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Scenes from Village Life

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Scenes from Village Life

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Scenes from Village Life
By Amos Oz
Translated by Nicholas de Lange
Houghton Mifflin Harcourt, 2011
ISBN: 978-0547483368

Reviewed by Israel Drazin - August 7, 2011

Amos Oz is a great writer. He writes in Hebrew, and his books are translated into English. He is considered one of the top three Israeli writers. This book, which will be published on October 20, 2011 - I received as an advance reading copy - contains eight brilliant short, perceptive, thought-provoking, and somewhat disturbing vignettes, about sometimes surreal citizens of an Israeli village.

For example, in the first story Heirs, an unusual stranger, outlandishly dressed with bizarre behavior, arrives at the home of a troubled man and tells him that he would like to buy his very old mother's house, the house in which he and his mother are living. The son is conflicted. He wants and doesn't want to sell. He tells the man to leave. But the man ignores the order, enters the house, goes to the silent old woman's bedroom, and gets into bed with her, strokes and kisses her, and mummers softly, "Everything is going to be all right, dear lady. It's going to be lovely. We'll take care of everything." The son also undresses and gets into the bed with his quite old mother. Readers will ask: What is the significance of the bed scene? Why is the tale called Heirs in the plural when the old woman only has a single son?

Similarly, in the seventh story Singing a man of the village leaves the thirty-some villagers who came to a home to sing together. This is the home of a man and woman whose son committed suicide under their bed, and lay there dead for a day undiscovered. The husband hasn't gotten over the event, and sits on the side brooding while the others are singing. The visitor also suffers despair. He wanders upstairs, confused, without understanding why he is doing so, enters a bedroom, and thinks: "I had no further reason to turn my back on despair. So I got down on my hands and knees at the foot of the double bed and, rolling back the bedspread, tried to grope with the pale beam of my flashlight into the dark space underneath." Readers will enjoy reading the artistic descriptions of the events and wondering what is the significance of this man's act.

In the third vignette Digging we read about the interrelations of an old almost senile, very dissatisfied, fault-finding father; his good-looking, well-groomed daughter, a widow in her mid-forties, a teacher of literature in the village, who patiently cares for her father; and a young Arab student who is writing about relationships, who she allows to live in a hut on her property in exchange for help in repairing her house and property. Her father complains that he hears digging under the house at night. She is certain that he is imagining the noise and changes his medicine. Then the Arab boy asks her about the digging. She sleeps soundly and hears nothing. She decides she should stay up and listen, and she hears the digging as well. What is going on? What is Amos Oz telling us?

In summary, in these vignettes, Amos Oz explores the psyche of people in a small village, such as the puppy love of a seventeen year old boy for a short plump overworked librarian twice his age in Strangers, where the boy rubs up against the older woman, and the psychological and sociological consequences to the two of them. The story is called Strangers because of these consequences. But Oz gives us much more than a fascinating exploration of the mind-set of village people. These people are a mirror that reflects life outside of the village.

Dr. Israel Drazin is the author of seventeen books, including a series of five volumes on the Aramaic translation of the Hebrew Bible, which he co-authors with Dr. Stanley M. Wagner, and a series of four books on the twelfth century philosopher Moses Maimonides. The Orthodox Union (OU) and Yeshiva University publish weekly chapters of Drazin and Wagner's book Let's Study Onkelos on and on His website is

The views expressed in this review/article are those of the author, and do not necessarily reflect the views of The Jewish Eye.
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