First of all, Etgar Keret’s voice is fun. His ‘eys’ are a delight. Second of all, I want to punch myself for not having read Janet Frame earlier. On a films on writing spree many years ago, I downloaded An Angel at my table but never got around to watching it. Somehow New Zealand seemed distant.
Last year, I found, grabbed, and bought a second hand copy of An Angel at my table at Moe’s books. And that was it. A few days ago, I listened to this New Yorker Fiction Podcast, and felt rescued by Janet Frame.
I am forever grateful to the NYFP series which has given me a range of writers and their worlds to swallow from my Basavanagudi terrace where I water plants & wonder why the color green on my curry leaves is unconvincing.
In this podcast, Keret reads ‘You are now entering the human heart‘ a short story by Janet Frame. It is about a woman watching a museum attendant demonstrating ‘snake handling’ to a class of young children, and their teacher. He invites the reluctant teacher to hold the snake, telling her that the children wouldn’t want to hold the snake if she looked afraid so she must smile and pet the snake. Nothing happens and many things happen.
I read it with Keret’s voice narrating it slowly. In conversation with Deborah Treisman, Keret says that Frame writes to survive. He rarely feels that with other writers. Competence is one thing. “With competence, you can be a con man too. But writing to survive, to finalise something for yourself is something else entirely”
He is open to her writing in a way very few men are to women’s writing.
“I love her short fiction. I think there is something freeing about the way she writes. She doesn’t write for a goal. She just kind of floats or levitates. There is this feeling of zero-gravity I feel when I read her. The reader wants to forget everything and just be. Even though she was less well known than other award winning writers, writing like her wins you peace of mind. When she writes, she wants to figure out what the world and she are all about. She writes to feel less stranger to herself. And that’s something that I feel when I write”
When Treisman asks if that “works” for him, Keret says “Take a leaking roof. If you put a tissue paper and someone asks ‘does it work’? all you can say is ‘it’s all I got”.
When I began reading Keret, I remembered one strange evening in 2014 when I went to Alliance Française to attend the Israeli Film Festival. Some Savarna colleague and her husband were very offended. ‘Don’t you know what’s happening in the world? Why are you not political, blah blah.’
AM had a sharp response. Something about how politically correct Savarnas who are quick to feel offended by what others do, should perhaps also feel offended about living in a country led by a fascist. I noted that when I had said something similar but cruder – said Savarna woman protested, refusing to hear me out. Hearing it from AM, she shut up.
Either way, left to Savarna virtues, I never would have discovered the joy of reading someone like Etgar Keret. VN gave me her copy of The girl on the fridge for my birthday and I haven’t been the same.
Janet Frame had to write in severely threatening circumstances. Here is a bit of trivia:
“Following years of psychiatric hospitalisation, Frame was scheduled for a lobotomy that was cancelled when, just days before the procedure, her début publication of short stories was unexpectedly awarded a national literary prize” (Wikipedia)
Keret’s parents survived the holocaust. A question people continue to ask him is why he chooses to write fiction when he can write about ‘so much more’ – his parents’ survival, the holocaust, and what Israel is doing to the world. I believe these people have never read his work at all.
His fiction is a reminder of what’s possible when we continue to write in zero-gravity through the crushing weight of memories that hold us back. People with opinions will continue to tell others how they should write, live, behave but as long as you keep writing, you don’t even have to raise your middle fingers to them.