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“I’ve been looking at [Keret’s] Substack and it’s so witty and enjoyable, and he’s clearly having a wonderful time doing it, I thought, ‘maybe I could do that’” — Salman Rushdie, The Guardian

Ninety

The story I’m reading this week is titled “Ninety” because it was written in 1989 and purported to predict the future. When it was published in Israel, it aroused a lot of criticism, with repeated claims that the violence it portrayed was imported from American films and did not reflect the peaceful Israeli reality. It didn’t get a very enthusiastic response in the U.S. either, and although it was published in The Paris Review under a different name (“A Bet”), it was edited out of the U.S. edition of the short story collection it was supposed to appear in, and was never included in any of my books in the U.S.

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"Intention"

Deep in his heart, Yechiel-Nachman had made peace with his prayers going unanswered. Because prayer was the pure yearning for compassion and justice, whereas life was life: cruel, dispiriting, insulting. It was therefore only natural that two such contrasting worlds could never converge. But on October 7, 2023 – the 22nd day of Tishrei in the year 5784 – something in Yechiel-Nachman broke.

Photograph: Bumble Dee/Alamy

“What About Me?“

Written by Etgar Keret and Shira Geffen for “Short Stories on Human Rights“ (2008).

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Random quote

Her third story started out funny. It was about a woman who gave birth to a cat. The hero of the story was the husband, who suspected that the cat wasn't his. A fat ginger tomcat that slept on the lid of the dumpster right below the window of the couple's bedroom gave the husband a condescending look every time he went downstairs to throw out the garbage.

"Creative Writing"

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Third Temple: Israel’s Occupation Is Coming Home

Netanyahu’s government is not here to debate—it’s here to rule, and any resistance is an intifada.

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Words Without Borders, 2010

I believe that there is a truth. I believe it is very difficult to articulate that truth. I try to go in that direction, but I don’t pretend I will get there.

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New York Times, 2012

For Keret, the creative impulse resides not in a conscious devotion to the classic armature of fiction (character, plot, theme, etc.) but in an allegiance to the anarchic instigations of the subconscious. His best stories display a kind of irrepressible dream logic

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