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Showing posts with label Michaela Kalowski. Show all posts
Showing posts with label Michaela Kalowski. Show all posts

Thursday, 18 August 2016

Rosetta: A Scandalous True Story

by Alexandra Joel

Imagine a woman. She is twenty-five: an arresting Jewish beauty with thick chestnut hair and restless, toffee-coloured eyes. She has been married since the age of eighteen. Her husband is a respectable man of means. She is a mother with a five-year-old child. The place is Melbourne, the year 1905. All seems well.

But this is the moment when everything changes. 

The woman leaves, abandoning both her husband and her daughter. Even worse, she runs away with a handsome half-Chinese fortune-teller called Zeno the Magnificent.


Alexandra Joel
Zeno has read her palm, convinced her that what lies ahead is an exotic destiny. He practises enchantment, but so does she. Together with her lover and a new identity, the woman travels to the other side of the world.

He claims to be a distinguished Japanese Professor, she decides it would be rather smart to be American. Leading members of the British aristocracy and European royalty are bewitched by her and fall, willing captives to her spell.
She sounds like an invention, a character from a fairy tale. But she is not. This astonishing woman lived. Her name is Rosetta and she was my great-grandmother.

Rosetta created an extraordinary life. 

She took great risks and ignored almost all of society’s constraints, while at the same time forging intimate relationships with lords, ladies, and the heirs to several European thrones. But, after she ran away with Zeno, she never saw her child again.

I have always known that my great-grandmother did a dreadful thing. It must have been when I was very young that I was first told she had deserted her only child. This alarming knowledge – some mothers simply chose to disappear – became a part of the child I was, my identity.

What I did not know was how such a calamity had come about. Where had my errant great-grandmother gone, and why?

No doubt even in the far-off 1950s, when children were not encouraged to be forthcoming but, rather, to know their place, many were braver than I was, asked more questions, demanded answers in response. I did not.

I don’t believe it was simple timidity that caused my questions to remain unspoken; it had something more to do with the risk I sensed. Perhaps all families have secret, bruised place to which one journeys at one’s peril. I was a child, yet still I understood the way in which a misplaced query might disturb these tender realms.

Even after the details of Rosetta’s remarkable life had, finally, been revealed, it was many years before I began to write this book. 

I was too conflicted: one part of me marvelled at her courage, her defiance of convention and brilliant ability to invent an existence as improbable as it way thrilling. But the other part – darker, more turbulent - was furious. A single question resounded in my mind: ‘How could you leave your child?’

Eventually, I found this question impossible to ignore. Conversations might be avoided and thoughts suppressed, but feelings have a way of working their way through the line and texture of one’s being. And there was something else. It was a kind of insistence, as if Rosetta herself were demanding to be brought back to life.

Despite all my misgivings, I went in search of her. Like so many before me, I too had fallen beneath her spell.



Alexandra Joel will be talking about how knowing one's family history can help to make sense of the past but also affect the present in the session 'Inheriting the past - family legacies', alongside Shelley Davidow, moderated by Michaela Kalowski, on Sunday August 28, 11:15am - 12:15pm at the Sydney Jewish Writers Festival. 

Book today at www.sjwf.org.au!




Friday, 12 August 2016

Whispers from the past and miraculous discoveries

by Shelley Davidow

When I first began to write Whisperings in the Blood I planned on writing it as a novel. It was going to be called 'The Immigrant'. 

Shelley Davidow
I wanted to tell a story of generations of immigrants based on my gran Bertha’s life, because her life was kind of cool and interesting. I only knew a few things: that when my gran was 10 and living in Indiana, USA, her mother died, and she and her brother were sent to the Jewish Orphan Home in Ohio. I knew that my gran, at age 22, went out to Africa to marry a man she’d never met. 

Then, in 2012 I told my dad in South Africa what I wanted to write, and he said there was this box of letters he’d been holding onto and would I like them?

Every letter written to my gran from 1937 until her death lay in this box, including the love-letters from my grandfather Phil, asking her to come to Africa and marry him after just seeing her photograph. Once I’d read everything, I was stunned. The novel had to become a biography. Then my uncle in Israel said, ‘well, Shell, you know I have Bertha’s diaries. Should I scan them for you?’

A picture of Bertha on her 21st birthday 
that she sent to Phil before they had met.
I couldn’t believe it. Finding Bertha’s own voice,  I discovered miraculous parallels between my gran and myself. The book became then, a biographical memoir! I was blown away to discover that so many of my decisions, my fears, my illnesses, my longings, already existed in the generations that came before me. I uncovered what I can only call, a ‘whispering in the blood’ … a series of motifs and themes that have run through my family for over a hundred years. 

For all that time my Jewish family on my father’s side has been on the move, making immigrant journeys in a restless trans-generational search for home. Great-grandfather Jacob escaped the Pogroms in Eastern Europe and fled to America. His daughter Bertha escaped the Great Depression in the USA to go to Africa and marry someone she’d never met. I grew up during Apartheid and left to escape rampant violence… and then left America to escape health issues, and I thought all my decisions were simply contextual. 

I know that recent research at Emory University in the USA shows that trans-generational trauma can be quite literally passed down through our DNA, but in my book Whisperings in the Blood, I’m aiming to transcend even that… going deeper, into the realm of metaphor, into ‘soul dispositions’ that are more than genetically encoded responses to the world. I see our lives connecting to those of our forebears in a profound, intricate way, and in honouring the immigrants, the refugees of past world events, I want to shed light on our current issues: every non-indigenous person in Australia is an immigrant of one kind or another; we are uninvited ‘guests’ on Aboriginal land. 

I want to acknowledge that, as well as the trauma that flows through every Aboriginal person’s veins as a result of the decimation they’ve suffered over the last 200 years. And when I think of the Jewish refugees in my family since the early 1900’s, and refugees from Syria now, there is no ‘them’ and ‘us’! We have all been people running from dangerous places searching for a safe haven. 

Perhaps Whisperings in the Blood might help dissolve the idea of the ‘other’. Through reading other people’s lives we become them; we’re less likely to then be xenophobic, racist, anti-Semitic, sexist bigots. We become more empathetic, less fearful, less ignorant.


Shelley Davidow will be talking about how knowing one's family history can help to make sense of the past but also affect the present in the session 'Inheriting the past - family legacies', alongside Alexandra Joel, moderated by Michaela Kalowski, on Sunday August 28, 11:15am - 12:15pm at the Sydney Jewish Writers Festival. 

Book today at www.sjwf.org.au!



Thursday, 28 July 2016

The Magic of Music

By Ida Lichter


Have you ever wondered about the transmission between performing musicians and the audience?

This was one of the questions I discussed with classical musicians when I was exploring the function of music in society. Most of them were members of groups that played chamber music, a genre for the most intimate thoughts and feelings of some of the greatest composers.

Ida Lichter
Most performing artists are convinced that a live audience is required for maximum inspiration and communication. A creative interface exists between performer and audience, involving a reciprocal transfer of emotions where impromptu inventiveness can occur.

Occasionally, there is an exceptional moment. Referring to musicals, the composer and lyricist Stephen Sondheim talked of the need for many laughs and a few moments to cry, along with one hyper moment when members of the audience are aware of a certain joy and a feeling they understand why they are there.

When the interaction between performer and audience is very powerful, listeners may glimpse magnificent, even ethereal beauty. However, the emotional impact of music is idiosyncratic and often depends on the listener’s state of mind.

This magical effect defies easy explanation but the musician’s vision is an important contributing factor. 

Performers are stimulated by the power of imagination. For a singer, the mind paints the picture and the vocal mechanism responds to give the voice colour. When the sound undergoes these changes, the audience reacts.

Re-experiencing a broad range of intense emotions in a safe, controlled environment seems beneficial for listeners and could be considered a form of therapy. Emotions in the music cover the full range from exhilaration to despair. They include love, jealousy, anger, and sadness, and as suggested by research data, even melancholic music can be beneficial. 

Music can engender a sense of mastery. Beethoven in particular, may stimulate feelings of empowerment. There is a majestic, heroic strength in his music, particularly evident in the slow movements of the symphonies.

Beethoven's Piano Sonata
No. 30 in E major, Op. 109
If a performance is convincing, it should trigger many personal associations, not only during a recital, but afterwards as well, if listeners are able to reminisce about the experience.

While listening to music, pleasurable feelings are linked to a variety of physical responses, including shivers and altered heart rate and breathing, probably associated with changes in brain chemistry and the neurotransmitter dopamine. No doubt, any music, whether classical, jazz, or pop can stimulate the brain in similar ways.

The three overlapping circles of a Venn diagram help explain how the emotional transmission is effected. One circle represents the composer’s creation and intention, the second one the artist’s interpretation, and the third the participation of the audience. 

When the three combine to form the overlapping sweet spot in the middle, intense emotional transmission can be realised.



Ida Lichter will be speaking about how musicians and composers use their art to transform our everyday experiences in her session 'Music makers, music lovers' with Stuart Coupe and Michaela Kalowski, on Sunday August 28, 5:45pm - 6:45pm at the Sydney Jewish Writers Festival.


Book today at www.sjwf.org.au!




Tuesday, 8 September 2015

2015 Sydney Jewish Writers Festival highlights

By Sharon Berger

Memories of last week’s hugely successful Sydney Jewish Writers Festival may be fading but at least we still have the books to read and DVDs to watch, plus the photos on our facebook page.  Please feel free to tag yourself.

Dr Dvir Abramovich, Gideon Raff and Jennifer Teege
Emmy-award winning creator/director of Homeland and Prisoners of War, Gideon Raff, was hugely popular in his sold-out session with moderator Michaela Kalowski. Together they delved into the very different reception that prisoners of war receive in both the US and Israel. These differences lie at the core of his decision in differentiating the two series, which are both based on the idea of soldiers returning home after many years in captivity. It was a privilege to hear more about his motivation to make the series and also the Israeli public’s reaction to the Prisoners of War.
Michaela Kalowski in conversation with Gideon Raff

The 'Facing Adversity' session, with authors Martin Chimes and Greg Fisher, moderated by Shirli Kirschner, was also standing room only. Many of Martin’s family and friends made the effort to come hear more about his novel, The Lion’s Den, as well as his struggle with cancer. Kirschner adeptly weaved his struggle with that of Greg Fisher, who overcame drug addiction and eight years in jail to turn his life around. 
Booksigning with Martin Chimes, Greg Fisher and Philip Mendes
Other stand-out sessions included former Deputy Prime Minister Tim Fischer speaking about General John Monash as well as German-Nigerian author Jennifer Teege, who spoke about her incredible journey discovering the gruesome truth about her family in her book, My Grandfather Would Have Shot Me.

Tim Fischer
Festival-goers appreciated “the excellent homework done by all the moderators, as well as the generosity and openness of the authors.” Additional evaluation feedback included “Each one was so unique  yet powerful and moving – wonderful human stories. … Thanks for a stimulating and inspirational day! ”

Book sales, courtesy of Lindfield Bookshop, were brisk and patrons appreciated the opportunity to get up close and personal with the authors at the book signings.
Gideon Raff with fans
Everyone enjoyed the Festival's new venue, Waverley Library, which allowed for larger sessions, dining space and easy access.
Parents enjoyed the opportunity for their children to attend the PJ Library/Arty Start workshop where kids aged 6-8 were able to write and illustrate their own story. 
PJ Library art activity
There were also a number of sessions aimed at parents including 'Will the kids be alright?' with parenting experts Joanne Fedler, Dr Arne Rubinstein and teenage depression survivor Adam Schwartz. 
Will the kids be alright panel?
Until 2016...! Let us know if you have any wonderful Jewish authors you would like to see at next year’s festival, and keep in touch with Jewish writing in Sydney and around the world by liking us on Facebook.


Photos courtesy of David Sokol Photography.