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ale-wosofan · 7 months

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broken

Alexia x R

R is struggling but she’s not sure why or how to fix it. Will she finally be honest with her girlfriend about how she’s feeling?

warnings: little bit of angst (+fluff), implied adhd

a/n: English is not my first language (I’m aware how much of a cliché that is) so there might be some mistakes; feel free to correct them :) Here I talk about my personal experience with adhd, please don’t use this to self-diagnose, as it is not the same for everyone. Enjoy!

-----

The first time you feel that there’s something wrong with you, you’re at home with your girlfriend.

“Hey, princesa. Have you seen that there’s a new season of that TV show you like?” Alexia asks you once you’ve sat down on the sofa.

“Oh, I didn’t know,” you shrug settling on top of your girlfriend and kissing her cheek.

Alexia looks a little surprised at your answer but starts running her hands up and down your back nonetheless.

“How come? I thought you said it was, and I’m quoting you, the best show you’ve ever seen.”

But you don’t answer. You don’t really know what happened, you’re just not that passionate about that particular show anymore. You had been interested for a few months; had watched all the interviews, bloopers, deleted scenes, but now you just didn’t like it as much anymore. You’ve had a few intense months thinking and talking about the show almost every minute of every day so you probably just need time away from it now that all that initial intensity has worn off.

You don’t realise how much time you’ve been quiet until Alexia speaks again.

“Amor?” you hum in acknowledgement urging her to continue “are you okay?”

“Yeah, just got a little distracted,” you answer shuffling around a little bit trying to get comfortable.

After a couple of minutes moving around you can’t seem to settle. You sigh and sit up feeling Alexia’s eyes on you the entire time.

“So, have you finished the work you had to do?” your girlfriend asks while putting her feet on your lap.

“No, not yet. But I really needed a break.”

Alexia looks up at you surprised.

“¿De verdad? I thought it was supposed to be something easy. You’ve been working for almost two hours.”

You frown. There’s no way it’s been two hours, right? That can’t be possible. But when you look at your watch you realise that it really has been two hours. You have spent all that time in your office and haven’t been able to finish a relatively simple task.

“Today is not my day, I guess,” you say rubbing your hands on your face with frustration “I’m a little distracted today, I can’t seem to concentrate on anything.”

But it wasn’t just today, and you knew that. It was something that had been going on for a while. You couldn’t exactly pinpoint when it had started to happen, but it got bad after the quarantine. You were on your second year of college when the pandemic occurred. You spent a few months studying online, a few months that felt like a bliss to you despite everything that was happening in the world. But you had to come back to class eventually. And it was fine; until it wasn’t. Every time you tried to pay attention to class you got distracted and couldn’t focus on what the teachers were saying for more than a few minutes at a time. When you had projects to do you couldn’t bring yourself to work on them and waited until the last day to get them done. Studying suddenly became a torture since you couldn’t concentrate for long. What once used to take you ten minutes, now it took an hour.

And the thing is you still don’t understand why. You don’t know what’s wrong with you now that wasn’t before. It hadn’t really bothered you before, you’d been able to deal with it for some time. But now it feels like it just keeps getting worse with each passing day. Deep down you know you need help, and you know you should talk to someone about this, but you don’t feel ready to. Not yet.

“How about you keep working on it tomorrow? And we can relax for the rest of the say. We can have a nice bath and then order some food. How does that sound?”

You smile at your girlfriend. How did you ever get so lucky?

“Yeah, I’d really like that.”

-----

The second time you feel that there’s something wrong with you, Alexia had just come home from training.

When you hear the door front open and your girlfriend call out for you, you’re lying on your bed scrolling through social media.

You get up and go say hello to her.

“Hi, baby,” you greet her opening your arms for a hug.

“Hola, mi amor.”

She takes a step back from your embrace, places her hands on your cheeks and kisses you passionately. And just as quickly as it had started she was pulling away.

“Hi,” you repeat feeling yourself blush.

“Hi,” your girlfriend answers kissing your forehead “I’m going to take a shower.”

You blink slowly taking a few seconds to get yourself together, being quickly interrupted by Alexia calling your name from the bedroom.

You make your way there but stop in your tracks in the door frame when you realise why your girlfriend had called for you.

“Princesa, what happened here?”

You give her a smile that you’re pretty sure turns out looking more like a grimace.

“Okay so, I wanted to rearrange some of the books-”

“Again?”

“-but then I wasn’t sure if I wanted to organize them by colour or by genre, so I decided to watch a video to decide. But then I got distracted by another video and kind of forgot what I was doing in the first place, so I just laid down and waited for you to come home,” you answer honestly giving your girlfriend a sheepish smile.

Alexia looks at you in deep thought.

“Okay, how about this? I take a shower and get into some comfortable clothes and once I’m done I’ll help you with all this.”

You sometimes wonder how someone so perfect like the woman in front of you exists.

“Or, we could shower together and then work on the bookshelf together as well,” you suggest smirking.

Your girlfriends lets out a chuckle and kisses your cheek.

“Nice try, but if we do that we might never be able to come out of the shower.”

Once your girlfriend is out of sight you take a look at all the books splattered around the room. The state of the place is certainly overwhelming and it just stresses you out more. Where are you supposed to start?

You sigh and sit down on the bed.

You should’ve finished this before Alexia got here. You’d had more than enough time to do it, so why couldn’t you just focus on your task like everyone else instead of getting distracted with everything? Now your girlfriend had to help you out instead of resting after the long day she probably had.

You rub your hands on your face in frustration. It really isn’t supposed to be that hard right?

“Yeah, I’m just a little lazy sometimes,” you whisper to no one in particular before getting up.

-----

The third time you feel that there’s something wrong with you, you’ve just gotten to your house from work.

When you arrive home you’re exhausted.

Stepping into the house the first thing you notice is the Spanish music playing in the background and the smell of your favourite meal being cooked.

Walking into the kitchen you are welcomed by the sight of your girlfriend wearing one of your old shirts dancing and cooking.

“Hi, love.”

She turns around at the sound of your voice and looks at you with a lovesick smile.

“Hola, princesa,” she quickly answers opening her arms for you to hug her, which you happily do “How was your day?”

You step out of her embrace and give her a kiss before making a face.

“It could’ve been better,” you tell her honestly.

You sit in one of the stools while your girlfriend resumes her cooking duties keeping an eye on you the whole time.

“¿Por qué? Did anything happen?”

“No, nothing in particular,” you pause, deciding whether or not to continue “Although there’s a new project I’ve been working on, which is obviously really exciting, but I’ve spent all morning busy with it; emailing people, setting the different dates for it, planning meetings and all that.”

Alexia completely turns around to look at you and nods urging you to keep talking.

“I just-” you sigh frustrated “I suddenly got hungry, right? And I looked at the time and realised that it was already pretty late and I hadn’t eaten lunch yet, so I went to grab a sandwich to the shop nearby. Then, on the way back I went past that bookstore I really like so I decided to have a look around for a bit to relax, and I ended up buying that book I told you came out yesterday.”

Your girlfriend’s frown deepens.

“Isn’t that a sequel to a book you haven’t read yet?”

“Yes,” you whisper a little embarrassed “I know it was a stupid decision, but I really wanted to buy it in that moment. Then I just felt bad because I had spent money on something I don’t even know if I’ll like.”

You feel yourself blush at the admission and hide your face in your hands.

“Hey,” you hear your girlfriend quietly say in your ear while she wraps her arms around your waist “There’s really no need to be embarrassed, ¿vale? You bought something you wanted after having a fairly stressful day at work. I promise you it’s not the end of the world, mi amor.”

With each word she says you begin to slowly relax in her arms.

You turn around and take her face in your hands.

“How do you always know what to say?”

“Because I love you and I know you better than I know myself,” she answers placing a kiss in your nose “Now you’re going to take a shower, we’re going to have dinner and then we’re gonna cuddle while watching a film. Tomorrow will be a better day, princesa, I promise.”

You nod although you don’t fully believe it.

-----

When you finally lay down to watch TV with your girlfriend you can’t seem to settle. Your mind is working really fast and you’re starting to get a little bit restless.

You haven’t really thought about it until now, but what if there is something actually wrong with you? What if it isn’t just a bad day? What if all the sleepless nights, the impulsivity, the difficulty staying focused for too long and the racing thoughts are all somehow connected? There’s no way, you or someone around you would’ve realised sooner. Right?

You feel Alexia’s eyes on you when you stop the show you’re watching.

You try not to think about it too much and begin to speak.

“Do you think there’s something wrong with me?”

“What do you mean?” she asks confused.

“Never mind. Just ignore what I’ve said,” you answer shaking your head and laying down on top of your girlfriend again.

“Hey, no. None of that,” Alexia sits up with you in her lap and takes your face on her hands “What’s going on? Talk to me, please,” she begs worried.

Looking at her you realise that this is your partner, the person you’re building your future with. You are aware this is a tough thing to talk to her about but there’s no one you trust more in this world. She is your home.

“I've been feeling really overwhelmed lately, like my mind is always racing and I can't seem to focus on anything for long. I mean, it actually started a while ago, but it’s just been getting worse. I’m not sure how to explain it,” you confess.

Your girlfriend takes both of your hands and smiles encouragingly at you.

“Try. I’m listening and whatever it is I’m here for you, okay? Always, te lo prometo.”

“Okay, so, have you notice how I always seem to jump from one thing to another without actually finishing anything? I've tried making to-do lists and setting reminders, but nothing seems to work. And that’s just one of the things, you know? But it’s also not being able to sit still for more than five minutes and acting always so impulsive. And it's starting to affect everything I do. I just-” you take a deep breath “I’m always so frustrated. I just want to be able to be like everyone else, but it's like my brain is wired differently.”

“How long has this been going on?” Alexia asks concerned.

“I don’t know. A few months, I think.”

Your girlfriend lets go of your hands and holds your face instead making you look into her eyes.

“Mi amor, listen to me. There’s absolutely nothing wrong with you. Yes, your brain may work a little bit different but that doesn’t mean you’re stupid or broken, ¿vale? It's okay to feel overwhelmed, and it's good that you're talking about it. But I really need you to understand that. What do you want to do now?”

“I’m not sure, I wasn’t even planning on telling you to be honest,” you admit feeling yourself blushing.

“Maybe it could be helpful to talk to a professional about all of this?” Alexia suggest “Whatever you feel comfortable doing.”

You shrug and hide your face on her neck.

“Yeah, I guess. You promise me you’re not going anywhere?”

Your girlfriend kisses your forehead before answering.

“I'm here for you no matter what, we will figure this out. Thank you for sharing this with me, princesa.”

“Thank you for listening to me,” you whisper just for the two of you “I love you.”

“I love you too.”

-----

Maybe I'll write a sequel to this but I'm not really sure. Let me know what you think! <3

#woso x reader #woso fanfics #woso imagine #woso community #woso #woso angst #woso blurbs #woso couples #woso drama #woso fluff #alexia putellas #alexia x reader #alexia putellas x reader

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etz-ashashiyot · 3 months

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Chapter 4: Executed Jews

By Dara Horn, excerpted from People Love Dead Jews

ALA ZUSKIN PERELMAN AND I HAD BEEN IN TOUCH ONLINE before I finally met her in person, and I still cannot quite believe she exists. Years ago, I wrote a novel about Marc Chagall and the Yiddish-language artists whom he once knew in Russia, all of whom were eventually murdered by the Soviet regime. While researching the novel, I found myself sucked into the bizarre story of these people's exploitation and destruction: how the Soviet Union first welcomed these artists as exemplars of universal human ideals, then used them for its own purposes, and finally executed them. I named my main character after the executed Yiddish actor Benjamin Zuskin, a comic performer known for playing fools. After the book came out, I heard from Ala in an email written in halting English: "I am Benjamin Zuskin's daughter." That winter I was speaking at a literary conference in Israel, where Ala lived, and she and I arranged to meet. It was like meeting a character from a book.

My hosts had generously put me up with other writers in a beautiful stone house in Jerusalem. We were there during Hanukkah, the celebration of Jewish independence. On the first night of the holiday, I walked to Jerusalem's Old City and watched as people lit enormous Hanukkah torches at the Western Wall. I thought of my home in New Jersey, where in school growing up I sang fake English Hanukkah songs created by American music education companies at school Christmas concerts, with lyrics describing Hanukkah as being about "joy and peace and love." Joy and peace and love describe Hanukkah, a commemoration of an underdog military victory over a powerful empire, about as well as they describe the Fourth of July. I remembered challenging a chorus teacher about one such song, and being told that I was a poor sport for disliking joy and peace and love. (Imagine a "Christmas song" with lyrics celebrating Christmas, the holiday of freedom. Doesn't everyone like freedom? What pedant would reject such a song?) I sang those words in front of hundreds of people to satisfy my neighbors that my tradition was universal — meaning, just like theirs. The night before meeting Ala, I walked back to the house through the dense stone streets of the Old City's Jewish Quarter, where every home had a glass case by its door, displaying the holiday's oil lamps. It was strange to see those hundreds of glowing lights. They were like a shining announcement that this night of celebration was shared by all these strangers around me, that it was universal. The experience was so unfamiliar that I didn't know what to make of it.

The next morning, Ala knocked on the door of the stone house and sat down in its living room, with its view of the Old City. She was a small dark-haired woman whose perfect posture showed a firmness that belied her age. She looked at me and said in Hebrew, "I feel as if you knew my father, like you understood what he went through. How did you know?"

The answer to that question goes back several thousand years.

~~~~~~~~~~~~~~~~~~~~~~~~

The teenage boys who participated in competitive athletics in the gymnasium in Jerusalem 2,200 years ago had their circumcisions reversed, because otherwise they wouldn't have been allowed to play. In the Hellenistic empire that had conquered Judea, sports were sacred, the entry point to being a person who mattered, the ultimate height of cool — and sports, of course, were always played in the nude. As one can imagine, ancient genital surgery of this nature was excruciating and potentially fatal. But the boys did not want to miss out.

I learned this fun fact in seventh grade, from a Hebrew school teacher who was instructing me and my pubescent classmates about the Hanukkah story — about how Hellenistic tyranny gained a foothold in ancient Judea with the help of Jews who wanted to fit in. This teacher seemed overly jazzed to talk about penises with a bunch of adolescents, and I suspected he'd made the whole thing up. At home, I decided to fact-check. I pulled a dusty old book off my parents' shelf, Volume One of Heinrich Graetz's opus History of the Jews.

In nineteenth-century academic prose, Graetz explained how the leaders of Judea demonstrated their loyalty to the occupying Hellenistic empire by building a gymnasium and recruiting teenage athletes — only to discover that "in uncovering their bodies they could immediately be recognized as Judeans. But were they to take part in the Olympian games, and expose themselves to the mockery of Greek scoffers? Even this difficulty they evaded by undergoing a painful operation, so as to disguise the fact that they were Judeans." Their Zeus-worshipping overlords were not fooled. Within a few years, the regime outlawed not only circumcision but all of Jewish religious practice, and put to death anyone who didn't comply.

Sometime after that, the Maccabees showed up. That's the part of the story we usually hear.

Those ancient Jewish teenagers were on my mind that Hanukkah when Ala came to tell me about her father's terrifying life, because I sensed that something profound united them — something that doesn't match what we're usually taught about what bigotry looks or feels like. It doesn't involve "intolerance" or "persecution," at least not at first. Instead, it looks like the Jews themselves are choosing to reject their own traditions. It is a form of weaponized shame.

Two distinct patterns of antisemitism can be identified by the Jewish holidays that celebrate triumphs over them: Purim and Hanukkah. In the Purim version of antisemitism, exemplified by the Persian genocidal decrees in the biblical Book of Esther, the goal is openly stated and unambiguous: Kill all the Jews. In the Hanukkah version of antisemitism, whose appearances range from the Spanish Inquisition to the Soviet regime, the goal is still to eliminate Jewish civilization. But in the Hanukkah version, this goal could theoretically be accomplished simply by destroying Jewish civilization, while leaving the warm, de-Jewed bodies of its former practitioners intact.

For this reason, the Hanukkah version of antisemitism often employs Jews as its agents. It requires not dead Jews but cool Jews: those willing to give up whatever specific aspect of Jewish civilization is currently uncool. Of course, Judaism has always been uncool, going back to its origins as the planet's only monotheism, featuring a bossy and unsexy invisible God. Uncoolness is pretty much Judaism's brand, which is why cool people find it so threatening — and why Jews who are willing to become cool are absolutely necessary to Hanukkah antisemitism's success. These "converted" Jews are used to demonstrate the good intentions of the regime — which of course isn't antisemitic but merely requires that its Jews publicly flush thousands of years of Jewish civilization down the toilet in exchange for the worthy prize of not being treated like dirt, or not being murdered. For a few years. Maybe.

I wish I could tell the story of Ala's father concisely, compellingly, the way everyone prefers to hear about dead Jews. I regret to say that Benjamin Zuskin wasn't minding his own business and then randomly stuffed into a gas chamber, that his thirteen-year-old daughter did not sit in a closet writing an uplifting diary about the inherent goodness of humanity, that he did not leave behind sad-but-beautiful aphorisms pondering the absence of God while conveniently letting his fellow humans off the hook. He didn't even get crucified for his beliefs. Instead, he and his fellow Soviet Jewish artists — extraordinarily intelligent, creative, talented, and empathetic adults — were played for fools, falling into a slow-motion psychological horror story brimming with suspense and twisted self-blame. They were lured into a long game of appeasing and accommodating, giving up one inch after another of who they were in order to win that grand prize of being allowed to live.

Spoiler alert: they lost.

~~~~~~~~~~~~~~~~~~~~~~~~

I was in graduate school studying Yiddish literature, itself a rich vein of discussion about such impossible choices, when I became interested in Soviet Jewish artists like Ala's father. As I dug through library collections of early-twentieth-century Yiddish works, I came across a startling number of poetry books illustrated by Marc Chagall. I wondered if Chagall had known these Yiddish writers whose works he illustrated, and it turned out that he had. One of Chagall's first jobs as a young man was as an art teacher at a Jewish orphanage near Moscow, built for children orphaned by Russia's 1919-1920 civil war pogroms. This orphanage had a rather renowned faculty, populated by famous Yiddish writers who trained these traumatized children in the healing art of creativity.

It all sounded very lovely, until I noticed something else. That Chagall's art did not rely on a Jewish language — that it had, to use that insidious phrase, "universal appeal" — allowed him a chance to succeed as an artist in the West. The rest of the faculty, like Chagall, had also spent years in western Europe before the Russian revolution, but they chose to return to Russia because of the Soviet Union's policy of endorsing Yiddish as a "national Soviet language." In the 1920s and 30s, the USSR offered unprecedented material support to Yiddish culture, paying for Yiddish-language schools, theaters, publishing houses, and more, to the extent that there were Yiddish literary critics who were salaried by the Soviet government. This support led the major Yiddish novelist Dovid Bergelson to publish his landmark 1926 essay "Three Centers," about New York, Warsaw, and Moscow as centers of Yiddish-speaking culture, asking which city offered Yiddish writers the brightest prospects. His unequivocal answer was Moscow, a choice that brought him back to Russia the following year, where many other Jewish artists joined him.

But Soviet support for Jewish culture was part of a larger plan to brainwash and coerce national minorities into submitting to the Soviet regime — and for Jews, it came at a very specific price. From the beginning, the regime eliminated anything that celebrated Jewish "nationality" that didn't suit its needs. Jews were awesome, provided they weren't practicing Jewish religion, studying traditional Jewish texts, using Hebrew, or supporting Zionism. The Soviet Union thus pioneered a versatile gaslighting slogan, which it later spread through its client states in the developing world and which remains popular today: it was not antisemitic, merely anti-Zionist. (In the process of not being antisemitic and merely being anti-Zionist, the regime managed to persecute, imprison, torture, and murder thousands of Jews.) What's left of Jewish culture once you surgically remove religious practice, traditional texts, Hebrew, and Zionism? In the Soviet Empire, one answer was Yiddish, but Yiddish was also suspect for its supposedly backwards elements. Nearly 15 percent of its words came directly from biblical and rabbinic Hebrew, so Soviet Yiddish schools and publishers, under the guise of "simplifying" spelling, implemented a new and quite literally antisemitic spelling system that eliminated those words' Near Eastern roots. Another answer was "folklore" — music, visual art, theater, and other creative work reflecting Jewish life — but of course most of that cultural material was also deeply rooted in biblical and rabbinic sources, or reflected common religious practices like Jewish holidays and customs, so that was treacherous too.

No, what the regime required were Yiddish stories that showed how horrible traditional Jewish practice was, stories in which happy, enlightened Yiddish-speaking heroes rejected both religion and Zionism (which, aside from its modern political form, is also a fundamental feature of ancient Jewish texts and prayers traditionally recited at least three times daily). This de-Jewing process is clear from the repertoire of the government-sponsored Moscow State Yiddish Theater, which could only present or adapt Yiddish plays that denounced traditional Judaism as backward, bourgeois, corrupt, or even more explicitly — as in the many productions involving ghosts or graveyard scenes — as dead. As its actors would be, soon enough.

The Soviet Union's destruction of Jewish culture commenced, in a calculated move, with Jews positioned as the destroyers. It began with the Yevsektsiya, committees of Jewish Bolsheviks whose paid government jobs from 1918 through 1930 were to persecute, imprison, and occasionally murder Jews who participated in religious or Zionist institutions — categories that included everything from synagogues to sports clubs, all of which were shut down and their leaders either exiled or "purged." This went on, of course, until the regime purged the Yevsektsiya members themselves.

The pattern repeated in the 1940s. As sordid as the Yeveksiya chapter was, I found myself more intrigued by the undoing of the Jewish Antifascist Committee, a board of prominent Soviet Jewish artists and intellectuals established by Joseph Stalin in 1942 to drum up financial support from Jews overseas for the Soviet war effort. Two of the more prominent names on the JAC's roster of talent were Solomon Mikhoels, the director of the Moscow State Yiddish Theater, and Ala's father Benjamin Zuskin, the theater's leading actor. After promoting these people during the war, Stalin decided these loyal Soviet Jews were no longer useful, and charged them all with treason. He had decided that this committee he himself created was in fact a secret Zionist cabal, designed to bring down the Soviet state. Mikhoels was murdered first, in a 1948 hit staged to look like a traffic accident. Nearly all the others — Zuskin and twelve more Jewish luminaries, including the novelist Dovid Bergelson, who had proclaimed Moscow as the center of the Yiddish future — were executed by firing squad on August 1952.

Just as the regime accused these Jewish artists and intellectuals of being too "nationalist" (read: Jewish), today's long hindsight makes it strangely tempting to read this history and accuse them of not being "nationalist" enough — that is, of being so foolishly committed to the Soviet regime that they were unable to see the writing on the wall. Many works on this subject have said as much. In Stalin's Secret Pogrom, the indispensable English translation of transcripts from the JAC "trial," Russia scholar Joshua Rubenstein concludes his lengthy introduction with the following:

As for the defendants at the trial, it is not clear what they believed about the system they each served. Their lives darkly embodied the tragedy of Soviet Jewry. A combination of revolutionary commitment and naive idealism had tied them to a system they could not renounce. Whatever doubts or misgivings they had, they kept to themselves, and served the Kremlin with the required enthusiasm. They were not dissidents. They were Jewish martyrs. They were also Soviet patriots. Stalin repaid their loyalty by destroying them.

This is completely true, and also completely unfair. The tragedy — even the term seems unjust, with its implied blaming of the victim — was not that these Soviet Jews sold their souls to the devil, though many clearly did. The tragedy was that integrity was never an option in the first place.

~~~~~~~~~~~~~~~~~~~~~~~~

Ala was almost thirteen years old when her father was arrested and until that moment she was immersed in the Soviet Yiddish artistic scene. Her mother was also an actor in the Moscow State Yiddish Theater; her family lived in the same building as the murdered theater director Solomon Mikhoels, and moved in the same circles as other Jewish actors and writers. After seeing her parents perform countless times, Ala had a front-row seat to the destruction of their world. She attended Mikhoel's state funeral, heard about the arrest of the brilliant Yiddish author Der Nister from an actor friend who witnessed it from her apartment across the hall, and was present when secret police ransacked her home in conjunction with her father's arrest. In her biography, The Travels of Benjamin Zuskin, she provides for her readers what she gave me that morning in Jerusalem: an emotional recounting, with the benefit of hindsight, of what it was really like to live through the Soviet Jewish nightmare.

It's as close as we can get, anyway. Her father Benjamin Zuskin's own thoughts on the topic are available only from state interrogations extracted under unknown tortures. (One typical interrogation document from his three and a half years in the notorious Lubyanka Prison announces that the day's interrogation lasted four hours, but the transcript is only half a page long — leaving to the imagination how the interrogator and interrogatee may have spent their time together. Suffice it to say that another JAC detainee didn't make it to trial alive.) His years in prison began when he was arrested in December of 1948 in a Moscow hospital room, where he was being treated for chronic insomnia brought on by the murder of his boss and career-long acting partner, Mikhoels; the secret police strapped him to a gurney and carted him to prison in his hospital gown while he was still sedated.

But in order to truly appreciate the loss here, one needs to know what was lost — to return to the world of the great Yiddish writer Sholem Aleichem, the author of Benjamin Zuskin's first role on the Yiddish stage, in a play fittingly titled It's a Lie!

Benjamin Zuskin's path to the Yiddish theater and later to the Soviet firing squad began in a shtetl comparable to those immortalized in Sholem Aleichem's work. Zuskin, a child from a traditional family who was exposed to theater only through traveling Yiddish troupes and clowning relatives, experienced that world's destruction: his native Lithuanian shtetl, Ponievezh, was among the many Jewish towns forcibly evacuated during the First World War, catapulting him and hundreds of thousands of other Jewish refugees into modernity. He landed in Penza, a city with professional Russian theater and Yiddish amateur troupes. In 1920, the Moscow State Yiddish Theater opened, and by 1921, Zuskin was starring alongside Mikhoels, the theater's leading light.

In the one acting class I have ever attended, I learned only one thing: acting isn't about pretending to be someone you aren't, but rather about emotional communication. Zuskin, who not only starred in most productions but also taught in the theater's acting school, embodied the concept. His very first audition was a one-man sketch he created, consisting of nothing more than a bumbling old tailor threading a needle — without words, costumes, or props. It became so popular that he performed it to entranced crowds for years. This physical artistry animated his every role. As one critic wrote, "Even the slightest breeze and he is already air-bound."

Zuskin specialized in playing figures like the Fool in King Lear — as his daughter puts it in her book, characters who "are supposed to make you laugh, but they have an additional dimension, and they arouse poignant reflections about the cruelty of the world." Discussing his favorite roles, Zuskin once explained that "my heart is captivated particularly by the image of the person who is derided and humiliated, but who loves life, even though he encounters obstacles placed before him through no fault of his own."

The first half of Ala's book seems to recount only triumphs. The theater's repertoire in its early years was largely adopted from classic Yiddish writers like Sholem Aleichem, I. L. Peretz, and Mendele Moykher Seforim. The book's title is drawn from Zuskin's most famous role: Senderl, the Sancho Panza figure in Mendele's Don Quixote-inspired work, Travels of Benjamin the Third, about a pair of shtetl idiots who set out for the Land of Israel and wind up walking around the block. These productions were artistically inventive, brilliantly acted, and played to packed houses both at home and on tour. Travels of Benjamin the Third, in a 1928 review typical of the play's reception, was lauded by the New York Times as "one of the most originally conceived and beautifully executed evenings in the modern theater."

One of the theater's landmark productions, I. L. Peretz's surrealist masterpiece At Night in the Old Marketplace, was first performed in 1925. The play, set in a graveyard, is a kind of carnival for the graveyard's gathered ghosts. Those who come back from the dead are misfits like drunks and prostitutes, and also specific figures from shtetl life - yeshiva idlers, synagogue beadles, and the like. Leading them all is a badkhn, or wedding jester — divided in this production into two mirror-characters played by Mikhoels and Zuskin — whose repeated chorus among the living corpses is "The dead will rise!" "Within this play there was something hidden, something with an ungraspable depth," Ala writes, and then relates how after a performance in Vienna, one theatergoer came backstage to tell the director that "the play had shaken him as something that went beyond all imagination." The theatergoer was Sigmund Freud.

As Ala traces the theater's trajectory toward doom, it becomes obvious why this performance so affected Freud. The production was a zombie story about the horrifying possibility of something supposedly dead (here, Jewish civilization) coming back to life. The play was written a generation earlier as a Romantic work, but in the Moscow production, it became a means of denigrating traditional Jewish life without mourning it. That fantasy of a culture's death as something compelling and even desirable is not merely reminiscent of Freud's death drive, but also reveals the self-destructive bargain implicit in the entire Soviet-sponsored Jewish enterprise. In her book, Ala beautifully captures this tension as she explains the badkhn's role: "He sends a double message: he denies the very existence of the vanishing shadow world, and simultaneously he mocks it, as if it really does exist."

This double message was at the heart of Benjamin Zuskin's work as a comic Soviet Yiddish actor, a position that required him to mock the traditional Jewish life he came from while also pretending that his art could exist without it. "The chance to make fun of the shtetl which has become a thing of the past charmed me," he claimed early on, but later, according to his daughter, he began to privately express misgivings. The theater's decision to stage King Lear as a way of elevating itself disturbed him, suggesting as it did that the Yiddish repertoire was inferior. His own integrity came from his deep devotion to yiddishkayt, a sense of essential and enduring Jewishness, no matter how stripped-down that identity had become. "With the sharp sense of belonging to everything Jewish, he was tormented by the theater forsaking its expression of this belonging," his daughter writes. Even so, "no, he could not allow himself to oppose the Soviet regime even in his thoughts, the regime that gave him his own theater, but 'the heart and the wit do not meet.'"

In Ala's memory, her father differed from his director, partner, and occasional rival, Mikhoels, in his complete disinterest in politics. Mikhoels was a public figure as well as performer, and his leadership of the Jewish Antifascist Committee, while no more voluntary than any public act in a totalitarian state, was a role he played with gusto, traveling to America in 1943 and speaking to thousands of American Jews to raise money for the Red Army in their battle against the Nazis. Zuskin, on the other hand, was on the JAC roster, but seems to have continued playing the fool. According to both his daughter and his trial testimony, his role in the JAC was almost identical to his role on a Moscow municipal council, limited to playing chess in the back of the room during meetings.

In Jerusalem, Ala told me that her father was "a pure soul." "He had no interest in politics, only in his art," she said, describing his acting style as both classic and contemporary, praised by critics for its timeless qualities that are still evident today in his film work. But his talent was the most nuanced and sophisticated thing about him. Offstage, he was, as she put it in Hebrew, a "tam" — a biblical term sometimes translated as fool or simpleton, but which really means an innocent. (It is the first adjective used to describe the title character in the Book of Job.) It is true that in trial transcripts, Zuskin comes out looking better than many of his co-defendants by playing dumb instead of pointing fingers. But was this ignorance, or a wise acceptance of the futility of trying to save his skin? As King Lear's Fool put it, "They'll have me whipp'd for speaking true; thou'lt have me whipp'd for holding my peace." Reflecting on her father's role as a fool named Pinia in a popular film, Ala writes in her book, "When I imagine the moment when my father heard his death sentence, I see Pinia in close-up . . . his shoulders slumped, despair in his appearance. I hear the tone that cannot be imitated in his last line in the film — and perhaps also the last line in his life? — 'I don't understand anything.'"

Yet it is clear that Zuskin deeply understood how impossible his situation was. In one of the book's more disturbing moments, Ala describes him rehearsing for one of his landmark roles, that of the comic actor Hotsmakh in Sholem Aleichem's Wandering Stars, a work whose subject is the Yiddish theater. He had played the role before, but this production was going up in the wake of Mikhoel's murder. Zuskin was already among the hunted, and he knew it. As Ala writes:

One morning — already after the murder of Mikhoels — I saw my father pacing the room and memorizing the words of Hotsmakh's role. Suddenly, in a gesture revealing a hopeless anguish, Father actually threw himself at me, hugged me, pressed me to his heart, and together with me, continued to pace the room and to memorize the words of the role. That evening I saw the performance . . . "The doctors say that I need rest, air, and the sea . . . For what . . . without the theater?" [Hotsmakh asks], he winds the scarf around his neck — as though it were a noose. For my father, I think those words of Hotsmakh were like the motif of the role and — I think — of his own life.

~~~~~~~~~~~~~~~~~~~~~~~~

Describing the charges levied against Zuskin and his peers is a degrading exercise, for doing so makes it seem as though these charges are worth considering. They are not. It is at this point that Hanukkah antisemitism transformed, as it inevitably does, into Purim antisemitism. Here Ala offers what hundreds of pages of state archives can't, describing the impending horror of the noose around one's neck.

Her father stopped sleeping, began receiving anonymous threats, and saw that he was being watched. No conversation was safe. When a visitor from Poland waited near his apartment building to give him news of his older daughter Tamara (who was then living in Warsaw), Zuskin instructed the man to walk behind him while speaking to him and then to switch directions, so as to avoid notice. When the man asked Zuskin what he wanted to tell his daughter, Zuskin "approached the guest so closely that there was no space between them, and whispered in Yiddish, 'Tell her that the ground is burning beneath my feet.'" It is true that no one can know what Zuskin or any of the other defendants really believed about the Soviet system they served. It is also true — and far more devastating — that their beliefs were utterly irrelevant.

Ala and her mother were exiled to Kazakhstan after her father's arrest, and learned of his execution only when they were allowed to return to Moscow in 1955. By then, he had already been dead for three years.

In Jerusalem that morning, Ala told me, in a sudden private moment of anger and candor, that the Soviet Union's treatment of the Jews was worse than Nazi Germany's. I tried to argue, but she shut me up. Obviously the Nazi atrocities against Jews were incomparable, a fact Ala later acknowledged in a calmer mood. But over four generations, the Soviet regime forced Jews to participate in and internalize their own humiliation - and in that way, Ala suggested, they destroyed far more souls. And they never, ever, paid for it.

"They never had a Nuremberg," Ala told me that day, with a quiet fury. "They never acknowledged the evil of what they did. The Nazis were open about what they were doing, but the Soviets pretended. They lured the Jews in, they baited them with support and recognition, they used them, they tricked them, and then they killed them. It was a trap. And no one knows about it, even now. People know about the Holocaust, but not this. Even here in Israel, people don't know. How did you know?"

~~~~~~~~~~~~~~~~~~~~~~~~

That evening I went out to the Old City again, to watch the torches being lit at the Western Wall for the second night of Hanukkah. I walked once more through the Jewish Quarter, where the oil lamps, now each bearing one additional flame, were displayed outside every home, following the tradition to publicize the Hanukkah miracle — not merely the legendary long-lasting oil, but the miracle of military and spiritual victory over a coercive empire, the freedom to be uncool, the freedom not to pretend. Somewhere nearby, deep underground, lay the ruins of the gymnasium where de-circumcised Jewish boys once performed naked before approving crowds, stripped of their integrity and left with their private pain. I thought of Benjamin Zuskin performing as the dead wedding jester, proclaiming, "The dead will rise!" and then performing again in a "superior" play, as King Lear's Fool. I thought of the ground burning beneath his feet. I thought of his daughter, Ala, now an old woman, walking through Jerusalem.

I am not a sentimental person. As I returned to the stone house that night, along the streets lit by oil lamps, I was surprised to find myself crying.

#People Love Dead Jews #Dara Horn #Soviet Jewry #Soviet antisemitism #antizionism is not antisemitism #jumblr

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what-even-is-thiss · 9 months

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Tips from a former English major and English TA:

Reading the text actually does help you in the class believe it or not and we can tell when you haven’t read it. Sometimes we’re just too tired to call you out on it. Your awkward silence in class speaks volumes.

That being said, if you don’t have time because life happens read at least two different summaries or analysis pages online. Preferably more. One source will rarely mention everything your teacher asks you about.

Other tricks include reading the last sentence of every paragraph or reading every other page

The reason you’re being forced to take an English class when you’re not an English major is to help you come up with arguments when there’s no strict data set to follow and no one correct answer. If your school allows for alternatives to this sort of category like film analysis or art history that you think you’d like better, take it. The goal of GE classes is to turn you into a well rounded and educated person. Not to torture you.

If you’re reading works in translation and don’t want to take the time to learn the language but you also want to get a more accurate idea of the nuances of the original language, read three different translations of the work and compare them. Reading translators notes and reviews of translations by experts is also helpful. In some more rarely translated works translators notes and reviews may be all you have to work off of.

When you’re writing a literary essay you’re entering an ongoing conversation that’s been going on since writing has existed. A tradition that’s existed since before Aristotle. And you’re just as smart as that guy. Add something to the conversation. Participate. Bigger idiots than you have done it.

Chat gbt is really bad at literary analysis and often gets facts wrong. We can tell when you use it.

Everyone has different levels of understanding of the history of literature even within the professional world. People specialize for a reason. Nobody is expecting you to have read everything. An expert in medieval Irish literature isn’t going to have read the same things as an expert in post-colonial west African literature who won’t have read the same things as a general expert in contemporary Asian literature. Being “well-read” is subjective and means something different to everyone. English classes often show you where to start and how to research stuff related to literature and analysis. Especially if you are an English major it’s easy to get overwhelmed early on but you get used to accepting that you can’t know everything. And that’s fine. Just focus on finding your niche. Or maybe you don’t have one and just want to sample everything. Or maybe you’re just here for general knowledge. That’s fine too.

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fallynleaf · 17 days

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Help out a Palestinian in the West Bank by taking Arabic classes!

For the past few months, I've been taking online Palestinian Arabic classes from a teacher in the West Bank who lost his last teaching job due to the war.

With Israel escalating its violence in the West Bank, things have gotten increasingly tough for him, so I offered to help promote his classes with the tiny bit of social media reach that I have.

He sent me this to share:

"Marhaba all! My name is Ahmed. I live in Nablus, Palestine, and I’m an Arabic teacher with almost a decade of experience. If you’re looking to learn Levantine Arabic, particularly the Palestinian dialect, I’d be happy to teach you! Here are some details about my classes:

I can teach beginners to advanced speakers. Everyone is welcome

Rate: $25/hr. for private classes, $20/person for group classes

I speak fluent English & French, so I can help explain everything in your native language

Flexibility over Zoom, Google Meet, etc. for classes and open availability for any time of day that works with you

I teach Palestinian/Levantine Arabic dialect only

Please send me an email at [email protected] to get in touch!"

Ahmed is a really kind and patient teacher, and he's incredibly flexible and extremely generous, so if you've ever considered learning an Arabic dialect before, I recommend trying out his classes! He also teaches cultural stuff in addition to the language, so you'll learn a whole lot and gain some new perspective.

Even if you never achieve fluency, having learned just a bit of another language can be very rewarding!

#please reblog this if you can #Palestine

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haedalkoo · 1 month

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Do you have a favorite thing about the way the boys speak as individuals (can be about their general type of speech, words/phrases they use, etc.)? Can be jimin and jungkook or any of bts!

For example, I don't speak korean, but jimin's speech always sounds so soft and comforting. Even when he's not trying to be cute, he still sounds so sweet. Armys joke about kindergarten teacher jimin, but I really do feel like even his voice and speech give that gentle vibe.

This is the cutest thing you could've asked me! Let's go in order:

Namjoon: I love the way he mixes Korean and English so seamlessly. I think he has two modes, Serious-Leader-Speech, very eloquent and straight to the point, carefully chosen words; and Regular Kim Namjoon, still all of those things but super cute, he rambles a lot and mixes languages and tends to use a lot of slang? He def lurks online. But guys, he's also so poetic. He sounds like he's reading a beautiful novel. He always sounds super polite too (when he's calm I guess!! he can get super hyped up lol) but he doesn't slur his words, it's so easy to understand him even though sometimes his vocab is really precise and advanced. OMG AND he doesn't have an accent!! BUT he imitates the members satoori and it's super goofy bc he's not great at it, so it's like his own made-up satoori.

Seokjin: Jin is an amazing speaker. I think the actor training has a lot to do with this, but he has such a good voice for narration and when he speaks in korean interviews he sounds super gentle and eloquent. IDK how to describe it, but he has a v specific tone and pauses in a very unique way, making his tone very melodic and almost like a news anchor hahaha. But when he's talking to the guys he loses that formality and he stresses random words that give him a kind of goofy tone? And he uses a lot of expressions like “야” (yah) or “으아” (euah) as sentence fillers. Again, like Joon, no satoori!

Yoongi: oh he's by far the member I have the most trouble understanding. He slurs his words a lot, starting off somewhat strong but almost losing the entire ending of the sentence. I'm sure you know what I mean even if you don't understand him. A friend once mentioned to me that his pronounciation of the letter ㅆ is not as strong as it should be, tending to sound more like a regular 's' sound like in the letter ㅅ. This is apparently due to his accent! Also, like Joon, to me he tends to sound really poetic, maybe more unconciously than Joon bc I feel like he's really deliberate with his words and Yoongi is more spontaneous. As a sentence filler, he clicks his tongue a lot and sucks in air (something I think JK has also taken from him)

Hoseok: Hobi always brings a smile to my face. I think his accent is the most notable (or maybe I just catch it better than the other's, especially since it's different from the rest of the members' given he's from Jeolla.) His entonation varies a lot, it's very melodic but in an energetic way because of this accent. He also ends sentences with 잉, ing, a lot, which leads to those "said cutely" translations. HE LOOVES onomatopoeias and adding random noises when he's doing things or describing smth. He's just a really fun guy to listen to. I noticed he uses 되게 (dwege) as a filler.

Jimin: you were right, anon. Jimin is incredibly soft-spoken and extremely careful about his words, that's why he tends to mutter or start sentences over and over again to convey the feelings he tries to express. This leads into very long sentences, with a lot of what I call 'pleasing' expressions. This is, Korean (like other Asian languages such as Japanese) is a very indirect language. When you want to express your disagreement with something, you don't straight out say 'I don't like this' or if you're telling someone to do smth differently, you don't say 'be careful next time, don't do that'. You say things like 'in the future, i believe that if you are able to do so it might be benefitial if this issue were handled in a different way' (this is a random example). Your sentences get endless bc you add words and politeness that softens the blow of your different opinion. Jimin does that more than other members who tend to be more blunt, like YG, TH or JK. I think this has changed over the years with the growing international fandom, but he used to sound really informal in his vlives to sound like an old friend with armys. now I think he expresses his outmost respect for us by speaking really formally and in ways that are easy to automatically translate. I also read he has some "feminine" speech patterns, since Kr is a very gendered language in the sense that girls and boys have diff sentence endings or words they use. I think this kinda contributes to how softspoken he is.

Taehyung: Tae's speech is all over the place, but he's extremely sensible and I think he offers the most unique metaphors when he's being sentimental. He's very heartwarming, but sometimes it's hard to understand him because he changes the subject, grammatical order or point of his sentences a lot to adjust to the speed in which things are coming out of his mind. This has gotten better over the years, though. I think age has offered him a sense of calm that allows words to flow better than in the early years of bangtan, where he was an excited puppy. He pauses a lot between sentences, saying "ohh" quite often, and he has a bunch of characteristic filler words like 약간 (yakhan, a bit) or 이제 (ije, now). If you watch the run bts ep where they forbid words for each member, I think ije was one of those for Tae.

Jungkook: guys he's so cute. I'm so grateful that he started doing lives more often, bc I always got the impression he struggled to put his thoughts into words more than other members and that's why he shied away from giving speeches. He still has a lot in his mind, but when he's not in a rush, he pauses a lot and stumbles over his words without shame until he gets the thought out. He speaks really really fast when animated, mumbling and slurring his syllables (that's why it's so hard for me to translate the travel show without proper subs.) We all know he has a lisp, I believe it might be a characteristic of his Busan accent, which is quite present on the regular (in contrast with Jimin, who sometimes forces it out, often around JK. He even joked that he was losing it a little). When he's directing his words to army, he tends to be really soft-spoken and formal, speaking in a way that you know comes from a place in his heart. He also uses a lot of onomatopoeias when describing things, and he adds cute endings to his words just like Hobi (my aegyo kings.)

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