All Tickets On Sale Monday, August 17!

University Musical Society

_BOOKSHELF from page 78

of the University of Michigan • Ann Arbor

98/99 seas

Eiko and Koma: River
San Francisco Symphony
Michael Tilson Thomas,
conductor and piano
Afro-Cuban All Stars
St. Petersburg Philharmonic
Yuri Temirkanov, conductor
Gidon Kremer, violin
John Williams, guitar
Capitol Steps
Guarneri String Quartet
Bill T. Jones/Arnie Zane Dance Company

We Set Out Early...Visibility Was Poor

Budapest Festival Orchestra
Ivan Fischer, conductor
Andras Schiff, piano
David Daniels, countertenor
The Arcadian Academy
Nicholas McGegan, conductor and harpsichord
La Capella Reial de Catalunya and Hesperion XX
Jordi Savall, viola da gamba and
Montserrat Figueras, soprano
Michigan Chamber Players
Kirov Orchestra of St. Petersburg
Valery Gergiev, conductor
Vienna Virtuosi
Principal Members of the Vienna Philharmonic
Jazz Tap Summit: An All-Star Celebration
of Tap Dancing
American String Quartet
Mitsuko Uchida, piano
Assad Brothers with Badi Assad
Sequentia: Hildegard von Bingen's Ordo Virtutum

A Huey P Newton Story

Emerson String Quartet
with Menahem Pressler, piano

The Harlem Nutcracker

Handel's Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor

Trinity Irish Dance Company
Gershwin: Sung and Unsung
New York Festival of Song
Renee Fleming, soprano

The Gospel at Colonus

Anne Sofie von Otter, mezzo-soprano
Chamber Music Society of Lincoln Center
Beethoven the Contemporary
Family Performance with American String
Quartet
Merce Cunningham Dance Company
Maxim Vengerov, violin
Orpheus Chamber Orchestra
Pepe Romero, guitar
Meryl Tankard Australian Dance Theatre

Furioso

Kodo
James Galway, flute
Abbey Lincoln
Takacs Quartet
Alvin Ailey American Dance Theater
The Tallis Scholars
•
Gypsy Caravan
Sweet Honey in the Rock
Trio Fontenay
Steve Reich Ensemble

University Musical Society

of the University of Michigan • Ann Arbor

NHK Symphony Orchestra of Tokyo
Charles Dutoit, conductor
Sarah Chang, violin
1999 Ford Honors Program

outside the 313 & 734 area codes 800.221.1229

Orchard Lake Rd. • 932-3133

80 Detroit Jewish News

A Centennial Celebration of Duke
Ellington

734.764.2538 www.ums.or g

• Excellent (Whitefish, Ter& and Steaks

8/14
1998

Mozarteum Orchestra of Salzburg
Hubert Soudant, conductor
Till Fellner, piano
Katharine Goeldner, mezzo-soprano
Latin Ball with iCubanismo!
featuring Jesus Alemany
Ewa Podlei, contralto
Anonymous 4 and Lionheart
Monsters of Grace (Version 1.0)
A Digital Opera in 3-Dimensions
Philip Glass Ensemble
Lincoln Center Jazz Orchestra
Wynton Marsalis, conductor and trumpet

unch (Buffet • B anquet fRoom L7Ivailabk
-7hursday (11:30 run. to 2D0 p.m.)

Need a ♦
New
Coat?

Check out the
Painters and
Wallpaper Hangers
in our
Marketplace
Home and Service
Guide.

7770'

The young man interprets events as„... 4
though he were reading a text, trying
to tease out meaning and connections.
Although the uncle's murder at first
looks as though it were committed as
part of the rampant killing by Chris-
tians, it becomes clear to Zarco that
the murderer was a member of his
uncle's clandestine kabbalistic study
group, and that the motive had some-
thing to do with the smuggling of
Jewish manuscripts out of the country
for safekeeping.
In an interview while visiting New
York City, the 42-year old author
expresses gratitude for the book's
reversal in fortune, from rejection to
international best-sellerdom.
He explains that he was inspired to
write this novel when he chanced
-4110
upon a book of Jewish illuminated
manuscripts in his mother's library in
Roslyn, N.Y., and learned for the first
time about the tradition of Jewish
manuscript art.
Noticing that several beautiful
works were created centuries ago in
Lisbon, Zimler became very curious
about that world and began research.
As he read about the 1506 massacre,
he was stunned that none of his Por-
tuguese friends spoke of it.
"It was a repressed part of their his :
tory. I was fascinated by the idea of
exposing things hidden."
For Zimler, another major discov-
ery in studying the period was the
Kabbalah. "I realized that all my life I
had seen Judaism as something super-
ficial, with nothing touching deeply
the core of existence."
After reading works by Gershom
Scholem, Moshe Idel and others, he
"realized that there was this whole
ocean under the surface layer of
water." Weaving kabbalistic teachings
into the story gave him "the chance to
write the book on different levels."
Zimler moved to Portugal in 1990,
(oi
after spending a year caring for his
older brother who died of AIDS-relat:
ed complications at age 35. He got a
job teaching at the university in Porto,
200 miles north of Lisbon, and began
work on the novel.
Writing the book, Zimler explains,
"certainly changed my attitude toward
Judaism. I was raised as a secular Jew.
I don't know if I'm more religious, but
I have a much better understanding of
Judaism, more respect for traditions.
"As a writer, I'm taken with the idea
of the holiness of writing. Behind
every letter is an angel." He adds: "I
understand that if angels had form,
they would be books." rl

