THE LAST KABBALIST OF LISBON. Kirkus Reviews Issue: March 1st. The Last Kabbalist of Lisbon by Francis King, Richard Zimler. See more details below. Read The Last Kabbalist of Lisbon by Richard Zimler with Kobo. The Last Sherlock Holmes Story.

The Last Kabbalist of Lisbon by Richard Zimler, Paperback. The Last Kabbalist of Lisbon. RICHARD ZIMLERTHE OVERLOOK PRESSNEW YORK, NYThis edition first published in the United States in 2. The Overlook Press, Peter Mayer Publishers, Inc. Wooster Street. New York, NY 1. Copyright . No part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known or to be invented without permission in writing from the publisher,except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast.

Home > The last kabbalist of Lisbon / > Summary/Reviews. Cite this; Text this; Email this; Add to Favorites;. Story revolves around a young adult and the discovery that his beloved Uncle Abraham has been killed during the 1506 Lisbon. The Last Kabbalist of Lisbon. Buy The Last Kabbalist of Lisbon by Richard Zimler (ISBN: 9781472112101) from Amazon's Book Store. 5.0 out of 5 stars The Last Kabbalist In Lisbon. Richard Zimler received the 2009 Alberto Benveniste literary prize in France for his novel. The Last Kabbalist of Lisbon (April 1996) Unholy Ghosts (1996. Link to 'The Last Kabbalist of Lisbon' on Facebook; Tweet about 'The Last Kabbalist of Lisbon' Pin 'The Last Kabbalist of Lisbon'.

The Last Kabbalist of Lisbon is a compelling murder mystery and historical. The Last Kabbalist of Lisbon, by Richard. Watch Skin In The Game full movie with subtitles 4K on this page. The Last Kabbalist is not about.

Library of Congress Cataloging- in- Publication Data. Zimler, Richard. The last kabbalist of Lisbon : Richard Zimler. Jews—Persecutions—Portugal—Lisbon—History—1. Fiction. 2. Lisbon (Portugal)—History—Fiction. Title. PS3. 57. 6. I4. 64. L3. 7 1. 99. Book design and type formatting by Bernard Schleifer.

Manufactured in the United States of America. ISBN 9. 78. 15. 90. For Alexandre Quintanilha. Thanks to Ruth Zimler,Tracy Carns, Cynthia Cannell, Joanne Gruber and Quetzal Editores of Lisbon. In December of 1. Ferdinand and Isabella of Spain expelled all the Jews from their kingdom, King Manuel of Portugal was convinced to do the same.

In exchange, he was to receive from the Spanish monarchs the hand of their daughter in marriage. Just before the expulsion order was to take effect, however, King Manuel decided to convert the Portuguese Jews rather than lose such valuable citizens. In March of 1. 49.

Jews rounded up and dragged to the baptism font. Although accounts have reached us of some Jews who committed suicide and murdered their children rather than become Christians, most did indeed agree under coercion to accept Jesus as the Messiah. Called New Christians, they were given twenty years to lose their traditional Jewish customs, a promise which proved hollow over the next two decades of prejudice and imprisonment.

Even so, many of the New Christians persisted in their beliefs. In secret and at great risk, they said their Hebrew prayers and practiced their rituals, in particular those related to the observance of the Sabbath and the celebration of Jewish holidays. One such secret Jew was Berekiah Zarco, the narrator of The Last Kabbalist of Lisbon. Abraham Vital, a lawyer in private practice in Istanbul, makes a living petitioning the Turkish government to win benefits for persons who, because of injury or illness, can no longer work. In 1. 98. 1, he waged a successful legal battle on behalf of a fifty- nine year old carpenter named Ayaz Lugo whose right arm and hand were paralyzed in a car crash.

Lugo died in June of 1. His wife had already passed away six years earlier. In his will, a grateful Lugo left Abraham Vital his home. I was to stay in Lugo’s house during the seven- month sojourn I spent in Istanbul in 1. Sephardic poetry, in particular, the ballad form. It was graciously offered to me rent- free by Abraham Vital; he and I became acquainted through a mutual friend, my thesis advisor Dr. Isaac Silva Rosa, formerly of U.

C. Berkeley and now of the University of Porto in Portugal. Both Vital and Lugo are Sephardim, descendents of the waves of Jews who fled persecution in Spain and Portugal in the 1. Their ancestors had been offered exile in Istanbul—then known by Christians and Jews as Constantinople—as early as 1. In that year, Turkish Sultan Bejazet II welcomed to his kingdom thousands of Sephardic Jews who were complying with an expulsion order issued by King Ferdinand and Queen Isabella of Spain.

On a stifling day in early May, Vital drove me to Ayaz Lugo’s ancient home at the fringes of Istanbul’s medieval Jewish Quarter, the Balat. Two stories of stone and flaking stucco rose up like an abandoned watchtower between a bakery and record store. I moved in on May 9, 1. Inside, everything appeared gray- brown, as if in a sepia photograph, until I started removing the dust. I could touch the sagging ceilings of both floors of the house without standing on my toes.

Cones of light filtered in to my bedroom through oval, platter- size windows. The furniture was of heavy, time- worn wood, pieces evidently purchased when Lugo was a boy; now all antiques. In my bedroom closet I found thousands of sugar cubes neatly stacked in leather suitcases.

Apparently, it had been scarce during World War II. Were the cubes already packed away in case Lugo had to make a quick exit?

Maybe Jews should always have at least one suitcase prepared, I thought. In a worm- eaten dresser, under cotton underwear, I found rancid Turkish chocolate bars. I was pleased; Lugo and I undoubtedly shared a sweet tooth. My bed was an iron frame with a squashed mattress manufactured in Konya.

The script of the tag was in Arabic, making it about seventy years old; in the 1. Latin alphabet replaced the Arabic one throughout Turkey. The house had no shower. One sink gave a thin stream of cold brown water that smelled of chlorine and rust. Lugo and his wife must have gone to the baths. I had many companion mice.

But miraculously, there were no ants and no bedbugs. That July, Abraham Vital decided to begin bringing the house up to 2. Western standards. Remodeling began with the cellar so that I wouldn’t be too disturbed.

On July 1. 8, workmen came across a secret lair, two- feet deep and four- feet square, which had been covered with wood planks and a cement casing. Inside this hiding place sat a tik, thesmall cylindrical chest used by Sephardic Jews to house the Torah, the first five books of the Old Testament. Decorated with elaborate silver filigree and enamel peacocks, it was found to contain not a Torah, but a leather- bound set of handwritten manuscripts, nine in all. The manuscripts were in the square, Hebrew script typical of Iberia, the language largely Jewish- Portuguese—an old Portuguese written in Hebrew characters. Portions of the early works, however, were in medieval Hebrew itself. The writing was done with a calamus, the reed pen used in Iberia. The paper was in excellent condition.

All but three of the manuscripts bore polished vellum covers on which a title is illuminated with bird- headed letters. Hoopoes, owls, thrushes, European goldfinches and peacocks predominate. One species of hummingbird (remarkably, a New World family of birds) is also pictured. Lacy, intricate geometrical patterns and arabesques form the backgrounds to titles.

Gold leaf is used liberally. A bright carmine and the blue of lapis lazuli are the dominant colors. I found that all of the manuscripts were signed in a careful script in the form of an Egyptian ibis by a man named Berekiah Zarco. From the dates penned next to his signatures and references in the text, we know that they were written over the course of twenty- three years, from 5. Hebrew calendar—1.

CE. On the night of July 1. I began reading his work. What I found were six treatises on various aspects of the kabbalah, the mystical philosophy which radiated out into the Jewish diaspora from Provence in the early Middle Ages and which has been passed down in subsequent centuries both orally and in texts.

The most well known of these kabbalistic texts are the Bahir and the Zohar. Three of Berekiah’s manuscripts—those without title pages—were of a secular nature, however. Bound together by a leather strap, the first dated from 1. Right from my first inspection, it was evident that they concerned the Lisbon massacre of April 1.

Some two thousand New Christians—Jews forcibly converted to Christianity in 1. Rossio, the square that still centers the Portuguese capital.

Unfortunately, numerous sections and even single pages of Berekiah’s manuscripts had been reassembled out of order by someone undoubtedly unable to read Jewish- Portuguese. Two months of rearranging were involved. Once back in order, however, Berekiah Zarco’s work read smoothly.

The three historical manuscripts taken together form a single work telling the story of Berekiah’s family during the tragic events of April 1. In particular, they recount Berekiah’s search for the killer of his beloved Uncle Abraham, a renowned kabbalist who is likely responsible for some of the hitherto unattributed works of the Lisbon School, including—for reasons that become clear in the story—Knocking on Doors and the Book of Divine Fruit. Several other, more cursory accounts of the pogrom have reached us (including the one by Solomon Ibn Verga mentioned by Berekiah), and there can be no doubt about the historical veracity of Berekiah’s story. All of the major events of his tale are confirmed by contemporaneous accounts. Many of the people mentioned, including Didi Molcho, Dom Jo.

Some readers unfamiliar with Sephardic and New Christian literature of the 1. Century may have difficulty with my rendering of Berekiah’s story in the form of a mystery and the use of colloquial language. Berekiah Zarco is, however, like many of his contemporaries, a modern author in outlook and style.

The second manuscript in particular reveals a straightforward technique resembling that of the Spanish picaresque novel, the earliest of which were published a short time after. Berekiah completed his work. Interestingly, many of the Spanish picaresque authors were converted Jews as well.

Unlike the picaresque novels, however, Berekiah’s tone is hardly ever ironic and never slapstick. In addition, his central character—himself—is neither a rogue nor a hero. He is simply what Berekiah Zarco must have been: a intelligent and confused young manuscript illuminator, fruit seller and kabbalist; a young man devastated by the murder of his uncle. Berekiah’s frank language includes the use of swear words, openly blasphemous statements and even slang—all of which I have tried to retain. Clearly, if Berekiah had intended to write yet another mystical tract or even staid historical text, he would have. He had the talent and the knowledge.

The fact is, he didn’t.