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The Jewish Question: Jerusalem Maiden, by Talia Carner

This is not an incantation of the hateful rhetoric that is associated with the title. Rather. it is us Jews that ask the question, “What limits are justifiably placed on our lives by our laws?” For more than half, probably far more than half, of all Jews, this is no archaic throwback; it’s a real issue. Many Jews, Muslims, and animists – practitioners of any “traditional” faith except Christianity – must choose whether or not to be bound by a tradition that is written in the Voice of God. What if who God authentically created you to be is at absolute odds with the laws that your culture demands that you practice?

This is the question asked of Esther, the Jerusalem Maiden of the title. Esther feels her senses, acutely. She tastes things in color. She sees colors in action on paper, and the sensations of womanhood will roll over her in four dimensions. Every instant pops, washes, dances, tickles, or cries itself across her senses as the thing and its derivative in time. As a young girl in Meah Shearim, the most hateful corner of the most rigid city outside the Caliphate, her father lets her learn secular (horror!) subjects at the hand of a Mlle. Thibaux. Her best friends, Ruthi and Asher, also fight against the strictures of the Haredi vise grip. Ruthi fughts by committing suicide, and Asher, by exiling himself to Europe where he becomes one of its most celebrated conductors. As for Esther, she battles against her artistic talent and passionate nature. She tries, really tries, to honor her husband, with whom she has three (he believes four) children. But she winds up in Paris, meets her tutor and the tutor’s illegitimate but brilliantly talented son, who is just a few years her junior. There, she dicovers that a painting of Jerusalem that she did as a child hangs in the Louvre.

There is a shift in voice that occurs when the book flashes forward to present day. The poignancy of being free to be who you are, but choosing obligation over integrity, practically drenches the pages of this imporrtant literary novel with its tears and its blood. History, and the might-have-beens, will leave any perceptive reader moved. I’m no stranger to this discussion myself, having pursued a fine arts career only to leave a broken marriage and financial ruin in the wake of that vessel. Did Esther have regrets at the end? You will wonder – because the answer is never given. Neither is the answer to the only question that matters more than the “Jewish question” of this book. The only question really worth sacrificing for is the question of love.

If I have one minor beef with the book, it is that the author, Talia Carner, is uncompromising in her hostility to the people of Meah Shearim. The only person in the whole novel for whom the mores of the Haredi hold any joy is the person whose fate it is to escape from them. Still, this book is a great achevement. I think that I will remember it long after my own output has been forgotten.

Create a World; Invite Me In

I can’t tell you that I read this novel for my usual reason – as anyone who follows my reviews knows, I’m trying to help other new authors and to build the “platform” of people who would be interested in reading my own historical novel, 3 Through History, also available at Amazon.

Frank Tallis doesn’t need my review, but it turned out that I needed to read his book! Tallis’s Vienna is the city of Mahler and Freud, where the forensic psychiatrist and the detective were using psychiatric tips that make Sir Arthur Conan Doyle look like a hack, but lacking any forensic physical tools except a keen eye and a canny wit. As a former opera singer myself, I read with a certain degree of personal investment when Mahler appeared in the script. A rivalry between a rising star with deep psychological and sensual needs and a seemingly perfect, established star would appeal to anyone, not just a musician, but in fact, I know almost all the music referenced in the novel. Now there’s a good one. All the other details of the Viennese society described in this book matched dead-on with what I had learned from my experience in opera, singing Wagner.

If you are the kind of reader who likes a convincing murder mystery, and any unfamiliar trappings get in your way, you would find this book tedious. But if you are any other kind of mystery reader, or a reader of historical fiction for whom the mystery is only one way to structure the book, you will revel in the historical accuracy where you walk the streets of Vienna, and take the train to the various other locales that our heroes have to visit, you will revel in the opportunity to travel in place and time.