“Something must be wrong about me if so many Jews like my work!” quipped Sayed Kashua, with a tinge of shy mischief, as he was in conversation with Kate Heartfield of the Ottawa Citizen. Kashua is the author of 3 well-received books, the latest of which, Second Person Singular, has recently been translated into English. He is also a screenwriter whose TV show Arab Labor (transliterated as Avoda Aravit in Hebrew) the title being an appropriation of the disparaging term for “shoddy work” in the Israeli vernacular, is now in its third season since debuting in 2007. Its distinction is that it is the first sitcom in Israel to feature an Israeli-Arab/Palestinian citizen of Israel as the protagonist. And so it was with the first episode from the third season of this irreverently observed comedy of manners and station, the afternoon at the Mayfair began.
The ice being broken, Kashua took the stage to discuss aspects of being an artist who enjoys varied success as a columnist, screen-playwright and author in a nation with which his relationship could best be described as ambivalent. Embodying the voice of the minority has long been the calling of writers in the Jewish diaspora, whose ‘otherness’ often fuelled an incandescent emission of literary energy. From the haunting, lyrical visions of Bruno Schulz to today’s sardonic bite of Howard Jacobson, Jewish writers often communicated insight in the subtle, subversive manner which is the hallmark of all great writers; minority or otherwise. Kashua firmly placed himself within this tradition, whilst simultaneously pulling for a solitary grimness in the reality of the Palestinian minority. Writing primarily in Hebrew, which Kashua considers his first language, draws one to make the not-so-grasping parallel to Maimonides who wrote much of his work in Arabic with the Hebrew script. Attending on scholarship at the Arts and Science Academy and later the Hebrew University – both in Jerusalem, Kashua admitted the difficulty of being immersed in a world solely in Hebrew, yet the process opening literary doors to authors (many who happened to be Jewish) such as J.D. Salinger, Saul Bellow and Franz Kafka.
Using the language of the majority inevitably lends on to charges of going native: receiving Jewish praise may result en revanche in Arab criticism. He blithely observes that Amjad, the protagonist in Arab Labor, doesn’t even have to be successful to invite criticism. This unenviable place is a lonely one. More so than ardently wishing to convey the world of one’s belonging, there is also the fearful self-doubt of the artist who must wonder if acclamation is the fruition of being great or merely being “exotic”. How else to explain something like V.S. Naipaul’s bold yet vulnerable boast that “...in 1954 he began to write, and since then has pursued no other profession.”? When Heartfield asked Kashua if he saw any parallels between himself and other “minority” writers such as Canada’s Mordecai Richler, he spoke of how much of his favourite writings have come from these very writers. Kashua has been called “the most Jewish of Israeli writers”, his response being that perhaps being the majority in Israel has left its Jewish populace bereft of its once indispensable gaiety.
It is rather remarkable that the ever-active cultural arm of the Israeli Embassy in Ottawa, would choose someone who doesn’t share the basic raison d’être of the state, as its ambassador. Kashua joked that a picture taken next to the embassy’s banner might “destroy one year of (goodwill) work” with the Palestinian population.
The theme of loneliness and jealousy run thick in the narrative of Second Person Singular: the title itself an accidental arrival at the theme of the angst Kashua wishes to convey. Despite his many successes and his relative youth (Kashua is 37), the borderlands he straddles will perhaps only self-inspire rather than offer clarity. However, in his portrayal of inter-ethnic interaction, there is hope that the erosion of prejudice is advancing; albeit slowly.