Category: fiction

The Pretty Past

personby Madeleine Robins
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I am working on spiffing up and making small revisions to my first three Sarah Tolerance mysteries, preparatory to reissuing them before I bring out #4 (title still in discussion watch the skies, etc.) One of the things I want to do is add a brief essay to each book about some aspect of the setting (and how, since these are books set in an alternate version of the English Regency, I might have changed it). This had led me to a whole lot of distracting but fun rumination, as well as an examination of why I wanted to write these books in the first place.

One of my favorite bits in the 1995 film of Sense and Sensibility is a throwaway line: as the Misses Dashwood and their hostess, Mrs. Jenkins, leave a carriage to attend an evening party in London, Mrs. Jenkins says “Mind your slippers, ladies! The horses have been here.”

Why do I love this? The line doesn’t appear in Austen; it’s there to remind the modern audience that this is a different world. It’s not just that social mores have changed. The day-to-day process of life has changed. We don’t get around using horses and carriages, so you don’t have to worry about horseshit soiling your nice dancing slippers. I love it because it’s a very mild antidote to the sorts of romances I grew up reading, which zipped right over the physical difficulties of life in the Olden Days. When I was writing Regency romances I would occasionally be asked (breathlessly) “don’t you wish you lived then?” To which my answer was always “Hell, no.” No painless dentistry, no antibiotics, no central heating, no reliable refrigeration, heating with wood or coal fire… Add to that my certainty that I would not have been the daughter of a wealthy peer, but more likely a maid or factory girl, dying early from a disfiguring disease (although in fact, dying early, particularly in childbirth, could happen to any woman up or down the social scale). The sanitized past of the Regency romances I gobbled by the ton began to annoy me.

One thing I knew when I started writing Point of Honour, the first of the Sarah Tolerance books, was that I wanted it to be largely set in London, and I wanted to at least nod to the physical rigors of life in the Olden Days. T0 the smells, particularly of the Thames, which was breathtakingly polluted, and particularly in the summer had a stench that penetrated to the city, even in the nice neighborhoods. To the waste and the necessity for crossing sweeps (hordes of little boys who haunted street corners and would swee the mud, dust, fecal matter and urine out of the path of a pedestrian willing to pay). To the darkness: gas lamps were installed in Pall Mall in 1807, and there was an ordinance that every house must have a lamp or torch outside the front door, to dispel a little of the darkness. In poorer neighborhoods this law was largely ignored, and the streets could be pitch dark.

Regency romances don’t mention the outhouses, but I wanted to. I wanted to get dentistry (and its lack) and medicine (and its well intentioned and often wrong-headed notions) and to at least reflect the difficulty of daily life for the people who are not in the top tier of society. See, I knew, given the premise of the book, that I would be playing with the social conventions of Regency London. If I–or my Fallen Woman protagonist–was going to spit in the eye of social norms, the least I could do was give her a milieu that was equally brave. And un-sanitized.

And I admit that I have a small frisson of delight in detailing the dental shortcomings and smallpox scars of my characters, and in writing a scene where a “gold finder” (a slang term for the guy who cleaned out your privy when such was needful) disrupts the orderly working of a household. It’s not that the past wasn’t pretty: it’s just that that’s not all it was.

 

 

 

 

 

The Future We Want

personby Nancy Jane Moore
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I’ve been putting myself to sleep at night by envisioning the kind of future world I’d like to see. Being a science fiction writer as well as someone who has spent much of my life doing work toward social change, I’m always thinking about better systems.

But the combination of the polycrises we face (I’m deliberately using the plural of crisis here because we not only have multiple crises that affect each other – thus the poly – but each crisis has its own set of multiple components) with the forthcoming grifter/broligarch/religious and right wing extremist government has urged me more in that direction.

Given that the government will not only not be addressing the polycrises but will in fact be doing things that make them much, much worse, I cannot be satisfied by resistance. And given that the status quo was already shaky – very little being done about climate change, inequality, and the cost of housing, not to mention protecting the country from insurrectionists – I’m not feeling pumped up about trying to get back to that.

Yeah, we need the rule of law and the Constitution here in the United States, but both those things have some big flaws that should have been addressed a long time ago. Most of the resistance will be focused on keeping political things from getting too much worse, but it won’t be fixing any of the underlying problems.

So I am trying to envision what we could have. I recently read an essay Donella Meadows wrote in 1994, “Envisioning a Sustainable World,” and it inspired me to do more imagining of what kind of world we could have.

Meadows was one of the authors of the 1972 work Limits to Growth, which provided a guide to the problems we’re facing right now. You can find out more about her work here and download a free copy of Limits to Growth here:

Of course, I’ve been working on envisioning futures all along.  Lately, I’ve been reading some futurist thinking to help expand my ability to do that. You have to be careful with futurists, since many of them are tied in with tech bro thinking, but there are some very useful skills in that area that help you get past the “there’s no way that could happen” point.

You have to get past the “there’s no way that could happen” point before you can open your mind to anything new.

Continue reading “The Future We Want”…

From Little England to New York, not forgetting the Wild West

personby Gillian Polack
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I once wondered what would happen if each time a place was central to a novel what would happen to the place if the mentions carrying charges. If the charges were of fairystuff, then new York and London, more than anywhere else in the English-speaking world, would turn into fairy wonderlands. Japanese anime answered this question for me by making the charges the stuff of detonation and world-changing tragedy. Tokyo has died more times than anywhere else in the Japanese-speaking world.

When I’d explored this notion decades ago, I kept it in mind, and nearly made a map containing all the places that were the heartland of a novel, just to find out more. At that point I entered the public service (this was a long time ago) and there was no time to make maps.

I turned my thoughts to notions that did not need mapping. How much do we centre our narratives around the US and around England? What does this do to our sense of what makes home? How does it affect how we see ourselves? Often it means we see ourselves poorly, because the London and New York publishing industries tend to reinforce the bias from the stories they select for publication. It’s far, far harder for outsiders to get published and have careers without moving to those places and creating networks and being seen. The further one is from a central place, the more difficult it is. In Australia, Sydney, Melbourne (and recently Brisbane) are those central points. People who can travel a lot and create modern networks are less disadvantaged. We know what this does to careers. I’m not sure we have looked deeply enough into what this does for the stories we tell.

Today, I’m thinking about this quite specifically in relation to the US’s story dream of a Wild West and in Australia’s equivalent. In novel terms, my favourite Australian story based in our Wild-West equivalent is Voss. It’s the opposite of anything written by Zane Grey. White won a Nobel Prize and Grey sold more novels than I can count. They are not, to be fair, good comparisons, because they were not simply written at far ends of the world, but they are also at far ends of the literary spectrum. Yet White and Grey are the two writers who always come to mind when I start to think about popular stories that share history. I read them both when I was fifteen and sixteen. I fiercely wanted to understand them. I didn’t want the literary understanding I was being offered at school. I wanted to understand how they tell us who we are and what would happen if we put them in historical perspective.

Both writers demonstrate some of the core stories we associate with European settlement when we’re telling stories that focus on that settlement. Those core stories give me hints on how we shape our own histories to make them distinctive. The publishing tendency to centralise rubs away differences. Publishing tends to limit the range of stories we’re offered and to focus on areas that publishers think will sell. This reinforces a small concept of the past and the reinforces it again and again and again until we think it’s legendary. Those of us who are not in the right region or culture find the legendary passes us by.

When I was twenty-six I accepted that job in Canberra and suddenly the stories of a gunslinging past were staring at me from the roads I walked. Local farmers were descended from famous bushrangers (Australian outlaws). Canberra is on the road from the goldfields to the big smoke. And yet… we didn’t have a big set of Wild West stories. We have some bushranger songs and tales, but they’re not encapsulated in a whole world the way the Wild West stories are. Australia’s writing legacy was through the UK rather than through the US and do, instead of dime novels, we had penny-dreadfuls and their ilk and heirs. We had writers such as Mary Fortune and Fergus Hume and, later, Arthur Upfield. They’re quite different in nature and story style. In many cases, the lives of the writers themselves held elements of that penny-dreadfulness and the books were often set in Melbourne. For Fortune and Hume, the best place to start with with the work of Lucy Sussex. She is also from Melbourne. Melbourne is, these days, a City of Literature, but it still relies on people living there and does not reach out so much to the rest of Australia. Likewise, the earlier Australian popular literature mentions of places do not seem to carry the same charges as novels set in New York or in the Wild West.

For readers, this is a good thing. Each novel can be read by itself and for itself. But from a cultural standpoint, it’s not so good. The pressure remains to write novels set in New York or to tell yet another Wild West science fiction story.

What are we missing with this? I was going to explore this in another post, next week, but I’ve been thinking about it. Would anyone reading this (including Treehouse friends!) like to talk about our histories? We could compare the dates we’re taught as important. We could discuss why the US has the Wild West while Australia has Marvellous Melbourne. We could compare goldrushes and outlaw stories. It could be a great deal of fun. Would anyone like to share a discussion? (Not for next week, for a mutually convenient future time.)

Endings and beginnings and food and drink

personby Gillian Polack
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Tonight my mood shifted dramatically. I like to think that this signals a better year for all of us in 2025. For certain, it signals that a friend had a birthday and that I got to taste a yuzu saké (light and slightly fizzy and perfectly delightful) and am maybe a little drunk. I seldom get drunk. I used not to be able to (trust me, friends tested this, many times) and now that I can… I don’t care to any more. Tonight was an exception. I avoided the wine and only emerged to taste the various types of saké. I like the sake gin, but I adored the yuzu saké and so I drank two glasses.

All I got from drinking was being very relaxed and talkative (and I am often talkative, so even that was nothing new) and a very enthusiastic discussion of the foodways of Japan and South Korea. I was also given two small bottles of cooking saké. I am supposed to be writing up a literature study now, but my mind is fixated on the best dishes to make with cloudy cooking saké and clear cooking saké. Australian-made. I am thinking chicken. Maybe using the same technique I use to cook chicken with verjuice. Maybe something different. I shall put my dream-brain on the problem and emerge with something wonderful for my first dinner next year. I shall eat the chicken and rice with tabbouli (my grandmother’s recipe).

Quite obviously, me slightly drunk is not a lot different from me slightly sober. I think about food history, pop culture, and what food I should be cooking with cool ingredients. I might do some shopping for more cool ingredients tomorrow, for delivery in the new year, just to provide continuity of thought. And I shall finish my literature review tonight and put the books away so that the friends coming to dinner for Chanukah tomorrow have chairs to sit on. I will be offering them tortillas with various fillings and much salad. Also cherries and apricots and iced tea.

This is maybe the best way possible to spend the second last and last nights of the old year. With friends, having enjoyable conversations, not a single racist in sight, and dreams of what to do in 2025.

May you also have a very fine last two days of a not-so-good year, and emerge into a far more delightful 2025. I know it will be more delightful because I have publications emerging. One of the stories that will emerge is exceedingly sarcastic. This is another very good continuity between two years. I like the thought of all of us dumping the bad and enjoying the good.

Happy 2025!

Melted Brains

personby Gillian Polack
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These last few days I reacted to all the not-so-good things in my life by writing a story. The trigger was being told about six different interpretations of Dickens’ Christmas Carol in far too close succession. I’m not quite finished the story yet, but I had such a strong reaction to my small reveal that I am sitting back, bewildered.

The tale is set in a world I’ve used before, the same Jewish Australia that provides the setting for The Wizardry of Jewish Women. Judith, one of the protagonists of Wizardry has a boyfriend that people who read my short stories will know. Secret knowledge. Rather important secret knowledge. The story read with that knowledge is quite different to the story read without it. That’s not what my readers were reacting to. I didn’t tell them about Ash, who happens to be the Demon King and to be an outstanding student of Torah.

I still don’t know why these small words elected any excitement at all, I talked about writing “a Jewish Arthurian story, and the narrator is drunk.” The thing is, it being me, it’s not an adventure story. It’s a cosy tale set in the Middle Ages and is full of rabbis and people who think far too highly of themselves. Judith has opinions about everything and most of her knowledge is borrowed. Maimonides and Rashi are both mentioned, far too often and… trust me, this is not the story most people think of when they dream of Jewish Arthurian matters.

There is much Middle Ages in my life again, which is why it intrudes into my fiction. My next novel (the much-delayed one) is partly set in a Middle Ages. Not our Middle Ages, but close to it. It’s not our Middle Ages because I wanted to break away from the standard way we talk about history and bring people to life using… actual history. I always get into such trouble when I do this.

My non-fiction also contains the Middle Ages. Both of them have so much more than the Middle Ages, as does this little story. I think I might be living irony. Or is that sarcasm? We are in the middle of a heat wave in Australia and when the heat melts my brain the difference between irony and sarcasm melts along with it. This means my short story is the product of a melted brain and has a drunken narrator.

Pity my supporters on Patreon, because they will read it sometime in the next week. If they like it, I might consider editing it further and seeing if anyone wants to publish it*.

*I send all my new fiction out to patrons in a private newsletter. For some publishers this still counts as first publication and for others, not. In any case, I never send it out before it’s been given a thorough going-over, based partly on my patrons’ reactions to it. It’s the difference between a good first draft and a story ready to be shown to the world. My patrons get to see who I am as a writer, not just who I am when I have the help of amazing editors. I do not know what they will make of the drunken narrator nor the melted brain.

Predicting the Future?

personby Nancy Jane Moore
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Over twenty years ago I wrote a story about a young man who gets arrested on a trip to New Orleans for Mardi Gras because a blood test shows he has XX chromosomes even though he appears to be male. The Louisiana of that story’s time – which was more or less right now – had passed a law making it a crime to present yourself as anything but your “natural” gender.

He ends up in a jail cell with drag queens, a lesbian wearing male clothes, a trans person who is taking steps toward transition, and a woman not unlike himself – someone born with all the appearance of a woman, but with XY chromosomes.

I told it from his – very clueless, in the beginning – point of view because I wanted the story to be about someone who had never even considered the possibility that he was anything other than a cis man being forced to confront the situation.

It was a great story, but I was never able to sell it. I’ve looked at it over the years and seen a couple of things I’d change as I’ve increased my understanding of these matters, but it’s still a good story.

It’s just too late to publish it, at least as science fiction. It’s basically real life now. It’s obvious that many places are going to be punishing people for being trans or even – shades of the past – for dressing in a way that belies your assigned gender.

Maybe I should make the revisions and try it on a non-genre fiction magazine or anthology. Isn’t realistic a hallmark of literary fiction?

I’m not usually someone who writes science fiction that can be seen as predictive, but it was clear to me more than twenty years ago that there were places in the United States that might well pass laws against people for not fitting into prescribed gender roles.

Of course, I wrote it as a warning. That’s why most people write dystopias, after all. However, given the current fetish of the broligarchs for stupid takes on science fiction and fantasy, it’s easy to believe people would have taken it as a good idea.

I don’t want to live in Margaret Atwood’s Gilead or William Gibson’s Jackpot, but apparently a lot of people do. Continue reading “Predicting the Future?”…

Living in Margaret Atwood’s Future

personby Nancy Jane Moore
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Cover of the first edition of The Handmaid's TaleHistorian Timothy Snyder keeps telling us “Do not obey in advance” even as more and more people appear to be leaping up to kiss the ring (or perhaps a part of the anatomy) of the grifter now apparently headed back to the White House in the ultimate triumph of the January 6 insurrection.

This week in his newsletter he is looking at Margaret Atwood’s The Handmaid’s Tale in a three-part series. The third should be available the same day this post appears; the first is here and the second here.

In the first part, he critiques The New York Times’s summary of the book on its current trade paper bestseller list (where, I am glad to note, the book, which first came out forty years ago, has appeared for 139 weeks). The Times’s 16-word summary reads: “In the Republic of Gilead’s dystopian future, men and women perform the services assigned to them.”

His whole piece is worth reading, but he sums it up here:

Christian Reconstructionism is now at the edge of power in the United States, and the attitude of the relevant people towards the female body and indeed towards rape is an essential element of what is happening and what is likely to happen.  Both-sidesism, prudery, and euphemisms are keeping much of the media from bringing this story together in time.  We will need clear language in general, and this novel in particular, to see the whole picture.  I will develop this in two posts to come.

In the second essay, he makes this point:

The Republic of Gilead in The Handmaid’s Tale is not a purely invented world based on the law and culture of one religion or another.  It is a well-drawn post-America.

Prof. Snyder thinks this book is important to understanding where we are today and I certainly don’t disagree, though perhaps the most disturbing thing about what an accurate picture it paints of where we are is that the country did not take appropriate steps to head it off.

We can all argue about what those steps should have been, but I’ll leave that to others. I’m tired of dishing out blame. I’m more interested in fixes.

Alas, The Handmaid’s Tale, while an excellent description of one of the places we could be headed (the others being a utopia for certain tech bros and no one else or just the grifter’s unparalleled corruption accompanied by significant foreign influence) is not the best book for fixes. Continue reading “Living in Margaret Atwood’s Future”…

Some Thoughts on Gender and Community

personby Nancy Jane Moore
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One of the many things my sweetheart and I bonded over when we first got together was a love of Whileaway, the place where people live in Joanna Russ’s story “When It Changed.”

We’d both like to live there – that is, in the there before it changed.

I should point out that my sweetheart is a man and, for those of you who haven’t read the story, only women lived in Whileaway.

But he would, in fact, fit into that world rather well, despite being essentially and comfortably male.

It was, in fact, by being around him that I realized the most accurate statement of my gender is “not male.” That’s despite the fact that I’m the one with a sword and a black belt and, even though I know better, much more likely to end up in a physical fight.

I’m not talking about the kind of masculinity we often discuss as “testosterone poisoning” (though testosterone is not nearly as powerful as many believe) or the toxic masculinity of the fascists who just got elected.

It’s not as easily defined as that. It’s a maleness that is not uncomfortable in an all-female setting while still being itself.

I wanted to do many things in my life that were coded as male, but I never wanted to be a man. I am resolutely not girlie, nowhere near as feminine in interests or appearance as many of the trans women I know, but I am still comfortably a woman.

I set my pronouns as she or they because I don’t have a lot invested in my gender identity, but I would, in fact, correct you if you called me “he.” I am not male. (I wouldn’t be offended, but then I am not someone who gets subjected to intentional misgendering, another issue entirely.)

It isn’t likely to happen. I may be big and aggressive and loud, with a black belt and a law degree and an unwillingness to let people walk over me, but people don’t ever seem to take me as male. I don’t know if it’s the hair or the way my body’s shaped or just my presence, but something about me seems to say “female” to most people in much the same way that my quieter and calmer sweetheart’s presence seems to say “male.”

In fact, I suspect it’s my apparently obvious womanness that makes some men get very angry when I don’t turn tail or apologize profusely when they try to walk over me (or run me down with their cars). Women are supposed to quail before men like them, and I do not.

I often put that attitude down to years in martial arts, but as I reflect on it, I think the attitude was there long before I started training. Training made it safer for me to stand up to such men because it gave me tools to use in response, but I was always going to demand my rights.

Funny, though, while those men scream at me and clearly want to hit me or grab me, they never do. That might be because even as they are dismissing me as a girl and showing their contempt for me, they can read something in my presence that tells them it would be a bad idea to lay a hand on me.

I hope that’s the case. I make every effort to convey the attitude that messing with me is a bad idea. I may look like an old woman, but don’t assume I’m harmless just because you have some stereotypical idea of old women.

Continue reading “Some Thoughts on Gender and Community”…

Monsters and Books

personby Gillian Polack
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Today I’m dreaming of Jewish monsters. This is the reason: https://www.kickstarter.com/projects/ranthalix/jewish-monsters-and-magic-trading-cards

I heard about the project because the publisher of The Green Children Help Out is involved in it. There is an increasing number of people who, despite everything that’s going on in the world and all the antisemitism, are enjoying the wild and amazing stories that are part of all the Jewish cultures.

I saw that this weekend at the Virtual International Conference on the Fantastic in the Arts. R Andrea Lobel  was a guest of honour (who has published a story of mine in Other Covenants – sometimes I think the world is a tiny place) and delivered her plenary on Jewish fantasy.

First, she explained something that had me nodding in sad recognition: right now, a lot of Jewish writers are being avoided by publishers, by booksellers, by many people. Jewish writers from all over the world, and Israeli writers regardless of religion or political views. My own income from writing has suffered from this. I’m visible in some places, and in others, it’s as if I never existed… and I’m one of those who have experienced less hate. No book sales, but also no death threats.

Seeing the Jewish monster cards made me smile. Something cool and fun is entering this world despite all the hate. Of course I’ve backed them. I told my friends that they are a combined Chanukah and New Year present for me, myself and I, but the reality is that they are a tool with which I can combat ignorance and hate. I can learn more about Jewish monsters… and also use them to teach writing. I miss teaching, and cards like this would make it enormously fun.

Rabbi Lobel talked about the history of Jewish fantasy (English-language history, for she did not have two hours! The Jewish Fantastic goes back a long, long way.) then she gave examples of some modern writers of Jewish fantasy for the attendees. I think you might be interested in her list. I’ll give it to you as a screenshot.

R A Lobel's list of recent Jewish fantasy writing
Jewish fantastic fiction

The thing is – and this is not a small thing – there are hundreds of works. Not so many in Australia, which is another story, and I am still a bit overwhelmed that I’m on the list along with Jack Dann. This means that 50% of the current Jewish Australian fantasy writers who have published novels and short stories containing Jewish stuff is on this list. I doubt anyone in Australia will even notice. Jewish fantasy writers are not included in Jewish Writers’ festivals in Australia and Jewish writers are currently not very welcome in the literary scene. I notice, however, and it means a great deal. Mostly, it means that I shall not give up on my fiction despite the current problems.

This week’s post is not deep. It’s a small moment of joy in a difficult time.

Jewish King Arthurs

personby Gillian Polack
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In 1999 I daringly went to a conference (GrailQuest ‘99) and my two worlds collided as they never had before. I went for the Medieval Arthurian stuff (of which I’ve long had a strongly academic interest and about which I’ve written my fair share), but I wasn’t confident enough after all those years outside academic research and didn’t offer a paper. I was more active in the fiction side, and met many people who became long-term friends. I asked a question from the floor of an academic panel and everyone looked across and asked me a question back. They listened, and one of my favourite Aussie writers of the matters of Arthur took me aside and we talked about the subject for a fair while. The write-up of the conference published my answer. I was also asked for a non-academic version of my answer. This is the one I’m giving you this week.

A Jewish King Arthur?

OK, let me admit it up front. As far as I know King Arthur was not Jewish, not in any piece of medieval literature. I have seen him written up as a fairy, as a warlord, as the leader of a very fancy court, but never Jewish. But while he was definitely not Jewish, Jews wrote about him. How do I know the authors were are Jewish? Well, one work is in Hebrew and another in Yiddish. This is a fairly strong indication.

It is hard to say if any other Medieval Arthurian works are Jewish. Most are blatantly Christian. There is, for example, a wonderful prose romance (just amazingly long) where the Grail becomes a very religious object (which it may not have been originally, but that is another story): this is a decidedly Christian affair. And there are some named authors who belong to one court or another and are more likely to be not Jewish. Most Medieval literature is, naturally, by that prolific author anonymous.

One author is borderline. I have seen it argued that Chretien de Troyes (who first introduced the grail into Arthurian romance) was Jewish. He was one of France’s great poets, so I have always wanted it to be proven that he was, indeed Jewish, but the likelihood is that he was not. He may well have Jewish relatives though, or at least Jewish friends – his place of birth was an important Jewish centre, after all -so there is some consolation. Since Chretien as good as invented the verse novel known as the Medieval romance, even a vaguely possible Jewish link is a nice thing.

Most literature written in most medieval languages, sadly, has to be assumed to be Christian unless there is positive proof to the contrary. We are talking, you see, about a Christian society.

But because we are talking about Christian countries in the Christian corner of the world, we can be 100% certain that anything written in Hebrew or Yiddish is very, very unlikely to be written by a Christian. Hebrew was known by scholars of all sorts, but the one Hebrew Arthurian manuscript we have is purely and wholly and gloriously Jewish. There was no reason for clerics to write German texts down in Hebrew characters unless it was for a Jewish audience, so any Christian reader of a Yiddish Arthurian manuscript would have to be the rather bizarre combination of a scholar whose native tongue was German and who preferred to read a translation into a dialect of their vernacular language written in an odd script. Unlikely, I suspect, especially when there is a lovely German version of the same story (Wigalois). So the likelihood is nicely strong for the writer of Widuwilt (the Yiddish tale) to have been Jewish, and probably the copyists and, almost definitely most of the listeners. It was written originally to be declaimed or sung, so most of the audience were listeners rather than readers.

So we are back to the works themselves. What are they? Do we have any idea why they were written? What is their history?

The Hebrew tale is popularly known as the Melekh Artus, and was written in 1279 by a poor soul in the midst of a very trying time. We know this because he wrote it in his introduction: he was translating the Arthurian tales to cheer himself up, and justified it at great length, citing Rabbinic authority. The author/translator was from northern Italy and bits of Italian have crept in. As he was Jewish, bits of Christianity have crept out. Wherever his source has a mass, he omits it, and he translates concepts into Jewish equivalents. I am not sure that Saints and Tsaddikim are analogous, and I really like the thought of the Holy Grail becoming a dish used to give food to the poor.

Either the text is unfinished or the copyist ran our of steam, because the one manuscript of this amazing text is, alas, incomplete. Very incomplete. It is held in the Vatican, and has been edited and translated and yes, Canberra has a copy (at the National Library). Its literary value is very low, I must admit, and the French sources that were used are much more entertaining (except for the brilliant apologia at the beginning, which is well worth reading) but it is most definitely a Jewish (Italian) version of the Arthurian tales.

The other work is later and exists in several versions in several manuscripts and editions. It was not written down until the very close of the Middle Ages, but made up for this shocking lapse by being popular for centuries. Widuwilt only features Arthur as an aside. It is actually about Gawain and his son. It is from the German that the tale reached Yiddish, hardly surprisingly, from an Old French original. The hero has a different name I the German, though. Unfortunately, we have an early example of Jewish humour (maybe written by an ancestor of Sylvia Deutsch?). Apparently Gawain was not really paying attention when his wife bore him a son (he was just about to desert the poor lady, in point of fact) and so, when she asked him what Gawain wanted to call the baby, Gawain answered “Whatever you want”, so he was called “Whatever you want” or “Widuwilt”. Apart from this, most of the tale follows the German original according to my sources (which is just as well, because the French and the German are relatively available, but the Yiddish is not so none of these comments imply a sighting of the original!) except for some adventures added at the end.

It seems to be a lovely adventure romance, with all the Christian bits left intact (yes, Arthur holds court at Easter, rather than at Pesach!) and lots of good fighting. While the Hebrew tale was a bit more serious (as befitting a scholar suffering form melancholy) Widuwilt is simple entertainment, and very suited to a Spielmann and his audience.

Now for the $64,000 question: why am I interested in these works? Like the writer of the Melekh Artus, it is for sound and moral reasons, although I won’t go so far as to cite Rabbinic authority..

One thing that these Medieval Jews had in common with us was the fact that they were a minority group in a society so very Christian that it took that Christianity for granted. You ask most Australians and they will say that Australia is not a Christian society, that it is secular. Yet Christian holidays, Christian imagery and Christian concepts weigh down the very air we breathe. The relationship between Christianity and society was different in Italy in 1279 to Australia seven hundred years later, and Jews definitely have different status, different acceptance, different problems. But we are still not quite mainstream. We are still outside the norm.

Even in the more restrictive atmosphere of Medieval Europe, Jews could reach out and make sense of the fullness of the outside culture. Unless you translate a romance or read it in its original language, you cannot make any sense of the people who write and read in that style. Widuwilt is evidence that some Jews were enjoying Arthurian romances, and actively coming to terms with all those elements of Western European vernacular culture.

The fact that only two works have been translated or interpreted into Jewish languages, one unfinished and apparently for private use, shows that Jews had very different concerns to Christians. But it also show that there was overlap and a meeting of interests. Not only is this interesting in its own right, but it gives us a neat tool for use in understanding our own society, for understanding the culture we share with others, and those elements that are specifically Jewish.

As Australians we often use the dread phrase “cultural cringe”. It can apply just as much to being Jewish Australians as to being Australians in general. We are neither solely religious nor simple recipients of wider Australian culture. We don’t take the whole of our identity from Chaim Potok, nor from Mary Grant Bruce. King Arthur teaches us that. If there is a Jewish view of King Arthur and even a Jewish grail, then there is a Jewish view of everything.