Monday, August 28, 2017

Tale 5: Chosen Family - Judges - First Third of the Second Third

What a Spring. Simcha wasn't talking to Ori. Mary was avoiding Bob. Bob didn't want Simcha in his house. Bethany willingly made herself the object of Simcha's spite against his family by coming over theirs, Simcha'd would show his contempt for the laws and customs which were also his by freely announcing he was leaving to visit Bethany's friends, friends he often didn't like and was sure they didn't like him.

But Bethany, as always, knew how to get everybody back together.

Ori knew that this tohu vavohu is what Chabadniks take on by living in the world of apikorsim like Bob Katz. The other Charedim keep to themselves. Die Toyreh provides six hundred thirteen commandments to keep order in life. No Jew has to lead, all they have to do is wrestle with the decisions of how to interpret laws that are already laid out for them with thousands of precedents for how each law can be studied.

Blood is not red until it leaves the body, and Der Rebbe wanted a thriving, bruising, lean Yiddishkeit that fights for every inch of every Jew's Neshawmeh rather than the clotted and wheezing Yiddishkeit of Charedi sects who never ventured out into Olam HaZeh. He wanted Freylikhkeit, he wanted happiness, and he knew that the greatest happiness is in letting ander Yids grow into their Yiddishe kops. It's horrifying for Simcha to go off the derekh now of all times, but der Rebbe knows best, and if Simcha's going off the derekh, it just means his Tateh has to solicit and harrangue him the way he would any ander yingeh Yid.

It's not like Bethany didn't wear long skirts and sleeves when she was over the Freylik's, but it was not something anyone was shy about correcting. If the skirt didn't cover up everything, if she rolled up a sleeve, if she wore a color too flashy, if she starts humming to herself. Tzakhi tells her 'and you should cover your hair up under a sheytl if you come in' after Rinah gently reminds Bethany that she shouldn't be in a room alone with Simcha, which starts a roaring shouting match between the two brothers. There's that 'korveh' word again. All Tzakhi has to do to win the argument is to stand a few inches away from Simcha's eyes in all his particularly unimpressive gangliness, but sans the Simcha hump. Bethany shows up again two nights later with a large hat. One day Kristina convinces Simcha to let her tag along, Tzakhi calls her an oberkapo and tells her she shouldn't even be allowed to stay with the Katzes.

Yes, it's April 1994, five months after the release of Schindler's List and one after it wins the Best Picture Oscar. The Oslo Accords may yet happen. The Rebbe may still yet live forever. A million Shoah survivors around Amerikeh und Yisroel live out the full bloom of their resurrected lives with kinder and eyniklach they can only yearn for their briders und shvesters could live to see. Trees of life grown tall and strong without roots. Gott! Far vos mir und nicht zay?

As far as springtime in the history of our people go, this is a particularly relaxing one. So Bethany and Kristina go over to Vicki's house to find some relief, and out of a mixture of pity and Kristina's entreaties, they invite Simcha, who tries weed for the first time in Vicki's bedroom only to wig out as he follows the circular logic of weed smokers that he's too different from this crowd to even try to fit in with them and is so completely out of his element that a wrong decision could kill him. Vicki assures him all he needs to do is go with the flow, just lie back and relax and accept it all. But there's no way he can possibly do that until he hears:

'SIMCHA YOU VILL RELAX!! ACCEPT ZE EXPERIENCE!!! '

Kristina's shriek relaxes him in a manner Vicki's laid back entreaties never could. He lies back, resting his head on Kristina's right breast as Bethany rests her head on his, Vicki on her's, Kristina on Vicki's. As Simcha's paranoid mind takes in the jam rock, prog rock, art rock, and new wave for the first time, he experiences passive acceptance he's never known possible. With its twenty-minute long songs whose drones served for so many Jews a generation older than Simcha as something akin to worship, a religion substitute that was cheaper than going off to an Ashram, giving them the community and belonging and devotion and self-sacrifice to music too mediocre leave unworshipped.

Until today, Simcha met all things were met with the dread - sometimes a joyous dread but nevertheless, a dread omnipresent - the dread of knowing that the world must always be engaged. The laws weren't going to interpret themselves. The books had to be read, the broches chanted, the righteous praised, the wicked condemned, and if they didn't, the world may end. The world is made from Torah, worship, and deeds of loving kindness which to Simcha never seemed particularly loving or kind. Simcha worshipped as any as any Hasid with a decent neshawmeh does, but where was the loving kindness which he read so much about yet saw so seldom? His mother slaved for her children, yet so many times he'd heard her scream at him and nearly as much the other kinder as though she'd rather have been doing anything but what she was doing. What had he ever seen from his parents and grandparents and uncles and aunts and Rabbis and teachers to make him thing that loving kindness was anything more than an imposition? In two months around Bethany, Kristina, and Mary, he had seen and felt more loving kindness than in sixteen years of life among Freyliks. Here are people who are not commanded to be kind, but choose to be.

For the first time in his life, loving kindness seems possible, and it now feels as though the entirety of the Chabadnik community, the entirety of Charedim, the entirety of deh Toyreh, is a system whose sole purpose is to ban all love and kindness and replace it with distractions no more meaningful than a hamster on a wheel. Keep us docile, keep us unloved, keep us unredeemed. Make us believe we're seeing the world as it is when we're shown nothing but the dimmest shadows on the wall. What profit hath a man of all his labour which he taketh under the sun? And if the world ends, who cares? All that matters is love, and indeed, Simcha was very very high.

(7 seconds of Grateful Dead song followed by Swamley bit)



As we said, Bethany knew how to get them all back together. She knew instantly. From the moment Purim was done, her mind was fit with a plan that simply waited for the proper moment to begin its enactment. Purim is a Carnival of Chaos, but the Hebrew meaning of Seder is order. Purim is about the murder of those antisemites who would murder us, Pesach is about freedom, deliverance, an end to oppression and tyranny. Every Purim, we celebrate the cycle of violence's perpetuation, every Passover, we hold out hope that one day, a deliverer will break the wheel of violence forever. 

Was Bethany aware of all this? Perhaps very dimly, for her thoughts are not our thoughts and neither are her ways our ways. The Lord declares that as the heavens are higher than the Earth, so are His ways higher than our ways, and His thoughts higher than our thoughts. And yet, in the endless wisdom of His lofty distance, He determines that a few of us get a little higher in their ways and thoughts than others, and a little closer to His. And as Simcha blazed his way to the stars and thought to himself that all you need is love, Bethany thought to herself that now is time to enact the plan. 

"Is she insane?"

"Bob, you owe this to us all."

"You can't stand them either!"

"I never said that."

"You said that they couldn't stand you!"

"I never said I couldn't stand them."

"Look at how they're poisoning us!"

"What are they poisoning Bob?"

"In 25 years we never fought until they moved in."

"Are we fighting?"

"You didn't even want to do the Purim gathering."

"It was Mardi Gras too."

"Whatever."

"It was for Bethany."

"Bethany didn't want to do it either!"

"She wanted to do something for the Freyliks."

"No she didn't!"

"What do you mean?"

"The Freyliks made her want to do something for them."

"What does that mean?"

"They convinced her to want to do something for them!"

"So?"

"They put her up to this!"

"What are you talking about?"

"They're manipulating her."

"Bob that's absurd."

"They see the sweetest most good natured 15-year-old in the world and they take advantage of her!"

"If any there's any 15-year-old in the world who knows how not to be tak..."

"You don't know these people!"

"Bob, don't be ridiculous."

"They pull you in their net and once you're in you can never get out."

"So what?"

"So what?!?"

"What's so wrong with these people?"

"It's like they have some magic power over you girls that makes you not see what they're doing!"

"Bob, stop this right now."

"No! I won't stop this!"

What is this madness that gripped the goyisher half of this family? It's as though the presence of conspicuous Judaism blinded them to the mendacity and injustice which the Williams family has spent the entirety of American history fighting against so assiduously from time immemorial.



Saturday, August 26, 2017

Tale 5 - Chosen Family - Judges (Beginning Revised and Added To)

What a Spring. Mary wasn't talking to Bob. Simcha wasn't talking to Ori. Bob didn't want Simcha in his house. Bethany willingly made herself the object of Simcha's spite against his family by coming over theirs, Simcha'd would show his contempt for the laws and customs which were also his by freely announce he was leaving to visit Bethany's friends, friends he often didn't like and was sure they didn't like him.

Ori knew that this tohu vavohu is what Chabadniks take on by living in the world of apikorsim like Bob Katz. The other Charedim keep to themselves. Die Toyreh provides six hundred thirteen commandments to keep order in life. No Jew has to lead, all they have to do is wrestle with the decisions of how to interpret laws that are already laid out for them with thousands of precedents for how each law can be studied.

Blood is not red until it leaves the body, and Der Rebbe wanted a thriving, bruising, lean Yiddishkeit that fights for every inch of every Jew's Neshawmeh rather than the unhealthy and wheezing Yiddishkeit of Charedi sects who never ventured out into Olam HaZeh. He wanted Freylikhkeit, he wanted happiness, and he knew that the greatest happiness is in letting ander Yids grow into their Yiddishe kops. It's horrifying for Simcha to go off the derekh now of all times, but der Rebbe knows best, and if Simcha's going off the derekh, it just means his Tateh has to solicit and harrangue him the way he would any ander yingeh Yid.

It's not like Bethany didn't wear long skirts and sleeves when she was over the Freylik's, but it was not something anyone was shy about correcting. If the skirt didn't cover up everything, if she rolled up a sleeve, if she wore a color too flashy, if she starts humming to herself. Tzakhi tells her 'and you should cover your hair up under a sheytl if you come in' after Rinah gently reminds Bethany that she shouldn't be in a room alone with Simcha, which starts a roaring shouting match between the two brothers. There's that 'korveh' word again. All Tzakhi has to do to win the argument is to stand a few inches away from Simcha's eyes in all his particularly unimpressive gangliness, but sans the Simcha hump. Bethany shows up again two nights later with a large hat. One day Kristina convinces Simcha to let her tag along, Tzakhi calls her an oberkapo and tells her she shouldn't even be allowed to stay with the Katzes.

Yes, it's April 1994, five months after the release of Schindler's List and one after it wins the Best Picture Oscar. The Oslo Accords may yet happen. The Rebbe may still yet live forever. A million Shoah survivors around Amerikeh und Yisroel live out the full bloom of their resurrected lives with kinder and eyniklach they can only yearn for their briders und shvesters could live to see. Trees of life grown tall and strong without roots. Gott! Far vos mir und nicht zay?

As far as springtime in the history of our people go, this is a particularly relaxing one. So Bethany and Kristina go over to Vicki's house to find some relief, and out of a mixture of pity and Kristina's entreaties, they invite Simcha, who tries weed for the first time in Vicki's bedroom only to wig out as he follows the circular logic of weed smokers that he's too different from this crowd and is so completely out of his element he'll make a wrong decision that will kill him. Vicki assures him all he needs to do is go with the flow, just lie back and relax and accept it all. But he can't do it until he hears:

'SIMCHA ACCEPT ZE EXPERIENCE!!! YOU VILL RELAX!!'

Kristina's shriek relaxes him in a manner Vicki's laid back entreaties never could. He lies back, resting his head on Kristina's right breast as Bethany rests her head on his, Vicki on her's, Kristina on Vicki's. As Simcha's paranoid mind takes in the jam rock, prog rock, art rock, and new wave for the first time, he experiences passive acceptance he's never known possible. With its twenty-minute long songs whose drones served for so many Jews a generation older than Simcha as something akin to worship, a religion substitute that was cheaper than going off to an Ashram, giving them the community and belonging and devotion and self-sacrifice to music too mediocre leave unworshipped.

Until today, Simcha met all things were met with the dread - sometimes a joyous dread but nevertheless, a dread omnipresent - the dread of knowing that the world must always be engaged. The laws weren't going to interpret themselves. The books had to be read, the broches chanted, the righteous praised, the wicked condemned, and if they didn't, the world may end. The world is made from Torah, worship, and deeds of loving kindness which to Simcha never seemed particularly loving or kind. Simcha worshipped as any as any Hasid with a decent neshawmeh does, but where was the loving kindness which he read so much about yet saw so seldom? His mother slaved for her children, yet so many times he'd heard her scream at him and nearly as much the other kinder as though she'd rather have been doing anything but what she was doing. What had he ever seen from his parents and grandparents and uncles and aunts and Rabbis and teachers to make him thing that loving kindness was anything more than an imposition? In two months around Bethany, Kristina, and Mary, he had seen and felt more loving kindness than in sixteen years of life among Freyliks. Here are people who are not commanded to be kind, but choose to be.

For the first time in his life, loving kindness seems possible, and it now feels as though the entirety of the Chabadnik community, the entirety of Charedim, the entirety of deh Toyreh, is a system whose sole purpose is to ban all love and kindness and replace it with distractions no more meaningful than a hamster on a wheel. Keep us docile, keep us unloved, keep us unredeemed. Make us believe we're seeing the world as it is when we're shown nothing but the dimmest shadows on the wall. What profit hath a man of all his labour which he taketh under the sun? And if the world ends, who cares? All that matters is love, and indeed, Simcha was very very high.

(7 seconds of Grateful Dead song followed by Swamley bit)


Wednesday, August 23, 2017

Tale 5: Chosen Family - Judges - Start

What a Spring. Mary wasn't talking to Bob. Simcha wasn't talking to Ori. Bob didn't want Simcha in his house. Bethany willingly made herself the object of Simcha's spite against his family by coming over theirs, Simcha'd would show his contempt for the laws and customs which were also his by freely announce he was leaving to visit Bethany's friends, friends he often didn't like and was sure they didn't like him.

Ori knew that this tohu vavohu is what Chabadniks take on by living in the world of apikorsim like Bob Katz. The other Charedim keep to themselves. Die Toyreh provides six hundred thirteen commandments to keep order in life. No Jew has to lead, all they have to do is wrestle with the decisions of how to interpret laws that are already laid out for them with thousands of precedents for how each law can be studied.

Blood is not red until it leaves the body, and Der Rebbe wanted a thriving, bruising, lean Yiddishkeit that fights for every inch of every Jew's Neshawmeh rather than the unhealthy and wheezing Yiddishkeit of Charedim who never ventured out into Olam HaZeh. He wanted Freylikhkeit, he wanted happiness, and he knew that the greatest happiness is in letting ander Yids grow into their Yiddishe kops. If Simcha goes off the derekh for a little bit,

It's not like Bethany didn't wear long skirts and sleeves when she was over the Freylik's, but it was not something anyone was shy about correcting. If the skirt didn't cover up everything, if she rolled up a sleeve, if she wore a color too flashy, if she starts humming to herself. Tzakhi tells her 'and you should cover your hair up under a sheytl if you come in' after Rinah gently reminds Bethany that she shouldn't be in a room alone with Simcha, which starts a roaring shouting match between the two brothers. There's that 'korveh' word again. All Tzakhi has to do to win the argument is to stand a few inches away from Simcha's eyes in all his particularly unimpressive gangliness, but sans the Simcha hump. Bethany shows up again two nights later with a large hat. One day Kristina convinces Simcha to let her tag along, Tzakhi calls her an oberkapo and tells her she shouldn't even be allowed to stay with the Katzes.

Yes, it's April 1994, five months after the release of Schindler's List and one after it wins the Best Picture Oscar. The Oslo Accords may yet happen. The Rebbe may still yet live forever. A million Shoah survivors around Amerikeh und Yisroel live out the full bloom of their resurrected lives with kinder and eyniklach they can only yearn for their briders und shvesters could live to see. Trees of life grown tall and strong without roots. Gott! Far vos mir und nicht zay?

As far as springtime in the history of our people go, this is a particularly relaxing one. So Bethany and Kristina go over to Vicki's house to find some relief, and out of a mixture of pity and Kristina's entreaties, they invite Simcha, who tries weed for the first time in Vicki's bedroom only to wig out as he follows the circular logic of weed smokers that he's too different from this crowd and is so completely out of his element he'll make a wrong decision that will kill him. Vicki assures him all he needs to do is go with the flow, just lie back and relax and accept it all. But he can't do it until he hears:

'YOU WILL ACCEPT ZE EXPERIENCE!'

Kristina's shriek relaxes him in a manner Vicki's laid back entreaties never could. He lies back, resting his head on Kristina's right breast as Bethany rests her head on his, Vicki on her's, Kristina on Vicki's. As Simcha's paranoid mind takes in the jam rock, prog rock, art rock, and new wave for the first time. With its twenty-minute long songs whose drones served for so many Jews a generation older than Simcha as something akin to cult worship, a religion substitute that was cheaper than going off to a Nepalese Ashram, giving them the community and belonging and devotion and self-sacrifice to music too mediocre leave unworshipped.

Even Jerry Garcia wouldn't die for more than a year. Our Father who art in heaven, hallowed be thy name this was a great time to be a Jew and this was the world we of that generation were lead to believe would be ours unto the world to come. And Simcha hasn't even discovered The Simpsons yet.







Tuesday, August 22, 2017

Beethoven's 9th Recording Recommendations

(Note from 2025: My tastes have evolved since 2017, as everyone's should have, and today I would probably do a lot of different recommendations. For one thing, I wouldn't feel the need to include either Furtwangler or Toscanini. The romanticisms of Mengelberg don't do the same for me. Neither do Haitink's austerities. I haven't heard that Karajan aircheck in nearly as much time as it's been since I heard for this survey. The recommended versions I still treasure are Wand, Munch, Gielen, live Walter, and to a lesser extent, live Szell and Abendroth--both of which I'd still rank very highly but not quite in a 'gold' tier. 

On the other hand, I've come to treasure other versions like Tennstedt's live recordings, Klemperer live in 1957. There is, also, one recording I had forgotten at the time, by a conductor I've come to esteem over nearly any other German conductor: the fleet but extraordinarily well balanced and dramatic version by Fritz Busch.

Listening, just like playing, is an evolving process, and our ears tell us to do different things at different points in our lives. In another eight years I expect I will have different recommendations yet again.) 

When I'm doing a lot of writing and reading, I distract myself in music by doing surveys of some of the pieces I love best. Believe me, I listen to much much else than Beethoven's 9th and much much more recent music, but here is what I've written about after too many years of immersive listening:

Every major conductor in the history of the profession has performed it dozens of times, it’s impossible to come up with ‘just one.’ But here are some thoughts about particularly strong performances and what make them so.
Any talk of Beethoven 9 recordings has to begin with Wilhelm Furtwangler and Arturo Toscanini. To this day, their two diametrically opposed conceptions of Beethoven exist, neither of which tells the whole truth about Beethoven because they’re more concerned with the style in which Beethoven is played than the substance. Generally speaking, the best Beethoven performances come somewhere in the middle that bypasses questions of tempo and orchestra size  and note-length and go straight to the content.
When one speaks of Furtwangler’s many, many radio performances of Beethoven 9, there are usually three of his at least nine (maybe 12 I think…) recordings which come up before the others. For me, greatest of them all is the so called ‘Hitler 9th’ which was supposedly recorded live in Hitler’s presence (a thesis which was completely disproven). 1942, right in the middle of the war. Is it a statement against Nazism, for Nazism, or not a statement at all? Who cares. What matters is that it’s a searingly intense but incredibly broadly paced (the other two particularly famous ones are even slower). The sound is horrible, and it almost makes the sense of occasion even more intense. Furtwangler is one of those musical geniuses who do things that seem completely irrational and make them work. Nobody should take 18 minutes in the opening or 20 minutes in the slow movement or perform the final coda twice as fast as everybody else. And yet in Furtwangler’s wavy baton, it works.
Unless you’re a musical genius like Furtwangler or Barenboim, I don’t see any justification for stretching Beethoven’s slow movements to 20 minutes. On the other hand, there are other kinds of great conductors like Arturo Toscanini who take 13 minutes in the first movement while Furtwangler took 18. Between the two approaches, I suppose I prefer Furtwangler’s, but both need a musician of amazing gifts to make such unmusical-seeming decisions into something musical. For me, Toscanini’s finest performance was just recently released. The Orchestra of Teatro Colon in Buenos Aires in 1941. The sound is even worse than in Furtwangler’s ’42 performance, but whereas Furtwangler is titanic and transcendent, Toscanini taps into something primal and animalistic. It is just as intense an experience.
Otto Klemperer, thought by many (and me) a greater Beethovenian than either Toscanini or Furtwangler. One does not, however, generally find Klemperer at his greatest strength in the 9th. The sheer sprawl of it is not necessarily best suited for this maestro who laid everything out with incontrovertible logic. In the famous 'late Klemperer' phase, the best performance is the 1957 live recording on the Testament label with the Philharmonia Orchestra, whose urgency runs rings around his studio effort with the same forces (caught in the same week I believe). . 
There are three performances from the ‘old school’ that are far more to my taste and fuse the driven fire of Toscanini and the lofty spirit of Furtwangler. One is Willem Mengelberg’s with the Concertgebouw in 1940. Mengelberg is a terribly underrated Beethoven conductor (and perhaps is generally), but if you can take his tempo fluctuations (which aren’t really more crazy than a number of other conductors), he is has the Beethovenian fire in a manner neither Toscanini or Furtwangler have. Mengelberg’s Concertgebouw was, to my thinking, the greatest orchestra of its time, an orchestra made of crackling fire.
Another is Bruno Walter’s 1947 performance with the London Philharmonic. Walter made at least three live performances of the 9th caught on radio in his later years, all of which are excellent. The only performance which is anything less than great is his final studio performance with the Columbia Symphony, which is the only one people remember. Walter in his eighties was a very different conductor than he was before. Before his heart attack in 1956 he was downright fiery, and therefore perhaps the best approximation we have of what his teacher, Gustav Mahler, sounded like as a conductor.
The third is by the regrettably forgotten Hermann Abendroth, who made his mature career under two totalitarian regimes. He was, in many ways, a ‘faster Furtwangler’ who always tied his tempo to the piece’s harmonic tensions, but did not have Furtwangler’s broad metaphysical outlook that made Furtwangler try to find the loftiness in every score. Abendroth was content to settle for overwhelming drama. Abendroth also left many superb Ninths, but for me, the best of all is his 1951 performance with the Czech Philharmonic. Be warned though, the last movement is in Czech.
George Szell is another conductor whose best performance is a live one rather than his more famous studio recording. His performance with the Philharmonia in 1968 is both a touch slower than the studio version and downright explosive, the recapitulation of the first movement and the opening of the last movement have to be heard to be believed. 
Among Herbert von Karajan's, many, many studio recordings, he is, in my opinion, best caught in his final digital cycle, which most people take to be his worst effort but I think is his best. Early in his career, Karajan would often swamp Beethoven’s winds and brass and timpani in a wash of string sound, which to me is antithetical to the rough Beethovenian spirit. Karajan’s tempos are fundamentally the same from performance to performance give or take a few BPM, but the winds and brass and timpani keep creeping further forward until in the final version they dominate the strings at times, just as they should. On the other hand, in 1958, Herbert von Karajan faced the New York Philharmonic for the only ever time in a series of Beethoven concerts. The result is urgent to a degree that surpasses any effort in the studio. This is Karajan drained of his mannerisms, faced with an orchestra whose brash sound has often resembles a blunt tool, Karajan reinstates the precision the 50's Philharmonic was not known for having, and has little time left over-legato his passages. Generally speaking, Karajan live is a completely different, and far greater, conductor than when left to his worst impulses in the studio. The result is an urgency never again seen from the Austrian master in any of his five recordings. 
Leonard Bernstein is best caught in his two Vienna Philharmonic performances from 1970 (only video) and 1979 (audio and video). Best of all is the live performance from 1979 Salzburg. His 60’s New York Beethoven is hardly bad, but the typically extreme, forward, unbalanced, treble heavy Columbia sound does nobody any favors. The famous Ode to Freedom concert is incredibly slow and Bernstein does not give it the explosive power of a Furtwangler or Barenboim to make such slow tempi work.
Better than either Karajan or Bernstein is Gunter Wand’s 1987 performance with the NDR Symphony. The sound he cultivates is a little too smooth to be ideal, but Wand projects a precise balance of momentum and warmth better than any conductor ever has.
Both Kubelik and Celibidache gave greater 9ths earlier in their career than later. Kubelik’s 1959 performance on Danish Radio is far better, in my humble opinion, than his later performances. As is Celibidache’s 1958 performance on Italian radio. None of their later performances have the weight of sound to justify the broadness of their tempi.
Five broader performances that do justify broad tempi with enormous weight of sound are Simon Rattle’s Vienna Philharmonic performance from his Beethoven cycle, Herbert Kegel’s studio effort from his Beethoven cycle with the Dresden Philharmonic, Herbert Blomstedt’s live 1985 performance with the Staatskapelle Dresden (not the studio version, which I still haven’t heard), and especially Klaus Tennstedt’s live 1987 and 1991 performances with the London Philharmonic and Daniel Barenboim’s 2000 performance with the Staatskapelle Berlin. All five are more than worthy of their precedents set by Furtwangler and Klemperer, and in many ways exceed their forerunners in excitement, playing, and pure personality.
No less exciting but somewhat more fleet and middle ground are Kurt Masur’s second recording of it from Leipzig, a number of performances with various orchestras by the always underrated conductor and Beethovenian Carl Schuricht, Erich Leinsdorf conducting the Boston Symphony, Felix Weingartner’s antique performance with the Vienna Philharmonic, George Szell’s studio performance with the Cleveland Orchestra. But best of all are Michael Gielen’s performance with the Southwest German Radio Symphony, Bernard Haitink’s with the London Symphony, and Charles Munch with the Boston Symphony. Once upon a time, performances like these would be thought uncommonly fleet. But compared to the authentic performance crowd, this is nothing. None of them try to approximate Beethoven’s zany metronome markings, but they all have the excitement of daring virtuosity at tempos that are anything but comfortable at which to play. In place of a slightly fundamentalist authenticity, they have pure drama. To me, this is the approach that most reliably yields dividends. Neither striving for maximum virtuosity with 13 minute openings or slow movements, nor maximum spirituality with 20 minute versions of the same movements. But capturing plenty of both at a middle ground. This is the middle ground of Mengelberg, earlier Walter, Abendroth, Karajan in America, late Szell, Wand, Munch, Gielen, and late Haitink that allows for no stylistic question to get in the way of the performance’s urgency and communication. So I suppose there you have it, a top 8 versions of the 9th, though be careful that you don’t go for a duller version of the same conductor than the ones listed, and I'm frankly too lazy to guide you through all the various sound incarnations.
Then, of course, you have the performances that try to capture varying types of authenticity. Like many broader tempoed versions I shant name, this strikes me as equally unwise. There is no ability to phrase, there is no room for character or individuality, just a mechanized, streamlined vision of Beethoven that conforms to the confines of a straightjacket. John Eliot Gardiner is at least more exciting than most of the others, and Riccardo Chailly managed to keep refining his conception through New Year’s performance after New Year’s performance in Leipzig, and his 2013 performance is at least much more exciting than his studio recording of 2011. But none wring the sheer savage passion one gets from Toscanini at his finest.
It’s difficult to escape the idea that Beethoven’s 9th used to mean more in an age that survived the worst of humanity’s degradations. In our more ironic, and ironically more despairing age, the passion we once had for Beethoven seems to go into more pessimistic composers like Mahler and Shostakovich. Both Mahler and Shostakovich are amazing, but neither is possible without Beethoven, and unlike Mahler and Shostakovich, Beethoven performance today seems to be more a question of style than substance, his message seems secondary to any stylistic question: with musical extremists like Norrington and Gardiner on one side of the argument, and other musical extremists like Barenboim and Thielemann on the other. Such extreme approaches as theirs have unforgettable insights, but they do not show you every facet of this work with so many sides.
Yet in a work so emotionally complex and complete, it’s impossible to confine to just one performance. If any of these approaches seem to appeal to you more than others, I’d recommend without hesitation the performances I’ve listed. Beethoven 9 has been astonishingly lucky on record as few works have, there are any number of good performances and even an inordinate number of great ones. It’s a testament to the power this work has over us all. More perhaps than any other work, it’s the central work in our canon - equivalent to the Sistine Chapel or Hamlet or the Iliad or War and Peace or Citizen Kane. It’s the summit, the zenith, of musical achievement, and no matter how often you listen, you never stop finding new insights.

Recommendations:

Gold:

Mengelberg/Concertgebouw Orchestra/1940
Walter/London Philharmonic/1947
Abendroth/Czech Philharmonic/1951
Karajan/New York Philharmonic/1958
Munch/Boston Symphony/1959
Szell/Philharmonia Orchestra/1968
Wand/NDR Symphony/1987
Haitink/London Symphony/2006
Gielen/SWR Symphony/2012

Silver:
Weingartner/Vienna Philharmonic/1935
Toscanini/Orchestra Teatro Colon/1941
Furtwangler/Berlin Philharmonic/1942
Abendroth/Leipzig Radio Symphony/1951
Walter/Vienna Philharmonic/1955
Schuricht/Paris Conservatoire Orchestra/1958
Szell/Cleveland Orchestra/1962
Karajan/Berlin Philharmonic/1963
Leinsdorf/Boston Symphony/1969
Bernstein/Vienna Philharmonic (Salzburg)/1979
Masur/Leipzig Gewandhaus/1981
Karajan/Berlin Philharmonic/1984
Tennstedt/London Philharmonic/1987
Tennstedt/London Philharmonic/1991
Barenboim/Staatskapelle Berlin/2000

Bronze: 
Toscanini/BBC Symphony/1937
Mengelberg/Concertgebouw Orchestra/1938
Toscanini/NBC Symphony/1938
Furtwangler/Berlin Philharmonic/1943
Walter/New York Philharmonic/1949-1953
Abendroth/Berlin Radio Symphony/1950
Abendroth/USSR Symphony/1951
Furtwangler/Bayreuth Festival Orchestra/1951
Furtwangler/Vienna Philharmonic/1953
Schuricht/Orchestre Nationale de France/1954
Klemperer/Phiharmonia Orchestra (live)/1957
Celibidache/RAI Symphony Torino/1958
Kubelik/Danish Radio Symphony/1962
Bernstein/Vienna Philharmonic/1970
Karajan/Berlin Phiharmonic/1977
Bernstein/Vienna Philharmonic (Vienna)/1979
Blomstedt/Staatskapelle Dresden/1985
Kegel/Dresden Philharmonic/1987
Gardiner/Orchestre Revolutionaire et Romantique/1993
Rattle/Vienna Philharmonic/2003
Chailly/Leipzig Gewandhaus/2013

Monday, August 21, 2017

ET: Almanac

We walked slowly in the muddy tracks of the jeep that revealed its acrobatic prowess by bouncing around on all fours in the ruts and mire, which after so many tranquil generations of bare feet and donkey's hooves were compelled to bear silently two scars along their entire length, bleeding mud and silence. There were no more shots to be heard, apart from a stray volley here and there, like an afterthought. If you were here on your own, and stopped walking, and lsitened for a bit, you'd no doubt here the earth quietly smacking its lps, drinking, sucking, and lapping up the water, and the remains of the autumn melancholy, dry and fevered, warmed and spread soothingly like the soporific effect of suckling.

Finally, when the road straightened out and stopped winding and meandering, alternately exposed and sheltered by hedges of prickly pears and acacia and by twigs threaded through rusting barbed wire, and became simply a damp dirt path running down toward the valley, the jeep stopped, where the machine gun mounted on it could cover the whole road ahead while we got out and went into the huts and yards to check them. And even if there was, it seemed, nothing easier than to disregard it, simply to deny it, it mattered to me that it was beginning. I was impatient for the beginning of things that I imagined differently from everyone else. I was content with everything and hated starting to feel differently, and I didn't want to stand out from others in any way. It always ended in disillusionment. The tiniest crack attracted attention, turned into a gaping hole and started to shout. I took hold of myself and forced myself to keep quiet.

The huts appeared to have been uninhabited for a very long time. A harvest of fear and a crop of evil rumors had reaped untimely haste and the writhing of a worm hurrying to meet its fate. We kicked in the wicket in the big wooden gate in the clay walls and entered a square courtyard with a hut on one flank and another hut on the other. Sometimes, when they had the means and the time was right, these people would erect a clay hut over the casing of the well house below, training a vine or two and making an arbor, and bringing some concrete blocks, which didn't need plastering, at least as long as their corners were so attractive; pepper bushes and autumn eggplants were rotting below in the grass and moldering near the water tap, and roses peeped out of the rampant weeks and climbed above them, and paths extended to some place inside the groves. Another kick and a casual glance into an abanoned home, and a storage room where the dust of crops coated cobwebs both tattered and greasy-looking. Walls that had been attentively decorated with whatever was at hand; a home lined with plaster and a molding painted blue and red; little ornaments that hung on the walls, testifying to a loving care whose foundations had now been eradicated; traces of female-wisdom-hath-builded-her-house, paying close attention to myriad details whose time now had passed; an order intelligible to someone and a disorder in which somebody at his convenience had found his way; remnants of pots and pans that had been collected in a haphazard fashion, as need arose, touched by very private joys and woes that a stranger could not understand; tatters that made sense to someone who was used to them--a way of life whose meaning was lost, diligence that had reached its negation, and a great, very deep muteness had settled upon the love, the bustle, the bother, the hopes, and the good and less-good times, so many unburied corpses.

But we were already tired of seeing things like this, we had no more interest in such things. One glance, a step or two were enough for the courtyard, the house, the well, the past and the present, and their attentive silence. And although there might be an abandoned pitchfork or a fine-looking hoe, or a good, and valuable pipe wrench, momentarily enticing you to pick it up and weigh it in your hand, as one might in a market or a farmyard, and things that ought to be in their place, and even stirring an urge, incidentally, to take the motor from the well and the pipes, five inch, and the beams from above, and the bricks from below, and the wooden boards (we could always find a use for them in our yard) and send them home, there was such a tickling pleasure in getting such easy benefit, in getting rich quick, in picking up ownerless property and making it your own, and conquering it for yourself, and plans were already being made, right away, and it was already decided what was going to be done with almost all of these things at home, and how it would be done--except that we had been in so many villaes already, and picked things up and thrown them away, taken them and destroyed them, and we were too sued to it--so we picked up the fine-looking ownerless hoe, or pitchforkk, and hurled it down to the ground, if possible aiming it at something that would shatter at once, so as to relieve it of the shame of not being of use--with real destruction, once and for all, putting an end to its silence.

On the other hand, when we moved on and arrived at the cultivated land near the village, there were clear signs that the yards and houses had been abandoned only a short time before. The mattresses wee still laid out, the fire among the cooking-stones was still smoldering, one moment the chickens were pecking in the rubbish as usual and the next they were running away screeching as though they were about to be slaughtered. Dogs were sniffing suspiciously, half-approaching, half-barking. And the implements in the yard were still--it was clear--in active use. And silence had not yet settled except as a a kind of wonderment and stupefaction, as though the outcome hadn't yet been determined, and it was still possible that things would be straightened out and restored to the way they had been before. In one yard a donkey was standing, with mattresses and colorful blankets piled on its back, falling on their sides and collapsing on the ground, because while they were being hastily loaded, the throb of fear, "They're-here-already!" had overcome the poeple, and they'd shouted: "To hell with it, just run!"And in the next-door courtyard, which contained a kitchen garden, with a well-tended patch of potatoes, the fine tilth of its soil and the bright green of the leaves calling to you and telling you to go straight home and do nothing but cultivate beautiful potatoes--in this next-door courtyard, two witless ewes were huddled in a panic near the corner of the fence (later I saw them again bleating on our truck), and the huge water jar was lying across the threshold, calmly dripping the last drops of its water ina . puddle, half in the room and half out of it. Immediately after this yard there was a plowed field close by and beyond it the outskirts of the village.

We had just reached the track when a swaying camel came toward us piled high with objects and bedding, its rope halter tied to the saddle of a donkey in front of it, which was also laden with houshold effects, great steves and piles of clothing; it was standing and chewing the grass beneath the acacia bushes with exaggerated enjoyment, plunging deeper in pursuit of their juiciness with total disdain for its rope-partner that was anxiously lifting its small head to the full extent of its neck, leaning it backward as far as possible, as if to avoid a collision, expelling diabolical gurgles and fearful grunts, emitting a stench of greasy camel sweat. At the sight of the jeep it tried to break free and run, but its halter, tied to the donkey's saddle, held it back; it tugged and shook it with mounting force, but the donkey paid no heed to this camelious panic, it didn't allow itself to be distracted and just went on feeding lustily. At once our Sha'ul jumped down and grunted at the camel with a grunt that would make any knee bend, and tapped it reassuringly on its upraised backward-straining neck with the barrel of his rifle, and the camel, caught by a language it understood, was gurgling and arguing and spewing bitter speech, and already intending to kneel on its forelegs, amidst anger and wiling and complaint-except that just then an Arab emerged from the thick hedge ahead of us and came toward us with outstretched arms.

"Ya khawaja" said the Arab, who had a short white beard, talking while he was still walking.
Immediately Sha'ul raised his rifle at him aand shouted to us: "Look who's coming!"
"Ya khawaja" repeated the old man in the voice of one who has decided come-what-may, "Allah ya'atik, ya khawaja," God grant you favor, Sir . . .
"Yallah!" said Sha'ul, slipping a bullet into his rifle.
"Ya khawaja" wailed the old man, alternately spreading his hands and pointing to the camel, breathing heavily, from fear not from frailty. "The camel, ya khawaja, let us take the camel and go," and while he spoke he was already next to his beast, holding on to its girth with his wrinkled brown hand.

What's he mumbling," said Sha'ul to Moishe, who was sistting in the back of the jeep. Immediately the jeep reversed and approached the camel in a single movement that so agitated the beast that it pulled the rope free from the donkey's saddle (the latter gave a momentary start, as the bundles fell off its back, and immediately returned to chewing the succulent grass in the recesses of the hedge with equanimity) and shook the old man from his place with a sudden blow; terrified, he turned toward the camel and said a single word to it, a word it deserved, and how, and then he turned and clung so hard to the saddle that he became part of it, staring in alarm at the jeep that was pressing right up against him.

"Who are you, what are you, where are you from, and what do you want. All these questions were somehow bound up in the single word that Moishe spoke to him: "Esh?"--What?--in a singsong with a gesture of his thumb and two fingers.

"The camel, ya khawaja, the belngings, let us take them and we'll go away, may blessing come upon you, let us take the camel and go . . ."
"Isma, ya khtiar" Moishe said to him--listen old man!
"Hai na'am, ya khawaja, Allah ya'atik, ya khawaja." The old man, sensing a turn for the better, became submissive and yielding, hoping and praying and ready for anything.
"Choose for yourself," said Moishe. "Your life or the camel."
"Khawaja," said the old man in alarm.
"Ya nafsak ya jamal," Moishe insisted, drawing out his syllables and furrowing his brow: "Just be happy we're not killing you."

"Khawaja," the old man was close to tears, he placed his hand on his heart. "Allah," he tried to say. "Bihyat Allah, by the life of God," he suddenly swore, striking his gray-haired chest, it was evident that he lacked one single great compelling word that might explain. "We're going--going," the old man said. "We have nothing, we're leaving everything behind," he pointed to the ground all around or to a particular house, "only a few clothes and some bedding," his tongue ran fast, so as to compress a lot of explanation into a little time, and his hands spread, like a man before his god.
"Yallah," Moishe decreed, "imshi yallah--get going."
"All right," the old man said, "all right we're going," with a slight bow of submission that was close to a shudder, and took a few steps backward, "we're going, ya khawaja." He stopped again and tried to say something more.

Aryeh fired over his head. The man was emptied of his breath and his knees trembled. He turned and groped in the air after a moment with his hands and started trudging along again. We all, it seemed, were sharing a certain unease, or else various thoughts were stirring. But then Aryeh said:

"Let me, Moishe, best to let me finish him off here. What do you want with this scum? Let them learn once and for all that there's no fooling around with us."
"You sit here quietly," said Moishe.

Hearing the voices, the old man turned his head, thinking that doubts were awakening that might be an opportunity to be taken advantage of, and he swiveled toward us with his little skullcap on his head, his short white eard, and his striped caftan open on his white-haired chest, and as he turned he stretched out his hands and murmured, "Ya khawaja."
"Imshi--go," barked Moishe in a voice not his own.
The old man went. When he reached the turn in the track he disappeared, For a moment there was a sense of relief.
"Did you ever see anything like it?" said Gaby, wiping his nose.
"I wouldn't have let him go like that . . . some nerve, even to come and ask," said Aryeh. "Imagine if he'd been a Jew and we'd been Arabs! . . . No way! They'd have slaughtered him just like that." You could see he had plenty more to say, but instead he uttered a single insult with a viper's hiss.
"What are we gonna do with this camel and the donkey?" I said.
"To hell with the camel and the donkey," said Moishe, and we moved on.

S. Yizhar - Khirbet Khizeh

Sunday, August 20, 2017

ET: Almanac

Vitya, I'm certain this letter will reach you, even though I'm now behind the German front line, behind the barbed wire of the Jewish ghetto. I won't receive your answer, though; I won't be here to receive it. I want you to know about my last days. Like that, it will be easier for me to die.

It's difficult, Vitya, ever really to understand people . . . The Germans entered the town on July 7th. The latest news was being broadcast on the radio in the park. I was on my way back from the surgery and I stopped to listen. It was a war-bulletin in Ukranian. Then I heard distant shooting. Soem peole ran across the park. I set off home, all the time feeling surprised that I'd missed the air-raid warning. Suddenly I saw a tank and someone shouted: 'It's the Germans.'

'Don't spread panic!' I warned. I'd been the day before to ask the secretary of the town soviet when we'd be evacuated. 'There'll be time enough to talk about that,' he'd answered angrily. 'We haven't even drawn up the lists of evacuees yet.'

Well, it was indeed the Germans. All that night the neighbours were rushing round to each other's rooms - the only people who stayed calm were myself and the little children. I'd just accepted that the same would happen to me as to everyone else. To begin with I felt utter horror. I realized that I'd never see you again. I wanted desperately to look at you once more. I wanted to kiss your forehead and your eyes. Then I understood how fortunate I was that you were safe.

When it was nearly morning, I fell asleep. I woke up and felt a terrible sadness. I was in my own room and my own bed but I felt as though I were in a foreign country, alone and lost.

That morning I was reminded of what I'd forgotten during the years of the Soviet regime - that I was sa Jew. Some Germans drove past on a lorry, shouting out: 'Juden kaput!'

I got a further reminder from some of my own neighbours. The caretaker's wife was standing beneath my window and saying to the woman next door: 'Well, that's the end of the Jews. Thank God for that!' What can have made her say that? Her son's married to a Jew. She used to go and visit him and then come back and tell me all about her grandchildren.

The woman next door, a widow with a six-year-old daughter - a girl called Alyonushka with wonderful blue eyes, I wrote to you about her once - came round and said to me: 'Anna Semyonovna, I'm moving into your room. Can you clear your things out by this evening?' 'Very well, I'll move into your room then.' 'No, you're moving into the little room behind the kitchen.'

I refused. There isn't even a stove there, or a window.

I went to the surgery. When I came back, I found the door of my room had been smashed in and all my things piled in the little room. My neighbour just said: 'I've kept the settee for myself. There's no room for it where you are now.'

It's extraordinary - she's been to technical school and her late husband was a wonderful man, very quiet, an accountant at Ukopspilk. 'You're outside the law!' she said, as though that were something very profitable for her. And then her little Alyonushka sat with me all evening while I told her fairy tales. That was my house-warming party - the girl didn't want to go to bed and her mother had to carry her away in her arms. Then, Vityenka, they opened the surgery again. I and another Jewish doctor were both dismissed. I asked for the previous month's pay but the new director said: 'Stalin can pay you whatever you earned under the Soviet regime. Write to him in Moscow.' The assistant, Marusya, embraced me and keened quietly, 'Lord God, Lord God, what will become of you, what will become of you all?' And Doctor Tkachev shok me by the hand. I really don't know which is worse - gloating spite or these pitying glances like people cast at a mangy, half-dead cat. No, I never thought I'd have to live through anything like this.

Many people have surprised me. And not only those who are poor, uneducated, embittered. There's one old man, a retired teacher, seventy-five years old, who always used to ask after you and send you his greetings and say, 'He's the pride of our town.' During these accursed days he's just passed me by without a word, looking in the other direction. And I've heard that at a meeting called by the commandant, he said: 'Now the air feels clean at last. It no longer smells of garlic.' Why, why? - words like that are a stain on him. Yes, and how terribly the Jews were slandered at that meeting . . . But then of course, Vityenka, not everyone attended. Many people refused. And one thing - ever since the time of the Tsars I've associated anti-Semitism with the jingoism of people from the Union of Michael the Archangel. But now I've seen that the people who shout the most loudly about delivering Russia from the Jews are the very ones who cringe like lackeys before the Germans, ready to betray their country or thirty pieces of German silver. And strange people from the outskirts of town seize our rooms, our blankets, our clothes. It must have been people like them who killed doctors at the time of the cholera riots. And then there are people whose souls have just withered, people who are ready to go along with anything evil - anything so as not to be suspected of disagreeing with whoever's in power.

People I know are constantly coming round with bits of news. Their eyes are mad and they seem quite delirious. A strange expression has come into vogue: 'hiding away one another's things.' People somehow think a neighbour's house is going to be safer. The whole thing is like a children's game.

An announcement was soon made about the resettlement of the Jews. We were each to be permitted to take 15 kilograms of belongings. Little yellow notices were hung up on the walls of houses: 'All occupants are required to move to the area of the Old Town by not later than 6:00 p.m. on 15 July, 1941. Anyone remaining will be shot.'

And so, Vityenka, I got ready. I took a pillow, some bedclothes, the cup you once gave me, a spoon, a knife and two forks. Do we really need so very much? I took a few medical instruments. I took your letters, the photographs of my late mother and Uncle David, and the one of you with your father; a volume of Pushkin; Lettres de mon moulin; the volume of Maupassant with Une vie; a small dictionary . . . I took some Chekhov - the volume with 'A Boring Story' and 'The Bishop' - and that was that, I'd filled my basket. How many letters I must have written to you under that roof, how many hours I must have cried at night - yes, now I can tell you just how lonely I've been.

I said goodbye to the house and garden. I sat for a few minutes under the tree. I said goodbye to the neighbours. Some people are very strange. Two women began arguing in front of me about which of them would have my chairs, and which my writing desk. I said goodbye and they both began to cry. I asked the Basankos to tell you everything in more detail if you ever come and ask about me after the war. They promised. I was very moved by the mongrel, Tobik - she was particularly affectionate towards me that last evening.

If you do come, feed her in return for her kindness towards an old Yid.

When I'd got everything ready and was wondering how I'd be able to carry my basket to the Old Town, a patient of in suddenly appeared, a gloomy and - so I had always thought - rather callous man called Shchukin. He picked up my belngings, gave me 300 roubles and said he'd come once a week to the fence and give me some bread. He works at the printing house - they didn't want him at the front because of his eye trouble. He was a patient of mine before the war. If I'd been asked to list all the people I knew with pure, sensitive souls, I might have given dozens of names - but certainly not his. Do you know, Vityenka, after he came, I began to feel once more that I was a human being - it wasn't only the yard-dog that still treated me as though I were.

He told me that a new decree was being printed: Jews are to be forbidden to walk on the pavements; they are required to wear a yellow patch, a Star of David, on the chest; they no longer have the right to use public transport, baths, parks, or cinemas; they are forbidden to buy butter, eggs, milk, berries, white bread, meat, or any vegetable other than potatoes; they are only allowed to mkae purchases in the market after six o'clock, when the peasants are already on their way home. The Old Town will be fenced off with barbed wire and people will only be allowed out under escort - to carry out forced labour. If a Jew is discovoured in a Russian home, the owner will be shot - just as if he were harbouring a partisan.

Shchukin's father-in-law, an old peasant, had trabvelled in from the nearby village of Chudnov. He had seen with his own eyes how all the Jews there were herded into the forest with their parcels and suitcases. All day long he heard shots and terrible screams; not one Jew returned. As for the Germans who'd commandeered his rooms, they didn't come back till late at night. They were quite drunk and they carried on drinking and singing till dawn, sharing our brooches, rings and bracelets right under the old man's nose. I don't know whether the soldiers just got out of hand or whether that's a foretaste of our common fate.

What a sad journey it was, my son, to the medieval ghetto. I was walking through the town where I have worked for the last twenty years. First we went down Svechnaya Street, which was quite deserted. Then we came out onto Nikolskaya Street and I caught sight of hundreds of people all on thei way to this same accursed ghetto. The street was white with little parcels and pillows. There were invalids being led by the hand. Doctor Margulis's paralysed father was being carried on a blanket. One young man was carrying an old woman in his arms while his wife and children followed behind, loaded with parcels. Gordon, a fat breathless man who manages a rocery shop, was wearing a winter coat with a fur collar; sweat was pouring down his face. I was struck by one young man; he had no belongings and he was walking with his head high, a book held open before him, and a calm, proud face. But how crazy and horror-struck most of the people beside him looked!

We all walked down the roadway while everyone else stood on the pavement and watched.

At one moment I was walking beside the Margulises and I could hear sighs of compassion from the women on th pavement. But everyone just laughed at Gordon's winter coat - though, believe me, he looked more terrible than absurd. I saw many faces I knew. Some nodded goodbye, others looked away. I don't think any eyes in that crowd were indifferent; some were pitiless, some were inquisitive, and some were filled with tears.

I realized there were two different crowds: there were the Jews - the men in winter coats and hats, the women wearing thick dresses - and there were the people in summer clothes on the pavement. There you could see bright dresses, men in shirt-sleeves, embroidered Ukranian blouses. It was as though even the sun no longer shone for the Jews on the street, as though thye were walking through the cold frost of a December night.

We came to the gateway into the ghetto and I said goodbye to my compantion. He pointed out where we were to meet at the fence.

Can you guess what I felt, Vityenka, once I was behind the barbed wire? I'd expected to feel horror. But just imagine - I actually felt relieved to be inside this cattle-pen. Don't think it's because I'm a born slave. No. No. It's because everyone around me shares my fate: now I no longer have to walk on the roadway like a horse, there are no more spiteful looks, and the people I know look me straight in the eye instead of trying to avoid me. Everyone in this cattle-pen bears the stamp branded on us by the Fascists and it no longer burns my soul so fiercely. Now I'm no longer a beast deprived of rights - simply an unfortunate human being. And that's easier to bear.

I've settled down, together with a colleague of mine, Doctor Sperling, in a small two-roomed house. The Sperlings have got two grown up daughters and a twelve-year-old son, Yura. I gaze for hours at his thin little face and his big, sad eyes; twice oI've called him Vitya by mistake and he's corrected me: 'I'm Yura, not Vitya.'

How different people are! Sperling, at fifty-eight years of age, is full of energy. He's already managed to get hold of mattresses, kerosene and a cart for carrying firewood. Last night he had a sack of flour and half a sack of haricot beans brought to the house. He's as pleased as punch at each little success of his. Yesterday he was hanging out the rugs. 'Don't worry, don't worry, we'll survive,' he repeated. 'The main thing is to get stocked up with food and firewood.

He said we ought to start up a school in the ghetto. He even suggested I gave Yura French lessons in exchange for a bowl of soup. I agreed.

Sperling's fat wife, anny Borisovna, just sighs, 'Everything's ruined, we're all ruined.' At the same time she keeps a careful watch on her elder daughter, Lyuba - a kind, good-natured girl - in case she gives anyone a handful of beans or a slice of bread. The mother's favourite is the younger daughter, Alya. She's the devil incarnate - mean, domineering and suspicious - and she's always shouting at her father and sister. She came on a visit from Moscow before the war and got stuck here.

God, what poverty there is everywhere! If only the people who are always talking about how rich the Jes are, how they've always got something put by for hard times, could have a look at the Old Town now. Hard times have come indeed - there can be no harder. But the people who've been resettled with fifteen kilograms of baggage aren't the only inhabitants of the Old Town: there have always been craftsmen living here - together with old men, workers, hospital orderlies . . . What terrible crowded conditions they live in! And what food they eat! If you could only see these half-ruined shacks that have almost become part of the earth.

Vityenka, I've seen many bad people here, people who are greedy, dishonest, capable even of betrayal. We've got one terrible man, Epstein, who came here from some little town in Poland - he wears a band round his sleeve and helps the Germans with their interrogations and searches; he gets drunk with the Ukranian policemen and they send him round to people's homes to extort vodka, money and food. I've seen him twice, a tall handsome man in a smart cream-coloured suit - even the yellow star sewn on his jacket looks like a chrysanthemum.

But what I really want to talk to you about is something quite different. I never used to feel I was a Jew: as a child my circle of friends were all Russian; my favourite poets were Pushkin and Nekrasov; the one play which reduced me to tears, together with the whole audience - a congress of village doctors - was Stanislavsky's production of Uncle Vanya. And once, Vityenka, when I was fourteen, our family was about to emigrate to South America and I said to my father: 'I'll never leave Russia - I'd rather drown myself.' And I didn't go.

But now, during these terrible days, my heart has become filled with a maternal tenderness towards the Jewish people. I never knew this love before. It reminds me of my love for you, my dearest son.

I visit the sick in their houses. Dozens of people are crowded into minute little rooms - half-blind old men, unweaned babies, pregnant women. I'm used to looking into people's eyes for symptoms of diseases - glaucoma, cataract. Now I can no longer look at people's eyes like that; what I see now is the reflection of the soul. A good soul, Vityenka! A sad, good-naured soul, defeated by violence, but at the same time triumphant over violence. A strong soul, Vitya!

If you could only see with what concern the old men and women keep asking after you. How sincerely people try to console me, people I've never complained to and whose situation is far more terrible than my own.

Sometimes I think that it's not so much me visiting the sick, as the other way round - that the people are a kind doctor who is healing my soul. And how touching it is wwhen people hand me an onion, a slice of bread, or a handful of beans.

And believe me, Vityenka, that's not a matter of payment for my visit. Tears come to my eyes when some middle-aged workman shakes me by the hand, puts two or three potatoes in a little bag and says, 'There, Doctor, I beg you.' There's something about it which is pure, kind, fatherly - but I can't find the right words.

I don't want to console you by saying that things have been easy for me - no, it's surprising that my heart hasn't broken from grief. But plase don't worry that I'm going hungry - I haven't once felt hungry. Nor have I felt lonely.

What can I say about people? They amaze me as much by their good qualities as by their bad qualities. They are all so different, even though they must undergo the same fate. But then if there's a downpour and most people try to hide, that doesn't mean that they're all the same. People even have their own particular ways of sheltering from rain.

Doctor Sperling is certain that the persecution of the Jews will only last as long as the war. There aren't many people like him, and I've noticed that the more optimistic people are, the more petty and egotistic they tend to be. If someone comes inwhen we're eating, Alya and Fanny Borisovna hide away the food as quick as they can.

The Sperlings treat me well - especially as I eat little and provide more than I consume. But I've decided to leave. I don't like them. I'm trying to find some little corner for myself. The more sorrow there is in a man, the less hope he has of survival - the better, the kinder, the more generous he becomes.

The poorest people, the tailors and tinsmiths, the ones without hope, are so much nobler, more generous and more intelligent than the people who've somehow managed to lay by a few provisions. The young schoolmistress; Spilberg, the eccentric old teacher and chess-player; the timid women who work in the library; Reyvich, the engineer, who's more helpless than a child, yet dreams of arming the ghetto with hand-made grenades - what wonderful, impractical, dear, sad, good people they all are!

I've realized now that hope almost never goes together with reason. It's something quite irrational and instinctive.

People carry on, Vitya, as though their whole life lies ahead of them. It's impossible to saywhether that's wise or foolish - it's just the way people are. I do the same myself. There are two women here from a shtetl and they tell the same story as my friend did. The Germans are killing all the Jews in the district, children and old men included. The Germans and Ukranian police drive up and recuit a few dozen men for field-work. These men are set to dig ditches and two ro three days later the Jewish population is marched to these ditches and shot. Jewish burial mounds are rising up in all the villages round about.

There's a girl from Poland next door. She says that there the killing goes on continually. The Jews are being massacred; there are only a few ghettoes - Warsaw, Lodz and Radom - where there are any left alive. When I thought about all this it seemed quite clear that we've been gathered here not to be preserved - like the bison in the Bialowiezska forest - but to be slaughtered. Our turn will come in a week or two, according to plan. But just imagine - I still go on seeing patients and saying, 'Now bathe your eye regularly with the lotion and it will be better in two or three weeks.' I'm taking care of one old man whose cataract it will be possible to remove in six months or a year.

I give Yura French lessons and get quite upset at his bad pronunciation.

Meanwhile the Germans burst into people's houses and steal; sentries amuse themselves by shooting children from behind the barbed wire; and more and more people confirm that any day now our fate will be decided.

That's how it is - life goes on. Not long ago we even had a wedding. . . And there are always dozens of rumours. First a neighbour declares that our troops have taken the offensive and the Germans are fleeing. Then there is a rumour that the Soviet government and Churchill have presented the Germans with an ultimatum - and that Hitler's ordered that no more Jews are to be killed. Then we are informed that Jews are to be exchanged for German prisoners-of-war.

It seems that nowhere is there so much hope as in the ghetto. The world is full of events and all these events have the same meaning and the same purpose - the salvation of the Jews. What a wealth of hope!

And the source of all these hopes is one and the same - the life-instinct itself, blindly rebelling against the terrible fact that we must all perish without trace. I look round myself and simply can't believe it: can we really, all of us, already be condemned, about to be executed? The hairdressers, the cobblers, the tailors, the doctors, the stove-repairers are still working. A little maternity home has even been opened - or rather, the semblance of one. People do their washing, linen dries on the line, meals are prepared, the children have been going to school since the first of September, the mothers question the teachers about their children's marks.

Old Spilberg is having some books bound, Alya Sperling does physical training every morning, puts her hair in paper-curlers every evening and quarrels with her father about two lengths of material that she wants for summer dresses.

And I'm busy myself from morning till night - visiting my patients, giving lessons, darning my clothes, doing my washing, preparing for winter, sewing a lining into my winter coat. I hear stories about the terrible punishments Jews have suffered: one woman I know, a lawyer's wife, bought a duck egg for her child and was beaten till she lost consciousness; a boy, the son of Sirota the chemist, was shot in the shoulder crawling beneath the wire after a ball that had rolled away. And then rumours, rumours, rumours . . .

What I say now isn't a rumour, however. Today the Germans came and took eighty young men to work in the fields, supposedly to dig potatoes. Soem people were glad, imagining the men would be able to bring a few potatoes home for their relatives. but I knew all too well what the Germans meant by potatoes.

Night is a special time in the ghetto, Vitya. You know, my dearest, how I always taught you to tell the truth - a son must always tell the truth to his mother. But then so must a mother tell the truth to her son. Don't imagine, Vityenka, that your mother's a strong woman. I'm weak. I'm afraid of pain and I'm terrified to sit down in the dentist's chair. As a child I was afraid of darkness and thunder. As an old woman I've been afraid of illness and loneliness; I've been afraid that if I fall ill, I won't be able to go back to work again, that I'll become a burden to you and that you'll make me feel it. I've been afraid of the war. Now, Vitya, I'm seized at night by a horror that makes my heart grow numb. I'm about to die. I want to call out to you for help.

When you were a child, you used to run to me for protection. Now, in moments of weakness, I want to hide my head on your knees; I want you to be strong and wise; I want you to protect and defend me. I'm not always strong in spirit, Vitya - I can be weak too. I often think about souicide, but something holds me back - some weakness or strength, or irrational hope.

But enough of that. I have dreams every night. I often see my mother and talk to her. Last night I dreamed of Sasha Shaposhnikov during our years in Paris. But I haven't once dreamed of you - though I think of you often, even at moments of the most terrible distress. In the morning I wake up and look at the ceiling, then I remember that the Germans are on our land and that I'm a leper - and it's as though I haven't woken up at all, but have just fallen asleep and begun to dream.

A few minutes go by and I hear Alya quarrelling with Lyuba over whose turn it is to go to the well. Then I hear people talking about how, during the night, the Germans mashed int he skull of some old man on the next treet.

A girl I knew came round, a student at the teachers' trainign college for technical subjects, and called me out on a visit. She turned out to be hiding a lieutenant who'd been wounded in the shoulder and burnt in one eye. A sweet haggard, young man with a thick Volga accent. He'd slipped through the wire at night and found shelter in the ghetto. His eye wasn't seriously injured at all and I was able to check the suppuration. He talked a lot about different battles and how our army had been put to fight. He quite depressed me. He wants to recuperate and then slip through the German front line. Several young men intend to go with him, one of them an ex-student of mine. Oh Vityenka, if only I could go with them too. It was such a joy to me to be able to help that young man - I felt as though I too were taking part in the war against Fascism.

People had brought him some bread, beans and potatoes, and one old woman had knitted him a pair of woolelen socks.

The whole day has been full of drama. Yesterday Alya managed, through a Russian friend of hers, to get hold of the passport of a young Russian girl who'd died in hospital. Tonight she's going to leave. And we heard today, from a peasant we know who was driving past the ghetto fence, that the Jews who were sent to dig potatoes are digging deep ditches four versts from the town, near the airfield, on the road to the Romanovka. Remember that name, Vitya - that's where you'll find the mass grave where your mother is buried.

Even Sperling understood. He's been pale all day, his lips are trembling and he keeps asking conusedly: 'Is there any hope that specialists will be spare?' In fact I have heard that in some places the best tailors, cobblers and doctors have been left alive.

All the same, this very evening, Sperling summoned the old man who repairs stoves and had a secret cupboard built into the wall for flour and salt. And Yura and I have been reading Lettres de mon moulin. Do you remember how we used to read out loud my favourite story, 'Les Vieux', how we'd look at each other and burst out laughing, how each of us would have tears in our eyes? And after that I set Yura his lessons for the day after tomorrow. But what an ache I felt as I looked at my student's sad little face, as I watched his fingers note down in his exercise-book the numbers of the paragraphs of grammar I had just set.

And what a lot of children like that there are! Children with wonderful eyes and dark curly hair - probably future scientists, physicists, professors of medicine, musicians, even poets . . .

I watch them running to school in the morning, with a quite unchildlike seriousness, and wide tragic eyes. Though sometimes theydo begin laughing and fighting and romping about; then, rather than feeling happier, I am seized with horror.

They say that children are our own future, but how can one say that of these children? They aren't going to become musicians, cobblers or tailors. Last night I saw very clearly how this whole noisy world of bearded, anxious fathers and querulous grandmothers who bake honey-cakes and goosenecks - this whole world of marriage customs, proverbial sayings and Sabbaths will disappear for ever under the earth. After the war life will begin to stir once again, but we won't be here, we will have vanished - just as the Aztecs once vanished.

The peasant who brought us the news about the mass graves said that his wife had been crying at night. She'd been lamenting: 'They sew, and they make shoes, and they curry leather, and theymend watches, and they sell medicines in the chemist's. What will we do when they've all been killed?'

And how clearly I saw someone walk past our ruined houses and say: 'Once some Jews used to live here. Do you remember? An old stove-repairer called Borukh. On saturday evenings his old wife sat on the bench and the children played round about.' And someone else said: 'And there was a doctor who used to sit there, beneath that old pear-tree - I can't remember her surname but once I went to her and have my eyes treated. After she'd finished work she used to bring out a wickerwork chair and sit there with a book.' Yes, Vitya, that's how it will be.

As though some terrible breath has passed over people's faces and everyone knows that the end is approaching.

Vityenka, I'm finishing this letter and taking it to the ghetto fence to hand to my friend. It's not easy to break off. It's my last conversation with you. Once I send it off, I will have left you for ever and you will never know of my last hours. This is our final parting. What can I say to you in farewell, in eternal farewell? These last days, as during my whole life, you have been my joy. I've remembered you at night, the clothes you wore as a boy, your first books. I've remembered your first letter, your first day at school. I've remembered everything, everything from the first days of your life to the last news that I ehard from you, the telegram I received on the 30th of June. I've closed my eyes and imagined that you were shielding me, my dearest, from the horror that is approaching. And then I've remembered what is happening here and felt glad that you were apart from me - and that this terrible fate will pass you by!

Vitya, I've always been lonely. I've wept in anguish through lonely nights. My consolation was the thought of how I would tell you one day about my life. Tell you why your father and I separated, why I have lived on my own for so many years. And I've often thought how surprised my Vitya would be to learn how his mother made mistakes, raved, grew jealous, made others jealous, was just what young people always are. But my fate is to end my life alone, never having shared it with you. Soemtimes I've thought that I ought not to live far away from you, that I love you too much, that love gives me the right to be with you in my old age. And at other times I've thought that I ought not to live together with you, that I love you too much.

Well, enfin . . . Always be happy with those you love, those around you, those who have become closer to you than your mother. Forgive me.

I can hear women weeping on the street, and policemen swearing; as I look at these pages, they seem to protect me from a terrible world that is filled with suffering.

How can I finish this letter? Where can I find the strength my son? Are there words capable of expressing my love for you? I kiss you, your eyes, your forehead, your hair.

Remember that your mother's love is always with you, in grief and in happiness, no one has the strength to destroy it.

Vityenka . . . This is the last line of your mother's last letter to you. Live, live, live for ever . . . Mama.

Vasily Grossman - Life and Fate

Saturday, August 19, 2017

ET: Almanac

Everywhere it was a time of collapse: powers were falling, one after another, two ancient oaks (saplings when Caesar was crossing the Rubicon, said the Ottawa newscaster) came heaving down, struck from crown to root by a frenzy of lightning. For days the bitter smell of charred bark and ashen leaves drifted past nearby towns, arusing the nostrils of nervous dogs. In New York a pair of famous editors, intimidating and weighty as emperors, in a flash of the guillotine were suddenly displaced; overnight their names tumbled into blackest obscurity. The young ruled, ruled absolutely; the outmoded old were forgotten, they were diminished and dismissed, and whoever spoke of their erstwhile renown spoke of vapor.

And on the earth's far-off other cheek, beyond the Pripet Marshes, beyond the Dnieper and the Volga, in the very eye of Moscow, where the cold cellar walls of Lubyanka Prison were wont to break out in pustules of bloody mold, like executioner's mushrooms, Communism was cracking, falling. The Soviet Union was on its way out, impaired, impaled, stumbling, exhausted, moribund--though who, in the ninth decade of the twentieth century, dared to suspect the death of the Kremlin?

Yet there were signs: fascism was pressing through the fissures. In Red Square, a mocking phalanx of blackshirts openly paraded. Thugs invaded Writers' Union, yelling insults to Jews. Fossil Cossacks, old Czarist pogromchiks, renewed, restored!

Ruth Puttermesser, white-haired, in her sixties--retired, unmarried, cranky in the way of a woman alone--had no premonition about the demise of the Soviet Union; yet she believed in collapse. The skin on the inside of her elbows drooped into pleats; her jowl was loose and bunched, as if governed by a drawstring; the pockets under her eyes hung, and the ophthalmologist, attempting to dilate her pupils, had to lift the lids with deliberate fingers. All things fallen, elasticity gone. Age had turned Puttermesser on its terrible hinge.

She was as old now as her long-dead father: her father who, fleeing the brutish Russia of the Czars, had left behind parents, sisters, brothers--Puttermesser's rumored Moscow relations, aunts, cousins, a schoolboy uncle, all swallowed up in the Bolshevik silence, dwindled now into their archaic names and brittle cardboard-framed photographs. Puttermesser's Moscow grandmother, a blotched brown blur in a drawer: wrinkled Tatarish forehead, sunken toothless mouth; a broken crone, dim as legend. "Do not write anymore," Puttermesser's Moscow grandmother, a blotched brown blur in a drawer: wrinkled Tatarish forehead, sunken toothless mouth; a broken crone, dim as legend. "Do not write anymore," Puttermesser's grandmother pleaded as the thirties wore on: "My eyes are gone. I am old and blind. I cannot read." This was the last letter from Moscow; it lay under the old Russian photos in an envelope blanketed by coarsely printed stamps. Each stamp displayed the identical profile of a man with a considerable mustache. Stalin. Puttermesser knew that the poet Osip Mandelstam had likened that mustache to a cockroach: whereupon Stalin ordered him murdered. Isaac Babl was murdered after months of torture and a phony trial. Mikhoels the Yiddish actor was murdered. All the Russian Yiddish poets were murdered on a single August night in 1952. Shot in the cellars of Lubyanka.

And between Moscow and New York, a steady mute fright. The hidden warning in Puttermesser's grandmother's plaint was clear. Stop! We are afraid of a letter from America! They will take us for spies, you endanger us! Keep away! The old woman was famous among her children for eyesight so sharp and precise that she could see the altertly raised ears of a squirrel on a high branch in a faraway clump of trees. Puttermesser's father too had owned such a pair of eyes. Blue, pale as watery ink. Her poor orphaned papa, cut off forever from the ties of his youth: from his little brother Velvl, ten years old, his head in the photo shaved in the old Russian style, his school uniform high-collared and belted, with a row of metal buttons marching down his short chest. A family sundered for seventy years--the Great War, the Revolution, Stalin's furies, the Second World War, the Cold War: all had intervened. Puttermesser's papa, dying old of stroke, longed for his mother, for Velvl, for his sisters Fanya, Sonya, Reyzl, for his brothers Aaron and Mordecai. Alone in America with no kin. Never again to hear his father's fevered voice. Continents and seas lay between Moscow and New York, and a silence so dense and veiling that in the three decades since her papa's death Puttermesser had almost forgotten she had Russian relations. They were remote in every sense. She never thought of them.

Cynthia Ozick - The Puttermesser Papers

Thursday, August 17, 2017

ET: Almanac

Puttermesser has promised to transform the City of New York into Paradise. She has promised to cast out the serpent. On Election Day, Malachy ("Matt") Mavett, the incumbent, is routed. Of the three remaining candidates, two make poor showings. Puttermesser is triumphant.

Puttermesser is now the Mayor of the City of New York!

Old ardors and itches wake in her. She recites to herself: Justice, justice shalt thou pursue. Malachy ("Matt") Mavett takes his wife and family to Florida, to be near Mrs. Minnie Mavett, his adoptive mother. He is no longer a lucky orphan. He gets a job as a racetrack official. It is a political job, but he is sad all the same. His wife bears his humiliation gracelessly. His children rapidly acquire accents that do not mark them as New Yorkers. Turtelman and Marmel vanish into rumor. They are said to be with the FBI in Alaska, with the CIA in Indonesia. They re said to have relocated at Albany. They are said to be minor factotums in the Federal Crop Insurance Corporation, with offices in Sourgrass, Iowa. They are said to have mediocre positions in the Internal Revenue Service, where they will not be entitled to Social Security. They are said to have botched a suicide pact. No one knows what has become of Turtelman and Marmel. But Puttermesser is relieved; she herself, by means of a memo from City Hall, has dismissed them. Turtelman and Marmel are sacked! Let go! Fired!

Malachy ("Matt") Mavett, following protocol, telephones to congratulate Puttermesser on her victory. But he confesses to bafflement. Where has Puttermesser come from? An ordinary drone from the Bureau of Summary Sessions of the Department of Receipts and Disbursements! How can she, "an unknown," he asks, "a political nonentity," have won the public over so handily? Puttermesser reminds him that some months ago she wrote him a letter asking for justice, condemning patronage and spills. "You did not reply," she accused him in a voice hoarse from speechmaking. The ex-Mayor does not remember any letter.

Though Puttermesser is disconcerted by the move to Gracie Mansion (in her dreams her mother is once again rolling up winter rugs and putting down summer rugs in the wide sun-exiled apartment on the Grand Concourse), the golem immediately chooses the most lavish bedroom in the Mayor's residence for herself. It contains an antique dresser with gryphon feet and a fourposter arched by a lofty tester curtained in white velvet. Old brass bowls glint on the dresser-top. The golem fills one whole closet with fresh overalls. She wanders about studying the paintings and caressing the shining banister. She exhorts Puttermesser to rejoice that she no longer has her old suspicious landlord on East Seventy-first Street to worry about. Millions of citizens are her landlord now!

Puttermesser cannot pay attention to the golem's sprightliness. She is in a frenzy over the job of appointing commissioners and agency heads. She implores Xanthippe [the golem - ET] to keep away from City Hall--the campaign is over, she will only distract from business. The new Mayor intends to recruit the noble psyches and visionary hearts. She is searching for the antithesis of Turtelman and Marmel. For instance: she yearns after Wallace Stevens--insurance executive of probity during office hours, enraptured poet at dusk. How she would like to put Walt Whitman himself in charge of the Bureau of Summary Sessions, and have Shelley take over Water Resource Department--Shelley whose principle it is that poets are the legislators of mankind! William Blake in the Fire Department. George Eliot doing Social Services. Emily Brontë over at Police, Jane Austen in Bridges and Tunnels, Virginia Woolf and Edgar Allen Poe sharing Health. Herman Melville overseeing the Office of Single Room Occupancy Housing. "Integer vitae scelerisque purus,"* the golem writes on her notepad, showing off. "That's the ticket," Puttermesser agrees, "but what am I supposed to do, chase around town like Diogenes with a lantern looking for an honest man?" Xanthippe writes philosophically, "The politics of Paradise is no longer Paradise," Puttermesser retorts; "don't annoy me anyhow, I have to get somebody fast for Receipts and Disbursements. "You could promote Cracow," the golem writes. "I already have. I moved him over to Bronx Landfill and Pest Control. That's two levels up. He's got a good idea for winter, actually--wants to convert that garbage mountain out near the bay to a ski jump. And he's stopped asking me out. Thank God he's scared of dating the Mayor." "If you would seek commissioners of integrity and rosy cleverness," the golem writes, "fashion more of my kind." Fleetingly, Puttermesser considers this; she feels tempted. The highest echelons of City management staffed by multiple members of the genus golem! Herself the creator, down to the last molecule of ear-wax, of every commissioner, deputy, bureau chief, executive director! Every mayoral assistant, subordinate, underling, a golem! She looks over at Xanthippe. Twice already Xanthippe has quarreled with the Mansion's official cook. The cook has refused to follow the golem's recipes. "One is enough," Puttermesser says, and hurries down the subway and off to City Hall.

Despite its odious language reminiscent of Turtelman and Marmel, Puttermeser repeatedly consults the

                                                                           PLAN
                                       
                                                                          FOR THE 
                                                                                      RESUSCITATION,
                                                                                        REFORMATION,
                                                                                     REINVIGORATION,
                                                                                    &  REDEMPTION
                                                                                              OF THE 
                                                                                    CITY OF NEW YORK 

She blames Xanthippe for such a preposterous text: only two days spent in the Bureau of Summary Sessions, and the golem has been infected by periphrasis, pleonasm, and ambagious tautology. But behind all that there glimmers a loveliness. To Puttermesser's speeding eye, it is like the spotted sudden flank of a deer disturbing a wood. There will be resuscitation! There will be redemption.

And it begins. Mayor Puttermesser sends the golem out into the City. At first she tends to hang out among the open-air stalls of Delancy Street, but Puttermesser upbraids her for parochialism; she instructs the golem to take subways and buses--no taxis--out to all the neighborhoods in all the boroughs. It goes without saying that a robust reformist administration requires a spy. The golem returns with aching tales of what she has seen among the sordid and the hopeless; sometimes she even submits a recommendation on a page of her notepad. Puttermesser does not mind. Nothing the golem reports is new to Mayor Puttermesser. What is new is the discovery of the power of office. Wrongdoing and bitterness can be overturned: it is only a matter of using the power Puttermesser owns.

Crowds of self-seeking importuners float up the steps of City Hall; Mayor Puttermesser shoos them away. She admits visionary hearts only. She takes signs up all around her desk: NO MORE SPOILS QUOTA. MERIT IS SWEETER THAN GOLD. WHAT YOU ARE, NOT WHOM YOU KNOW.

Lost wallets are daily being returned to their owners. Now it is really beginning--the money and credit cards are always intact. The golem ascends from the subway at Sixty-eighth and Lexington (this is the very corner where Puttermesser's alma mater, Hunter Heigh, used to stand), looking slightly larger than the day before, but also irradiated. The subways have been struck by beauty. Lustrous tunnels unfold, mile after mile. Gangs of youths have invaded the subway yards at night and have washed the cars clean. The wheels and windows have been scrubbed by combinations of chemicals; the long seats have been fitted with velour cushions of tan and blue. Each car shines like bullet. The tiles that line the stations are lakes of white; the passengers can cherish their own reflections in the walls. Every Thursday afternoon the youths who used to terrorize the subways put on fresh shirts and walk out into Central Park, reconnoitering after a green space; then they dance. They have formed themselves into dancing clubs, and crown one another's heads with clover pulled up from the sweet ground. Foliage is browning, Thursday afternoons grow cold and dusky. But the youths who used to terrorize the subways are whirling in rings over darkening lawns.

The streets are altered into garden rows: along the curbs, between sidewalk and road, privet hedges shake their little leaves. The open sanitation carts are bright, like a string of scarlet chariots. They re drawn by silent horses who sniff among the new hedges. Flutes and clarinets announce the coming of the cart procession every day at noon, and children scramble to pick up every nub of cigarette or scrap of peel or paper wrapper, pressing with fistfuls toward the singing flutes and gravely marching horses, whose pairs of high nostrils flare outward like trumpets.

The great cargo trucks still spill into the intersections, carrying bolts of cloth, oranges; fowl, refrigerators, lamps, pianos, cards of buttons, lettuces, boxes of cereal, jigsaw puzzles, baby carriages, pillowcases with peacocks imprinted on them; some deliver uptown, others downtown; they pant and rumble freely, unimpeded; buses and taxis overtake them effortlessly. Except for fire engines and ambulances, there are no other motored vehicles. Little girls dare, between buses, to jump rope in the middle of the street. Some roads, though, have been lushly planted, so that lovers seek them out to hide in one another's breast. The tall grasses and young maples of the planted roads are haunted by pretzel sellers, hot-chestnut peddlers, hawkers of books in wheelbarrows. The children are often indoors after school, carpeting bookshelves. The libraries are lit all night, and the schools are thronged in the evenings by administrative assistants from the great companies, learning Spanish, Portuguese, Russian, Hebrew, Korean, and Japanese. There are many gardeners now, and a hundred urban gardening academies. There is unemployment among correction officers; numbers of them take gardening jobs. No one bothers to drag the steel shutters down over storefronts after closing. The Civil Service hums. Intellect and courtliness are in the ascendancy. Mayor Puttermesser has started the Department of Receipts and Disbursements with intelligent lawyers, both women and men, who honor due process. Turtelman and Marmel are replaced by visionary hearts. Never again will an accuser take the job of the accused, as Marmel did with Puttermesser! there is no more rapaciousness in the Bureau of Summary Sessions.

A little-known poet who specializes in terza rima is put in charge of Potter's Field. For each sad burial there, she composes a laudatory ode; even the obscure dead are not expendable or forlorn. The parks, their arbors and fields, are speckled with wide-mouthed terra-cotta urns; no one injures them. Far away in the Bronx, the grape-wreathed heads of wine gods are restored to the white stelae of the Soldier's Monument, and the bronze angel on top of the Monument's great stone needle glistens. Nothing is broken, nothing is despoiled. No harm comes to anything or anyone. The burnt out ruins of Brownsville and the South Bronx burst forth with spines of pines and thorny locusts. In their high secret pride, the slums undo themselves: stoops sparkle, new factories and stores buzz, children gaze down in gladness at shoes newly bought, still unscratched; the shoe stores give away balloons, and the balloons scape to the sky. Everywhere former louts and loiterers, muggers and thieves, addicts and cardsharps are doing the work of the world, absorbed, transformed. The biggest City agency is what used to be called Welfare; now it is the Department of Day Play, and delivers colored pencils and finger paints and tambourines to nurseries clamorous as bee-loud glades, where pianos shake the floors, and storytellers dangle toddlers in suspense from morning to late afternoon, when their parents fetch them home to supper. Everyone is at work. Lovers apply to the City Clerk for marriage licenses. The Bureau of Venereal Disease Control has closed down. The ex-pimps are learning computer skills.

Xanthippe's heels have begun to hang over the foot of her fourposter bed in Gracie Mansion. The golem is worn out. She lumbers from one end of the City to the other every day, getting ideas. Mayor Puttermesser is not disappointed that the golem's ideas are mainly unexciting. The City is at peace. It is in the nature of tranquility--it is in the nature of Paradise--to be pacific; tame, halcyon. Oh, there is more to relate of how Mayor Puttermeser, inspired by the golem, has resuscitated, reformed, reinvigorated and redeemed the City of New York! But this too must be left to dozing and skipping. It is essential to record only two reflections that especially engage Mayor Puttermesser. The first is that she notices how the City, tranquil, turns toward the conventional and the orderly. It is as if tradition continuity, propriety blossom of themselves: old courtesies, door-holding, hat-tipping, a thousand pleases and pardons and thank you. Something in the grain of Paradise is on the side of the expected. Sweet custom rules. The City in its redeemed state wishes to conserve itself. It is a rational daylight place; it has shut the portals of night.

Puttermesser's second reflection is about the golem. The coming of the golem animated the salvation of the City, yes--but who, Puttermeser sometimes wonders, is the true golem? Is it Xanthippe or is it Puttermesser? Puttermesser made Xanthippe; Xanthippe did not exist before Puttermesser made her: that is clear enough. But Xanthippe made Puttermesser Mayor, and Mayor Puttermesser too did not exist before. And that is just as clear. Puttermesser sees that she is the golem's golem.

In the newborn peaceable City, Xanthippe is restless. She is growing larger. Her growth is frightening. She can no longer fit into her overalls. She begins to sew together pairs of sheets for a toga.

                                                             





                                                        VII. RAPPOPORT'S RETURN

On a late spring afternoon about halfway through her mayoral term, and immediately after a particularly depressing visit to the periodontist (she who had abolished crime in the subways was unable to stem gum disease in the hollow of her jaw), Puttermesser came home to Gracie Mansion to find Rappoport waiting in her private sitting room.

"Hey, you've got some pretty tough security around here. I had a hell of a time getting let in," Rappoport complained.
"Last time I saw you," Puttermesser said, "you had no trouble letting yourself out."
"How about we just consider that water under the bridge, Ruth, what do you say?"
"You walked out on me. In the middle of the night."
"You were liking Socrates better than me," Rappoport said.
"Then why are you back?"
"M God, Ruth, look who you've become! I can't pass through New York without seeing the Mayor, can I? Ruth," he said, spreading his impressive nostrils, "I've thought about you a lot since the election. We read all about you up in Toronto."
"You and Mrs. Rappoport?"
"oh come on, let's give it another try. Not that I don't understand you have to be like Caesar's wife. Above susp---"
"I have to be Caesar," Puttermesser broke in.
"Well, even Caesar gives things another try."
"You're no Cleopatra," Puttermesser said.
There was a distant howl; it was the cook. She was fighting with the golem again. In a moment Xanthippe stood in the doorway, huge and red, weeping.
"Leave that woman alone. She'll cook what she'll cook, you can't tell her anything different," Puttermesser scolded. "She runs a strictly kosher kitchen and that's enough. Go and wash your face."
"Plump," Rappoport said, staring after Xanthippe in her toga. "Rubenesque."
"A growing girl. She wears what she pleases."
"Who is she?"
"I adopted her."
"I like a big girl like that." Rappoport stood up. "The town looks terrific. I came to congratulate you, Ruth."
"Is that why you came?"
"It turns out. Only I figured if you could bring a whole city back to life---"
"There are some things, Morris, that even the Mayor can't revive."
Rappoport, his briefcase under his arm, wheeled and hesitated. "It didn't make it through the move? My avocado tree that I grew from a pit in Toronto? It was doing fine in your old apartment."
"I don't have it any more."
"Aha, you wanted to dispose of me lock, stock, and barrel. You got rid of every symptom and sign. The least bit of green leaf--"
"All my plants are gone."
"No kidding. What happened?"
"I took their earth and made a golem."

Rappoport, flaunting his perfect teeth under his mustache, laughed out loud. In the middle of his laughter his head suddenly fell into the kind of leaning charm Puttermesser recalled from long ago, when they had first become lovers; it almost made her relent.

"Goodbye, Ruth. I really do congratulate you on civic improvement." Rappoport held out his hand. "It's one terrific town, I mean it. Utopia. Garden of Eden. In Toronto they run articles on you every day."

"You can stay for dinner if you like," Puttermesser offered. "Though I've got a meeting right after--municipal bonds. Myself, it's eat and get on down to City Hall."

Someone had seized Rappoport's outstretched hand and was shaking it; it was not Puttermesser. Xanthippe, practiced politician, her wide cheeks refreshed and soap-fragrant, had sped forward out of nowhere. Rappoport looked stunned; he looked interested. He slipped his fingers out of the golem's grasp and moved them upward against her chest, to catch hold of the card that twirled there: DEAF-MUTE. 

That's awfully generous of you, Ruth, adopting someone like that. You're a wonderful person. we really ought to get together again. I will stay for a bite, if you don't mind."

The golem did not bring her ballpoint to the table. She dealt with her stop spoon as if it were her enemy, the cook. Disgruntled, she heaped a fourth helping of mashed potatoes onto her plate. but here was on Rappoport, and her mouth was round with responsiveness: was it his teeth? was it his reddish mustache, turning gray? was it his wide welcoming nostrils? was it his briefcase bulging with worldly troubles?

Rappoport was talkative. His posture was straight-backed and heroic: he told of his last clandestine trip to Moscow, and of the turmoil of the oppressed.

When Puttermesser returned at midnight from the meeting on municipal bonds, the golem was asleep in her fourposter bed, her heels thrust outward in their pink socks over the footboard, and Rappoport was snoring beside her.

Eros had entered Gracie Mansion.

Cynthia Ozick - The Puttermesser Papers

*The upright life and free of sin