Category: Books

Dissertating

personby Gillian Polack
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I’ve finished a complete draft (a clean one) of my dissertation. Around 75,000 words, so about the size of a standard non-fiction study. While there are more processes to get through to reach that draft: annual reports, forms to fill, supervisors to meet and talk to, the actual work involved is the same as for most scholarly work if you already know enough about the subject. This is why the US has additional processes to check that the student has that knowledge. Australia doesn’t have Major Field exams and has limited coursework. It took me about five weeks all up to finish my coursework, in fact. We have to understand ethics for research, and how to work safely, and any languages for the research, and how to actually do the research, and the norms for the field we’re working in, and so forth and so on and… lots of small things, but, in my case, the only big one was learning about literary studies. I’d already done a lot of research in other disciplines and I already read all the languages, so my coursework was basically a matter of going through online modules and demonstrating I had the knowledge.

One entirely odd facet of doing three PhDs is the language side of things. For my first PhD I needed to read nine languages well. I couldn’t read all of those languages well enough (especially Latin, which I could not read at all) so I took a year off in the middle and did a Masters in Canada. That coursework taught me why the US and Canadian PhDs, with the hefty coursework load, are so very handy. It also taught me that my undergraduate degree was very rigorous, which is why I had most of what I needed before I began. I added Latin and palaeography to my skills in Canada and they are very useful!

For my second PhD I only needed five languages, and they were all ones I already knew. I’ve talked to so many fiction writers about this, and most of them did not need any languages except English. “How did you deal with archives and primary sources?” I asked. Some of them don’t. Others pay to have critical works translated or work with translations. Our minds were entirely boggled by each others’ approaches.

This led me to a new understanding. PhD theses (including exegeses attached to Creative Arts PhDs, which is what my second was) are each unique. Underlying skills are similar: research for original work (which is exceedingly different to the type of research I do to write a short story or a novel without a scholarly bent), the capacity to write, the capacity to edit, and an extreme level of patience with the processes of study and publishing.

I said that I’ve finished the thing, but I still have much administratrivia to do, and the copy edit to go through. My thesis will be submitted on 15 May, and it will be months before I know the result.

The need for patience is very familiar to me from my novels. Someones I wait months after the final edits are done for a novel to be published and sometimes years. COVID and the current economic crises have both elongated my wait times (and me being Jewish doesn’t help with some parts of the industry and makes no difference at all to others): I have two novels queued and do not know when they will emerge. My first PhD was beset by quite different crises, but with the same result. The examination took three years, which pretty much cost me my career, back then.

This (almost finished) PhD is different in one big way. The discipline I’m working in is the first I am not entirely comfortable with. I am far more an historian than a literary scholar. Working in Literary Studies has given me a solid appreciation of the work of literary experts. History is not easier, but it suits the way my mind works. I like assembling data and making beautiful patterns from it and explaining it to the world. Now that I understand that not all research does this and that it’s a good thing that there are different approaches (truly, I understand story far, far better now that I can see it from more than one discipline – it’s going to affect both my writing and my teaching, in good ways) my current work of non-fiction is suddenly a lot easier. I don’t have to read every bit of research written in the last 250 years in eleven languages to explain what needs to be explained. It still helps I have the languages, to be honest, but it also helps that I now look for who I’m talking to early on and that I pay far more attention to audience than I used to.

What does this add up to? First, even though I think of it as a dissertation, my PhD is a book. Now that I’m almost done with it, I can finish the book I began during my PhD intermission last year (that trip to Germany was for a purpose).

Two books in a year? Not quite. My earlier work is coming back to haunt me and I may have a third book, which is short essays and thus only needs editing. If this happens (and right now it looks likely) it’s a different type of book again, with quite different research. Short essays don’t need the deep and long research. They take somewhere between an hour (if I already know the subject and have the book I’m writing about in front of me) to about three days. The book adds up, over time, to about 8 months’ work, not three to four years.

Why do I calculate these things? I’m ill (and finally being a bit more open about it) and can’t do all the things I used to do. And yet I’m writing more than I ever have. Short stories (when someone asks) and novels and non-fiction. All these doctorates have helped me understand how much work I need to put in for my various types of writing.

Way back when I was a professional reviewer (a long, long time ago) one of the biggest issues I found with many works, was that balance between the right amount of research, taking the right direction for the research, and keeping in mind that the reader will have the book in front of them. All books need to be readable for their audiences. Those writers who hit this successfully every single time (and you can see some of these simply by looking at the work of other Treehouse writers – I share the Treehouse with amazing writers) can be trusted by their audience. You can pick up a book by them and know it will do what it is supposed to do and that you will be entertained, and often be made to think, and be delighted.

My writing is too diverse for this. For example, I’m untrustworthy for entertainment because my first PhD was so very not entertaining. It wasn’t supposed to be. In fact, I was in huge trouble for the first two years because, as my main supervisor said, “The reader is not supposed to want to turn the page.” This is why most theses are unpublishable as they are and why I didn’t even seek to get that first one published: I had to drain all the joy out to get it through examination.

I’ve learned a great deal over the years, and I managed to be properly scholarly without as much desiccation in the new thesis. It still can’t be published without significant changes. A dissertation is quite different to a book for the wider public because its audience is entirely different.

I still don’t believe anyone needs three PhDs, even if I end up with three myself… but I am in love with the amount of learning along the way. Knowing the difference between writing for academics, for teachers, for the general public and for myself: not a bad outcome. Knowing when to stop researching and why to stop researching for about ten different types of books: what every writer needs.

Let me finish the last unfinished thought and then I’ll get back to work. What is that thought? I used nine languages for the first PhD, didn’t I? It was a Medieval History book, and I read over 139 primary sources (Old French epic legends, Middle English Arthuriana, Latin chronicles and the like), and I had to have both the medieval language and the modern language and… it was so much fun. For years I was the world expert in Old French insults: I still teach how to use them effectively in fighting scenes.

Remember it was five languages for the second PhD, which was a time travel novel and a dissertation? I should have learned an extra language, but I discovered that Old Occitan was easy to read when one knows Latin and various dialects of Old French. I have the manual for it. I read through it once and realised that was enough to read most texts in Old Occitan. A friend once called this “the Medievalist advantage.” I try to say everything in the paragraph pompously because, honestly it sounds pompous.

The only languages I needed for the current PhD were English and French and maybe a little Spanish. That’s all. I learned the disciple, not extra languages.

There have to be PhDs where one only needs one language, but I’ve not undertaken any. Why? There’s a reason for the languages. They open up concepts and give exciting new insights. There is very little research that’s not better with knowledge of more languages. Think about it. Isn’t my life better because I can be rude to idiots in Old French?

Real Problems and the Stupid Coup

personby Nancy Jane Moore
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I finished reading Ed Yong’s An Immense World this week. It is a brilliant explanation of the myriad of senses of the animals on this planet. He has talked to so many great scientists doing deep work, and made what they’re doing clear to the rest of us.

But it left me with — once again — the understanding that we have real problems to address on this planet and instead we’re forced to deal with what Rebecca Solnit has taken to calling the “Stupid Coup,” a name that becomes more apt with each day.

In the last pages of the book, Yong talks about the problems posed by light pollution — which affects the senses of many insects, birds, and bats, not to mention human beings. But he also mentions such things as ships crossing the ocean affecting whales, the damage to the Great Coral Reef, and how such things create a cascade of damage.

About ten years ago, my partner and I backpacked in the Ventana Wilderness, in the northern part of the Los Padres National Forest here in California. I tell many stories about that trip — how we waded the Carmel River 25 times (not an exaggeration), how bad the trail was in spots — but one of the real glories of it was that, with the exception of a airplane or two overhead, we didn’t hear any human noises for three days except the ones we made.

And we could see the stars (through the trees and clouds, at least) because we were surrounded by enough mountains and trees to block light from the nearby cities. One of those nights — the one where we collapsed into our sleeping bags, completely exhausted — we heard frogs and crickets for hours. Nothing else.

Do you know how rare that is?

I doubt that humans, who have only been living in this overlit and noisy state for about a hundred years – somewhat longer for noise – have adapted, even though we know what’s going on. You can be damn sure that the other creatures on the planet have not.

Fortunately, a whole lot of scientists have ideas on what to do about that for the benefit of both people and all the other creatures.

Unfortunately, what they recommend will not even get discussed these days because of the Stupid Coup. People who aren’t willing to consider the effects of air pollution on human beings (“drill, baby, drill”) are certainly not going to worry about light pollution reducing the insect population. Continue reading “Real Problems and the Stupid Coup”…

For the Good of the Realm in Outcasts StoryBundle

personby Nancy Jane Moore
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Covers of all the books in the Outcasts Storybundle.

My novel For the Good of the Realm is part of the Outcasts StoryBundle, curated by Danielle Ackley-McPhail.

As the description on the StoryBundle link says, “Outsiders. Rebels. Free-Thinkers. Who doesn’t love an underdog?” In all these books an outsider plays a key role even though they’re likely not appreciated.

As with all storybundles, you can get the whole package of ebooks for $20 or pay more if you’re so inclined.

Read more about the bundle on the eSpec Books blog.

Breathe, but Safely

personby Nancy Jane Moore
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During the pandemic I figured out that Covid and many other diseases spread through the air and could be minimized and contained with good indoor air quality methods. While I was far from alone in this understanding – I learned about it from some very smart people – those with the clout to make sure we improved air in every place from schools to public buildings to offices and other workplaces ignored or minimized the problem.

As a result, many of us still find it necessary to wear masks in a lot of indoor spaces, something that is not only annoying, but actually under attacks. Far too little has been done to improve indoor air quality despite the fact that the benefits go much farther than avoiding contagious diseases and include improved cognitive functioning and avoidance of health problems caused by chemicals trapped in poorly ventilated spaces.

So when I stumbled on Carl Zimmer’s book Air-Borne: The Hidden History of the Life We Breathe while browsing in a bookstore, I was intrigued. I knew Zimmer was a science writer for The New York Times, and the book seemed to have thorough reporting.

What convinced me to buy this thick book in hardback rather than wait until it was available in the library was the blurb from Ed Yong, who called Zimmer “one of the very best science writers” and noted that the book would leave readers “agog at the incredible world that floats unseen around us and outraged at the forces that stopped us from appreciating that world until, for many people, it was too late.”

I almost never buy books based on blurbs, but since Yong is a brilliant science writer and a man of fierce integrity when it comes to his profession, I had no doubt that he was giving his honest opinion.

And he was right. Air-Borne is a superb book that shows deep research into the history of the things that float in our air – much more than viruses – and of the people who have struggled to show us that we need to pay attention to what we’re breathing.

I was already outraged before I read it, but looking at the history increased my fervor. So many scientists came up with valuable clues to how viruses, bacteria, and fungi spread through the air only to be pushed aside or overlooked.

The book starts with a 2023 concert by the Skagit Valley Chorale, the choir in Washington state that experienced a super-spreader event that left two people dead after they met to rehearse during the early days of the pandemic. The number of people infected at that rehearsal was one of the things that made people realize this virus was air-borne.

Zimmer was at that concert with a CO2 meter in his pocket, trying to gauge if he needed a mask. As someone who often travels with a CO2 meter, since the amount of CO2 in the air gives you a good idea of the ventilation in a space, I recognized a kindred spirit. Continue reading “Breathe, but Safely”…

personby Gillian Polack
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The changes in the US are reaching out over the world. Added to the increase in antisemitism and many more people are looking through a red veil and seeing hate or despite when the reality is we’re not communicating clearly. Whether I’m right or wrong or entirely evil in whatever I say, I feel like a mouse with cats both visible and invisible, just waiting to pounce. Some of my friends have gone quiet, which is sensible. I am sometimes not so quiet and a random cat pounces. The cat might be pouncing because I’m vermin or because they’re hyper-aware and see me as vermin, but either way…. they pounce.

And I need to think of nicer things. Not the cyclone. It was not, as cyclones go, a very big one. In fact, it was hardly a cyclone at all. The parts of SE Queensland and NE NSW it hit, though, included much flat land that was easily saturated with water. People talk about the hills of Brisbane, and yes, they are pretty. But Brisbane airport is 3m above sea level and it’s not the only part that’s so close to sea level. When there’s too much rain, the land becomes saturated quickly and Brisbane floods and the floods do not roll down the mountains to the sea… because a large part of the city has low elevation. On the Gold Coast, there is very little beach left, but beach can be restored. So far, all my friends and family in that region are fine, which is something.

You need some good news, right?

The first bit of good news has to do with water… from the opposite end to floods. There is a new book (ebook right now, and I’ll make a formal announcement when the paperback comes out) that talks about water and that intends to raise money to help people in very dry areas (Sahel-dry) manage water. I have an alternate history sarcastic little piece in it. You can find the ebook here:  Yemoja’s Tears

The second bit of good news is that later this week is Purim (the feast of Esther) and it’s obligatory for me to get drunk. This year I think I need it.

The War on Infrastructure

personby Nancy Jane Moore
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About a year and a half ago, I wrote on this blog about Deb Chachra’s fabulous book How Infrastructure Works.

One of the key messages I got from that book – outside of the fact that Prof. Chachra loves to tour power plants and dams – was that infrastructure makes modern life possible. We have hot and cold running water in our houses. A flick of a switch gives us power.

Flick another one and you’re online, having a video chat with your friend on the other side of the world.

At the moment I’m reading another book – Carl Zimmer’s Air-Borne – and while that’s a book that discusses germ theory and contagious disease (indoor air quality is another passion of mine and you’ll hear more about this book another time), it made me realize something else: so much of the infrastructure we rely on is incredibly new.

In discussing some experiments that required collecting air samples high in the atmosphere by airplane, he mentioned Charles Lindbergh’s flights in the 1930s when he was scouting out routes for commercial airlines. Because in the early 1930s, we didn’t yet have commercial air traffic across the oceans.

I’m sure if you were born in the 21st century, 1930 seems like the dark ages. But there are still people around on this planet who were alive back then. It’s not very long ago.

We’ve become very accustomed to a lot of this infrastructure – including flying from continent to continent – in a short period of time.

We really don’t want to lose it. As Prof. Chachra points out:

We’ve created these collective infrastructural systems that make our lives, as we know them, possible. Any future with limited, reduced, or even more frequently interrupted access to them is recognizably worse than our present, if not downright dystopian.

She was speaking about climate change, which is already taking a toll on our infrastructure. It’s also been eroded due to poor maintenance over the years. In Oakland, where I live, a lot of water pipes are over a hundred years old because it was just over a hundred years ago that the water system was firmly put in place.

And while a hundred years isn’t a long time to have a municipal water system, it is a long time to rely on the original pipes.

But now we’re facing a third attack on our infrastructure, one that is causing much more immediate damage than even climate change and neglect. I refer to the chainsaw destruction of the federal government by the broligarch in chief and his grifter in the White House. Continue reading “The War on Infrastructure”…

The Cost of Fear: A Great Book on Self-Defense

personby Nancy Jane Moore
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Every fall, when it starts to get dark earlier, we see a deluge of messages on social media aimed at telling women how to stay safe (and yelling at men because they don’t have to pay attention to such things). These messages – which include things like holding your keys in your hands and not going out alone at night – are usually well-meant and mostly wrong.

There are also ongoing debates about how to deal with violence against women in our society, with many people arguing that the focus should be on those who commit the violence. These people think it’s unfair to encourage women to learn self-defense, since they’re not the cause of the problem, and advocate for programs aimed at perpetrators.

Unfortunately, even improved laws and law enforcement around sexual assault and rape – and such improvements are scant – don’t help when someone’s being hurt, and the training programs aimed at stopping men from harming have been unsuccessful.

What has been most successful, as Meg Stone points out in her excellent and thorough new book The Cost of Fear: Why Most Safety Advice Is Sexist and How We Can Stop Gender-Based Violence, is the approach taught as empowerment self-defense, a feminist-based system that includes both training in effective physical techniques and a number of other skills such as boundary-setting that can prevent a difficult situation from getting out of hand.

Stone is the executive director of IMPACT Boston, one of a number of groups worldwide teaching effective self defense as more than just fighting back. She’s also worked in the area of preventing gender-based violence for over thirty years and, as this books illustrates, she is very skilled at presenting the issues in a way that changes the response without provoking more of a fight – a very useful self-defense skill.

As Stone points out in detail in the book, linking to studies, unlike the short programs aimed at convincing, say, male college students not to attack women, empowerment self defense classes such as those taught by  IMPACT and similar programs have been shown to reduce the number of assaults and to otherwise give women the power to make their position safer.

As Denise Velasco, a participant in a program teaching self defense to janitorial workers at risk of assault, told Stone:

I came to a point where I understood that self-defense wasn’t just about defending  yourself; it was about changing the way you looked at the world in terms of your own power.

Continue reading “The Cost of Fear: A Great Book on Self-Defense”…

Defiantly Acting Free

personby Nancy Jane Moore
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My partner and I are making our way through The Ultimate Hidden Truth of the World …, a posthumous book of essays by David Graeber, with one of us reading it aloud while the other is cooking. Thursday night, Jim was reading an essay called “On the Phenomenology of Giant Puppets,” a piece about the late 20th and early 21st century global justice movement.

He read these words:

Direct action is a form of resistance that, in its structure, is meant to prefigure the genuinely free society one wishes to create. Revolutionary action is not a form of self-sacrifice, a grim dedication to doing whatever it takes to achieve a future world of freedom. It is the defiant insistence on acting as if one is already free. [emphasis added]

And I exclaimed “Yes” and would have thrust my fist in the air if I hadn’t been stirring a pot.

Now this is in part because I am inspired, as I wrote a couple of weeks ago, by the likes of the Zen Monk Takuan Soho, who did not cower before the powerful or mistreat those who lacked power.

I want to move through the world as a free person, to treat all with respect so long as they do the same to me, and to stand up to bullies and Nazis. That this may be a perilous time for such an attitude does not keep it from resonating deeply with me.

I have a friend who refers to the rich and powerful as our “owners.” It drives me crazy, though I understand what she means and can even see some merit in the usage when I think of organizing unions of workers and tenants and others.

But I do not acknowledge that anyone has that kind of right over me. That certainly includes the broligarch in chief who is orchestrating the destruction of our government right now.

This is also driven by my feminism, because so much of what is going on right now is aimed at making women into second-class citizens again – people with limited rights but still bound by the law – and I am damned if I am willing to go along with that.

I didn’t think I was inferior back when the law treated me as such – I am old enough to remember when the minimum wage for women was lower than that for men, just as an example – and I have no intention of recognizing anyone’s right to reinstate that kind of misogynistic discrimination.

Some of it is rooted in the current of American Exceptionalism in which I was raised. In my childhood, it was not uncommon to hear a dispute on the playground that ended in the words “It’s a free country.” Continue reading “Defiantly Acting Free”…

A Reading Practice

personby Nancy Jane Moore
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I’ve been working on adding some new practices to my daily schedule. A key thing I added in December – even before the Solstice, much less the official New Year – was to spend about 15 or 20 minutes reading every morning.

The original purpose was to give myself a reason to sit quietly for a few minutes before checking my blood pressure – which I’m keeping a close eye on – but it quickly evolved into something I really wanted to do. And that was probably because of the book I started with: Carlo Rovelli’s The Order of Time.

I stumbled on that book in a used bookstore in Sebastopol (the one in California, not Crimea) last summer and bought it on impulse. When I started doing the reading back in December, I pulled it out with a couple of other books on much the same impulse, and quickly fell into it.

Rovelli is a physicist, and the book is about the understanding of time by physicists, and yet that doesn’t begin to completely describe it, not to mention that it doesn’t tell anyone what a joy it is to read.

Rovelli is a lyrical writer and a gentle one. He can make statements that might be controversial without issuing a challenge. While I’m reading the English translation of this book (it was translated by Erica Segre and Simon Carnell), I am quite sure the beautiful and gentle writing is all Rovelli and was there in the Italian original. Rovelli does speak English (and likely several other languages, given the different scientists with whom he has worked), so I imagine he has some idea of what his words should look like when translated.

In doing this reading, I began to keep something of a commonplace book in which I wrote down quotations from the book or, occasionally, my own reaction.

Here are some of quotes that struck me:

Nothing is valid always and everywhere.

[T]he world is nothing but change.

The world is not a collection of things, it is a collection of events.

We are part of a network that goes far beyond the few days of our lives and the few square meters that we tread.

We are more complex than our mental faculties are capable of grasping.

I could go on, but perhaps that is enough to entice others to read this book. Continue reading “A Reading Practice”…

Why is there no Jewish Australian culture or art?

personby Gillian Polack
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I meant to return to answering questions today. Next week. Today I have other things on my mind.

Yesterday, I was caught up in trying to work out why it’s so important to so many people to not let Jews mourn loss. I saw Irish Jews forced to leave a Holocaust Memorial ceremony. I saw people told “What about others who have died?” when they tried to mourn families murdered during the Holocaust. I saw so much more than this that I lost words and avoided writing.

Even political leaders who gave official statements about the Holocaust toned it down this year, left off the dangerous word ‘Jews’ and generally faffed around. Someone on my timeline suggested that we should mourn all lives not focus on specific lives even for one day, and I wondered if it were possible to make all anniversaries about the death of a parent about all parents without hurting those who had lost their parents. We all need time to mourn because we all need to heal when we’re hurt. Each and every one of us at an appropriate time. Not all of us for just one shared minute.

This mood carried over into all kinds of other things. One of them left me incoherent until this morning. Please understand that I am not yet over my incoherence. This may not be the best post I’ve ever done, but my heart is in it.

Someone on social media said, “Think of all the colour, art, theatre, celebration and other cultural value that immigrants and different cultures have brought to Australia. Hmm just remind me what the Jews have brought us, a bit of theatre and film maybe?”

The first Australian opera was written by someone Jewish: Isaac Nathan. The famous story of Fisher’s ghost, the story that led to a Fisher’s ghost festival every single year in the Sydney region… it was written by someone Jewish. The writer who brought English folktales into the international fold and who is still read as the classic purveyor of English folk tales was Jewish and from Australia.

Jewish Australia was such a strong part of Australia’s nineteenth century culture.

We couldn’t stand out and be different very often, because that was not safe. This doesn’t mean that we didn’t contribute. Jews have been part of Australian culture since modern Australia began, just as Jews have lived in Australia since 1788. One of the first free settlers in Australia was a Jewish baby who arrived on the First Fleet, and many of the early arts and early printing in colonial Australia were by Jews or done with Jews.

This particular history shows why some of us create art and celebrate culture that is similar to mainstream culture: religious difference does not imply complete cultural difference.

More than that, though: many Jewish cultural mavens don’t have the same access to the wider community because it’s not safe or because they/we are too Jewish.

Still more, this means is that Jews in Australia are left aside by others who share culture, because of histories past and shameful. Let me give you an example. When I first came to Canberra I met the people in charge at our Polish club and they told me I was welcome to join, since I had ancestors from Bialystock and from around Warsaw and we spoke very similar cultural languages. Then they discovered I was Jewish and they said “We do not accept Jews.” At the cultural festivals in Canberra, there used to be Jewish and Israeli foodstalls and singing and dancing, but these days it’s not safe and very few Jewish culture-bearers from any background are on programs and everyone asks me “Why don’t we have a Jewish food fair any more?” The food fair is a specific thing. It covered many different Jewish food cultures, and was a delight. It was run to make money for children’s education, but the insurance premiums the Jewish community had to pay were so high after the Molotov cocktails 20+ years ago, that the community would not only not raise money with a food fair… it would go into debt.

One of the wonders of modern Australian history is the great change that made us a nation with so many writers and musicians and actors and… an immensely artistic country. This development of the arts into something of international note (including that enviable coffee culture) was spearheaded by Holocaust survivors. And yet there is not Jewish contribution to culture and the arts?

When I was in my teens I asked many Shoah survivors, including writers, “Why Melbourne? What made you choose to come to Melbourne?” I was told they wanted to get as far from Europe as they could. These people were mostly honorary aunties and uncles who went to school, university or shared a social group with one of my parents.

We were the older Australian Jews. They still shared their art with the rest of Australia. Much of Australia simply pretended my branch of Australian Jewish weren’t Jewish at all, or were pretenders, or did not have and specific cultural background they presented. My father’s first cousin, Linda, has had any indication of her Jewishness removed from her Wikipedia page, except for the title of one of her most popular song series.

We are not really permitted to show off the folk culture or the national culture the way other Australians are able.

There is the bigotry, which I’ve mentioned. Add to this the need to be safe, which is related to the bigotry.

There is another related factor. Many non-Jewish Australians pretend we don’t exist. This is why almost no-one in Australia knows who the author is of the first Australian Jewish fantasy novel. How do I know almost no-one knows? Because I am that author.

Another aspect is whether others who share our ancestral cultures are willing to share. The Polish Club fits in here. Just as the Polish club did not want me, few mainstream Australian culture experts see Jewish Australian writers unless we write about the Holocaust, about rebellion against Ultra-Orthodoxy… in other words, unless we create what they feel we ought to create. Our own culture is far less important than their view of it.

Also, for some of us, our culture is Anglo-Australia. My cultural foodways include challah and lamingtons and meat pies. We’re entirely allowed to publicly celebrate the lamingtons and meat pies, but most Australians don’t see how challah fits into the picture.

Add to all this that we can’t appear too different and still be safe. There are days and times I cannot walk in a given place and guarantee my safety. When I’m in Melbourne on a day where pro-Palestinians march, I cannot use the State Library without walking around the long, long way and entering by the back, for instance. I cannot walk that far, so I cannot use the State Library on those days.

Jews in Australia have never been permitted to be too different from majority culture and so we have our own culture, that is similar to that of the majority. This doesn’t mean we bring nothing, because our ancestors were part of that majority culture before we even came to Australia. It means that some people look and don’t see something they think of as distinctive or exotic and so think we have brought nothing. Take Jewish composers out of Australian history and the whole modern development of international level music would be jeopardised. The folk music scene in Melbourne would lose its best violinist.  Dame Edna Everage would not have worn those glasses. Eliot Goblet and John Safran and Elle McFeast would not be part of our world. There is so much culture Australia would not have.

We cannot appear too different in public. I can be publicly Jewish because I have an Anglo-Australian culture, but local bookshops do not stock my books – not even the ones used in universities in the US and Germany – and I am not sufficiently distinctively Jewish  because when anyone assesses Jewish culture in Australia, the whole of the Anglo side of things tends to be ignored. This is why I wrote The Wizardry of Jewish Women – I am trying to redress that balance.

Let me ask that question from social media again:

“Think of all the colour, art, theatre, celebration and other cultural value that immigrants and different cultures have brought to Australia. Hmm just remind me what the Jews have brought us, a bit of theatre and film maybe?”

What does most of Australia bring to understanding and even encouraging Jewish Australian cultures? Not much at all. It’s not a lack of culture. It’s a lack of knowledge and a lack of community.

Update: I always tangle certain writers. There was more than one John Lang. The one who wrote Fisher’s Ghost was Australian-born, and famous for it. He was not the brother of Andrew Lang, of the many-coloured fairy books. The Fisher’s Ghost Lang’s maternal grandfather was one of the Jews who arrived here on the First Fleet, so Lang himself was not actually Jewish.  I always, always get the many Langs confused. I wrote articles to make sure I didn’t, but I still do. John Lang still fits here, but as someone with Jewish heritage, not as a practising Jew.