Speaker 1: Sure, well, yes, it's my area of birthday.
Speaker 2: You're not going anywhere, are you?
Speaker 1: Yes, Dan, I took the tablets an hour ago. I'll
Speaker 1: be come by midnight.
Speaker 3: Welcome to Amusing Jews, where we celebrate Jewish contributors and
Speaker 3: contributions to American popular culture. I'm Jonathan Friedman and I'm
Speaker 3: Joey Angelfield. Producer engineer Mike Tomren is working somewhere behind
Speaker 3: the scenes. Amusing Jews is a project of a Dot
Speaker 3: Havareine Congregation for Humanistic Judaism, the Jewish Museum of the
Speaker 3: American West in Atheist United Studios. Hey, Joey. No one
Speaker 3: chooses to be born, but what about choosing when and
Speaker 3: how we die? A new novel by Today's guest explores
Speaker 3: this question and what it means for the loved ones
Speaker 3: left behind.
Speaker 4: We're happy to talk with Eric beck Rubin, an author
Speaker 4: and academic whose new novel is Ten Clear Days. Eric,
Speaker 4: Welcome to Amusing Juice.
Speaker 2: Thank you for the invitation.
Speaker 4: Ten Clear Days began as a memoir but became a novel.
Speaker 4: What caused that shift?
Speaker 2: A memoir? Is this inevitably, at least I think inevitably
Speaker 2: a mix of fact and fiction. And it's not quite
Speaker 2: clear where one ends and the other begins. And even
Speaker 2: if that's just using the rules of fiction creating narrative structure,
Speaker 2: you're crossing a certain line. And for me, at least,
Speaker 2: memoir has a tinge of fraudulence to it in the
Speaker 2: sense that personally speaking, at least I grew up in
Speaker 2: the time of James Frey and Stephen Glass and Jason Blair.
Speaker 2: And not to say that those writers who lied about
Speaker 2: telling the truth were somehow groundbreaking in that field. I
Speaker 2: think they have been fraudulent memoirs for as long as
Speaker 2: there have been memoirs. But it didn't sit well with me,
Speaker 2: and I wanted not to be hung up in those questions.
Speaker 2: So I went to the realm of fiction, where I
Speaker 2: can be more certain about the things that I'm trying
Speaker 2: to say the ways that I'm trying to say them,
Speaker 2: and not worry about whether I'm being accurate or truthful
Speaker 2: in the conventional sense.
Speaker 3: I mean, even Mark Twain, or maybe especially Mark Twain,
Speaker 3: was very let's say, colorful in his reconstruction of his
Speaker 3: life in his autobiography. I think there's also something that's
Speaker 3: kind of self indulgent about a memoir that isn't the
Speaker 3: case when you're writing a novel.
Speaker 2: Oh, I mean, I know, I don't agree with that.
Speaker 2: I mean, you could think of so many self indulgent novels.
Speaker 2: But it's self indulgent in another way. I mean the
Speaker 2: way that a writer can abuse their readers by just
Speaker 2: going on and on about things that are really only
Speaker 2: of interest to the writer themselves, or in a way
Speaker 2: that ceases to engage with the reader entirely. But having
Speaker 2: said that, and the memoir like invites you and almost
Speaker 2: like does not let you leave the party of self indulgence.
Speaker 2: And at the end of the well, not at the
Speaker 2: end of the day, the beginning of the day. It's
Speaker 2: not my story. It's not my story ten clear days.
Speaker 2: It's a story about my grandmother.
Speaker 3: Your novel is the first to take readers through the
Speaker 3: final stages of pursuing the right to die. How would
Speaker 3: you summarize the book, which was, as noted, taken from
Speaker 3: real life.
Speaker 2: In August twenty eighteen, my grandmother, who was eighty three
Speaker 2: at the time, had a heart attack and a stroke
Speaker 2: the same night, taken to the hospital, had a DNR,
Speaker 2: was operated on. Nonetheless, woke up the next day was
Speaker 2: told you're going to make him, and her first and
Speaker 2: abiding reaction was, why am I still here? There was
Speaker 2: a DNR, and she asked for what was at the
Speaker 2: time relatively new procedure in Canada, at least new legally speaking.
Speaker 2: It's called medical assistance and death made. And the doctor
Speaker 2: who was there said, you know, you can ask that,
Speaker 2: but you're not a candidate because you're going to get better.
Speaker 2: You're not a candidate. My grandmother just said that's she
Speaker 2: didn't say, but she gave a look that said, you
Speaker 2: may very well think that you may very well be right,
Speaker 2: which is her way of saying you may very well
Speaker 2: be wrong, Like that was just her manner of speaking.
Speaker 2: And she asked, and she asked, and then the doctor
Speaker 2: submitted to the request. The other doctors came in, the
Speaker 2: made doctors, and they started a clock ten days during
Speaker 2: which those doctors would decide. Now, when she asked there,
Speaker 2: there were all of us in the room. By all
Speaker 2: of us, I mean her children, her grandchildren, not every
Speaker 2: last one of us, but many of us. And I
Speaker 2: can't say it was exactly half, but roughly half of
Speaker 2: us had a census was coming and were behind her,
Speaker 2: and the other half may or may not have had
Speaker 2: a sense that it was coming, but we're not behind her.
Speaker 2: So during that ten days we see all these forces
Speaker 2: acting against each other, with my grandmother at the center
Speaker 2: saying very very little. That's half the story. The other half,
Speaker 2: and it's these two halves that play up in each chapter.
Speaker 2: The other half is the first forty years of her life,
Speaker 2: which began just before the war in a suburb of Budapest.
Speaker 2: Included her survival of the war in hiding, included her
Speaker 2: suddenly leaving Budapest for Vienna, suddenly leaving Vienna for North America,
Speaker 2: and starting this life here, which was in many ways
Speaker 2: an amazing life but in a place she never wanted
Speaker 2: to be. So in the other half, we're looking at
Speaker 2: these forty years and asking how did she come to
Speaker 2: this shocking request.
Speaker 3: Did those family tensions persist after the events of the
Speaker 3: book as well?
Speaker 2: They persists to this day. Speaking very frankly, I would
Speaker 2: say everybody in the family, well, I don't have to
Speaker 2: say it. Everybody in the family's happy I was able
Speaker 2: to publish this book, but not everybody's happy that the
Speaker 2: book is out there. Part of that is because made
Speaker 2: is called in some circles medically assisted suicide, because suicide
Speaker 2: is counter to Jewish custom, Jewish law. Some of it
Speaker 2: is just the taboo that exists around made because it is,
Speaker 2: if not adjacent, well, if not suicide itself, then seen
Speaker 2: as adjacent to it. So yeah, that's those tensions persist,
Speaker 2: and it was published just a couple of weeks ago. Here,
Speaker 2: I wonder how long they'll last.
Speaker 4: So zooming out for a second on what you said.
Speaker 4: The title of your book refers to Canada's mandatory ten
Speaker 4: day reflection period for medical assistance and dying.
Speaker 2: Could you tell us a little about that. Yeah, it's interesting.
Speaker 2: So there's made as it was legislated in twenty eighteen,
Speaker 2: there's made as it was practiced in my grandmother's case
Speaker 2: in twenty eighteen, and there's made as it is legislated
Speaker 2: in practice today. And not one of them is like
Speaker 2: the other. And it's fascinating to me how much discrepancy
Speaker 2: there is between all these things. For example, one of
Speaker 2: the early readers of this book happened to be a
Speaker 2: doctor who was on rotation at Sunnybrook Hospital where my
Speaker 2: grandmother was in the mad department, which had taken on
Speaker 2: this case. And she said, well, this must have happened.
Speaker 2: That must have happened. I said, no, those things did
Speaker 2: not happen. The ten day waiting period, for example, is
Speaker 2: no longer, as I understand, it's no longer in effect,
Speaker 2: it's a completely different process.
Speaker 1: But in my.
Speaker 2: Grandmother's case, which I think is a question, this is
Speaker 2: what happened. She made the request and the doctors initiated
Speaker 2: this ten clear day waiting period. And that term clear
Speaker 2: day refers to a day that starts at twelve midnight.
Speaker 2: So my grandmother makes this request. Her first thought is,
Speaker 2: but you can do it right away. They say no,
Speaker 2: it's ten days. And she says ten days. That's next Wednesday.
Speaker 2: And they said, well, actually no, it's next Thursday because
Speaker 2: it's ten clear days. And every time she would ask
Speaker 2: them and she would put on her all her charm,
Speaker 2: which was considerable even in the hospital, even in her
Speaker 2: hospital gown. She she was very forceful as a personality,
Speaker 2: but also very sweet in her delivery. And she kept
Speaker 2: trying to whittle that that ten day period. You know,
Speaker 2: so that ten days was was for her, not for
Speaker 2: her to think about it as really for doctors to examine.
Speaker 2: Was she was? She certain? So it was really a
Speaker 2: test of her resolve and was she lucid, was she
Speaker 2: thinking clearly? And the ten days was also a time
Speaker 2: for us as a family, though this was not the intention.
Speaker 2: I don't think it was a time for us as
Speaker 2: a family to reflect on our relationship with our grandmother,
Speaker 2: which is a very clinical way of putting our love
Speaker 2: of our grandmother, our memories of our grandmother, and also
Speaker 2: this thing that we're facing, which even for those who
Speaker 2: were behind my grandmother, it's extremely scary.
Speaker 3: It's almost like sitting shiva for someone who hasn't died yet.
Speaker 2: The alternative title it is like that in that One
Speaker 2: of the things that strikes me about shiva is that
Speaker 2: it really rings you out, Like seven days, you are
Speaker 2: so wiped out. By the end, you are so drained.
Speaker 2: It is excessive in some ways, or it feels excessive afterwards.
Speaker 2: It may not have felt like enough, but at the
Speaker 2: time again again, this this meal, these people, these prayers,
Speaker 2: this room, and and by the last days. This is
Speaker 2: something I described in the novel. We're talking about riddles,
Speaker 2: were talking about the speed of light, We're talking about songs, music.
Speaker 2: It's we've gone to like a place where it did not.
Speaker 2: If you were to think of people in a room
Speaker 2: morning in advance, you wouldn't think of them going to
Speaker 2: these seemingly tangential places. But we did. We were, we were,
Speaker 2: we were outside time. Like that's that's how it felt.
Speaker 2: We were outside time at at at that moment, I
Speaker 2: had a four year old, four year old four month
Speaker 2: old daughter, and I had been attached to her on
Speaker 2: this particular schedule for the the initial months of her life, changing, feeding, sleeping, napping, walking,
Speaker 2: and all that stopped for that ten day period. Yeah,
Speaker 2: I was taken outside time and Shivaz like that as well,
Speaker 2: like everything that's going on just stops. I really I
Speaker 2: appreciate that interpretation.
Speaker 4: Enjoining the show, click like and subscribe.
Speaker 3: Your doctoral dissertation dealt with Holocaust fiction spanning three generations
Speaker 3: and how these works go from being radical to more
Speaker 3: conservative over time. What sort of things did you notice.
Speaker 2: The fiction to describe that trajectory. Well, one of the
Speaker 2: things I noticed, and I can give you a concrete example.
Speaker 2: I can think of the time or the book, and
Speaker 2: the place that I noticed it was that those who
Speaker 2: had been witnesses could say things that non witnesses could
Speaker 2: never not only never say, never even contemplate saying so.
Speaker 2: The example that I was thinking of just now comes
Speaker 2: from a book called Fatelessness. The author is imre Kertez.
Speaker 2: He's a Hungarian writer. He was taken to the camps
Speaker 2: when he was fourteen years old, and he writes about
Speaker 2: his experience that it was in lieu of his teenage years,
Speaker 2: in lieu of his entry into adulthood, in lieu of
Speaker 2: his education, that was what the camps were for him.
Speaker 2: And when he leaves those camps, when he has liberated,
Speaker 2: when he's free, when he goes back to the regular world,
Speaker 2: he finds that nobody grasps what he has experienced. That
Speaker 2: in itself is not radical or new. But what he
Speaker 2: says next I would say shocked me, and I think
Speaker 2: would shock anybody who read it. He said he misses it,
Speaker 2: He missed that world because that's where he was most himself.
Speaker 2: Those were what he called like the golden years of
Speaker 2: his youth. That's extremely fucked up. And that's not to
Speaker 2: say it's not true. It's it's I describe it that
Speaker 2: like that because it shakes me up even thinking about it.
Speaker 2: It's hard to even say the words I feel. I
Speaker 2: don't have the authority to say them. Only he does,
Speaker 2: which is kind of what I'm saying in the dissertation.
Speaker 2: Those who live through it can see things in it
Speaker 2: that we can't see, can say things that we cannot say,
Speaker 2: And over time, the loss of that authority meant that
Speaker 2: the story that was so broad in the minds of
Speaker 2: those who had survived and witnessed just becomes narrower and
Speaker 2: narrower and narrower, as people who are our age can
Speaker 2: say less, have less the thought. I think that's changing
Speaker 2: with the loss of witnesses. We no longer feel there,
Speaker 2: we no longer feel them looking over our shoulder. I'd
Speaker 2: say that that has in theory, meant that the field
Speaker 2: has opened up. I'd say in practice it's meant a
Speaker 2: lot of people are saying a lot of outrageous things,
Speaker 2: false things, because there's nobody there to correct that record.
Speaker 2: And that's been going on for quite a while. I'd
Speaker 2: say it's exploded recently.
Speaker 4: The Holocaust looms in the background of your novel. Why
Speaker 4: was it important to recount that aspect of your grandmother's past.
Speaker 2: My grandmother was nine, just turned nine in February nineteen
Speaker 2: forty four. The Germans came in about a month later,
Speaker 2: actually a couple weeks after her birthday. For what I
Speaker 2: call in the dissertation, the direct witness, somebody who was there,
Speaker 2: not somebody who was in hiding. It's not a hierarchy,
Speaker 2: it's just a distinction. For a direct witness, I think
Speaker 2: that the Holocaust is at the center of their life forever.
Speaker 2: For an indirect witness, somebody who isn't hiding, I think
Speaker 2: it's similarly at the center of their life. And for
Speaker 2: anyone who comes afterwards, it can be a very important
Speaker 2: factor in their life. It can be something that they
Speaker 2: dedicate themselves to which they dedicate themselves. It's never going
Speaker 2: to be at the center. It's never going to be
Speaker 2: the thing that is tied to almost everything that follows afterwards,
Speaker 2: that you cannot displace. My grandmother could not, and I
Speaker 2: don't think ever sought to displace those experiences, and they
Speaker 2: were formative. She told me many stories. The thing that's
Speaker 2: coming to mind right now as an example is that
Speaker 2: she as a child, I remembers looking in the mirror
Speaker 2: and trying to find the face of a jew in
Speaker 2: the mirror because she had seen in the paper this
Speaker 2: is what a jew looks like ugly hook knows, thick lips, sneering, pleagynous,
Speaker 2: not quite human beings. And she looked in the mirror
Speaker 2: as a child six seven eight, And where is that person?
Speaker 2: Where is that person? How is that person me? She's
Speaker 2: not saying I'm not that person. She's making the connection.
Speaker 2: That's when she's still a child. It's unimaginable to form
Speaker 2: one's idea of oneself in such a world and then
Speaker 2: just leave it behind at some future date. And it's
Speaker 2: not like the world was letting her leave it behind either,
Speaker 2: to say that it was all quite so intense and
Speaker 2: d drastic as it was in her early years, but
Speaker 2: it was never far away.
Speaker 3: I know that a lot of direct witnesses survivors chose
Speaker 3: not to speak much about their experiences. Did you find
Speaker 3: that your grandmother was a little more open in that regard.
Speaker 2: I have one survivor among all my grandparents. I don't
Speaker 2: know how to compare it to others in along a range,
Speaker 2: for example, but I do know, like you said, that
Speaker 2: they are those who spoke and those who did not.
Speaker 2: I can compare it to a person I spoke with
Speaker 2: for my dissertation. It's a wonderful gentleman. And he said
Speaker 2: his children didn't ask him, and he didn't want to
Speaker 2: speak about it, and then when his grandchildren asked him,
Speaker 2: that's when he started to speak about it. I don't
Speaker 2: think my grandmother ever didn't speak about it. I know
Speaker 2: she had children who were interested. Let me rephrase that.
Speaker 2: I know that my grandmother didn't ever tuck it away
Speaker 2: or hide it. She spoke to her children about it.
Speaker 2: It was this. It was the central story of her life.
Speaker 2: And so when she talked to us as grandchildren, speaking
Speaker 2: about me and my brothers, I don't know the experience
Speaker 2: of my cousins. She spoke to us about it as well.
Speaker 2: We didn't ask to hear about it. We were just
Speaker 2: told about it, and I feel very fortunate for that.
Speaker 3: Actually, in the book, your grandmother is often referred to
Speaker 3: as the patient, which for me created a fascinating rhetorical
Speaker 3: distance within a very intimate story. How did you arrive
Speaker 3: at that device?
Speaker 2: So that goes a bit to the first question about memoir.
Speaker 2: So initially I was writing this story trying to capture
Speaker 2: this whole world my grandmother created. Really before I mentioned
Speaker 2: my four monthal daughter, for her, that was a motivation
Speaker 2: for others. Yes, but I kept thinking, this was a
Speaker 2: person who was so important in my life, my daughter.
Speaker 2: I had gotten to be with her, but not in
Speaker 2: ince she'll remember. What can I tell her? It felt
Speaker 2: very urgent, and I was having trouble telling this story
Speaker 2: in a way that would matter to anybody else. Like
Speaker 2: you use the word inside baseball. Before we were talking,
Speaker 2: it felt like inside baseball, like I could describe to
Speaker 2: the to the to the nth degree, the tablecloths, the chairs,
Speaker 2: the expressions, the garden, the traditions, but it wasn't cohering
Speaker 2: into anything that mattered to anybody but myself. And I
Speaker 2: realized that in order to write about my grandmother, I'd
Speaker 2: have to I could still call her granny as a character,
Speaker 2: but as a writer, I'd have to call her Mary back, missus,
Speaker 2: back the patient, so as to see her so as
Speaker 2: to understand her relationship to a reader, an initially disinterested reader,
Speaker 2: and so as to understand her relationship to us and
Speaker 2: her family in a way that really opened up the story,
Speaker 2: because all of a sudden, I was writing about a
Speaker 2: person and not just this person who was like sorry,
Speaker 2: so that all of a sudden, let me get this right.
Speaker 2: It opened up the story worry in the sense that
Speaker 2: I could write about fully formed character, all these different
Speaker 2: aspects of her as opposed to this character who almost
Speaker 2: lived inside me that I could barely describe. That's what
Speaker 2: That was a big decision, and it made the novel possible.
Speaker 3: I think there's also just from my perspective as a reader,
Speaker 3: when she's called patient, it sort of reminds me that
Speaker 3: this is a very medical context. That even though there
Speaker 3: all these stories going on, these interactions that are very
Speaker 3: much intimated, as I mentioned, and very emotional like, it's
Speaker 3: all taking place in this very sterile, cold, somewhat uncaring environment,
Speaker 3: which is a hospital.
Speaker 2: Emotionally, I am too close to that hospital, or rather
Speaker 2: I'm more comfortable in that hospital. I wouldn't say I'm
Speaker 2: emotionally sterile, but other people might. I would say that
Speaker 2: I'm cold or too prone to rational, to the rational
Speaker 2: as opposed to the other approaches to situations. But that's
Speaker 2: where I that's where I That's where I'm myself, for better,
Speaker 2: for mostly worse. There's another thing, though, and that is
Speaker 2: that my view is that to really get into a book.
Speaker 5: Is to.
Speaker 2: Go on a journey, and what I mean, more specifically
Speaker 2: by that is to walk a distance between yourself and
Speaker 2: the story that you're engaging with. And I have this
Speaker 2: belief difficult as it is that the longer the journey
Speaker 2: you make, the more you invest in the book. So
Speaker 2: if I withhold the odd emotional cues, you supply them
Speaker 2: as the reader. The more you give to the story,
Speaker 2: the more the story means to you. That's my experience
Speaker 2: of reading. That's the way I prefer to write.
Speaker 4: I was thinking, Yeah, it's both like a very audacious
Speaker 4: approach but also I think a pretty effective one. I mean,
Speaker 4: I think it took me on a journey. Honestly, I
Speaker 4: had to read it in a few sittings, and yeah,
Speaker 4: I mean I was pretty emotional by the end of it.
Speaker 4: I mean it kind of reminded me of experiences that
Speaker 4: I've had, and you know, in other ways was also
Speaker 4: sort of different. I'm also sort of wondering about writing
Speaker 4: it from the perspective of a you know what do
Speaker 4: they call it the medical record officer, which I'm somewhat
Speaker 4: familiar with from charting, And I'm wondering, you know, what
Speaker 4: was research like for that or was that a did
Speaker 4: that give you a little literary license to go with it.
Speaker 4: I don't know, like that kind of it felt like
Speaker 4: that was a that the narrator was both very present
Speaker 4: and also very absent throughout the story.
Speaker 2: Wow, that's first of all, thank you very much. I
Speaker 2: I'm laughing because I'm I appreciate the idea that it
Speaker 2: that he has a paradoxical effect. That's what I That's
Speaker 2: one of the things I would hoping he would have. Yeah,
Speaker 2: it's uh. In some ways, the novel reads like a
Speaker 2: fantasia of a doctor's chart. The research was simple. My
Speaker 2: father almost every weekend that I can remember growing up,
Speaker 2: was sitting at the desk, charts in front of him,
Speaker 2: dictating into a dictaphone. Patient is, patient, presents with patient, etcetera, etcetera,
Speaker 2: et cetera. He's a rheumatologist. And so that's what was
Speaker 2: playing in my mind for this character that I completely
Speaker 2: made up. And yeah, I made them up, yes, so
Speaker 2: that I have license, but also in reference to the
Speaker 2: last answer I gave, so that I could tell the
Speaker 2: stories myself but at a distance, and so that I
Speaker 2: wasn't constantly dealing with this character Eric. And there is
Speaker 2: an Eric character in the book, and it's basically me,
Speaker 2: but I wasn't. I wasn't cheating. The author character allowed
Speaker 2: me again a distance from everyone in the family so
Speaker 2: that I could see them all clearly, all clearly, myself included.
Speaker 2: I wanted to be part of the story, but if
Speaker 2: I was also telling the story, it felt like I
Speaker 2: was playing too many It felt like playing a card trek,
Speaker 2: and I didn't want to do that. So I just
Speaker 2: put myself to the side, and I made the author
Speaker 2: the central narrator. Of course, there's a play there too,
Speaker 2: because I'm the author of then all. So it kind
Speaker 2: of goes back and forth with who this author character is,
Speaker 2: and there there's deliberately some mystery about at that. But
Speaker 2: as a device it is to get away from the
Speaker 2: family and to look at as objectively as possible, at
Speaker 2: least in the beginning stages, before he himself gets more
Speaker 2: emotionally drawn into the story.
Speaker 4: Have your experiences and maybe writing this book affected your
Speaker 4: views of medical assistance and dying.
Speaker 2: Yes, I used to have an agnostic view towards it.
Speaker 2: My view was that it is humane for those who
Speaker 2: need it. And while the psychiatric community seems very split,
Speaker 2: what was split when it was created and seems even
Speaker 2: more divided as the as its scope has broadened to
Speaker 2: include people of different ages, people of different diseases, people
Speaker 2: at different stages of their disease. I thought, in the
Speaker 2: case of my grandmother, would was a humane thing to
Speaker 2: do to offer that, or it would be a humane
Speaker 2: thing to do to offer that. However, not that I
Speaker 2: feel so strongly that I would go to the barricades
Speaker 2: on this one. But there is an element of MADE
Speaker 2: that does not sit well with me, and that is
Speaker 2: when it is offered to those who ought to be
Speaker 2: better taken care of before they are given that option,
Speaker 2: people who are homeless, people suffering from PTSD, veterans for example.
Speaker 5: It's it's difficult to see the expansion of MADE and
Speaker 5: not think of it as.
Speaker 2: Reckless in some cases. But then I want to go
Speaker 2: back to this, which is my final point on my
Speaker 2: thinking and something that the book I believe is saying,
Speaker 2: which is to understand whether to offer MADE to somebody,
Speaker 2: you really need to know so much about their life
Speaker 2: and their story. It is supremely not a one size
Speaker 2: fits all solution. And yet you have doctors in this
Speaker 2: country who will perform hundreds of procedures that's more than
Speaker 2: one a day. How do they know? How do they know?
Speaker 2: I put that question out there in the hopes that
Speaker 2: I get an answer or answers, not to say it's
Speaker 2: impossible to know, but I'm genuinely curious. How do they Well?
Speaker 3: Thanks, Eric, you've given us a lot to think about.
Speaker 2: Yeah, well I haven't amused you though.
Speaker 3: Well you'd be surprised. What amuses us? Yeah, that's dark
Speaker 3: and to our audience. Now back to your regularly scheduled lives.
Speaker 4: Amusing Jews is here to amuse you. If you like
Speaker 4: being amused, go ahead and click like and subscribe.