Golden threads and weirdness and Australia.

I haven’t forgotten that I was going to introduce tsedakah last week. Stuff happens. And then more stuff happens. Much of the stuff has links to matters Jewish.

First we had the Bondi murders, and then a major literary conference fell to bits largely because of internal clashes about ethics. These internal clashes became a national mess. And now, Parliament’s back early and we had so many kind words about those lost at Bondi, and a national day of mourning later in the week and I think the whole country is confused. The latest political opinion poll suggests this. A far right party is coming out of the shadows and making one of the two largest parties in the country scared. The far left has most of its old vote, but not all. And our prime minister has lost most of his personal support: if Labor want a safe election next time, they might need to change their leadership. Or not. Labor is stubborn and full of factions.

All this pales compared with what’s happening in the Middle East, in Iran, in the US, and even in the UK. But it’s our mess, and we must handle it. One thing I would like to see us return to is civil society. Discussions and analyses rather than street marches.

Why? The big Sydney Harbour Bridge march last year had a lot of wonderful people doing what they thought was the right thing. Marching alongside them in support of Gazans were the Bondi shooters, and the rather antisemitic writer who upset the applecart in Adelaide and led to one of the most important writers’ festivals in the country being cancelled. Marching alongside this writer was almost everyone I’ve seen who is loudly and opinionatedly antisemitic. Many of these individuals were grouped near a guy holding a picture of Khomeini. I don’t know if it was a photo op, or if all these people actually work together, but the cluster of them in the most famous photo of the march indicates a cluster of problems.

It’s going to be difficult to roll back the performative and to return to the Aussie politics I used to know. I’m not connected in the way I used to be. I was pushed out of the behind-the-scenes stuff through being too Jewish and too ill. Australia admires health. It also has this really stupid habit of sweeping people who belong but should not be heard under the front stairs.

Why am I thinking of front stairs?

I’m back in the Middle Ages this week and ought to be talking about foodways, but have been focused on trying to understand our current very strange politics. What happens when the Middle Ages is there and I try to pretend it isn’t? Literary references happen, most frequently.

The boy under the stairs was Saint Alexis being holy. I’m probably under the stairs, but being sarcastic. The sarcasm means that old friends and new sneak in to join me, and we watch the goings on and are surprised at how people we know to be intelligent get caught up in performance and leave a goodly portion of their intellect behind.

Tsedekah is much nicer, but must wait until life is less exciting.

Just for the record, I could have gone to Parliament House and heard all the sorrowful speeches today. Instead, I watched the second last season of Stranger Things and I did some work and filled in all kinds of questionnaires. I decided it was not wise to hear those who ought to have sorted out the hate when it was straightforward being terribly sorry at all the murders. All those people should still be alive. Synagogues and mosques should not be burning. And all the time we spend trying to find that bolted horse could have been spent in doing so many things that Australia needed.

It will be Purim soon and gifts to two charities are traditional for this festival. I’ve chosen two that are important to me. It’s early, but all this thought led me to think what I could do. One charity gives reading to children. Those children are very rural and living on the land of their ancestors. They do so much better when they have books that concern themselves and are written by people they know in the language they speak. The other is for OzHarvest, which helped me out when I was under the poverty line. It rescues food and makes sure that food reaches people who don’t have the money to buy it.

Maybe around Purim will be an appropriate time to explain why the books are more Jewish as a gift than the food. Not more Jewish. I’m explaining badly. Ranked more highly as a type of gift. You’ll have to wait until March for the explanation.

Tomorrow is research-for-writing. I am interviewing a group of Jewish teenagers for a novel. A rather special novel, and one that I was not expecting to write. It’s not a guaranteed publication, but it’s a guaranteed “I’d love to see this if you’d consider writing it.” It’s the kind of book I’ve been saying we need for the last 20 years, one where Jewish Australia is shown as the driver of a story about Jewish Australians. The US has many YA novels that do just this for Jewish readers, but Australia, far less so.

I’m also finishing a short story where the King of Demons meets a very English vampire in Sydney. I have other fiction happening, including a novel emerging later in the year, but this week everything is Jewish.

The more hate there is, the more I write Jewish stories and Jewish history. Hate has reinforced my Jewishness ever since I was a child. When I was accused of eating baby’s blood in unleavened bread (in primary school), I taught the accusers basic kashruth. These are the type of stories I always tell.

What I don’t always tell is the reason I learned the Grace After Meals (the long one, all in Hebrew). I was so annoyed with several bigots and I decided I would say it every single lunchtime until the haters stopped bugging me. I kept saying it even after they stopped bugging me. Also they would have stopped bugging me anyhow, but I didn’t know this until it happened.

They didn’t stop because I could babble in Hebrew. They stopped because I became the high school student everyone else needed to ask questions of, especially in the lead up to exams. I could teach and I remembered everything teachers’ said and I understood it all. This gave me a place to belong, a role that was so very much mine. After I put the siddur away, someone would sit next to me and ask “Gillian, do you remember the calculus from yesterday?” or, a couple of years later, “Gillian, tell me about this piece of Chaucer.”

What most Jewish Australians have been pushed out of are those places we belong in the wider community. Since Australia is so secular, this is rather more important than it looks. Changing definitions, not listening to our voices, not publishing our books, telling us we have to leave our home country because we’re Jewish, accusing us of all kinds of impossible crimes… this all smudges together and makes an everyday that’s very difficult to handle.

Every single Australian organisation that still accepts me as Gillian (right now, my professional Medieval one, the Tolkien folks, and the Perth science fiction convention) gives me a golden thread to hold and to guide me through this labyrinth. Every single one that cuts off that thread (more than one writers’ organisation), leaves me stumbling. I find my balance within Jewish Australian culture, because that’s the place where my identity is not questioned.

As has been said so many times about Australia, we’re a weird mob. This is just another facet of that weirdness.

Books

I have 2 posts for you in the same day because this week is suddenly impossibly different. I wrote the prior post before the massacre and am spending my whole Chanukah dealing with consequences for myself and friends. My Baltimore nephew just checked in on me and I never would have thought that, with US shootings, it would be he who had to check in on me.

If you need to understand what happened, ask me, and I’ll post more next Monday. In the interim, I’m seeing a total lack of knowledge about Jewish Australia. Loads of generic good wishes and concern for safety, and some friends write to me directly and most put general statements on FB and don’t think that, just maybe, every single Jewish Australian is in mourning. Some people are full of theories about the role of Israel and want to share their theory without stopping to say, first, that they’re sorry that so many people were murdered and they mourn with us. Their thoughts count more than the humans caught up in this mess. This is what happened here when we heard about the Tree of Life stuff from 2018. I have a friend who goes to that shul and I was there for her then and she’s there for me now and it’s all so wrong. We should be complaining about the weather, not worried about getting safely through the week.

Even the least antisemitic non-Jewish Australians other Jews. American friends help. I wish the reasons for you understanding were not so full of hurt, but I’m grateful to every single one of you who reaches out to me.

How do we handle this? For me, books always help. I posted about this on Facebook – I thought I’d copy my post for you here. maybe books help you, too. After all, Jewish Australia is very, very different to Jewish America. For one thing, we think we’re much wittier and we like our spelling more and… Australian Rules Football. (The footie is an argument in itself – ask me why sometime)

From FB, but with more notes):

Jewish Australia is in the news for the worst possible reason and it might help some people if they know who we are. Jewish Australians may not be many, but our culture is diverse and very Australian. I thought you might like some books to understand a bit better. I’ve included one of my novels, because it’s specifically about Sydney Jews and so that you can have a novel to read if the others are too much right now. It’s safer: the protagonist merely discovered she has Jew cooties – having Jew cooties was much less scary back then.

Apple, Raymond. The Great Synagogue: A History of Sydney’s Big Shule (one of the most important synagogues in the country, and definitely the most important Modern Australian Orthodox synagogue in Sydney, often targeted by marchers who claim they’re not bigots – not yet bombed – the recently-bombed synagogues were in Melbourne)
Baker, Mark The Fiftieth Gate (Mark was an historian, just ahead of me at university. Australia has/had per capita, the biggest Holocaust survivor population outside Israel and one of these survivors was murdered on Sunday. Mark had to deal with those issues as an historian and also a child of survivors. This is that book.)
Gawenda, Michael My Life as a Jew (very recent. Michael was the editor of a major newspaper and so experienced antisemitism quite differently to most of us. He was born in a displacement camp.)
Kofman, Lee and Tamar Paluch Ruptured (a new anthology that shows the path Jewish women walked in the time after October 7.)
Polack, Gillian The Wizardry of Jewish Women (I’ve written far more Jewish things than this, but this is a novel exploring Jewish Australia from the view of someone who nearly lost all their Jewish past. What’s important about it here, is that Judith’s friends are all people from the Left who would not even talk to her now. I’m exploring this a little in short stories, which my Patreon folk have been reading. When I have enough, I’ll think about a story collection. I’m only 2 stories away from enough.)
Rutland, Suzanne The Jews in Australia (the standard history, dated but a very handy introduction)
Sackville-O’Donnell, Judith The first Fagin: the true story of Ikey Solomon (This is a fun way of discovering what’s now Tasmania’s early Jewish population. The differences between Fagin and the guy who inspired him are immense and tell a lot about antisemitism and how it warps things.)
Zable, Arnold Jewels and Ashes (And Aussie classic, all about the last days of a family in Bialystock. Arnold is one of our best story tellers and helped me understand why my grandfather wouldn’t talk about his childhood nor his lost family. His father brought him to Australia in 1917 or 1918, and 35 years later there was no family in Poland at all. Arnold was the last family connection to leave. His family was on a boat on the way here and were banned from entry because Australia had put up fences to keep jews out. Arnold’s family managed to be accepted in New Zealand and they moved here later. In the book, Feivel is the one who married my mother’s cousin. 120,000 people is not a lot, but it’s an enormous number compared with the hundreds in Australia prior to 1810 or the thousands in most of the 19th century. Older families are very interconnected, which is why I have so many links with the authors of these books. I don’t have the same links with post 1950s arrivals – we’re a complex bunch.)

If you want more, try here: Australian Jewish Writers Database | Jewish Australia It’s not updated frequently and it’s not complete, but it gives you a sense of the range of Jewish voices in Australia. You won’t hear most of those voices at Australian literary conventions. I’d love to see suggestions for other books that talk about Jewish Australia.
We’re not a big community, and we only go back to 1788, but there are lots of connections between this group or that group. Some other writers have no idea I exist, while others have known me or my family forever. Through my family, I am connected to several other writers. Some of them have met me but are unlikely to remember me. My favourite example of this is Michael Gawenda. His sister married my uncle and Michael and I sat on the same table at my cousins barmie. Arnold Zable is another example. His most famous book includes relatives of mine. And one conference of the HNSA I found myself next to one of my favourite children’s writers… who turned out to be my aunt’s best friend. Others were connected through school or university: Mark Baker was just ahead of me at university, while Raymond Apple went to Sunday school with my mother when I asked him. He was my rabbi when I lived in Sydney.
How does this play out everyday? We catch up a bit when we see each other, or we do introductions from scratch because we didn’t know each other well as it was 20 years since last time, or (and this one happened to me recently) the usual checks on “Are we related” can turn into something hurtful.
One of the reasons Jewish Australians know each other is because we have a kind of verbal code to find out connections. We talk about relatives and their experiences past and present – this also works with almost anyone with a military background and, entertainingly, with the very far left – or it used to, when they would chat with me. One New Year’s Eve I was sitting with a member of the Communist Party of Australia and we chatted happily for ages because “You’re A’s cousin!” When someone has not had a traditional upbringing, they don’t know this and much hurt can ensue. This is a more recent phenomenon, and most arises when someone from the left needs the right shibboleths said to accept that I’m an acceptable Jew to talk to.

Anyhow, if you want to read more books or want to learn specific aspects of Australian Jewishness, just ask. Books help. Questions and answers help even more.

 

The 100 Small Press Recommendations Are Up

A seal labeled 2025 100 Notable Small Press BooksThe 2025 list of 100 notable small press books is now up at Lit Hub. I was thrilled to work on this project along with about 40 other people under the gentle guidance of Miriam Gershow.

It probably doesn’t surprise anyone that I was reading science fiction and fantasy books for this project, which includes books from just about every genre you can think of, including poetry as well as prose. I noticed in going through the list that it includes several horror books as well as literary fiction and a lot of creative nonfiction.

Each reviewer was only able to provide capsule reviews of two or three books, which made the task very difficult. I read many other books that I really liked. Small presses are really publishing great things these days.

The books I recommended were:

Obviously you should check those out, but go read the whole list. You might find something from a genre you didn’t even know you liked!

Who We Write About

I just posted about one of my novels, Borderlanders, on Facebook. Let me share that post, and let me add to it.

Memories…
This was the book wanted by readers on FB. I noted (on FB, obviously) that my academic stuff had given me a way of writing a novel with a chronically ill protagonist where the protagonist remains the hero, is not cured, is not killed, and is not replaced. I was going to teach this method to others, but first COVID intervened and then antisemitism. I don’t get to teach much, these days. I may have to write another novel, having said this, because I learned so much in writing the novel that I could now write a much better one.
What’s very strange is, during these 5 years, more people I know have the illness my character had, due to long COVID. I’ve had it since I was in my twenties, but I’m one of the fortunate ones for whom it goes into abeyance. Right now, I’m trying to coax it back to sleep. Not everyone has that luxury, which is another reason why I should write another novel. Not yet, though. While it’s awake, every moment of every day is not straightforward, and I am behind on all my fiction.

This mysterious illness was known as chronic fatigue in Australia in the late 1980s, but these days it’s called ME and the fatigue is just a symptom. We know a lot more about it. One thing we know is why walking up the street can be so impossible. For some of us it can set the illness back, and for others it can destroy life entirely. This is why I consider myself so fortunate. I may have to not do much for a few months, but after that time I can do a little more and then a little more. This is just as well, because it’s only one of several illnesses I have and I have this daft desire not to be bedridden or die young.

For me, the most annoying symptom is when my executive function is not working. I lose time (sometimes weeks) and can’t do simple things. Oddly, I can still write books.

I always tell folks, do not assume someone can or cannot do a thing when they are ill. Ask them. And ask them each and every day if you must, because the small everyday can change. Some days I can walk up the street and back and I can write 6,000 words. Other days I can hardly get out of bed.

The illness is not just part of our everyday, it becomes part of who we are, for better or for worse.

I would like to see a superhero who has ME. It would be such a wonderful thing, watching them change the world… on days they can do more than toddle. And seeing how other people respond to the wild level of change they see when a powerful person has to watch what they do every minute would provide a great sub-text to a movie. It’s quite a different set of options than those for someone who cannot walk without assistance, or someone completely confined to bed who uses their amazing telepathic abilities to run the world.

There are so many amazing stories in the lives of the people we mostly prefer not to see. I now want to see a whole sequence of superhero movies or a TV series that focuses on those lives. There is a different sort of heroicism when one is not visible and has to fight just to get through the everyday, especially when they do astonishing things. Most of those astonishing things are attributed to someone else, because, of course, the invisible and half-seen can’t possibly be the heroes we dream of. Except, of course, they are. I get through my illnesses because of those people. Some of them are role models and some of them help when others don’t even begin to see that I might not be able to ask for help when things are bad.

One thing about this non-extent show: costumes would be far too problematic for some of the hidden heroes. So would heroic stances and being randomly interviewed by reporters. It would be such a different and fascinating set of stories.

In real life, I’ve met these invisible people in essential services. From a desk or from home they make a lot of the everyday possible for so many other folk.

One day, I will write that second book.

Fantasy novels

An academic I’m on a panel with in a few weeks (talking about Medievalism) just asked for suggestions of fantasy novels for undergraduate teaching of genre. I had some suggestions, as did a number of other people. The most suggested novel was The Witcher, which is, technically science fiction, not fantasy. I was told this by a group of upset Polish fans when I described it as fantasy in a talk I gave them. Some lessons are taught through error: when I looked more closely, the fans were quite right and I was wrong. The style of the novels and many of the themes are fantasy, but the built world is a future planet-linked-to-Earth-in-strange-ways.

The Witcher could be taught as a fantasy novel, but I suspect the teacher would have to explain that the world building uses humans from our world plus strange SFnal crossovers. We agreed (the fans and I) that it could be mistaken for fantasy because it has quite a few traits that are more fantastical and science fictional. So I was wrong, but forgiven because it was an understandable error from someone who didn’t know the world very well.

All this got me wondering: what novel would you suggest?

If you were giving a 20-year-old just one fantasy novel (and not a long one, so no Gene Wolfe and no Lord of the Rings, and certainly no Game of Thrones) to get them thinking and fascinated, what novel would you give them? And if you were to give them five they needed to read to really get the hang of fantasy novels, what five would you choose? They don’t need to be well-known novels. They need to be perfect to lure the student into learning.

This is an excuse to find out about really good novels that miss being seen. I plan to read all those you suggest that I have not already read, of course.

If there were but words enough and time… or maybe a photograph

This is a short note to let you know that, when you read this, I will have emerged from my second science fiction convention in a fortnight. I will have seen some of my favourite people and will be too tired to write anything.

I wanted to apologise for no blog post. Instead of that, let me give you a picture. A picture, after all, is worth a thousand words. Actually, it’s worth more than 1000 words. I used this picture (and the memory of getting through that flood) in a story I set in Belanglo Forest. I stayed in the log cabin (and have a picture of the log cabin if you want to see it) and drank at the pub and, very fortunately, didn’t see any dead bodies. If you’re curious about the story (which probably classifies as sarcastic horror), you can find more about it here: This Fresh Hell – Australasian Horror Writers Association

Picture of a minivan splashing through a drowned road in a pine forest in New South Wales
1980s, Belanglo, at the time of the backpack murders

For the Good of the Realm in Outcasts StoryBundle

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.

Melted Brains

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.

Monsters and Books

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

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.