Running Away to the Western Wall (and knocking over movie stars)

Leaving Jerusalem, we passed the corner of Raz's house. I wanted to jump out and run there, to pop in for a second and stay there forever. Sometimes Israel makes you so sure of things. It's crazy to say this about Rabbi Raz, who's about the least straight-Haredi person ever, but it makes you think how good an ultra-Orthodox lifestyle must be.

So. I'm in Israel.

We'd just had our two free hours in Jerusalem, virtually the only free time on this whole manic 5-day, 20 hour-a-day conference they call ROI 120. There was a reception with wine and hors d'oeuvres and former Prime Minister Ehud Olmert, who I'd thought was in jail, but, hey, good for him that he's not. (And, yeah, sorry I don't know anything about politics.) Kobi Oz, who's an Israeli rock star, showed up for a surprise performance. But (a) it's the Three Weeks, when we're not supposed to listen to music, and (b) it was, as I said, our only 2 hours to do something, so I left my seat and ran.

I turned inside, to the amazing Israeli animation pavilion that the event was being held outside. Everything about the pavilion's architecture reminded me of the Disney studios in the 1950s, which they always used to show you at the beginning of the Disney Sunday Movie, the Place Where Magic Happened. Hey, that could be all of Israel. Inside the lobby the only other Orthodox person was hiding out, a refugee from the music. He grinned at me, a companion in his zealotry. And I hated to tell him -- but I wasn't a refugee. I was a runaway.

I ran outside. I ran down the hill to Jerusalem, the real Jerusalem where cars drove like they didn't believe in pedestrians and restaurants seduced you with neon lights and pictures of melted cheese over basically everything. I stopped at my sister-in-law's house, who I haven't seen in a year. Who just had a baby, and even though they're total first-time parents and are paranoid about opening the door on a sleeping baby, let me see him. He was breathing so radically. His chest rising and falling, half his body mass growing. I stayed for ten minutes, trying not to let my anxiety kick my ass, just talking to them. And eating pizza.

And then I ran to the Kotel.

I don't know why going to the Western Wall has occupied this spot in my life. The one thing I need to do in Israel, and the one thing I always try to squeeze into 3 minutes of time. Most of the time involves running to and from it -- just going through the Old City is a 20-minute trek each way -- even if, as I did, you cut through the Arab Shuk and coast along the stones and almost break your neck. And then you get there, and you throw yourself against the wall and say Shema, you say Psalms, you grab for any script you can, any arrangement of words that's already been written for you, because there's nothing you can say of your own that packs in quite enough pain and/or power. And you cry, without really knowing 100% why, maybe because you've built the experience up in your head or maybe you realize that all of the problems in your life, and all the incompleteness you feel, is all because you're waiting for the Messiah to come and heal it all and bring back your dead best friend and stop worrying about your kids quite so much.

Or maybe it's the Wall itself. The promise that hasn't been fulfilled yet, so it could be basically promising anything.

I finished praying. Ran back the long way, through the main streets of the Old City, hoping I'd bump into someone. Didn't. Grabbed a cab back, used my last 20 shekels, because I was late, and why would I change money when I could make a crazy zero-time dash to the Kotel instead?

I ended up returning to the party before the buses showed. Figured I had time to run to the makolet (translation: bodega, or, for you real English-speakers, a mini-mart) in the corner and grab some kosher Doritos for the family. Bumped into Matt Bar on the corner, who ran with me. He dashed into the store. While I swiveled on the front step, because this guy had just walked out and was in the process of bumping into me, and he was six and a half feet tall in a white shirt with tzitzis hanging on top of it and I had to pick my jaw up off the floor, because the last time I'd seen him had been on a movie screen, and he looked more like this:

I asked if he was Shuli Rand. He nodded guiltily with a smile. I told him I loved him. I think he understood how I meant it. Matt Bar took the opportunity to shove my book at him (which he'd had in his hand) and told him I wrote it, which I think showed him that I wasn't a crazed fan, or, at least, I wasn't just a crazed fan. He apologized for not being able to read English well. I told him I'd send him a copy if we ever got it translated. And I told him I'd just finished my first movie, and I hoped it was going to make the world a better place like his, and not just screw things up more.

He pulled me out to his car, which was tiny and black and old and totally awesome. It was a total fulfillment of his prophecy in Ushpizin, the movie he wrote & starred in, that even if he did get all that miracle money, he wouldn't spend it on something stupid like a fancy car. And his wife -- His wife! The all-time Adi Ran lip-synching champion of the world!* -- pulled out his new CD. Because he wanted to give me his address, and that was the most convenient way to write to him.

So now I've got an assignment. Remind me, please, if you get a chance. And, yes, by the time Matt and I got back, the buses still hadn't left. So we were safe.

_____
* -- you'll know what I'm talking about if you see the movie. So see it. Really.

Out of Office, But Still into You

Hey! So by the time you're reading this, I'm going to be far, far away, running to Israel for this odd Young Jewish Innovators convention. If you miss talking to me, TeensReadToo just posted a pretty lengthy interview with me about Losers, Neil Gaiman, the ZZ Top/Hasidic Jewish episode of The Simpsons, and a bunch of other stuff. And A Wrinkle in Time comes up for the fourth time this week. Here's a cool deleted-scenes type moment from Losers:

You have the chance to go back and change a scene from one of your previous releases. What book would you choose, what scene would you change, and how would you alter it?

There's one scene in LOSERS about a girl Jupiter likes, and how they both wind up in a very random and very suddenly emotional place, and he winds up discovering her eating disorder...and then something big happens. I totally understand why we took it out -- it was too much of an unexpected turn in the book, and it didn't really fit with everything else that was happening to Jupiter -- but I still think it's a great scene, and it still fits into the Jupiter chronology. It's been getting under my skin, how a 14-year-old guy deals with dating someone who has an eating disorder, and I think it might be growing into its own book.
keep reading > 

Nirvana's "Polly" Live (the cover version)

The slammin' Melissa Broder hosts the Polestar Poetry series, and she just tried something new*: picking an album (in this case Nirvana's Nevermind, and having a team of poets (in this case, us) write poems about it, one poet per song.

I got in early, which meant that I got one of the first picks. I chose "Polly," the song about sexual assault and boys who think they control the world. Don't ask me why.

I didn't plan it this way, but the story I'm telling -- and especially Christian -- all ties in to my story in the anthology Punk Rock Saved My Ass, an incredible little collection to benefit 924 Gilman, one of the first punk collectives in Berkeley. It's only $10, and you should check it out. In order to get what I'm talking about in the video, though, check out the adrenaline-fueled piece Kat Georges did before me.

And then go check out the whole series.

Punk Torah Prayerbook

On MyJewishLearning, I interview Patrick Aleph and Michael Sabani about the Punk Torah Siddur that they wrote designed, and released. My favorite part:

Some of the prayers — especially the bedtime shema — are surprisingly peaceful for, well, someone who shouts for a living. How’d you swing that?

Patrick: That’s fair. I’m in a band where I scream and roll around on the floor, but there’s a place for meditation in every person’s life. This is the best example I can give of this: I was at Jewlicious, and I was working in the kitchen with Sasha Edge and her father, who catered it — they’re screaming and there’s knives everywhere, and fire. But then when it was time for Shabbos, we ended up making motzi over a vegan cookie and drinking Kedem grape juice and some of the back-of-the-house volunteers had a great, awesome, totally spiritual and peaceful moment. If you’re a rambunctious person like myself, it’s even more important.

read the rest >

The Rebbe and the Forty-Nine Hipsters

Last week, I told you how the Biala Rebbe was coming to our house. And I've gotten a bunch of emails/Facebooks/twittery questions back, asking the question that should be self-evident: What did he say?

First, let me tell you what I think. I think the Rebbe sees things that the rest of us don't see. I don't know if he's hooked up to any otherworldly powers or has a direct line to G*d that the rest of us don't. But I do think that he's a professional at this sort of thing. The same way that, more than a normal person, a psychologist is going to watch me chewing on my cuticle and know that it probably relates to the fact that I'm always hungry -- I mean, of course they will, it's their job -- the Rebbe also picks up on stuff. Maybe it's tiny physical movements. Maybe it's our auras. I don't know.

My wife and I sat down with the Rebbe. Immediately, before he asked our names (he always asks our names), he turned to her and said: "You're loved from above, and you're loved below. Why are you always stressing out?"

Case in point. It's not like other people aren't stressed. It's not like 98% of the people there weren't stressed. But, in her case -- this week, and the certain circumstances in our lives and what was going on -- yeah, it was pretty freaking relevant. If I would've had to pick a single topic to talk about, it would be the amount of stress that we (and, specifically, she) are under.

So, go fig.

It was a really weird night. Awesome, but weird. I'd kind of figured that it would be a party of sorts, since the Rebbe sees people one at a time and a bunch of us were waiting -- but it wasn't that kind of atmosphere at all. We sat around. We made small talk. It wasn't fun small talk, though; it was the kind of small talk that you make while you're waiting for the results of a particularly invasive exam. Everyone was half in that room and half in their own heads, thinking about what they wanted to say. When a random man with whom you have no straight connection flies from Israel, and you can talk to him about anything, it's a horrible kind of freedom. What's the most important thing in your life? How do you sum that up? What do you ask for a blessing for -- your kids, your job, your books? Everything?

In cases, like ours, you don't even decide. The Rebbe just starts talking. He spoke Hebrew, which I mostly understood, but it helped to have it repeated back in English (by Rabbi Davide, my old teacher at yeshiva) a second time. He asks the questions, and you fill in the blanks. He asked why I spread myself so thin -- to which I could only say, yes. I told him about my new movie and I asked what I should be writing now -- another screenplay, a teen novel, a real novel, or what. He said, it doesn't matter. Just pick something, and go on it 100%. Don't divide myself up.

I think we got lucky -- or unlucky, depending on your vantage point. We were the second people to speak to the Rebbe, so I had the entire rest of the night to chew on what he said. Meanwhile, people in the living room were looking at me for answers, like I'd gotten out of there successfully, so what do they do? The people on their way out didn't look at me like that. They had their own mental stuff going on.

Two Israeli girls who went in there came out satisfied, like they'd gotten the exact thing they asked for. My one stodgy, rationalist friend came out a little shaken, like the Rebbe'd pulled one of his Jedi mind-reading tricks. The person who was the most excited to go in came out crying. It sounds like a collection of riddles, or stories whose answers I'll never know, but in the moment, it was amazing -- like watching one of those grainy family videos that you shouldn't have a right to see, but you do. It really wasn't about fortunetelling. It was about what you boil your life down to, when you've only got one thing to say.

Halfway through our session, the doors to the room slid open. Rabbi Davide stood up, ready to intercept whoever was interrupting. Then my two-year-old daughter, who'd gone to sleep hours ago and who never woke up, ran in through the crack. She wasn't crying or afraid or uneasy. She just ran up, held her arms out, and demanded, "Up." I scooped her up, plopped her on my lap, and introduced her to the Rebbe, and introduced the Rebbe to her right back. Sometimes you don't even need a Hasidic sage to tell you what the most important parts of your life are. Sometimes you just need a conduit.

photos by Dan Sieradski

The Movie Gets a Little Realer

Just wanted to share two quick items of movie awesomeness with you:

1) "1/20" has an IMDB page! (No, I'm not on it yet. But my title is! Really, though, it has the movie's tagline and the actors and all sorts of official information that I didn't know anyone was allowed to know. But the big thrill is that, dude, it's the Internet Movie Database. It's the Hollywood equivalent of seeing your name in print for the first time.)

2)And we also have a movie poster:

That mohawk in the poster belongs to Xiomara, the star of the  show. The director, the producer, and I were eating hummus on Ninth Avenue and this bubbly, cute, sane-looking girl strolled by. She was wearing a pink dress. Our producer leaped up and chased her down half a block, then dragged her back by one of her ponytails (she had two). "This is Ayako," he told us. "She's auditioning for Xiomara."

I didn't believe him. Then I saw her audition tape -- it was one of those tapes that you think might have been filmed at an asylum, where one minute she's sweet and docile and courteous, the next she's ranting and screaming and about to knock the camera out of the cameraman's hand -- and I was like, okay, this is working. Then she showed up for her haircut on the first day of filming -- I ran into her the next day in the dressing rooms, all spikes and leather jackets and hair that looked like it could pierce skin -- and she blew my mind. She wasn't that bubbly Ninth Avenue girl anymore. She was Xi.