is backwards. Instead of the usual setup with the stage in the middle and the audience on risers facing it or perhaps on three sides, the audience sits in the middle in office-style swivel chairs. Six small stages, each about four feet tall, surround the audience. A different scene with a different actor is on each stage. Over the course of the play, the audience turns in their chairs to face whichever stage has the action.

The stories are of families and their different connections to Israel. One is a grandmother who was born in Israel just after the foundation of the state, her parents having fled Morocco, her racism thinly veiled. One is an Arab man who was expelled from his town and now squats on the land his family once owned. One is an immigrant from Italy, unconcerned with politics, a caricature of a woman with a bleach-blonde bob and a skirt that lights up like a Christmas tree. One is the daughter of Holocaust survivors who fled from Nazi Germany and recounts the story of returning with her father to the house where he lived to find that its current occupants had kept for them a tiny prayer book the family left behind for all those years. One is an Arab man whose grandfather has just died and who doesn't feel the connection to the land his grandfather felt. The last is an Uzbekistani family telling the story of attempting to move to Israel and recounting their own tales of encounters with the Fucking Crazy Israeli Bureaucracy. It seems the father, an actor, had moved to Israel previously, and the mother tried desperately to explain in Russian to the immigration bureau that the father was in the country and had never seen his young son.

Something about this last story was catching my attention. The actors playing this family--they were the same actors that performed in the Japanese communist play "Isha B'cholot". The story seemed strangely similar to their own--didn't Marina, the mother, say in the talkback after "Isha B'cholot" that she didn't speak a word of Hebrew when she arrived here ten years ago? Hadn't they mentioned something about their son growing up in this theatre? My interest was piqued...

Of all the shows I've seen so far, Ga'agu'im has been the most similar and, I think, most directly relevant to my own work. In the talkback session after the show, I found out why the story of the Uzbekistani family sounded so familiar. It was these actors' own story, as were all the other stories. The actress playing the Arab man squatting on his family's land was the same woman who sang at the beginning of the show. Her piece was her uncle's story. The Italian woman was performing her mother or her cousin, I can't remember. The German woman was performing her mother. The Arab man was performing a member of his family. The only story not told by a direct family member was the Moroccan woman, played by an actor unrelated to her because the author of this character felt too close to his grandmother to portray her. The show was developed with these particular actors about five years ago and has continued to run intermittently at the theatre since then. Most of the time, the characters do not interact, but occasionally a word or two is exchanged. There is no Fourth Wall. The characters tell their stories directly to the audience and frequently ask for interjections. The Italian woman, at one point, after all the stories have been set up, asks the audience to say things they long for--their parents, their home country, a certain food, a certain smell. Then she passes candles and matches through the audience. Once everyone has a lit candle in hand, she gives us the opportunity to make a wish, and on her command--because if we do it all at once, our wishes always come true--we blow them out.

The actors have clearly been doing this for a long time. They interact with us with ease and make us feel comfortable being part of the action. Maybe it's just their skill, and maybe it has to do with the crowd that shows up for plays at the Arab-Hebrew Theatre. But any way you cut it, they're an extremely talented group, and the amount of personal investment in the characters really shines through.

During the talkback session after the show, an audience member asked about how the actors reconcile the vast political differences among their characters. She wanted to know if it was problematic to have people with such disparate political views working together on the production. "First of all," replied the actress who played the German woman, "we all play characters with different political opinions. We have different opinions too--from the characters and from each other. But honestly, we're all friends. We work on the show together and we're close personally as well."

It was true. After the show, after the audience left, Ziv and his wife Maya who had been running the sound invited me to stay for a toast in honor of one of the actress's birthday. It was lovely. The cast and crew sat around and chatted like any theatre company. There was no animosity. After the show was over, they were just a group of friends.

Ga'agu'im made a lasting impression on me from a theoretical standpoint more than anything else. The idea of having the audience in swivel chairs was ingenious, but impossible to replicate given my current resources. Nevertheless, the idea was striking. The audience interaction worked beautifully. And the there was ample evidence of the process this group went through together to create their individual monologues, the stories they told individually and the story they told together. The visual image of all the audience members holding candles stays with me as well.

The other two plays didn't make nearly as much of an impression, partly because they were shorter, partly because I understood less of them than I did Ga'agu'im--the first one in particular was highly poetic and sounded beautiful, but I could barely understand a word--but mostly because they just weren't as directly similar to my work. They were played in one evening as a double-feature of sorts.

The first was called Shir HaMavet (Song of Death). It begins with two sisters waiting for a train,. The son of one of the women had promised to return home--from where, I didn't catch--and his mother had something very important to tell him. The son arrives, and the story is that there has been bad blood between their family and another family in their town for many years. The mother reveals to her son that the other family murdered his father because of it, and she's been awaiting his return to give him the knife with which they killed his father so he could use it to kill their family's one remaining fourteen-year-old son. The son refuses and his mother disowns him and throws him out of the house. The aunt's son, about the same age as the now disowned son, enters the scene to find the mother distraught. She gives her nephew the knife, and asks him to gi kill her son if he won't preserve the family honor. The nephew agrees, and says she'll know he's done it when she hears him singing the Song of Death in the street. In the final scene, the two women again wait at the train station. The aunt doesn't know what they're waiting for. The play concludes with the sound of the nephew singing the Song of Death.

Ok. So imagine that story. Now imagine it in Hebrew. Now imagine it with accents--the actress playing the mother is the same Arab actress as in Ga'agu'im and the aunt is played by the German woman from the same show--and the characters are Arab so there's a lot of Arabic thrown in there. Now imagine it's in a stylized, poetic language, and it's been directed by the Uzbekistani actor from Ga'agu'im and Isha B'cholot, and he's incredibly displeased with this performance.

I'm amazed I understood all of what I did. It was extremely dark. I'm pretty sure it was an allegory for something but I couldn't understand enough to discern what the allegory was exactly. Once again, it was quite visually stunning--Ziv's lighting here was very impressive--but I'm not sure I comprehended quite enough of it to really get it.

There was a break for dinner. A local family--I think they own a restaurant in Jaffa--brings homemade Middle Eastern food to sell before many of the shows. We had warm pita with labaneh,a soft white cheese derived from yogurt; Israeli salad of tomatoes, cucumbers, and lemon; olive oil; and za'atar, a tangy spice native to Israel. Have I mentioned that the people at the theatre are astonished that I want to work for them for free? Apparently it's not very common in Israel. Sometimes it helps to explain that I have a student visa and they couldn't pay me if they wanted to, but that's not really the point. They're incredibly grateful so they make sure to keep me well fed while I'm there and Ziv and Maya frequently give me rides home after shows when the busses have stopped running. And that's on top of getting into all of their plays, which are all political and about Israel and Palestine, for free. I think I'm getting away with a steal here. They think they are too. So it's just a fantastic situation for everyone. And I'm not exaggerating too much when I say that I live for that pita and labaneh with the salad and olive oil and za'atar.

After the break came Se'adon HaMeshugah (Crazy Se'adon--Se'adon is a name). It was a hilarious, fantastical piece of readers' theatre, performed on book, about a guy who falls into a coma at the very beginning of the Six-Day-War in 1967 and doesn't wake up for 25 years--and when he does, he doesn't realize how long he was asleep and still thinks it's 1967 and the war is on. He's an Arab nationalist--I didn't catch whether he was meant to be Palestinian or Egyptian. But you can imagine the basic format. His family starts off hiding the truth from him, pretend the war is still on, then try to ease him into the truth--hilarity ensues. Unfortunately a lot of the humor came from topical references about the Six-Day War in Hebrew, so I couldn't really fully appreciate it. But the concept was interesting--what would you think of a 1990's Israel if you were expecting the 1967 version? What would you think if that happened and you were a Nasser loyalist? Impossible--certainly. But hilarious.

The other cool thing about this show was that, once again, a lot of the actors from previous shows appeared in this one as well. The Arab woman from Ga'agu'im and Shir HaMavet was in it, and the Arab actor from Ga'agu'im played the main character. The show's director, who also directed Choref B'Kalandia and Ga'agu'im, also appeared in a supporting role, and the Theatre's general manager had a small role as well. It was nice. Certainly not the most polished piece, but it played well to its audience and offered a well-deserved laugh after the intensely grim Shir HaMavet.

I also had the, uh, pleasure of working the Sha'ar International Poetry festival. It was a fun show to work for the normal reason--the crew hangs out backstage and makes fun of what's going on onstage--and it was even funnier for this festival because it was, very simply, very bad. It was bad poetry, bad avant-garde film, bad interpretive dance. It was no surprise. Ziv warned me ahead of time that it would be bad. There was one great act, though--a nineteen-year-old Palestinian woman with an absolutely unbelievable voice who sang a few traditional Arabic songs, some a capella and some accompanied by the oud, a stringed, somewhat mandolin-like Arabic instrument. They were the last act and seriously brought the house down.

Last Thursday, Ziv asked me to come set up for an Iraqi music concert that evening. We put out some microphones and basic warm lighting. The group hadn't been specific about how many chairs or instruments they'd need. When the band arrived and we began the sound check, the Theatre's manager, Faraz, asked us to bring out a table, a few chairs, and an extra microphone for the moderator.

Ziv and I were confused. Moderator? What moderator? This is a concert, right?

Not exactly, as it turns out. As I was walking past the refreshment area, the man working the bar asked me if I knew the name of a man in a suit that had just passed by.

"No," I answered in Hebrew, "should I know his name?"
"He's a Member of Knesset," he replied. (Knesset is the Israeli parliament.)
"Really?" I was shocked.
"Really," he said, "and the blond woman is too."

He was right. In fact, not only were there two Members of Knesset there, but there was also a British diplomat and--get this--the American Ambassador. Yeah. In the theatre, having a moderated discussion about diplomatic engagement with the governments of Lebanon, Syria, Iran, and Palestine, such as they are.

Iraqi music concert to follow.

Once again, I am not making this up.

The whole thing was at once hilarious and enlightening. The audience was made up of mostly Iraqi Jews, most immigrants to Israel, some not, and a handful of Arab and Jewish locals. Israelis do not venerate their elected officials whatsoever.Both MKs were from the Labor party, and this leftist crowd wasn't too pleased with them to begin with, so any deference to the position was completely out the window. Audience members had no qualms about interrupting the MKs during their speeches to interject their own ideas about how to fix Israeli diplomacy. In their defense, the MKs were offering pretty reasonable statements, but this group was having none of it. The British diplomat droned on and on about his thirty-some years in diplomatic service to the Queen, and to add to the absurdity, the American Ambassador barely spoke at all. No one was interested in asking him any questions. They pretty much just wanted to beat up on the MKs.

When they could get a word in edgewise, both diplomats said very encouraging things. Their overall point was that they think diplomatic engagement is essential with all of these countries despite our objections to their leadership or composition, because the less we talk to them the more isolated they become and consequently the more extreme they become. It's a simple enough idea, and not a terribly new or revolutionary one, but it was nonetheless encouraging to hear it from the diplomats themselves. I was actually very pleasantly surprised at the risk they both took in straying from official policy and speaking their own views. Fascinating. It left me with new respect for the diplomatic corps, and a little more confident that if the governments just let the diplomats do their thing, maybe there is some hope after all. Maybe the new Democratic Congress will help push that along.

It was very strange to be in Israel on election day. No one in my program voted. Many didn't even know there was an election. It was sad. I was up late scouring the internet for some early exit poll results so I could go to bed with an easy conscience, but I had to wait until the morning. There was really no one to share my joy. People here are moderately politically literate at best. So I spent a lot of the next day chatting online to friends from DC. I'm proud to say that my prediction of the Montana race being called quickly for the Democrat was correct, unlike my prediction that the Webb/Macaca race in Virginia would go into a long, hard recount. But I am ecstatic about the results. Washington will certainly be a different place next summer.

Speaking of which, have I mentioned that I'm pretty sure I want to intern with my Congressman next summer?

Ok, this is the last section before the pretty ending I wrote about two hours ago while I was still coherent, I promise. I already updated about the theatre and my Hebrew class and all the shows I've seen and the stuff I've been thinking about and all. The Orto-Da theatre group said they were having a performance in the street today and that they'd give me a call to help out with it, but I never heard from them, and I'm not crying about it. I'm busy enough as it. I've got a big grant application deadline coming up on Friday, and I've been working my ass off on making sense of Windows's operating budget--why they gave that to me I have no idea, and making everything fall into place when the funding and expenses are in three different currencies is no piece of cake. But I feel like I'm really an asset to the organization, and it's great experience in nonprofit life, so I'm not complaining. Again, the fringe benefits are what do it. They also give me lunch while I'm there, and the connections I'm making--like Zuhiyya--are really priceless.

My Arabic class is interesting. It's taught in Hebrew, and the two other Americans who were at the first class with me mysteriously disappeared by the second class. At this point, I have no other options, so I'm just going to suck it up and learn what I can. That said, I'm actually learning a lot, even if I have to write down some of the words in Arabic and Hebrew and look them up later in the Hebrew-English dictionary. The format of the class is translation of a news article or advertisement, done at home, and reviewed in class with lots of opportunity to speak and read aloud in a non-threatening and positive format. I like the professor a lot, and he's been very understanding of my situation. I'm actually learning a lot more Hebrew in his class than I am in my Hebrew class, although I have to admit that I kind of feel like all of my classes are wasting time that could be better spent working and actually using my language skills.

All these things considered, I had the idea to collaborate with Samantha, Rachel, Noam, and Alejandro to write a Hampshire Student's Guide to Field Study in Israel, so that future Hampshire students know what to expect. I don't plan to spend too much energy on this, but I feel it would be a waste for us not to share all we've collectively and individually learned. There are LOTS of things I wish I knew before I got here, and I'm pretty sure the others would agree.

Alright, that's it. Ten pages is quite enough. It's well after three in the morning, and I promised you a pretty ending, so here it is.

A little over a month ago, I was standing in a street in Barcelona at three in the morning. My Australian companion had run off in pursuit of three men who had just stolen his wallet. I was alone, and I couldn't remember the way back to my hostel. It was at that moment I decided I was ready to read On the Road. Ironically, it turns out you can't find On the Road if you actually happen to be on the road. I scoured Barcelona, London, and Manchester for a copy but to no avail. Finally, last week, my friend Geoff took me to a little used bookstore in downtown Tel Aviv--one of those fantastic little hole-in-the-wall places with stacks up to the ceiling and a pile outside marked "10 Shekels Each". We asked the store's owner if he had a copy of On the Road.

"Not right now," he replied.

I was exasperated. "Do you know," I said, "that you can't actually find a copy of On the Road if you're on the road? I've been looking all over Europe for this book for the last month and I can't believe I haven't been able to find a copy."

He looked at me sympathetically. Clearly I was deserving. "Let me check," he said, and in about ten seconds he produced two copies for me to choose.

I beamed. "You just made my day."

"Yeah?" he smiled back. "The price just went up."

So now my adventures are in the company of Kerouac's prolific Sal Paradise. I mention this in case my writing becomes a muddied with beatnik riffs, so don't get the impression I've been spending too much time in Tel Aviv's abundant and overpriced coffee houses. I haven't finished it yet, but one line has been turning over and over in my brain as a perfect description of my objectives here in Israel:

"All I wanted to do was sneak out into the night and disappear somewhere, and go find out what everybody was doing all over the country."

My work here isn't done yet. I want to travel more, to see more of Israel, and to see some of Palestine as well if I can do it right. I want to meet more people and hear more stories. The more I experience, the more insatiable I become.

~Sharon

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Monday, November 13, 2006
Hebrew Lessons
This weekend I learned five new words.

Hadadi means "mutual", because that's what our feelings are. I'm not going to forget it because the first time I said "hadida" and he laughed at me.

L'ga'at means "to touch". It's amazing that I always knew the word for "to feel" (l'hargish) but never "to touch". He also taught me the conjugations. "See?" I said, "Dikduk!" (grammar).

Chinani means "graceful". Dimples are called something to the effect of "craters of grace". He has one on each cheek. Both of mine are in the same place.

Holem lach means "suits you," as in "your glasses suit you".

Mushlam is my favorite. It comes from the root "shalem", meaning "whole". Mushlam means "perfect".

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Tuesday, November 7, 2006
I'm the only person I know who voted.
It's true.

Nobody else that I know voted.

I met one girl who said she's waiting on her absentee ballot to arrive, but I wouldn't count on it.

Also I'm the only one insanely scouring the internet for more little leaks from CNN's early exit polling, because I have to go to bed soon and polls aren't even closed on the east coast yet.

It's wierd to be thinking about American politics right now, sitting where I am. Also, Israelis do NOT understand our political system, which is fine because nobody understands theirs because it changes every five minutes. Also ok because most Americans don't understand it either.

I miss DC. Tonight. I mean I miss DC in general, only right now I'm really excited about living in Israel for the next two months so I don't miss it that much. But Pam and I are going to have an awesome DC weekend on the way up to Hampshire, including some favorite spots and Tikkun Leil Shabbat, which conveniently falls on the weekend we'll be there.

Ok, I'm off to bed as soon as I can find some FUCKING EARLY EXIT POLL RESULTS!


UPDATE: Can't find any. Instead, I'll post some things I found on the same pages as the tired headlines about strong voter turnout I've read ten thousand times already:

Body Piercing: The Hole Truth (WaPo)

Three weeks ago Indiana surgeons removed the breast of an 18-year-old diabetic whose torso was invaded by flesh-eating bacteria surrounding the nipple rings she acquired at a salon to celebrate her birthday. [...]
Gross.

Britney Spears Files for Divorce (WaPo)

The Los Angeles County Superior Court filing cites "irreconcible differences," said court spokeswoman Kathy Roberts. [...]

Don't care.

Police: Teacher Brought Marijuana to School (WRAL)

Police said Palermo last Thursday brought marijuana to Parkwood Elementary School, where he worked as a fourth-grade teacher. Palermo was subsequently fired from his job.

That's Raleigh for you. Fire all the creative types. What they don't say is that now his class is being covered by a retired bus driver until they can find a cokehead to take the position permanently.

5 Treated After Odor Reported in Raleigh School (WRAL)


"Our first concern was the kids," teacher Sue Moody said.

Well. That's good. Because usually their first concern is who brought the bong, right? C'mon, what else could the mysterious odor be?

8 simple Rules for Election Day (ABC)

2. There are no pooled exit polls in House races.

4. There are no pooled exit polls in House races.

7. There are no pooled exit polls in House races.

8. There is no way to know the level of national or state turnout with any certainty today.

Eh, fuck it. I'm going to sleep.

~S

EDIT: Credit where credit is due: a shoutout here to wild child Rachel Ann, who not only voted, but voted in Ohio. She is a better man than I.

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Monday, November 6, 2006
What will you do when you're a soldier?
In Hebrew class this morning, we watched a short film by a then-student at Tel Aviv University. It began with shots of the first Intifada--kids throwing stones at soldiers, soldiers shooting back at the kids, and I was gearing up to get mad, to object, to write a list of angry words and look them up in the English-Hebrew dictionary. But the filmmaker-narrator began telling his story: "I was a paratrooper in the army during the Intifada. I saw violence and I hated it. All the time, I dreamed of being discharged and making films about love. It's the only thing that kept me sane."

As the film progressed, it became clear that it was made during 1995, the year I lived in Haifa. Dan, the filmmaker-narrator, told his own love story alongside the story of his country--of meeting a charming girl, of being unable to tell her he loves her, of beginning to see only soldiers everywhere, of seeing his girlfriend drafted into the army, of a rally held in downtown Tel Aviv shortly after the Oslo Accord where people shouted "Rabin is a traitor!" and "Vengeance!" I shivered. A banner above stated "Netanyahu will make a real peace." I started to cry. That square where they chanted is now called Rabin Square.

I remembered my mother's face after returning from a mostly American political rally--was it the same day?--where Rabin spoke. He had to be escorted away from the podium because an American man wearing a kippah pulled a pocket knife and charged the stage while others held signs of Rabin in a Nazi uniform.

A few days later--was it weeks? months?--Rabin was murdered in that square in Tel Aviv and it was named after him. I was there two nights ago, with Samantha and two refuseniks, Uri and Yonatan, and thousands of others gathered to remember Rabin and rally for peace. Yonatan wore American camouflage pants. We laughed about the irony earlier.

Dan shows the procession line at Rabin's funeral. The soldiers prevent an old woman from standing for a moment in front of Rabin's coffin. "Keep moving, please..."

Keep moving is the mantra. Remember?

We moved through the crowd towards the end of the rally, cutting across the square to get towards the bus for my friends to go back to Jerusalem. They began singing Hatikvah, the national anthem. Uri led the way, and we kept moving. I sang as I walked. After the first verse, I noticed we were getting dirty looks. When we'd almost reached the edge of the crowd, a woman grabbed my arm and started yelling at me in Hebrew. I didn't understand what she said. I was in shock. I couldn't say anything. I couldn't move. Yonatan, behind me, nudged me forward. He argued back at her briefly. She was yelling at me for walking during the anthem.

After Rabin's funeral, Dan only sees signs of war wherever he goes--bomb shelters where kids play tofeset ("tag")--and this is where I really start crying. I'm a little embarrassed. Nobody else in my class will be crying about this. But no one else played tofeset outside of bomb shelters in Israel.

I did.

If Dan had been from Haifa and not Tel Aviv, I may easily have been in those shots. He noticed--I don't think I did--the scary contrast of a large group of soldiers on the other side of the lot where we played.

***

I'm sitting writing this on a bench in the park we use as a short cut between the University and our dorms. The park is pretty and mostly inhabited by old people from the retirement home next to it. A woman walks by. She's garishly dressed--grey hair cut into a bob under a bright purple beret, matching purple jacket, orange crocheted scarf, slightly-too-current white plastic framed sunglasses. My bilingualism has been returning, not so much the words as the ability to comprehend and converse without translating on the spot.

Woman: Are you studying or working?

Me: What?

Woman: Are you working?

Me: Yes.

Woman: There's a University near here, right?

Me: Right.

Woman: I see students come through here all the time working. Are you a student?

Me: Yes.

Woman: What are you studying?

How to explain this in Hebrew? I don't have the words I need. It's frustrating. Instead,

Me: I'm from the United States.

Woman: Oh. What are you studying here?

Me: Hebrew and Arabic.

Woman: What?

Me: Hebrew and Arabic.

Woman: You want to be a Hebrew teacher in the United States?

Me: Not really.

Woman: So just for curiosity? Because you want to know it?

How to explain? Instead,

Me: Yes.

Woman: When I was young, I was good at philosophy. So I told my mother I wanted to study philosophy. She said, 'What will you do with philosophy? You're also good at mathematics and physics. You should study that.'

Me: Is that what you did?

Woman: Of course. And when I got to this country, I found lots of work because I knew mathematics and physics.

Me: Where did you come from?

Woman: I was from Turkey. But what would I have done if I studied philosophy? You don't have to know the language for mathematics. It has its own language.

Me: Are you a teacher?

Woman: (delivered in the tone of "isn't it obvious", gesturing towards the old folks home next to us) I'm retired.

Me: Were you a teacher?

Woman: Yes, for almost forty years. But I wouldn't want to be a teacher anymore.

Me: Why not?

Woman: The kids bring knives to school.

(a beat. I laugh a little.)

Woman: Shalom.

Me: Shalom. Have a good day.

(As I write, trying hard to get the words right through memory and translation, a man walks by whistling Summertime.)

So hush, little baby...

***

The University's president called in the Police to deal with the striking students. They chanted, "Police State! Police State!" Shots of the University we were all sitting in, only filled with students striking and rioting and the police carrying them away.

I used to try to explain mandatory conscription in Israel to Americans by saying "it's not like it is here". That's for certain. Dan questions whether it's really natural for a kid to be a soldier for a couple of years of his life. I used to explain that it's normal, just a part of life here, but I found myself with Dan on this one--what's normal about it, really? What's normal about seeing AK47s strapped to teenagers everywhere? It's much easier to think about it as normal, to keep playing tofeset, not noticing the home base is a bomb shelter and the soldiers on the other side of the lot.

Everyone cries on the way to drop off Dan's girlfriend for her first day in the army. Dan recalls something his mother used to say to him as they approached the gates to his kindergarten. "Dry your tears," she'd say--I didn't dry mine--"what will you do when you're a soldier?"

~Sharon

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Thursday, November 2, 2006
Yizkor
I've often told the story of the day Yitzchak Rabin was assassinated. Actually, what I tell is the story of the day after.

I was nine. I was living in Haifa with my family. We'd been there about three or four months. The night it happened, we had gone to visit a friend for dinner just outside of Haifa. I don't remember it well. I have a vague image in my mind of a bus passing us on the way to their house and my parents saying something about a rally and how they wished they could go.

The next morning, my dad woke me up for school. He had a somber look on his face, and my nine-year-old self could tell something was going on.

"What's wrong?"

He told me that at the rally the night before, Yitzchak Rabin, the Israeli Prime Minister we admired so much, had been murdered. I don't remember what I was thinking.

When I got to school, all the kids were crying. Two girls from my fourth grade class stood at the gate to Tschernichovsky School, asking everyone "Did you hear what happened?" as they came in.

I remember that we had a "tekes" (an assembly or performance) a few days after, and that we wrote letters to Leah Rabin. But what has always colored my memory of that day more than anything else is the sight and sound of children crying.

Eleven years later, I'm sitting in the main quad of Tel Aviv University among probably over a thousand students and faculty at the eleventh memorial tekes. No one is crying now, but we all have the same look on our faces. We were all there, eleven years ago tomorrow (because it was the day after when we found out, when we cried) trying to wrap our young minds around it all, and in the meantime, crying. When I tell Americans my story, they listen intently and with wonder. They ask questions. They want to know what it was like. I don't have to tell Israelis. They were there too. It's funny to think that choosing that particular year to spend in Israel forever embedded me into this generation of young Israelis, which never would have happened has I not been there to share this particular pain.

We stand to sing Hatikvah together. No doubt someone sang Shir L'Shalom earlier. The woman leading the anthem is just a little off-key. We all sing quietly, the breeze blowing the words from our mouths so that we can't discern our own voices from the throng. It's entirely possible--likely, even--that there is at least one of my former classmates in this assemblage.

No one cries. But we were all there.

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