News from Oz

[Yes, it's finally time to emerge from my teaching shell and update my blog!]

A new book by Israeli author Amos Oz is cause to celebrate for any lover of world literature. But for a kibbutz-o-phile obsessed with the inside story of communal life, a fresh collection of Oz’s wry, ironically observed stories of life set on a rural commune can seem heaven-sent. And then you realize it’s still only in Hebrew. Which you don't read.

  
Oh well, at least the weekend magazine of the newspaper Ha’aretz has published a long interview with the the 73-year-old ex-kibbutznik and elder-statesman of Israeli letters about his life, his politics, his literary influences and his new anthology of stories, Between Friends, set on apocryphal Kibbutz Yikhat. (Why it is so hard to find this level of literary discussion, let alone 5,000 words devoted to a writer, in a Canadian publication is another story…)

In the article, Oz talks about the utopian dreams of the kibbutz founders:

The first ideal of the kibbutz was sharp: to transform human nature instantaneously. Effectively, they [the founders] set out as a youthful camp, in the innocent belief that they would remain 18 and 20 forever. A camp of young people who were liberated from their parents, from all the prohibitions and inhibitions of the Jewish village and Jewish religion − a camp in which everything is permitted, suffused with perpetual ecstasy, and where life is always at a peak. You work, argue, love and dance until your strength runs out. It was childish, of course. In time, it became dulled. And then what came to the fore were the constants of human nature. The vulnerability, the selfishness, the ambition, the materialism and the greed. It was a forlorn dream, imagining that it would be possible to triumph over all those forces, be reborn and create a new human being without the shortcomings of the old one

He discusses why he left Kibbutz Hulda (because of his son’s health), and how his new collection allowed him to reflect on what he left behind, good and bad:

There were a few things I didn’t like about kibbutz life. But I feel the absence of those things that I did like. And in this book I wanted to go back and look at them. Especially at the loneliness in a society where there is ‏(supposedly‏) no place for loneliness. In a few of the stories a situation is portrayed of “almost touching”: People very nearly touch, but something blocks it. Like in the painting by Michelangelo where finger almost touches finger.

I am very curious about loneliness and grace, or a moment of grace amid loneliness, because that is a description of the human condition. The stories are set on a kibbutz, but they tell about universal situations, about the most basic forces in human existence. About loneliness. About love. About loss. About death. About desire. About forgoing and about longing. In fact, about the simple and profound matters which no person is unfamiliar with.

He explains how curiosity can make us more “moral”—that, in effect, literature’s ethical function isn’t necessarily to teach us lessons but to let us see the world through another’s eyes:

I think a person who is curious is slightly more moral than one who is not curious, because sometimes he enters into the skin of another. I think a curious person is even a better lover than one who is not curious. Even my political approach to the Palestinian question, for example, sprang from curiosity. I am not a Middle East expert or a historian or a strategist. I simply asked myself, at a very young age, what it would be like if I were one of them.

He admits he still has no regrets about living (and leaving) on a kibbutz. Writers will be especially interested to hear Oz discuss how communal life offered the ideal milieu to develop his literary ear and eye:

I do not regret it for a second. I regret a few of the experiences my children underwent on kibbutz. There were some hard bits, but I left Hulda without anger. For me, the kibbutz was an ultimate university of human nature. I spent 30 years with 300 people in intimate proximity. I saw everything − them and their lives − and knew their secrets. If I’d spent 30 years in Tel Aviv, or New York, I would not have had the slightest chance of becoming so intimately acquainted with 300 souls. The price was that they knew more about me than I would have wanted them to know. But that’s a fair price. In terms of my writing, I learned much of what I know about human nature on kibbutz.

And I love his metaphor for how he has come, if not exactly to praise the kibbutz, then definitely not (like so many critics in recent years) to slay this once-legendary institution:

Unlike others, I am no longer slaughtering sacred cows. There was a time when I did. Not today. Besides which, in every cowshed there is one sick old cow left, surrounded by a herd of exultant, gung-ho slaughterers. I am almost always on the side of the cow. It’s not that I don’t know what a foul smell that cow gives off. And it’s not that I worship it. But between the cow and the slaughterers who gather around − I prefer the cow. I am talking about Zionism, the kibbutz and the labor movement.

The Great Good Place... Seattle version

Okay, if someone let me design my perfect bookstore, what would it look like?

First, I’d want to pedal to it, so I’d put a decent stand for locking bikes, covered from rain of course, right by the front door. Maybe keep a stand pump handy in case anyone gets a flat. I love reading outside, so let’s include a patio section for a coffee and a book en plein air.

Inside the entrance, I’d expect to find a good selection of magazines—local, national and international—literary journals, maybe a few zines. Some tables with new releases: hardback and soft, fiction and nonfiction. A big corner devoted to kids’ books.

I’ve always been a used book-buyer, so a good chunk of the store ought to be devoted to recycling other people’s past purchases, with a big desk at the back to make it easier for sellers to unload their offerings. In our era of infinite opinions and online retailers, a bookstore only matters if it’s got a personal touch, so I’ll let employees hand-write recommendations for their favourite books and leave their comments tucked as teasers between the shelves. Teachers, of course, are the most noble profession, so we’ll give them a 20% discount.

All that designing has made me hungry, so I’ll want a place to eat. Make it a cafe, with hot lunches and a dinner menu, great coffee, fresh muffins and other treats. Offer traditional cafe seating, but add a kids play area and then another section, next to the windows and also looking out across the bookstore, where people are encouraged to hang out, chat, read, work on their laptops. (Free wireless, of course.) Encourage them to stay. Make them feel so at home that they wheel in their double-stroller and  dog.

Anything else? Well, throw a whole series of readings and talks and musical events. And there’s the downstairs… let’s turn it into a bar with 15 beers on tap, because, hey, I already belong to a “Beer & Books” group, so the guys might as well have a special place to hang out.

Oh wait, what’s that? Somebody already built my literary utopia?

So they did. And in Seattle, no less.

I flew across the Strait last Friday to have shabbat dinner at the Ravenna Kibbutz (more on that later). Because of my arrival time, I had about six hours to kill before dinner began. I tried to scope out the closest library, but it was closed—on a Friday! (Budget cutbacks.) And that’s when I discovered the Ravenna Third Place bookstore (and cafe and pub), just blocks from the kibbutz, and a perfect complement to my research into community values and communal spaces.

This unique twist on the bookstore/cafe combo has been explicitly designed around the idea, by sociologist Ray Oldenburg, of the “third place”—the communal space that is neither work nor home, that is free or inexpensive, accessible and inclusive. A place to kibitz. In his book The Great Good Place, Oldenburg describes these civic sites and establishments as centres of “informal public life”, where networks of affiliation can develop and creativity can spark.

Inspired by this vision, The Ravenna Third Place’s website and bookmarks welcome newcomers to a “deliberate and intentional creation of a community of booklovers. A fun and comfortable place to browse, linger, lounge, relax, read, eat, laugh, play, talk, listen and just watch the world go by.”

I did most of the above. I nursed a latte for close to four hours, wrote in my journal, chatted to a couple of the servers (I’d wanted to interview the owner, but he wasn’t in), daydreamed, people-watched and eavesdropped on everyone around me. One young guy was doing animation on his laptop. Another middle-aged man was studying Chinese on his computer. Behind me, a young university student (from Arkansas via Alaska) was meeting for the first time a pastor who organized a fellowship group she was curious about. (Yes, we were in Richard Florida’s “creative class” Seattle, but also George W. Bush’s evangelical America.)

Finally, I browsed the bookshelves and went home (after my “educator’s discount”) with a used copy of Amos Oz’s Elsewhere, Perhaps and the new paperback edition of Sarah Bakewell’s inventive How to Live.

I returned to Victoria wishing I had my own Third Place so close by. (There are a few cafe/bookstores around town, but none as ambitious as this.) If you build it, I will come. And stay for hours apparently.

Book review: Amos Oz and the gossip economy

Amos Oz has claimed that there is no such thing as a “kibbutz literature”. Yes, there are books written by kibbutzniks and books written about kibbutzniks. However, even after 100 years of kibbutz life (and nearly as long writing about it), no motif or technique unifies all these spilled words other than a setting. "The kibbutz," Oz has argued, "has not inspired any 'mutation' in Hebrew literature."

I won’t disagree with Oz: He is Israel’s most-famous author, a (former member of Kibbutz Hulda for 30+ years, and a widely quoted authority on matters literary, communal and political. (Would someone give the man a Nobel Prize already?)

That said, if there were a kibbutz literature, Oz’s first novel (and second book, after his debut collection of stories, Where the Jackals Howl) Elsewhere, Perhaps deserves a place of honour as the classic text in the transitional period from the “heroic age” of the kibbutz to its modern depiction as a complex, troubled microcosm of the greater world around it. 

Oz’s dedication (to the memory of his mother) tries to throw off the reader by demurring: “Do not imagine that Metsudat Ram”—the book’s fictional kibbutz, near the Syrian border and the Sea of Galilee—”is a reflection in miniature. It merely tries to reflect a faraway kingdom by a sea, perhaps elsewhere.” Oz has said, several times, that he had been inspired as a writer by Sherwood Anderson’s Winesburg, Ohio, to realize that literature could find universal resonance even within the confines of a small, otherwise nondescript community. That stories didn’t need to happen in New York or Paris or Moscow to matter. Kibbutz Metsudat Ram becomes Oz’s Wineeburg.

As it tells the story of this settlement, from the multiple perspectives of different kibbutzniks, the novel draws tension from a trio of love triangles: one that has happened and left a bitter fallout; another—in part a consequence of the first betrayal—has become the recent focus of kibbutz gossip; and the third melodrama develops and concludes over the course of the novel. Socialism and Zionism may be the ostensible philosophies of the kibbutz, but the urgings of the heart (and lower regions of the body) drive many of its members’ actions. The howls of the jackals and the unseen, unnamed “enemy” in the jagged hills beyond the wire fence of the well-ordered kibbutz suggest external forces of chaos that threaten the community, and yet human impulses within its gates—the casual adultery, the malicious whispering, the vandalism of bored youths—prove more corrosive.

The timing of the novel’s publication is significant. It was published, in Hebrew, in 1966, the year before victory in the Six Day War (in which Oz fought in the Sinai campaign) transformed the young nation of Israel in ways that it is still reckoning with. Before 1948, the kibbutz was the pre-eminent form of settlement in pre-state Israel, the pioneers who helped lay down the borders for the future nation; after 1967, their reputation as nation builders diminished and was overshadowed, controversially, as religious and right-wing settlers began to move into the occupied West Bank and Gaza. (A few secular kibbutzim were built beyond the “Green Line”, but the movement otherwise remained focused on growing its existing communities and building new ones within the 1948 borders.)

Beyond this historical context, though, Elsewhere, Perhaps suggests a distinct technique of “kibbutz literature” through its narrative voice. While Oz drifts into the consciousnesses of various characters, the book begins and ends and speaks throughout in the collective “we” of the kibbutz as a whole. It is a subtly ironic “we”, a slightly naive “we”, though, a voice that, while trying to justify the ways of the kibbutz to readers and other outsiders, doesn’t always recognize the flaws in the community or its residents that are there to be read between the lines. The “we” sounds a bit like first-person plural narrator of Jeffrey Euginedes’ The Virgin Suicides (told in the collective voice of the boys who observe the mysterious lives and deaths of the Lisbon sisters on their suburban street) or the “downstage narrator” of a Tom Wolfe essay or nonfiction novel, which takes on the verbal tics and biases of a group rather than an individual character. 

“Our village is built in a spirit of optimism,” this narrator tells us, and yet optimism seems hard to come by in the settlement of Metsudat Ram. Perhaps, notes the narrator, readers have an overly nostalgic, romantic image of village life: “The object of the kibbutz is not to satisfy the sentimental expectation of town dwellers. Our village is not lacking in charm and beauty, but its beauty is vigorous and virile and its charm conveys a message. Yes, it does.” One of the most telling passages (and most relevant to my own interest in the history of the kibbutz) talks about the vital power of gossip on the kibbutz. The narrating “we”, in many ways, is gossip personified—is a reminder that perhaps all storytelling, all literature, begins as gossip, as tales traded between neighbours: 

“Gossip plays an important and respected role here and contributes in its way to reforming our society. … Gossip is simply the other name for judging. By means of gossip we overcome our natural instincts and gradually become better men. Gossip plays a powerful part in our lives, because our lives are exposed like a sun-drenched courtyard. … Gossip is normally thought of as an undesirable activity but with us even gossip is made to play a part in the reform of the world.”

As a money-less, anti-authoritarian, utopian settlement, the kibbutz is based instead on a “reputation economy”. As the narrator reminds us toward the end of the book: “The community can neither exercise brute force nor hold out promises of material gain. Our system compels us to rely entirely on moral sanctions.” Those “moral sanctions” consist of the raised eyebrow, the cold shoulder, the awkward question, the whispers that circulate around the dining hall—a complex semaphore that signals a community member's rising or falling social standing. Gossip holds the kibbutz together, as the narrator makes clear. But the novel also asks: At what cost?

Amos Oz, Elsewhere, Perhaps. Translated from the Hebrew [Makom aher] by Nicholas de Lange, in collaboration with the author. Harcourt Brace Jovanovich, 1966, English Translation 1973.

Until Daybreak: stories from the kibbutz

The kibbutz movement has always been well documented in literature, from the poet Ra’hel to the memoir of Degania pioneer Josef Baratz to internationally acclaimed novelist Amos Oz. I recently finished an anthology, selected by Oz in 1984 and translated into English, called Until Daybreak, which brings together a dozen stories by kibbutz-based, kibbutz-born or kibbutz-curious Israeli writers, all set in and around these unique communities.

It might be dangerous to draw generalizations from such a small sample, but a few similarities emerge. While these themes may be common to world literature, they stand out in greater relief due to the communal setting of the kibbutz stories.

Not surprisingly, there is a fondness among authors for narrating in the first-person plural—the communal rather than the royal “we”—as in the comic tale of quarrelsome kibbutzniks, by Yitzhar Smilansky (a former parliamentarian born in 1916), struggling to erect a water tower. In “The Last Concert” by David Maletz (from Ein Harod), a disgruntled singer, laid off from the National Opera, reluctantly travels with his laconic pianist to give a concert at a distant kibbutz—and is surprised, as the power of his voice releases the tamped-down emotions of the kibbutzniks in a fervour of dance, which he witness in their dining room, and the story spreads out to envelop their shared consciousness and awakening.

One of my favourite stories, “Bells” by Amnon Shamosh (a founder of Kibbutz Maayan Baruch), also alternates between the first-person plural and singular, as the narrator describes how a young shepherd boy from a refugee camp becomes a stand-in for a kibbutz friend killed in war, while offering a perplexed yet admiring outsider’s perspective on the austerer, topsy-turvy way of life in the kibbutz.

Another recurring motif is the tension between the generations on the kibbutz, between the founders and the members that follow in their shadows, as in “The Choice” by Nathan Shaham (of Kibbutz Beit-Alfa), in which a young kibbutznik is stranded with an older member, at night, in dangerous territory with a broken-down truck. Another clash of personalities ensues in “Bella, Bella…” by Aharon Megged (from Kibbutz Sdoth-Yam) between a lively young arrival from France and Bella, the stern moral conscience of the kibbutz (again, observed by the narrating “we”).

As a semi-closed society, the kibbutz is the perfect setting through which to explore such eruptions of passion and jealousy sparked by outsiders and newcomers, such as the vain theatre director from the city who has an affair with a kibbutz wife in “Polka” by Yigal Mossinson, or the mysterious beauty who comes to visit an eccentric neighbour and causes the narrator of “On the Last Bus” by Dan Shavit (Of Kfar Szold) to indulge in foolish fantasies.

“All happy families are alike,” Tolstoy famously wrote, “but an unhappy family is unhappy in its own way.” The same might be said of a kibbutz, doubly so perhaps, as the traditional nuclear family is put under pressure by the extended family of the collective. This theme is most memorably expressed in “Until Daybreak”, by Moshe Shamir (a former member of Mishmar Ha-Emek and M.K.), in which the “work-rosterer” of a kibbutz (the unlucky fellow who must assign everyone else their work duties) struggles with his commitments to his community, his co-workers and his wife—who has left the kibbutz after members voted to disband the music program she was leading.

There is also the percolating gossip and jealousies peculiar to collective life, as in “Dubin and his Brother,” by Yossl Birstein, in which kibbutzniks suspect (wrongly) that the title character has secretly kept a large inheritance, left by his brother in Australia (who was in fact a fraudster) rather than share it with the community.

The anthology features a short introduction by Amos Oz and ends with “The Way of the Wind,” his odd and tragic parable about a misguided parachute jump above a kibbutz, from Where the Jackals Howl. As a collection, it makes for a rich and varied portrait of kibbutz life during the seven decades between the founding of the movement and the economic crisis, just beginning at the time of publication, that would profoundly shatter the kibbutz’s communal values.

Until Daybreak: Stories from the Kibbutz. Selected and with an introduction by Amos Oz. Edited by Richard Flantz. Hakibbutz Hameuchad Publishing House and the Institute for the Translation of Hebrew Literature, Tel Aviv, 1984.

Review: The World of Yesterday

I’ve had a DVD copy of Did Herzl Really Say That? (ordered through Ruth Diskin Films) for six months now but only got around to watching it last week, in part because I wasn’t sure (from the back cover blurb) what the film was exactly about. It turns out that Herzl is a documentary TV series (which was nominated for an Oscar) co-hosted by two young Israeli academics (science historian Dr. Oren Harman and biologist Dr. Yanay Ofran), who travel through Israel and beyond to explore (and argue about) issues of history, politics, culture and identity.

The episode I’d ordered (called The World of Yesterday) looks at the evolution of both the left-wing secular kibbutz movement that helped to found the nation of Israel and the right-wing settler movement that built new towns, after 1967, in the West Bank and Gaza. At first glance, these two communities couldn’t be farther apart in ideology, and yet Harman and Ofran find and discuss interesting parallels between the “pioneers” on the far-left and the far-right of the political spectrum.

What most intrigues the curious hosts is the challenge of sustaining a revolution after the first generation, and how the second and third generations that follow these pioneers either angrily reject their parents’ values, become more radical, or learn how to adjust their own ideologies to the here and now. Harman and Ofran talk with three generations of kibbutzniks on Kibbutz Sha’ar Ha’Golan (including Aviv Leshem, the spokesman for the entire Kibbutz Movement, who I also interviewed several times). 

“Most of our dreams came true,” says one elderly member, “except for creating a new man.”

(One host paraphrases a nugget of wisdom from author Amos Oz: Ideological movements carry two dangers: one is that their dreams will be shattered; the other is that their dreams will come true. The Kibbutz Movement suffered both.)

They also visit an urban kibbutz in Migdal HaEmek and talk to several of the young members, who have become radicalized again in the third generation, rejecting the bourgeois country kibbutz of their parents’ generation for social and education work in urban environments. “Most of what we want to do is in the city,” says a member. “Our mission is here.” One host can’t contain his bewilderment at a kibbutz without farm land or  the other traditional trappings of kibbutz life that still talks in the rhetoric of the socialist Internationale: “It looks like a parody!"

The spirited, irreverent, opinionated attitude of both hosts makes the documentary especially watchable, as they challenge the statements of their interview subjects and then argue about the issues amongst themselves. They are interested in making connections, teasing out new ideas and testing the contradictions in the lives of their subjects rather than just playing fly on the wall like traditional documentary-makers.

Oren Harman (left) and Yanay Ofran (right) talk to a young settler

At one point, they sit down and talk with a young right-wing religious settler, who makes increasingly provocative statements about how he plans to build a house on the hill and take potshots at passing Arabs or even cut one up with a knife. The hosts stand up in disgust and leave. “That’s enough,” one says. “We don’t need to listen to this.”

“So you are carrying out the vision of the kibbutzniks?” they ask another settler, an older one, less violent but just as ideological in her mission to settle Judea and Samaria.

“Of course!” she replies.

“This is pioneering!” says another second-generation settler. “We are the new pioneers!”

The older kibbutzniks on Sha’ar Ha’Golan can only shake their head at the settlers’ responses. “We came here with a humane approach,” says one. “No movement in the world has achieved so much in people’s lives as the kibbutz.”

When the hosts press further, one kibbutznik admits he can see faint similarities in the challenges faced by the two movements to sustain their pure, utopian vision of the just life in Israel. “I am ideologically opposed to them,” he says, “but I can sympathize with them.”

In the end, both hosts admit that they could never give up their own busy, rich urban lives for the sacrifices and ideological resoluteness of kibbutz life—let alone that of the settlers. Still, they end their documentary with a quote from George Bernard Shaw that sympathizes with the sometimes quixotic, sometimes misguided and sometimes noble goals of utopian movements: “The rational man adjusts himself to the world. The irrational man adjusts the world to himself. Progress in the world depends on the irrational man.”

Amos Oz: a documentary

A few nights ago, I watched a DVD I’d ordered, released in 2008 by a Greek production company, that profiled author Amos Oz. It’s a fascinating complement to Oz’s memoir, one that offers insight into both his creative process as well as his thoughts about the historical and even future importance of the kibbutz ideal.

Amos Oz at work: black pen or blue pen?

As a writer, I enjoyed the chance to hear the famous novelist talk about his working rituals. How he wakes early and goes for a brisk half-hour walk in the desert, near his home in Arad, around 5 or 5:30 am, before settling down at his basement desk to write, in longhand, until noon or one. Then, after lunch and a siesta, he explained, “I come back and destroy what I’ve done before.” To maintain the flow of his process, though, he tries to end each writing day in the middle of a sentence, which he can then complete and continue the next morning.

“I am a domestic writer,” said Oz, one who is interested in exploring the family—”the most mysterious institution in the world.” “I don’t begin a novel with an idea,” he continued. “I begin a novel with a character. I hear voices. … The first sentence is the most difficult. Where does the story begin?… It’s like beginning relationship with a total stranger.”

He keeps two pens on his desk. One is black; the other, blue. “One is to tell the government to go to hell,” he said, with a smile. The other—the blue, I have to assume—he reserves for his storytelling, with  its ambiguities and ambivalence, without the rhetorical certainty of his political prose. Those two sides of the writer, he feels, need to be separated. Still, his novels may serve a social good, even if that’s not why they are explicitly written. “We learn about the internal life of the Other,” said Oz about the function of literature. “And [through reading] there is a certain chance that we might become better neighbours.”

Late in the documentary, he offered a humorous summary of his 32 years as a member of Kibbutz Hulda. How he had rebelled against his conservative father, at the age of 15, by running away to the kibbutz. How—speaking the elevated language of a boy raised in the city by polyglot Europhiles—he came across as a”funny bird” to the more rough-hewn kibbutzniks.

“I had a tough time integrating with the local society,” he recalled, “because they were tough farm boys and beautiful farm girls.”

How, as he began his career as a young writer in his 20s, he asked the kibbutz for a day, free from the work rotation, to focus on his creative output. How the membership had to debate this proposal in the general assembly and finally vote yes or no. (To their credit, the kibbutzniks granted Oz his day of writing—and then more time as his reputation and sales grew.) How, once he became a source of revenue as an author, the kibbutz authorities even offered him the help of two elderly members “to increase production”, as though his novels and stories were like factory widgets that could be manufactured with greater economies of scale. How, when he needed seclusion to finish a book, he would simply make a request to the kibbutz secretary and be granted money to pay for a quiet hotel room away from the community. And how, once he had to relocate from the kibbutz to Arad because of his youngest son’s severe asthma, he “lost that sense of a big family.”

It’s significant, I think, that the documentary ends with a long monologue from Oz, narrated over a silhouette of the author walking through the last light of a desert dusk, about the fall and rise of the kibbutz:

“The kibbutz movement is in a big crisis. Part of this is an external crisis resulting from the fact that socialism is not popular anywhere in the world. I believe for some people there will always be an attraction in a way of life that is like an extended family, where people share everything, where people carry the highest degree of mutual responsibility. In terms of human experience, for me, as an individual, as a writer, it’s like the best university I ever attended. I hope and believe that the kibbutz will have a revival… Maybe in another time. Maybe in a different country. We live now in a world where people work harder than they should work, in order to make more money than they need, in order to buy things they don’t really want, in order to impress people they don’t really like. This leads to a certain reaction, and this reaction will bring back some kind of voluntary collective experience.”

A Tale of Love and Darkness... and Translation

Amos Oz is Israel’s best-known literary author, peace spokesman and kibbutznik. (He joined Kibbutz Hulda at age 15 and has often written about kibbutz life.) His autobiography, A Tale of Love and Darkness, is on my to-read list. Now readers in the Arabic world will get a chance to appreciate his storytelling, thanks to the controversial efforts of a Palestinian man whose family has been torn asunder by the strife in the Middle East. The New York Times ran a fascinating story about Elias Khoury, whose family land was expropriated by Israeli authorities shortly after the War of Independence, whose father was killed in a Palestinian terror bombing in downtown Jerusalem two decades later, and whose son, six years ago, was “mistaken” for a Jew while jogging in Jerusalem and shot by terrorists.

“So in memory of George, a charismatic law student and musician, Mr. Khoury did something that shocked many in his community,” writes Ethan Bronner. “He paid for the translation into Arabic of the autobiography of Israel's most prominent author and dove, Amos Oz."

It’s a reminder that if the pen isn’t always mightier than the sword, it is often more resilient, and that literature—the act of imagining the perspective of another person, of seeing ourselves as others see us—may be the only hope of bridging the gulfs that too often divide us.