Jellyfish Underneath

It was fitting that the prologue to the prodigious Etgar Keret’s discussion on his life and literature began with the screening of his 2007 film Jellyfish (Meduzot as transliterated in Hebrew). Fitting because it softened you to listen to the man who had a hand in making a wondrous pastiche of very intimate and beguiling scenes, and even more so because a pang of envy can’t help sticking out of your throat when finally confronted with a self-deprecating (humble, even)yet versatile artist at the top of his craft.

 

Jellyfish was a film in danger of not being made. With the screenplay written by Keret’s wife, Shira Geffen, it wandered from director to director in Israel - not unlike the characters in the film - before boomeranging back to the couple who decided that they were the ones they’d been searching for. The way Keret tells it, it is almost as if he reluctantly decided to co-direct it. The rumples of less than strong acting are ironed out by a masterful camera work which breathes in an air of heightened meaning in banality. After watching it, you get a sense of gratitude that Keret and Geffen took matters into their own hands. Wonder as well in realising that it was their inaugural effort.

 

Keret began by reading both his first and last short stories. Much of the strength of his reputation lies in his being the Alice Munro of Israel. Easygoing Hebrew slang is exchanged in his prose and his characters are often very ordinary. Keret stated that he doesn’t assume that he is smarter than his reader, so he leaves the exhortations out of his fiction. “Fiction is a realm of ambiguity. I’m politically active and I can go to a demonstration and write a petition or even an essay. But when it comes to writing fiction and it has a bottom line, I write the bottom line – I don’t need fiction for it.”

 

The interview really benefitted from the preparation of host Adrian Harewood (in my opinion, his best interview yet) who delved into the family background of Keret. As a questioner from the audience would later probe, Keret’s characters in both his film and books exude friction in their personal relationships. Friction implies contact. Close contact. Where do the people who populate his art originate? Having an anarchist older brother who was convicted of paganism to an ultraorthodox sister who has not and cannot read his writings heightens one’s curiosity as to what their Seders might look like. This ability to “make something out of something” viz. using day to day experiences as fodder made me want to be a lot more observant of my own quotidian life to see the fecund confusion lurking underneath the sense of order and civilization.

 

For a writer and filmmaker seemingly taciturn about infusing purport into his oeuvre, he does so anyway. And seemingly effortlessly too.