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THE SYKES-WEIZMANN AGREEMENT

A DRAMA AND A HISTORY

An informative drama about an important chapter of Zionism.

In this debut play, Jensen dramatizes the efforts of a real-life American Zionist to bring the United States into World War I as part of a plan to secure British support for a Jewish state.

In 1903, Horace Kallen, a Princeton University senior and protégé of American philosopher William James, is committed to the cause of Zionism—the establishment of a Jewish homeland in British-held Palestine. Many immigrant Jews, including the Silesian-born Kallen, have become successful in France, the United Kingdom, and the United States, but as an increasing number of impoverished Jews flee oppression in czarist Russia, public opinion in the West regarding their immigration is beginning to sour. With the help of his mentor, famed attorney Louis Brandeis, Kallen builds a network of prominent American Jews committed to the establishment of a Jewish Palestine. When World War I breaks out, an opportunity arises. Chaim Weizmann, a British chemist and Zionist, offers a proposition to Sir Mark Sykes, a British official: If the Zionists in the United States can bring America into the war on the side of the British, then the British could reward them with a Jewish state in Palestine: “We have connections to President Wilson’s closest advisors….We also have some friends in the American press,” Weizmann claims. “If the American newspapers were to sell the war to the public… President Wilson would be more inclined to enter the war.” This plan doesn’t please all Zionists, and it’s not the only secret plan that’s underway to try to secure a Jewish state, but it proves to be the best opportunity for Kallen to achieve his goal. One question remains: Will he put his adopted country at risk in order to achieve something—Israel—that hasn’t existed for millennia? Jensen seeks to dramatize the relatively obscure titular event, but the fact that it overlaps with a highly significant historical period means that he’s able to include a number of famous figures among the dramatis personae. In addition to Brandeis, readers encounter U.S. Ambassador to the Ottoman Empire Henry Morgenthau Sr., British Foreign Secretary Arthur Balfour, and U.S. President Woodrow Wilson. As a result, the author largely achieves his goal of presenting the era’s diversity of opinion regarding the potential future of the Jewish people: “Some of the anti-Zionists in the United States say that the ancient land of Israel is gone forever….They say that America is the new Zion,” Brandeis says at one point. The play’s scenes involve a large amount of exposition, and the work as a whole often seems aimed more at providing education than entertainment. However, Jensen manages to keep the play engaging. Two characters are particularly well-drawn: Kallen, who may be new to many readers, and Brandeis, who’s well-known but not often dramatized. Even if readers are familiar with the general sweep of this work’s history, many won’t know the specifics of its particular incidents—and they’ll likely be curious to see how they play out.

An informative drama about an important chapter of Zionism.

Pub Date: Sept. 30, 2017

ISBN: 978-1-5496-5935-5

Page Count: 203

Publisher: Time Tunnel Media

Review Posted Online: Dec. 4, 2018

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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