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September 9, 2004

Twin Triathletes Go for the Gold

The U.S. may have the Hamm brothers, but Israel has the Alterman brothers. Like their American counterparts, these 24-year-old twins have their eyes on Olympic gold.

Ran and Dan Alterman are Israel’s reigning triathlon champions. For the past four years, they have dominated the sport in their native land. Now, they look to bring their success to the international arena.

To qualify for the 2008 Summer Olympics in Beijing, the Altermans must compete in six races abroad annually. On Sept. 12, they will bring their speed and power to the Los Angeles Triathlon.

“It’s very exciting to come to Los Angeles and represent Israel in the race. And to know that people here are so proud of Israel that they wanted to help us make the trip, that’s just great,” said Ran Alterman, who along with his brother, had his trip to Los Angeles sponsored by Factor’s Deli owner Marvin Markowitz, The Jewish Federation of Greater Los Angeles and the Consulate General of Israel in Los Angeles. The brothers, who were born in Tel Aviv and grew up in Netanya and Even Yehuda, began competing in triathlons at 13. A decade later, the brothers have a healthy competition going between themselves.

“Racing against Ran is like racing against myself. We have the same training schedule, diet and ability, so to beat him is to better my own performance,” said Dan Alterman, who as the Israel Triathlon Association’s youth chairman, helps run camps, clinics and a boarding high school for young triathletes in training.

When it comes to major races, the Altermans run against each other but also pull for each other.

“It’s most important for the family to come in first and second. As to which of us comes in first, it depends on the day,” said Ran Alterman, who, with his brother, is enrolled at the college of management at Rishon LeZion.

While both Altermans served in the Israeli army, they believe it’s through their sport that they contribute most to their country.

“There will always be good Israeli soldiers, but there aren’t many great Israeli sportsmen,” Ran Alterman said. “We’ve been given the chance to travel the world, talk to people and show them that Israel is about more than war, and that Israelis are strong.”

The Los Angeles Triathlon will be held on Sunday, Sept.
12. For more information, go to Twin Triathletes Go for the Gold Read More »

Jesus vs. Kyle

“Oh my God, we killed Jesus.”

Kyle Broflovski, “South Park’s” resident Yid, has a tough time reconciling his people’s culpability in the death of Jesus after seeing Mel Gibson’s “The Passion of the Christ” in the episode, “The Passion of the Jew.” Comedy Central has released “Jew” and two other religious-themed episodes on DVD last week, timed with the Aug. 31 video release of “The Passion.”

“South Park” is known for its irreverent take on political and social issues of the day, and this episode is no different.

For years, Kyle’s loud-mouthed friend Eric Cartman has slammed him for being Jewish. But in the beginning episodes of season eight, Cartman feels justified in his anti-Semitism after seeing “The Passion.” He taunts Kyle to watch the movie and prove him wrong.

Kyle finally gives in and is horrified by what he sees. After apologizing to Cartman for doubting him, Kyle spends the rest of the episode wrestling with the prospect that his people might be “Christ killers” who should apologize for the death of Jesus.

Meanwhile, Cartman starts a “Passion” fan club and organizes local fans to help him carry out his “final solution.” Dressed as Hitler, Cartman begins parading the “Passion” fans through the streets of South Park shouting, “Wir müssen die Juden ausrotten” (We must exterminate the Jews), which the clueless fans think might be something in Aramaic.

“South Park” creators Trey Parker and Matt Stone lampoon Gibson, portraying him as an unhinged, underwear-clad torture freak, and take the Jewish community to task for its panicked reaction to the Gibson film.

The DVD also includes the episodes “Red Hot Catholic Love,” which pokes fun at the Catholic sex scandal, and “Christian Rock Hard.” Noticeably absent in any of these episodes is South Park’s own public access host of “Jesus and Pals” and member of the religious superhero team Super Best Friends — Jesus himself.

While Comedy Central might have great timing, it’s difficult to imagine that fans of this heavily marketed show will shell out $19.99 for the three-episode “The Passion of the Jew” when an entire season of “South Park” runs roughly $40 on DVD.

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Kerry Needs Clarity

The "swift boat" attack on Sen. John Kerry, supporting the Republican effort to portray him as a weak liberal, has special resonance among those Jews who will base their vote on whether they think a candidate will be tough enough in standing up for Israel.

The Democratic presidential nominee’s claim to toughness is his Vietnam biography. Dirtying up the biography has done him severe damage. But so did his delay in replying in a strong and clear manner.

The assault is designed to cast doubt on Kerry’s record as a decorated combat officer in the Vietnam War. It makes no difference that those who served with Kerry on the dangerous patrol boat missions have refuted these phony allegations, and President Bush has praised the senator’s combat record.

The anti-Kerry ads have been magnified by the mindless, and — in the case of Fox — partisan coverage of 24-hour cable news. Now the Republican version of the swift boat legend is firmly embedded in the campaign debate, poisoning the heroic and true story told by Kerry and other vets who were there.

Republican prime targets in the Jewish community are one-issue men and women who will base their vote on Israel, according to Journal Washington correspondent James D. Besser.

A National Jewish Democratic Council poll done by Greenberg Quinlan Rosner Research, showed that 15 percent of the respondents mentioned Israel when asked what issues would be most important in voting for a presidential candidate.

While there are comparatively few of them, these are the voters that the Republicans hope will deliver the election to Bush. Besser was told by Republican sources they hope for a 5 percent increase in the Jewish vote for Bush, who received 19 percent in 2000. That kind of a boost, they said, might be enough to deliver the battlegrounds of Florida, Ohio and Michigan.

Overall, the National Jewish Democratic Council poll showed Kerry ahead of Bush among Jewish voters 75 percent to 22 percent.

But that figure doesn’t tell the whole story. The votes of multiple-issue Jews may also be affected by the Middle East. The poll showed terrorism and national security are high in determining presidential votes, as is Iraq. Most voters like strength on these issues, which are all connected to the Middle East and to conflict in Israel.

Recently, I checked with Kerry volunteers in the San Fernando Valley to see how the campaign was holding up under the assault.

I didn’t ask people if they were Jewish. I usually don’t, figuring that any Democratic group in the Valley will include Jews. So I’m always certain of catching some Jews in my web when I interview people in the Valley and the Westside.

I was interested in whether enthusiasm has waned in the grassroots after what had been a bad week for Kerry. They were full of anti-Bush fire. Almost 100 men and women, ranging from younger to older, filled a meeting room in the State Building in Van Nuys, a good crowd for a sunny L.A. summer weekend day.

Before the meeting started, I talked to Randy Gold of Sherman Oaks, who is in charge of a big operation of placing volunteers at tables at key Valley locations, especially on weekends, to register voters and sign up supporters.

He said the 15-20 sites manned by volunteers continue to do well.

"I’ve been around for a while, and I didn’t see this in 2,000," he said

I asked him about polls showing a slight Kerry decline after the swift boat campaign.

"I think the polls will bounce back," he said.

With the latest poll showing Kerry ahead of Bush 50 percent to 40 percent in California, the Valley for Kerry organization is sending busloads of volunteers on weekends to Arizona and Nevada. There, they walk door to door, working up support in two states where the results are in doubt.

Valley for Kerry is raising its own money for such efforts. The national campaign is sending its dollars to battleground states.

These volunteers are reflective of Democrats all over the country — enthusiastic, desperately wanting to beat Bush, hoping to be led to victory by the gutsy swift boat vet.

The trouble is that, so far, Kerry has been a stiff on the campaign trail. Even a campaign veteran like me has trouble digging through what he has in mind on issues. I feel like I am reading a position paper written by a Senate aide or a veteran of the old Clinton health plan task force.

For example, I came across a piece by Kerry published in The Forward spelling out his plans for the Middle East. He makes good points, notably that "a nuclear armed Iraq is unacceptable" as is Saudi Arabia "financing and providing ideological backing for Islamic fundamental jihadists." Like Bush, he supports Prime Minister Ariel Sharon’s plans for withdrawal from Gaza. He also said "the fence has proven its value as an anti-terror measure."

I think all that is great. But Kerry muddied it up. He will launch an aggressive public diplomacy campaign in Arab and Muslim countries to tackle head-on the anti-Semitic and anti-Israel propaganda" — diplomacy against anti Semitism?

He said he will work with the Palestinians to empower new leadership "committed to a permanent end of terror and the promotion of democracy." What about new leadership not committed to the destruction of Israel?

These are just some of the softer questions Kerry is being asked by voters in this year’s complex Jewish political landscape.

Single-issue voters love simplicity, whether it be on abortion or Israel. To them, nuance is ducking the question. But unless Kerry sharpens his statements, shows his toughness, Bush may well get his 5 percent.

Kerry may have the same problem with other voters, such as the Jews and non-Jews I have been following in the San Fernando Valley.

Maybe they don’t demand the simplicity sought by single-issue voters, but they want strength — and clarity.

Correction: In my last column, I incorrectly identified reader Gillee Sherman as a woman. That’s the trouble with e-mail interviews. Gillee good naturedly pointed out to me that he’s a man.

Bill Boyarsky’s column on Jews and civic life appears on the first Friday of
each month. Until leaving the Los Angeles Times in 2001, Boyarsky worked as a
political correspondent, a metro columnist for nine years and as city editor for
three years. You can reach him at bw.boyarsky@verizon.net.

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Watch Out

When Bill Platt pitched his action-oriented “Darklight” TV movie two years ago, he hoped to create a new genre: “Chai-Fi.”

The 32-year-old filmmaker intended the project — inspired by the Jewish “demoness” Lilith — to merge his heritage with his sci-fi obsession.

“I wondered if I could make Jewish legend fun for audiences who liked ‘The Matrix,’ he said. “And I wanted to see if I could create my own Jewish superhero.”

He wasn’t imagining a comedic MOT superhero like Jonathan Kesselman’s “The Hebrew Hammer” or Alan Oirich’s Menorah Man. Platt rather set his sights on Lilith, the talmudic demon queen turned feminist icon. The film — typical Sci-Fi Channel fare — is more for “Battlestar Galactica” fans than Lilith aficionados. Yet Platt did meticulous homework at the University of Judaism’s library.

Traditional sources describe Lilith as Adam’s surly first wife who considered herself his equal; declining to be dominated, she ultimately fled the Garden of Eden and morphed into a murderous incubus.

“Darklight” reimagines Adam’s ex as an immortal who suffers amnesia, who eventually uses her powers to thwart a plague. It’s the kind of debut feature one might expect of the enthusiastic Platt, who’s always been a bit chai-fi.

Growing up in Reston, Va., he immersed himself in his Conservative Hebrew school as well as comics and the “Star Wars” movies. At NYU’s graduate film program, he honored his Jewish grandparents — who had supported his superhero fixation — with a short starring Yiddish theater star Mina Bern.

His futuristic police thriller, “Bleach,” won the 1998 Student Academy Award and jump-started his career as a producer of the Sci-Fi Channel’s “Exposure Studios”; when he suggested “Darklight” to that network in 2002, he brought genre elements to the Jewish-inspired character.

Like any self-respecting superhero, Lilith has an arch-nemesis, a mad scientist, and a superhuman task: saving mankind.

“It’s amped-up tikkun olam,” Platt said. “She’s repairing the world, except she’s doing it on a grand scale, one curse at a time.”

“Darklight” airs Sept. 18 at 9 p.m. For moreinformation, visit www.scifi.com/darklight .

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Exhibit Celebrates Century of Dignity

To celebrate 100 years of offering interest-free loans to the needy, the Jewish Free Loan Association (JFLA) has put together a traveling photo exhibit that chronicles its growth from bit player to an integral part of the city’s Jewish philanthropic network.

In the past century, more than 300,000 Southern California families have benefited from JFLA’s largess. Today, JFLA has total assets of $8.3 million, employs seven full-time and four part-time workers and makes more than 1,100 loans annually.

The exhibit, which began touring in late May and will make two-week stops at several Southland synagogues and Jewish community centers until November, features black-and-white pictures, yellowing newspaper clippings and personal stories that tell the organization’s rich story. It also "serves as an excellent platform to begin JFLA’s sparking future," said executive director Mark Meltzer.

The free-standing exhibit begins by taking visitors on a journey to the past. Several pictures of Los Angeles at the turn of the 20th century, including on showing horse-drawn buggies on city streets, set the scene.

A small group of businessmen, led by Rabbi David Cohen, founded the Hebrew Free Loan Association in 1904 "to prevent recipients from becoming objects of charity." In the early days, the leaders conducted meetings exclusively in Yiddish. They made loans from $25 to $200 to the unemployed and indigent. A few small loans went to aspiring entrepreneurs to purchase pushcarts to sell fruits and vegetables and to tailors to buy sewing machines.

"JFLA’s mission hasn’t changed in all these years," said Martin Shandling, president of Beth Jacob Congregation of Beverly Hills, who viewed the exhibit at his synagogue in early August.

Like many in the community, Shandling’s has a personal connection to JFLA. He recently referred a temple member to the organization because the man needed money while waiting for a real-estate transaction to close. Shandling co-signed the $5,000 loan, which the businessman paid off, in full, four months later.

JFLA’s raison d’etre might have changed little since its inception, but the organization has grown up considerably, especially in the past 25 years under Meltzer’s direction. Meltzer, working closely with chief operating officer Evelyn Shecter, has established 17 new programs since 1980, including student loans, loans for fertility treatments for Jewish couples and loans for women to start new businesses. In that time, JFLA’s assets have also grown more than tenfold.

"The agency is now much more a part of the Jewish mainstream than it ever was," JFLA President James Kohn said. "We’re better known, have more contacts in the community and more publicity."

In addition to pictures and press clippings, the exhibit features personal stories of JFLA loan recipients. In 1926, a Mrs. Goldberg, for instance, took out the first of 16 loans that the widowed mother of nine needed to survive. Among other things, the money went toward buying supplies for peddling, paying taxes, business school tuition for one of her daughters and food and clothing during the holidays. The loans allowed the Goldberg clan to stay off welfare.

A more recent case history in the exhibit describes the plight of a Soviet immigrant named Valentine, who arrived in Los Angeles without any family. Through a friend, she met the manager of a beauty salon who promised Valentine a job if she completed cosmetology school. There was only one problem; she had no money. JFLA loaned her the money that allowed her to graduate and land a job at the salon. Later, the agency gave her a second loan so she could pay the security deposit for her own apartment.

Over the years, JFLA showed an ability to adapt to societal change. To address the needs of Jewish refugees fleeing the Nazis and immigrating to the United States, Free Loan groups nationwide established the Business Advisory Council in 1940. The new outfit made loans to immigrants in Southern California and elsewhere to open businesses, including cigar stands, service stations and manufacturing plants, according to the exhibit.

As a nonsectarian group, JFLA has long assisted non-Jews. In 1957, the Bureau of Indian Affairs penned a letter of appreciation to the group for having helped Native American families moving to Los Angles get on their feet.

Looking forward, Meltzer said he would like to expand the student and small business loan programs to meet growing demand. He would also like to increase the endowment for a program that makes loans for bar mitzvahs, Jewish weddings and other communal needs.

"We want to maintain Jewish continuity," Meltzer said. "If we don’t do it, who will?"

The exhibit will be at Sinai Temple in Los Angeles, Sept. 8-22, and Temple Emanuel in Beverly Hills, Sept. 22-Oct. 6. Additional dates and places for the exhibit will be announced soon. The exhibit’s final stop will be Nov. 7 at the St. Regis Hotel in Century City to commemorate JFLA’s centennial celebration.

For more information on the organization’s 100th anniversary dinner, call (323) 761-8830.

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‘Memory’ Shapes Life and History

"The Persistence of Memory" by Tony Eprile (Norton, $24.95).

Tony Eprile opens up the complex terrain of a changing South Africa in "The Persistence of Memory."

This is an ambitious novel, a novel of many ideas. Eprile is a gifted storyteller who delves into the inner life and family, and also politics, social commentary and warfare. The literary thread that links these different kinds of stories — whether accounts of sensual meals, embarrassing school episodes or brutal battles — and propels the narrative is suggested by the title: the way that memory, the act of remembering, shapes life and history.

Eprile writes luminous sentences, and he leavens his serious subject matter with humor. Although "The Persistence of Memory" is a first novel, it is not a first book. Eprile’s collection of stories, "Temporary Sojourner and Other South African Tales," was published in 1989 to much acclaim.

For the novel’s narrator Paul Sweetbread, memory is his homeland. Sweetbread has the gift of perfect memory, but his total recall is in sharp contrast to the selective recall of most of the people around him. In school, his classmates, with names like Colin Goldberg, Sedgewick Schwartz and Ophelia Birnbaum "have no objection to repeating their parents’ histories: to be a lawyer or chartered financial accountant like Dad, to play tennis and attend afternoon teas like Mum. History, memory, is plastic here in R.S.A. You remember it the way you would have wanted it to be, not the way it was."

He’s also something of a misfit — an overweight, sensitive boy (and then man) who is obsessed with food. He gets into trouble in school for asking more questions than his teachers were prepared to answer. After high school, Sweetbread enters the South African army, where he has a hard time with the rigorous regimen and the taunts of his fellow recruits and commanders. He is relieved to be appointed as cook for his unit, and dark humor ensues. On the border, where they are engaged in the secret war with Angola and Namibia, he witnesses and remembers unjust events. Later, he appears before the Truth and Reconciliation Commission, and reports on what he has seen.

Throughout the novel, memory is manifested in different forms: through the psychoanalysis Sweetbread undergoes as a child after his father dies, the photography and filmmaking he takes up (and takes quite naturally to) in the army, through food and its sensory connections, and through the amnesia of those who prefer to forget. He also writes of libraries as "the greatest of human inventions, a vast repository of collective memory far greater than any single mind could hold."

"The world’s first libraries were the savannas and deserts of Southern Africa; the first writing, tracks in the sand."

During the war, Sweetbread encounters bushmen, who are excellent trackers, with their visual memory of how stones, sand and pebbles have shifted.

"Tracks are a form of recorded memory," Eprile said in a telephone interview from his home in Bennington, Vt.

Do memories add up to truth?

"I don’t think any one person has a monopoly on truth," he said. "We best get truth from being open to not only our own memories but to the memories of others. Perhaps this is an imaginative leap, to try to have empathy for viewpoints you might not agree with."

Eprile, 49, was born in South Africa, but he promptly points out that his own story doesn’t play into the book. He wanted to create a character who came from a more typical middle-class South African Jewish background than his own. Eprile’s father was from an Orthodox family in Scotland; he came to cover the 50th anniversary of Johannesburg in 1936 and stayed. His mother escaped from Germany, also in 1936.

While he was growing up, Eprile’s parents were very active in anti-apartheid efforts; his father was editor of the country’s first mass-circulation newspaper geared toward the black population. When the police, who were suspicious of his father’s many contacts, raided their house, young Tony and his brother went to school with their briefcases filled with their father’s sensitive papers. Soon after that, in 1968, the family left South Africa and traveled to several places before arriving in the United States in 1970 and then settling here permanently in 1972.

"Anyone who has left his or her country is inclined to think, ‘What would I have been like had I stayed,’" he said, adding, "Maybe there is a phantom Tony Eprile."

Eprile has been back to South Africa, most recently in 1992, and he follows events there quite closely.

He presents South Africa as "a kind of mirror for Americans to see an exaggerated version of certain issues and trends in America itself." Among the parallels he points out is that between the Vietnam War and the war with Namibia, also known as "Nam."

Eprile’s father died in 1993; his mother lives in a South African Jewish enclave near San Diego. And while he feels at home with the accents there, it’s not his community. Eprile, who teaches writing, said he feels most at home with "writers who are misfits," and then added, "fiction writers are misfits."

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Wandering BackInto the Fold

“Shanda: The Making and Breaking of a Self-Loathing Jew” by Neal Karlen (Touchstone, $23).

Like Bob Dylan a decade before him, writer Neal Karlen turned up on Rabbi Manis Friedman’s doorstep in St. Paul, Minn., in desperate search of his soul. It was three years ago that Karlen hoped the renowned Chasidic scholar might be able to provide him with some of the existential answers he’d given Dylan, when Friedman brought the pop icon back to Judaism after he’d spent a decade as an evangelical Christian. &’9;

Karlen, who had broken the Dylan story as a Rolling Stone writer in New York, had alchemized from a devout, kosher-keeping youth intent on the rabbinate into the title of his new book, a shanda, “a disgrace to Judaism.” “Shanda’s” subtitle tells the rest: “The Making and Breaking of a Self-Loathing Jew” (Simon and Schuster).

“I’d gone to 10 years of Hebrew school four days a week, tutored hundreds of kids in Torah and haftorah reading for their bar or bat mitzvahs, studied with Rabbi Jacob Neusner at Brown [University] and was a whisper away from going to rabbinical school,” Karlen said on a recent visit to Los Angeles, where part of the book takes place during the High Holidays. Instead, he was lured by Newsweek magazine to a job in Manhattan, where he discovered the world of glitzy, fast-paced journalism.

“It was a sense of erosion,” Karlen explained. “It happened so gradually I was barely aware that I was losing not just the values I’d grown up with, but also my Jewish identity.”

Karlen became a successful journalist — after covering politics at Newsweek, he worked as a contributing editor for Rolling Stone, and wrote regularly about pop culture for slick glossies like GQ, Esquire, Spy and Vanity Fair. By his late 30s, he’d penned a rock opera with musician Prince, was on contract with The New York Times and had published five books.

What had made his last vestige of Judaism crumble, he felt, was his short-lived marriage into a Protestant family.

“When her grandfather told my father 10 minutes after the ceremony that he should have ‘Jewed him down,’ I had a feeling it wouldn’t work,” Karlen said with a grimace.

As he neared 40, Karlen felt a nagging sense of emptiness and lack of connection — but to what, he didn’t know.

Enter Friedman.

“Besides the depth of his scholarship, his authenticity and humility are remarkable,” Karlen said of his mentor.

Centering on Karlen’s weekly meetings with Friedman, “Shanda” reads much like “Tuesdays With Morrie,” but has both a wry irreverence and a seething edge.

“I felt I had to be honest,” Karlen continued. If I wanted my questioning of faith to resonate with other assimilated Jews as deeply as it did with me, I couldn’t gloss over what a schmuck I’d become.”

Karlen’s memoir is an alternately hilarious and heart-wrenching spiritual adventure but, like Dylan, the writer eventually finds his way back to Judaism — on his own terms.

As part of this journey, Karlen writes of a visit to Los Angeles during the High Holidays. To his surprise, he is both humbled and moved by his experiences in a Chasidic shul on Pico-Boulevard, and is completely underwhelmed when he checks out Madonna’s Kabbalah Centre a block away. As a newcomer, Karlen was granted the honor of an aliyah, and as a Levi was sent at the proper time to wash the feet of the Kohanim.

“I didn’t wash this man’s feet fast enough, and he started yelling at me and demanding a new Levi,” he said. “My grandfather, if he were still alive, would have been humiliated.”

Yet Karlen does not turn into a Chasid, the fear of many mainstream Jewish parents. In addition to studying with Friedman, he interviews octogenarian atheist socialist Jews at a Yiddish Club where he puts on a skit in which he reads Shylock’s famous “Am I not a Jew?” speech in the mamaloshen. He tutors a girl from a Reform synagogue led by a lesbian rabbi. Not only did he teach the 12-year-old how to read Torah and Haftorah, he gave her lessons in Yiddishkayt that included talk of Sandy Koufax, John Goodman’s role in “The Big Lebowski” and Lenny Bruce.

Through it all, Friedman had only one requirement in order for Karlen to study with him: He had to put on tefillin. When Karlen still balked, saying he didn’t want to cut open his grandfather’s nearly century-old tefillin to see if they were still kosher, Friedman knew just how to convince his pupil.

“Dylan,” Friedman said, like a Chasidic rapper, “wears tefillin.”

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L.A. Leaders Offer Words of Wisdom

The Los Angeles Jewish community is blessed with many spirited, talented and prolific leaders. This High Holiday season promises to bring books by five such leaders — four rabbis and a composer/performer — that tackle many different aspects of Jewish life and philosophy. Barring one exception, the books do not take any of the High Holiday themes — repentance, renewal, eating too much — as central subjects. But each of the books does tackle a range of life’s concerns from a distinctly Jewish perspective. The authors that are reviewed below attempt to bring knowledge of Jewish thought and tradition to bear on the lessons each intend to teach.

This plethora of new material offers us a possibility we may not have considered before: instead of just sitting in synagogue this holiday season obsessively counting the number of pages until services will finally be finished, we can also pick up one of these books for a slightly different way of renewing our appreciation for all that Judaism, and its 4,000-year tradition of questioning, has to offer. Below are some brief thoughts, in no particular order, about five very different books by local writers:

No one would call Rabbi Mark Borovitz a typical rabbi. Not one to affect a sacred facade, Borovitz’s language and interpersonal approach tend more toward the salty and profane. It’s the perfect approach to take for his work as the spiritual leader at Beit T’Shuvah, the Jewish rehabilitation center in West Los Angeles. Now that he’s written an autobiography — with the help of Alan Eisenstock — "The Holy Thief: A Con Man’s Journey from Darkness to Light" (William Morrow, $23), it’s clear that he comes by that attitude honestly.

His has been an amazing, and highly unusual journey. By his own account, Borovitz started out as the son of a respectable Jewish family in Cleveland, but he got into trouble young, and stayed in it until his awakening to honesty and Judaism while serving his second stint in a California state prison.

Although the term "12-step" is never mentioned, Borovitz does state up front that "this book is my T’Shuvah." He seems to have used the steps to organize his narrative, from presenting an inventory of his former behavior to publicly making amends to those he has harmed to finding God. The book even includes excerpts from various people whose paths have crossed his own — those he harmed and those who helped him find his way. "The Holy Thief" is his very public way of passing along the lessons he’s learned.

Borovitz has the unfortunate tendency to drop subjects from his sentences, tough-guy style (as in his first impression of his wife and the founder of Beit T’Shuvah: "Harriet her name was. Called me a smart ass."). But he’s an engaging storyteller, who brings the underworld of his youth, as well as his own fecklessness to life. It’s a colorful tale for a colorful character who has, indeed, turned his life around.

Rabbi Bradley Shavit Artson, dean of the Ziegler School of Rabbinic Studies at the University of Judaism, is also the author of the "Dear Rabbi" column, which has answered questions posed by people from all around the world about Judaism. In his book, "Jewish Answers to Real-Life Questions" (Alef Design Group, $14.95), Artson collects just over 100 of the questions posed of him along with his replies.

Ranging from more light-hearted questions, such as "Do dogs have souls?" to serious issues of Jewish identity, Artson answers each question seriously and respectfully. He unfailingly assumes that every person who contacted him asked his or her question in good faith, and he responded in kind.

There should be something for everyone here: from a person struggling to find a spiritual home in the world ("Am I a Jew?" or its variant "Am I Jewish?") to Jews knowledgeable about source texts and traditions ("What did Hillel and Shammai say about divorce?"). Many of the questions posed are asked by Christians, curious to know about Jewish ideas and practices, but the vast majority are by Jews trying to reconcile the ancient beliefs they’ve inherited with the modern lives they lead.

Artson repeats a few pat phrases over and over, especially "consult a rabbi in your area." After a while, these seem to be a stand-in for more in-depth consideration of the complexities that he could delve into while addressing people’s concerns. But considering how brief the columns actually are, he always manages to convey the thoughtfulness that Judaism applies to the answers to life’s dilemmas.

A good sermon provokes thought by adhering to a few hard-and-fast rules: repeating the main point, using interesting analogies or stories, and not running too long. As anyone who has sat through an interminable sermon on a Friday night or Saturday morning knows, that last rule is crucial. And while it may be hard to believe, a sermon can be too short, too. That’s the impression given by many of the pieces in Rabbi David Wolpe’s new book, "Floating Takes Faith" (Behrman House, $18), a collection of columns Sinai Temple’s spiritual leader has written for The Jewish Week over the last five years.

Running only 200 or so words — each — the columns have time to address one issue only and no time to develop any thematic concerns. Wolpe is wonderfully well-read, quoting Yeats, Buber and Isaac Asimov at different points, and the topics that he tackles — from biblical issues to the importance of supporting Israel — are worthy of his erudite consideration, but the brevity of the form limit how effective many of these pieces can ultimately be. They often leave one feeling that there is a real-world situation to which Wolpe was responding, but that are never mentioned in the pieces themselves. The reader is thus left trying to reconstruct the social, political or historical moment out of which the columns ideas spring.

Despite those reservations, Wolpe is a strong writer, with the ability to convey complex ideas in an accessible manner. Unfortunately, and through no fault his own, the experience of reading his book is made less enjoyable by a few irritating editing errors.

Another fine book is the reprint of Rabbi Harold Schulweis’ 1990 book, "In God’s Mirror: Reflections and Essays" (KTAV Publishing House, Inc., $22.95).

By far the densest of those reviewed here, "In God’s Mirror" collects various speeches and articles delivered or written in the late 1990s.

Much has happened since then, of course, and the current volume opens with a new introduction that points explicitly to the great rupture of our own time: Sept. 11. As Valley Beth Shalom’s Schulweis points out, the general situation in which we live and our political sensibilities have been altered, but the questions we ask of God have not. Why did God allow terrorists to plow airplanes into the World Trade Center? Which is not that different a question as one we have been asking for more than half a century: Where was God while 6 million perished? Those are the dilemmas at the heart of this book, and Schulweis faces them head on.

Some of the entries are already outdated: his vision of the nuclear family, for example, bears little resemblance to the harried, overworked, double-income families most of us know, and the threat of cults to Jewish youth is hardly front-page news anymore. For all that, Schulweis shines a clear light on some enduring issues, from the meaning of various rituals to the Jewish response to death. Most importantly, he comments upon the continues danger of internal Jewish squabbling, arguing eloquently and logically for the need of all Jews, whether Orthodox, Conservative, Reform or anything else, to lay aside our differences in the name of a greater unity.

In the only book of those to be reviewed here that includes all the other writers already mentioned, "The World is A Narrow Bridge: Stories that Celebrate Hope and Healing," (Sweet Louise Productions, $30). is also the only one not written by a rabbi. Edited by Diane Arieff, former contributing editor to The Jewish Journal, the collection of brief essays acts as a companion piece to a CD put together by Craig Taubman, a musician and performer best known to many in the Los Angeles Jewish community for leading prayers during Friday Night live at Sinai Temple.

Beautifully packaged, this book and CD set attempt to offer spiritual consolation for hard times by allowing people to tell their own stories and relay the many ways in which they have coped with sadness and difficulty. Most of the contributors to the book share of themselves readily in their essays, opening the most intimate and painful moments of their lives for the reader.

Although occasionally humorous — Journal singles columnist Carin Davis’s turn to ice cream and self-pity in the face of the relatively easy losses of a job and a boyfriend stands out — and often touching, the collection is also a bit morbid. All those tales of sickness, grief and brushes with death can’t be anything but. Each writer does find a way to salvage his or her life and vitality, and that may help someone going through a hard time. But the sheer volume of all that tragedy — its discovered blessings notwithstanding — is bound to have an effect on even the reader most in need.

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Valuable Art From a Disregarded People

From the Israel Museum in Jerusalem to the Museum of the Negev in Beersheba; from the walls of Reverend Al Sharpton’s home in New York to the mantle of photographer Irene Furtik’s home in Santa Monica, Ethiopian Israeli art has arrived.

Award-winning artist Elaine Galen, whose work has been displayed in prestigious venues across America, describes her favorite Ethiopian Israeli piece — a sandy-colored, miniature clay sculpture that sits atop the fireplace in her living room:

"It’s in the likeness of an Ethiopian rabbi. He has a beard, he’s wearing a kippah on his head, and he has a tallit draped down his back…. His arms are extended in front: His hands come forward, like two hands in prayer, then suddenly become a unit, turning into a plaque that is a symbol of the Torah…. [H]is head is extending up, with his mouth halfway open — as if he knows the words by heart, as if he’s reciting them. It’s beautiful," she said.

Galen immediately bought the sculpture for her private art collection, an eclectic mix following her one guiding principle — good taste in art.

"When I saw this piece," she said, "I saw quality."

The indigenous, noncommercial feel of the art was especially appealing to Galen, and it is a key ingredient in the growing attraction to Ethiopian Israeli pieces sold throughout Israel and abroad.

"Word goes out that this is avant garde art that you can’t find anywhere else," said Michael Jankelowitz, spokesperson of the Jewish Agency for Israel. Drawn to its signature style, he said, Israeli tourists hungrily purchase Ethiopian artwork at galleries and stores across the country.

For numerous Ethiopian artists throughout Israel, artwork is their primary source of income. Some work for an hourly wage at a studio; others work independently from their homes.

One independent artist, who prefers to remain anonymous, has created a well-known line of biblical paintings with all-black figures — from Noah and Moses to Devorah and Miriam. In this way, his art parallels much African American religious art, challenging European-based images of religious history.

The bold colors of his paintings — yellow, green, red, orange and blue — also can be found in the embroidery of Yazazo Aklum, who has several works housed in the Israel Museum’s collection of Ethiopian art. Ora Shwartz-Be’eri, Israel Museum curator, beams as she holds up one of his pieces.

"It’s exceptional," she said passionately.

With its vibrant portrayal of the Ten Commandments, two Lions of Judah with Stars of David, and a dove and rainbow from Noah’s arc, the tapestry is indeed breathtaking. For this reason, it was photographed for the 1994 postcard printed in honor of the peace treaty between Israel and Jordan.

Despite the success of Ethiopian Israeli art, Ethiopian Israeli artists are struggling for power and economic leverage in representing their own work. According to Shlomo Akele, director of Bahalachin Cultural Center for Ethiopian Jews, individual artists are disenfranchised, because there is currently no museum, gallery, or center run by a community member.

Tasamach Tazazo, a retired potter and embroidery artist living in Tel Aviv, agrees.

"We have to take this on ourselves," she said emphatically, "and not let other people manage our artwork." But independence will take time, she adds, being that it is linked to complex social, racial and economic struggles associated with the community’s relatively recent immigration.

"On the one hand, they say we are primitive, even tell us we are not real Jews, and on the other hand they get all excited about our artwork," she explained. "Not everyone. But there are people who have bought my artwork, even turned around and sold it for up to seven times what they paid, and all the while looked down at me as stupid and worthless."

In a conversation with Avital Armoni, the owner of Armoni’s Art, Tazazo’s claims ring true. Among its other art products, Armoni’s company makes magnetic prints of Ethiopian Israeli embroideries — a popular and seemingly lucrative sales item. Though her company profits from the work of Ethiopian Israeli artists, Armoni makes a point of asserting that Ethiopian Jews "are not really Jewish."

In addition to facing battles over their identity, Ethiopian Israeli artists are facing tremendous financial hardships. The Ethiopian community is reportedly the hardest hit by Israel’s economic crisis, and out of desperation for money, many artists tolerate exploitation.

Others turn to Bahalachin for help.

"Our dream is to create a big center in Jerusalem," Akele said in response to the numerous requests he receives. "There are very many talented artists … we just need the framework to support and develop them." That framework, he noted sadly, takes the financial resources not coming to Bahalachin during these hard times.

As an upshot, while the artwork of Ethiopian Jews is enjoying financial success and mainstream acceptance, Ethiopian Israeli artists are struggling for respectful recognition, economic empowerment and self-representation. Ironic though it may seem, art has always been ahead of its time.

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Aroeste Gives New Life to Ladino Tunes

Purists were skeptical when Sarah Aroeste debuted her Ladino rock ‘n’ roll band back in 2001. Most artists singing in the fading Sephardic language were traditionalists, performing classical versions of songs dating to the Jews’ expulsion from Spain in 1492.

But here was Aroeste, mixing rock and jazz with the flamenco and Middle Eastern-tinged music of her ancestors, singing those same lush romances accompanied by electric guitar as well as oud. And, the New York press noted, she was doing so while performing with a bare midriff and gyrating hips — moves that led several publications to label her “The Jewish Shakira.”

During a recent phone interview from her Manhattan apartment, the 28-year-old singer expressed distaste for the “Shakira” label.

“People tend to harp on that, as if I’m being deliberately exploitative,” she said with a sigh. “But why shy away from the sensuality that is actually in this culture?”

Yet, when she quit her day job to found the band, “people thought I was nuts,” she said. “I mean, a Ladino rock group — who had ever heard of that? So I was charting new territory. I was afraid of the critics, and I struggled to find a balance I hoped would work.”

Mission apparently accomplished. Aroeste’s 2003 CD, “A La Una — In the Beginning,” sold out its initial run and now shares shelf space with CDs by classical Sephardic artists, such as Isabel Ganz. Her band regularly performs not just at nightclubs but at Jewish venues across the United States.

In Los Angeles this week, she played at the Temple Bar, a rock nightclub, and Sephardic Temple Tifereth Israel; tonight she’ll appear at Sinai Temple’s young adult service, Friday Night Live.

Observers have noted her crossover appeal: “I am stunned … at how successfully Aroeste has succeeded in setting this music in a way that makes it contemporary, without losing the very traditional feel of the music and the music’s roots,” Ari Davidow wrote in Klezmer Shack magazine. “Until [‘A La Una’], I don’t think I could have pointed to a sharp, contemporary, danceable Sephardic music album. Until I heard this particular album, I don’t think it would have occurred to me that the category was necessary.”

“Sarah has really cornered the market on Ladino rock,” said Randee Friedman of Sounds Write Productions Inc., a distributer of her CD. “A lot of Ladino comes across my desk, but it’s old-style, and Sarah is really hip. She’s reaching out to the younger generation, and I think she’s been very successful at that.”

If Aroeste has successfully conveyed her enthusiasm for Sephardic music, it’s virtually in her blood. She grew up in a “big, fat Jewish Greek family” in Princeton, N.J., where Ladino songs graced the record player and the Shabbat dinner table. The Yale-educated soprano further fell in love with the ancient art form while studying at a Tel Aviv opera summer program eight years ago.

But when she organized a new Jewish music project for the National Foundation for Jewish Culture in 1999, Aroeste grew “frustrated and disappointed” by the dearth of novel Sephardic fare. The klezmer-fusion renaissance was thriving in Ashkenazi circles, courtesy of artists such as Frank London and John Zorn, “but there was nothing Sephardic that I could relate to as a modern, American woman,” she said.

“I felt, this music is in danger of disappearing within a generation unless we do something to reach new people,” the performer continued. “And that became my mission.”

To reach as wide an audience as possible, Aroeste focused her Sephardic fusion on secular, rather than liturgical songs. “The themes are totally universal and contemporary, like bad breakups, blinddating, crushes, long-distance relationships,” she said. “In fact, if you walked into one of my shows, you might not even realize it’s Jewish music, because it doesn’t sound the way most people think of Jewish music, meaning klezmer.”

“Yo M’enamori” (“Moon Trick”), for example, is more reminiscent of contemporary rock; Aroeste’s trance remix of “Hija Mia” (“The One I Want”) sounds practically psychedelic.

Yet all her songs are grounded in the original, ancient melodies and lyrics, which has apparently satisfied would-be critics.

“At first, people wanted to see if I was going to completely change and popularize the music, but they’ve seen that’s not the case,” she said. “I’ve worked hard to maintain the integrity of the music and to use my work to preserve and revitalize the tradition.”

Sarah Aroeste will perform Sept. 10, 7:30 p.m. at SinaiTemple, 10400 Wilshire Blvd., Westwood. For more information, visit www.saraharoeste.com .

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