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The Movie I Walked Out On


For the past few years, the Israel Engagement committee at my synagogue has been showing Israeli films a few times a year, as a way to explore the modern state of Israel from the point of view of its own citizens. This year the theme is movies made by Palestinian Israelis, and told from a Palestinian perspective. You might think this would be a weak draw at a synagogue on Long Island, but more people came to the first movie of the year than come to most Friday night services.

This was my first time going. When the series first started I was busy with graduate school and too exhausted to go back to synagogue for an extra night, to sit in uncomfortable chairs and watch movies I could easily watch online. I finally went this year for a practical reason: I’m on another committee that’s planning to show a movie in a few months, and I wanted to see how the Israel Engagement committee managed the scheduling, snacks and seating, and the actual showing of the movie (and no one else on the committee volunteered to go).


“We’ll just wait here for you, Mommy.”

Mom came with me for moral support, and we both decided to skip the schmoozing period before the movie. It turned out that even though the movie was listed as starting at seven, it actually didn’t start until after eight o’clock, so many people were still arriving long after Mom and I found seats in the back of the sanctuary (the film was being shown on one of the new screens in the remodeled sanctuary, to justify the expense of building screens into the design). This was my first lesson from the movie – don’t plan for seven and show the movie at eight, no matter how many people talk about “Jewish Time”. Fifteen minutes for schmoozing and late arrivals, and then start the movie, because I don’t want to be there forever.

The head of the Israel Engagement committee gave a brief introduction to the theme for the year, and a warning to the one sixteen year old in the audience that he had just made the age cut off, because there was some drugs and other adult themes in the movie.

I was a little apprehensive, partly because I’m always tense before seeing movies in movie theatres, worried that I’ll be trapped for an hour and a half watching a movie I don’t like, but also partly because the movie was billed as coming from a Palestinian perspective, and I had no idea what that would mean. The description of the movie had said that it was a story about three Palestinian women living together in an apartment in Tel Aviv, and it sounded like a sort of comedy/relationship movie, but there could still be anti-Jewish or anti-Israeli stuff going on, and while I’ve worked hard to challenge myself with different perspectives on Israel I tend to do it at home, where I can stop the movie or close the book and take a few deep breaths and pet a dog before continuing.


Two dogs available for petting.

Once the lights went out I took a deep breath and told myself to accept the challenge of watching the movie, because, really, it wouldn’t kill me. I might get bored, or annoyed, but how bad could it be, especially with so many other members of my congregation filling the room. I rolled my eyes at all of the marijuana, and the smarmy men hitting on the gorgeous women at the beginning of the movie. I couldn’t really tell when the dialogue switched from Arabic to Hebrew, because they all spoke so quickly and fluently in both languages. The whole thing hurt my ego, because after so much effort to work on my Hebrew I was still stuck reading the subtitles like everyone else.

I noticed that even though some of the men in the movie were creepy, either overly smarmy or overly controlling, there were a lot of other characters worth watching, straight and gay, religious and secular, successful and not so successful. And the actresses in the main roles were very good, luminous really, and funny and smart and interesting. The friendships developing among the women, once the early partying and drug scenes were out of the way, were surprisingly gentle and sweet, and I started to really care about what happened to them, especially to the religious girl who seemed very familiar to me, despite being a religious Muslim rather than a religious Jew. I was almost patting myself on the back for my open-mindedness by then, for being able to look past the drugs and the sex and the politics and just enjoy the people.

And then the rape happened. I saw it coming when the controlling fiancé touched his girlfriend’s hair-covering and started to tug on it. No, I saw it coming before then, in the way he tried to control where she lived and what she planned to do for work once they were married. The conflict was all telegraphed from the beginning, but it was played light and sort of funny, and I figured that over the course of the film the religious girl would come to realize that some kind of independence would be great and maybe she didn’t have to do every single thing her fiancé or male relatives told her to do. I assumed that the movie would continue in the same light-hearted style, with the sex happening behind closed doors, and all of the challenging topics addressed with humor and ellipses.

And then the fiancé touched the religious girl’s hair covering (they didn’t call it a hijab in the movie, so I’m not calling it a hijab, even though that’s the only word I know for a Muslim woman’s hair covering). My whole body tensed, because I know what it means for a religious man to break what other people might see as a minor boundary. I don’t care if you are Muslim or Jewish or Christian, if you follow modesty laws and you suddenly break them, watch out.


“I’m watching them. All of them.”

The rape started so quickly, and I was so busy telling the girl (silently) to get the hell out of there, that it took me a second to really freak out. I wanted to drag that man off of her, just reach up into the screen and toss him to the floor, and I couldn’t. The only thing I could do was run, or walk, out of there. If she couldn’t run, I would have to run for her.

I stood up awkwardly, because there wasn’t a lot of room between the rows of chairs, and quietly told my mother that I had to leave. I was willing to sit alone in the hall by myself for the next hour or two, if necessary, but I wasn’t going to stay in that room and watch a woman being raped. I felt like, by sitting there, I was allowing it to happen, even making it happen.

Mom followed me out immediately, and listened to me ranting all the way home, and even sat with me, and the dogs, while we watched a Hallmark Christmas movie to recover.


It’s important to say that, even if they had warned me that there would be a rape in the movie, I’m not sure I would have known how it was going to affect me. Though, just the word rape would have been a trigger. No one used it. Watching people have sex on screen is embarrassing, and would have felt really weird in a room filled with fellow congregants, but not scary. Rape is scary.


As far as I know, no one else left. But I didn’t speak to anyone about it afterwards, so I don’t really know. I have no idea if they discussed the rape scene during the discussion after the movie, or if it had been eclipsed by other plot points by then. I don’t even know if anyone, other than the female rabbi who was sitting in front of me, even noticed that I left, or why. She emailed me after the movie, to make sure I was okay, and I sobbed with relief, because I was afraid that no one had even noticed that I’d left. Or why.

The thing is, a bunch of the people in that room have read my novel, or know about it, and know that I am an incest survivor. They do not talk to me about it, or ask me about it, though. And when I’ve offered to discuss it with the congregation, in person, in a letter, any which way, no one has taken me up on it. The fact that they can sit through a rape scene in order to show their support for Palestinian women and Palestinian filmmakers, but they don’t want to hear from me, hurts.

The rape scene, as much of it as I saw, still flashes through my mind over and over again. And I resent it. I have enough awful memories of my own. I don’t need more.

I felt selfish for walking out of the movie. I beat myself up about it for hours. I felt immature, and melodramatic, and I could hear my father’s voice in my head calling me Sarah Bernhardt and telling me that I was overreacting, again, just like I always used to do as a child when I got all riled up about my father’s behavior and the crazy conspiracy theories he liked to spin about why he kept being accused of sexual misconduct at work, with children.

But most of all I felt invisible and insignificant. I felt like, in the face of intersectionality and world issues, and the increasingly strong need for people not to think about certain things, I do not matter at all. That’s the scariest thing, to feel like I don’t matter to the people who matter to me. And I can’t shake that feeling any more than I can shake the etch-a-sketch of my mind and make the rape images go away.


If you haven’t had a chance yet, please check out my Young Adult novel, Yeshiva Girl, on Amazon. And if you feel called to write a review of the book, on Amazon, or anywhere else, I’d be honored.

Yeshiva Girl is about a Jewish teenager on Long Island, named Isabel, though her father calls her Jezebel. Her father has been accused of inappropriate sexual behavior with one of his students, which he denies, but Izzy implicitly believes it’s true. As a result of his problems, her father sends her to a co-ed Orthodox yeshiva for tenth grade, out of the blue, and Izzy and her mother can’t figure out how to prevent it. At Yeshiva, though, Izzy finds that religious people are much more complicated than she had expected. Some, like her father, may use religion as a place to hide, but others search for and find comfort, and community, and even enlightenment. The question is, what will Izzy find?



The Last Summer at Camp


During my last summer at sleep away camp, at age thirteen, we had a strange outbreak of mosquitoes. We weren’t allowed to go in the lake for two weeks, and the mosquitoes were in pretty much every breath of air we breathed. I don’t know if it was an early case of West Nile Virus or something else they didn’t bother to explain, but I had to sleep in jeans and a sweatshirt, in ninety degree weather, to try to keep the mosquitoes at bay.


“That sounds bad. I’m worried about this story.”

It was already a very, very bad summer for me. I’d begged to stay home, or better yet, go to California. I had this idea about California that wasn’t based on anything I can remember, except that it wasn’t home. I think my best friend at the time had been talking a lot about going to California for some reason, and she either went to California, or to Israel that summer, to visit family.


“Oy. It’s getting worse.”

I was deeply depressed, irritable, anxious, and uncomfortable 24 hours a day. I’d lost weight (this was pre-anorexia, so I was normal thin, not skinny yet), and had some pretty outfits, and I’d assumed this would make me happy, but it actually made things worse.

Sex was everywhere in camp. There were a lot of rape accusations (all true as far as I could tell, but not taken seriously by the counselors, who were eighteen and nineteen years old, or the administration, who had no excuse). There was a lot of dating and flirting and coupling. I would not have been able to tell you why it was all so awful to me at the time. I couldn’t explain why I felt so thoroughly under attack. I’d had some memories of the sexual abuse by then, in vague images and awful feelings, but I didn’t know what it was, or what to do with it.

My parents came up on visiting day and I was sure they were going to take me home, but instead, my father announced that they were going to Israel in a few days and wouldn’t be back until it was time for me to come home from camp. And I couldn’t go with them. I screamed and cried and he took a picture of me, inconsolable (he framed it and put it up in the downstairs hallway in our house, where it stayed for years).


“Told ya.”

After the mosquito drama, or before it maybe (time was confusing that summer), the counselors took my age group on an overnight campout on a hill. It was coed, with the counselors down at the bottom of the hill, out of ear shot. None of this had been made clear ahead of time. There was at least one rape that night, but I only knew about it because it happened to a friend of mine. I have no idea what else happened, but we were a group of thirteen year old boys and girls without supervision, so I can guess. Someone stepped on my hand in the middle of the night, and no one seemed to notice when I screamed.

No one listened when I ranted about the campout for the next few days, because everyone else seemed to think that a coed sleepover for thirteen-year-olds was totally fine. I was the prude and the hysteric. And the fact is, I couldn’t explain why I was so angry about it when no one else had a word to say, except for the girls who whispered in my ear about rape, on the hill, and on other days and at other times, but refused to go to the administration, or to let me go for them.

None of the rapes, or attempted rapes, happened to me. I barely even touched a boy all summer. But the lack of concern from the adults enraged me. The counselors suggested that my problem was that I was too mature for my age group, and that was why I was so uncomfortable. My opinion was that I needed to walk home from camp, even if it took the rest of the summer. But I was too afraid, and had no money, and that made me feel powerless.


When a twelve-year-old girl was sent home because she had accused two boys of forcing her to give them blow jobs – and no one believed her, because, How can you force someone to give a blow job, really it’s the boys who were raped – I realized I was never going back to that camp.

And it was a terrible loss. The thing is, I’d never really been safe anywhere else. I was sexually abused at home and at my childhood best friend’s house. I was bullied at school. Camp was the one place that felt normal, where I could work through the kinds of painful experiences that everyone else had to go through too. It wasn’t a great joy, but it was a place where I had learned how to make friends, and set boundaries, and argue, and swim. But once sex became an issue, for me and for my peers, camp was no longer safe for me, with my abuse history. Maybe if they’d had better policies in place for how to handle problematic behaviors, or if the counselors were better trained, or if the adults had taken on more of an oversight role, things would have been different. But maybe not.


“I’m sorry, Mommy.”

Usually Mom drove to camp to pick me up at the end of the summer, but this time she arranged for me to go home with another Mom from our area and two of her daughters, because of her late return from Israel with my father. I felt really sick to my stomach on the drive, but I didn’t know the Mom or the girls well enough to say anything. When I finally got home I ran upstairs and barely made it to the bathroom in time, throwing up in the sink. I kept throwing up for the next two days, and by the time school started a week and a half later, I wasn’t eating much at all. My body felt like it had been filled with poison, and I didn’t want to risk adding more. Within weeks I was basically anorexic, and that seemed to help keep the poison at bay. By then I didn’t just want to be skinny anymore, I wanted to be invisible.



If you haven’t had a chance yet, please check out my Amazon page and consider ordering the Kindle or Paperback version (or both!) of Yeshiva Girl. And if you feel called to write a review of the book on Amazon, or anywhere else, I’d be honored.

Yeshiva Girl is about a Jewish girl on Long Island named Izzy. Her father has been accused of inappropriate sexual behavior with one of his students, which he denies, but Izzy implicitly believes is true. Izzy’s father decides to send her to a co-ed Orthodox yeshiva for tenth grade, out of the blue, as if she’s the one who needs to be fixed. Izzy, in pain and looking for people she can trust, finds that religious people are much more complicated than she had expected. Some, like her father, may use religion as a place to hide, but others search for and find comfort, and community, and even enlightenment. The question is, what will Izzy find?


Watching Roots


One day in February, the Sundance Channel advertised that it would be replaying the original miniseries version of Roots, for Black History Month, and I realized that I’d never actually seen it. I’d seen little clips here and there, but I was too young to watch it the first time around, and I’d never made a point of finding it on video or DVD later on. So I set the DVR to tape every episode, and then made sure that the episodes wouldn’t be erased until I erased them (the DVR generally saves things for two weeks and then they magically disappear), because I wasn’t sure how long it would take me to get through all of it.


“I’ll help you, Mommy!”

I knew Roots would be hard to watch, but Mom’s good friend from high school, Olivia Cole, won an Emmy for her role in Roots, and I’d watched everything else Olivia had done on TV, but not this. Mom, of course, had seen Roots when it ran the first time, but she was ready to see it again, if only as a tribute to Olivia, who died a little more than a year ago.

Norah Olivia and me

Mom and Olivia

We watched an hour at a time, because I couldn’t handle any more than that, especially when Kunta Kinte was on the slave ship travelling to America. I felt like I was being beaten, and I could almost smell the crowded bowels of the ship, and feel the chains on my wrists and ankles, and chains, like a yoke, around my neck. I felt powerless and triggered and complicit, as if just by watching the horror on the screen I was making it happen. Even more awful was listening to the language of the white men as they discussed their “cargo,” as if the young men were animals. Words like “herd” and “buck” were used constantly. And of course, the “N” word. They talked about the girls as “belly warmers” for the crew to take to bed overnight. I watched one girl jump off the ship, in the middle of the ocean, rather than remain in that dehumanizing world. I wanted to jump with her.

I forced myself to keep watching, though, taking a day or two off between each hour, partly because I needed to see Olivia in her role, and that came later in the series, but also because I needed to watch all of the minutes before and after Olivia, to understand where she fit in.

The moment that shows up in all of the clips is of Levar Burton, as a young Kunta Kinte, being whipped, and refusing to call himself by his “new” name, Toby. The scene was even more powerful in context, because it was clear that the intention was to take his self away from him, not only his language, his home, or his freedom, but his sense of himself as an individual with his own thoughts and his own name.


It took me two weeks to make my way through the whole miniseries, because each time there was a seeming respite from pain, some damned white person had to go and screw it up. There were some elements to the story that felt too easy, too perfect: characters made out to be too noble to be human, or events working out Forest-Gump-like so that this one family experienced all of the highs and lows known at the time about slavery. But the hardest parts, for me, were the endless rapes.

Some men seem to take rape lightly, and I use the present tense advisedly, despite the #MeToo movement and the wisps of awakening that came with it. She’s not dead. You can’t even see any bruises. So why is it such a big deal? But the people who made Roots in the 1970s seemed to understand. Rape is the soul destroyer. It’s the violence that goes past your skin and invades your body so that there’s no safe place even inside of yourself.

I keep thinking back to the early episodes of the miniseries, on the slave ship, when the young black men fought to be free, risking their lives against their captors, but the one woman who escaped her chains jumped over the side of the ship, in the middle of the ocean, with no hope of survival. She wasn’t fighting to survive; she was fighting to make it stop, to make the violation stop, and to take back the only thing she had left: her life.

Olivia was wonderful, by the way. She played Mathilda, the wife of Chicken George, Kunta Kinte’s grandson. She had an oracle-like quality to her in the miniseries, and in real life too: the straight-backed wise woman who knows when to pause for dramatic effect. It’s interesting that her character was never raped, or at least it wasn’t told as part of her story, because she was able to maintain her sense of self in a way that other women through the course of the saga were not, and that rings true.

The hopeful ending to the story, when Kunta Kinte’s descendants ride their wagons to a piece of land of their own, is iconic: this is an American family, a family of pioneers discovering their own land and building their lives from scratch. All through the miniseries, the voice overs introducing each episode made it clear that this was the story of an American family, rather than a story of slavery. That message resonates at this moment in our history as a country, when we need to be reminded that being American is not about where we came from, or the color of our skin, but about the freedom to start over and make a new life, despite everything.

We tend to focus on the freedom, instead of on the “everything” that still needs to be overcome, individually and communally. There are so many more stories to be told, about the “everything” that we all need help to overcome.


Cricket is worried about “everything.”

If you haven’t had a chance yet, please check out my Amazon page and consider ordering the Kindle or Paperback version (or both!) of Yeshiva Girl. And if you feel called to write a review of the book on Amazon, or anywhere else, I’d be honored.

Yeshiva Girl is about a Jewish girl on Long Island named Izzy (short for Isabel). Her father has been accused of inappropriate sexual behavior with one of his students, which he denies, but Izzy implicitly believes that it’s true. Izzy’s father decides to send her to an Orthodox yeshiva for tenth grade, out of the blue, as if she’s the one who needs to be fixed. Izzy, in pain, smart, funny, and looking for people she can trust, finds that religious people are much more complicated than she had expected. Some, like her father, may use religion as a place to hide, but others search for and find comfort, and community, and even enlightenment.


p.s. The Book signing event went well, and I will tell you more about it next week!


The girls are still grumpy that they didn’t get to go.