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Whatever crouched beyond the lakes and forests of her green life was unseeable as night. She had never studied a map till it came time to leave forever and then her fingertips traced ceaselessly over what her mind could not picture. The mysteries beat in her like a second heart. The pinprick of her village lay closer to the borders with Poland and Latvia than she’d ever known; the whole country was but a slither in a howling world. There were salt oceans, desert kingdoms. She had the words and the colours on the map but nothing more.
   When they stopped at the cemetery on the way out, the carriage driver Nachman said, —A tayter nemt mir nit tsoorik foon besaylem. Dead ones never come back from the grave. The old saying meant what’s done is done but was turned upside down in his wry mouth: here it was the living who would never come back to these graves at the far end of Milner Gass, near the spring and Yoffe’s mill, flashes of the lake silver through the dark trees.
   A closed sky kept spitting and everyone wore galoshes against the mud. The peeling birches creaked and dripped; candle flames twitched and fluttered. Her daughter, good girl, stood nicely beside her but Isaac on the other side kept squirming against her right hand bunched in his little jacket. This was a boy who hadn’t stopped jerking and kicking from the second he came out of her with thick hair gleaming like fresh-skinned carrots and his biting mouth screaming enough for twins. Almost five now, about to travel across the earth to meet the father he’d never seen.
   Gitelle made them look at and put pebbles on the gravestones of their grandmother and then all their great-grandparents. That was enough: another five centuries or more of buried Jewish bones spread away from them beneath the hissing branches. She adjusted her veil and turned back to face the living – her tutte Zalman Moskevitch, her sisters, the nieces and the husbands. Isaac wriggled free like a cat and ran off. She didn’t bother shouting: the boy needed a leash not more words, hoarse or otherwise. Some of his aunties caught him. Another two of them came up to her. Trudel-Sora hoisted Rively onto her hip and went away while Orli held out her arms. Youngest of the sisters, Orli was plump in the lips and hips and smoothly olive skinned; her black eyes, now liquidly gleaming, matched her thick long hair. She hugged Gitelle close, groaning, and said, I think you’re the first one ever who didn’t need a hanky on her leaving day.
   Are you surprised?
   Of course not.
   Gitelle nodded. How strange tears would be today, after everything. All the years spent gagging on the taste of her breath against the shame of the veil, her words dribbling from her like spatter from an overbubbling pot – such sorrows, encompassed by this place, should not include her leaving too. Never that.
   What are you thinking of?
   The future, said Gitelle. The living. My husband. What else is there to think of?
   Orli smiled: her teeth unpeeled were white as river stones and brilliant in her olive face. Sister, not everyone’s as strong as a tree stump.
   Is that what I’m supposed to be now?
   It’s what you always have.
   She had threaded her warm soft arm through Gitelle’s and pulled it close as they walked back though the gravestones. A sodden squirrel stood up to stare at them, quivering. Gitelle said: Listen. If I can do this so can you. Don’t waste time. Be brave. Don’t ever stop trying. I was twenty-seven before I met my Abel. They said with the way I am such a thing could never happen. And after we had Rively, you think he wanted to go? Men are lazy as stones. I had to nag so much I nearly twisted my own head into craziness – borrow the money, get moving, wake up. And how many years now it’s taken him, drip drip drip, to send back just enough for our tickets . . . But see, here I am, I don’t complain. Today it’s my turn, my leaving day. You understand what I’m telling you, Orli? Remember this day. Don’t ever give in. Don’t ever go slack. Your leaving day will come sooner than you think. All of yours will. It’s the only way we’ll ever see each other again, and we will. We have to.
   Orli was drying her cheeks with her free hand. But it was always fated, she said. You and Abel. Like everything.
   Gitelle snorted, rippling the line of the veil.
   What? There is fate. You two prove it.
   Prove what exactly?
   How The Name makes His perfect matches for us, in every generation of souls. A heart for a heart, even a wound for a wound. Every shoe must have its foot.
   Gitelle was silent, felt her sister’s eyes on her face.
   Forgive me, said Orli. Foot and shoe. I didn’t mean—
   Ah Orli, said Gitelle, lisping into the cloth. You think that’s what bothers me? My dear sister, you need to forget all that romantic trash if you’re ever going to grow up. Now’s the time to start.
   Outside the cemetery the horse cropped at wet weeds with a stretched neck; Nachman had his collar up and his chin on his chest. There was a wait to find Isaac who’d gotten loose again and was giggling somewhere off in the lindens on the opposite side. First would come the station at Obeliai, then a train to Libau on the coast. She had packed goose feather pillows for the freighter’s hard benches and plenty of lemons because lemons are the cure for seasickness: advice from the ones who’d gone before. Africa. She wondered what an ocean will be.

 

In Southampton on England’s coast they boarded a Union Castle liner with a lavender hull and two fat smokestacks. It took twenty days to reach the bottom tip of the pistol-shaped African continent and on every one of them Isaac found ways to raid the upper decks of first class, returning to steerage with pockets stuffed with glazed tarts and fresh cheeses and Swiss chocolate, with strange and impossibly sweet fruits Gitelle had never seen before. When he wasn’t raiding he fought other boys or kicked the shins of the duty officers. His masterpiece was starting a fire in a life raft with a flare gun. The crew called him Devil Boy and the captain almost had him confined. They didn’t understand it was only that he was born with a little more kaych in him than others, a little extra life energy bubbling and frothing inside like hot milk to get out. When she wiped his face in bed every night with a damp cloth she got him to keep still by promising him the freckles were coming off, and every morning he’d run excited to the mirror to verify her claims.
   Cape Town was on a bay raked by salt winds, its streets laced over the roots of a flathead mountain. Colours burned the air: blood flowers, thorny eruptions of vermilion, limeyellow smears on the rocks like veins of fresh paint. The red sun had sandpaper beams. She saw human beings burned the colour of coal or darkbrewed tea or cured leather; she smelled their alien sweat and their tangy cooking, heard the mad bibbering of their manifold tongues. A strange music that made her heart sag in the fear of this shattering place. But later she saw pretty whitewashed houses in a row near the waterfront, with palm trees in tranquil garden squares, and she dared hope that Abel had secured them similar lodgings.
   Johannesburg was two hot dry days to the north by train, through country that stunned her like a blow: the cactus hills, the khaki desolation of the plains, the distant hazy sky pierced by that red sun, a madman’s glowering eyeball.
   Her husband was the same but he was swaddled by grime, like a gem wrapped in dirty rags. He lived in a squalid cottage in the self-made Jewish ghetto along Beit Street in the inner-city neighbourhood of Doornfontein. Here it was as if a poor Lithuanian village had torn itself up from the cool forestlands of the north to root again in the baking dust of the deepest south. There were three small rooms behind his workshop, with a surly Black woman living in a tin hut out back. Gitelle gave herself over to tenderness with her beloved for only a day, no more. His long fingers and his gentle eyes. Then:
   What do you need her for?
   Everybody has one, a shiksa girl. It’s the way here. People even poorer than us have them.
   What does she do?
   Do? She cleans, she cooks.
   Is that what she calls it.
   She fired her that afternoon and set to work cleaning out the pigsty of what Abel Helger’s life had become without her, the poor beautiful man overwhelmed by the accretion of filth that is always the creeping growth of negligence. The children helped her boil water and scrub the floors and walls, even the cracked concrete of the tiny backyard. They emptied the useless Bantu woman’s room (she had taken only what she could carry for her long journey home) and made a kerosene bonfire out of the reeking blanket and stained overalls, tossing onto it strange bottles and totems, things that looked like shrivelled insects which Gitelle warned the children away from and handled with just the extended fingertips of one gloved hand, her nose crimped above her dark veil.

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"Astonishingly mature, admirably incautious. It moves with the sleight-of-hand of the born artist, ramping up for naked tugs at the heart . . . It's visually and thematically sweeping, rich with diverse personalities, packed with tender waves and roiling crests of love, loss, hope, hatred."-- National Post (Canada) Are you a stupid or a clever? Such is the refrain in Isaac Helger's mind as he makes his way from redheaded hooligan to searching adolescent to striving young man on the make. His mother's question haunts every choice. Are you a stupid or a clever? Will you find a way to lift your family out of Johannesburg's poor inner city, to buy a house in the suburbs, to bring your aunts and cousins from Lithuania? Isaac's mother is a strong woman and a scarred woman; her maimed face taunts him with a past no one will discuss. As World War II approaches, then falls upon them, they hurtle toward a catastrophic reckoning. Isaac must make decisions that, at first, only seem to be life-or-death, then actually are. Meanwhile, South Africa's history, bound up with Europe's but inflected with its own accents--Afrikaans, Zulu, Yiddish, English--begins to unravel. Isaac's vibrant, working-class, Jewish neighborhood lies near the African slums; under cover of night, the slums are razed, the residents forced off to townships. Isaac's fortune-seeking takes him to the privileged seclusion of the Johannesburg suburbs, where he will court forbidden love. It partners him with the unlucky, unsinkable Hugo Bleznick, selling miracle products to suspicious farmers. And it leads him into a feud with a grayshirt Afrikaaner who insidiously undermines him in the auto shop, where Isaac has found the only work that ever felt true. And then his mother's secret, long carefully guarded, takes them to the diamond mines, where everything is covered in a thin, metallic dust, where lions wait among desert rocks, and where Isaac will begin to learn the bittersweet reality of success bought at truly any cost. A thrilling ride through the life of one fumbling young hero, The Lion Seeker is a glorious reinvention of the classic family and coming-of-age sagas. We are caught -- hearts open and wrecked -- between the urgent ambitions of a mother who knows what it takes to survive and a son straining against the responsibilities of the old world, even as he is endowed with the freedoms of the new.

"Astonishingly mature, admirably incautious. It moves with the sleight-of-hand of the born artist, ramping up for naked tugs at the heart . . . It's visually and thematically sweeping, rich with diverse personalities, packed with tender waves and roiling crests of love, loss, hope, hatred." National Post (Canada) Are you a stupid or a clever? Such is the refrain in Isaac Helger's mind as he makes his way from redheaded hooligan to searching adolescent to striving young man on the make. His mother's question haunts every choice. Are you a stupid or a clever? Will you find a way to lift your family out of Johannesburg's poor inner city, to buy a house in the suburbs, to bring your aunts and cousins from Lithuania? Isaac's mother is a strong woman and a scarred woman; her maimed face taunts him with a past no one will discuss. As World War II approaches, then falls upon them, they hurtle toward a catastrophic reckoning. Isaac must make decisions that, at first, only seem to be life-or-death, then actually are. Meanwhile, South Africa's history, bound up with Europe's but inflected with its own accentsAfrikaans, Zulu, Yiddish, Englishbegins to unravel. Isaac's vibrant, working-class, Jewish neighborhood lies near the African slums; under cover of night, the slums are razed, the residents forced off to townships. Isaac's fortune-seeking takes him to the privileged seclusion of the Johannesburg suburbs, where he will court forbidden love. It partners him with the unlucky, unsinkable Hugo Bleznick, selling miracle products to suspicious farmers. And it leads him into a feud with a grayshirt Afrikaaner who insidiously undermines him in the auto shop, where Isaac has found the only work that ever felt true. And then his mother's secret, long carefully guarded, takes them to the diamond mines, where everything is covered in a thin, metallic dust, where lions wait among desert rocks, and where Isaac will begin to learn the bittersweet reality of success bought at truly any cost. A thrilling ride through the life of one fumbling young hero, The Lion Seeker is a glorious reinvention of the classic family and coming-of-age sagas. We are caught hearts open and wrecked between the urgent ambitions of a mother who knows what it takes to survive and a son straining against the responsibilities of the old world, even as he is endowed with the freedoms of the new.

"Astonishingly mature, admirably incautious. It moves with the sleight-of-hand of the born artist, ramping up for naked tugs at the heart . . . It's visually and thematically sweeping, rich with diverse personalities, packed with tender waves and roiling crests of love, loss, hope, hatred."-- "National Post" (Canada) "Are you a stupid or a clever? " Such is the refrain in Isaac Helger's mind as he makes his way from redheaded hooligan to searching adolescent to striving young man on the make. His mother's question haunts every choice. "Are you a stupid or a clever?" Will you find a way to lift your family out of Johannesburg's poor inner city, to buy a house in the suburbs, to bring your aunts and cousins from Lithuania? Isaac's mother is a strong woman and a scarred woman; her maimed face taunts him with a past no one will discuss. As World War II approaches, then falls upon them, they hurtle toward a catastrophic reckoning. Isaac must make decisions that, at first, only seem to be life-or-death, then actually are. Meanwhile, South Africa's history, bound up with Europe's but inflected with its own accents--Afrikaans, Zulu, Yiddish, English--begins to unravel. Isaac's vibrant, working-class, Jewish neighborhood lies near the African slums; under cover of night, the slums are razed, the residents forced off to townships. Isaac's fortune-seeking takes him to the privileged seclusion of the Johannesburg suburbs, where he will court forbidden love. It partners him with the unlucky, unsinkable Hugo Bleznick, selling miracle products to suspicious farmers. And it leads him into a feud with a grayshirt Afrikaaner who insidiously undermines him in the auto shop, where Isaac has found the only work that ever felt true. And then his mother's secret, long carefully guarded, takes them to the diamond mines, where everything is covered in a thin, metallic dust, where lions wait among desert rocks, and where Isaac will begin to learn the bittersweet reality of success bought at truly any cost. A thrilling ride through the life of one fumbling young hero, "The Lion Seeker" is a glorious reinvention of the classic family and coming-of-age sagas. We are caught -- hearts open and wrecked -- between the urgent ambitions of a mother who knows what it takes to survive and a son straining against the responsibilities of the old world, even as he is endowed with the freedoms of the new.

Are you a stupid or a clever? Such is the refrain in Isaac Helger's mind as he makes his way from redheaded hooligan to searching adolescent to striving young man on the make. His mother's question haunts every choice and action. Are you a stupid or a clever? Will you find a way to lift your family out of Johannesburg's poor inner city, to buy a house in the suburbs, to bring your aunts and cousins from Lithuania? The Lion Seeker brings to life South Africa, its Jewish community, its energy and brawny vernacular, as Isaac struggles toward his goals against the specter of a dark family secret and against his own impetuous temper and sensuous nature. A profoundly moral exploration of how wider social forces act on families and individuals, it is the kind of epic, coming-of-age, mother-son narrative in line with the work of Mordechai Richler, Leon Uris, Philip Roth, and more recently David Grossman. We are caughtchallenged, sympathetic, hearts open and wreckedbetween the urgent ambitions of a mother who knows what it takes to survive and a son straining against the responsibilities of the old world, even as he is endowed with the freedoms of the new.

Are you a stupid or a clever? Such is the refrain in Isaac Helger's mind as he makes his way from redheaded hooligan to searching adolescent to striving young man on the make. His mother's question haunts every choice and action. Are you a stupid or a clever? Will you find a way to lift your family out of Johannesburg's poor inner city, to buy a house in the suburbs, to bring your aunts and cousins from Lithuania? The Lion Seeker brings to life South Africa, its Jewish community, its energy and brawny vernacular, as Isaac struggles toward his goals against the specter of a dark family secret and against his own impetuous temper and sensuous nature. A profoundly moral exploration of how wider social forces act on families and individuals, it is the kind of epic, coming-of-age, mother-son narrative in line with the work of Mordechai Richler, Leon Uris, Philip Roth, and more recently David Grossman. We are caught-challenged, sympathetic, hearts open and wrecked-between the urgent ambitions of a mother who knows what it takes to survive and a son straining against the responsibilities of the old world, even as he is endowed with the freedoms of the new.

The grandson of Lithuanian immigrants, South African Bonert was inspired by the photo of an uncle with Nadine Gordimer to paint a portrait of his countrys small Jewish community that doubles as the portrait of a mother-son relationship. With a 30,000-copy first printing.