Author Gual Pinto Discusses New Novel and Israeli Culture's Struggle
Translated & summarized from Israel Hayom by baba
Author and radio host Gual Pinto's new novel, "Order of Affairs," explores universal themes of grief and resistance to war. Pinto, who also hosts the radio show "Gam Ken Tarbut," stresses the need to connect culture with current events, especially during wartime. He criticizes the state's inadequate support for culture, likening it to a neglected stepchild. Pinto also defends his approach to interviewing public figures, including a controversial exchange with Rabbi Benny Lau regarding artistic freedom.
The story in 6 lines · by baba
- Gual Pinto's new novel "Order of Affairs" examines universal themes of grief and resistance to war.
- Pinto hosts the radio show "Gam Ken Tarbut," connecting culture to current events.
- He criticizes the state's inadequate support for Israeli culture, using a Cinderella metaphor.
- Pinto advocates for connecting culture to current events, even during national crises.
- He defends his interview style, which includes challenging public figures on sensitive topics.
- The author notes a rise in self-censorship within Israel's creative community.
Gual Pinto, author of the newly released novel "Order of Affairs," discusses his work which centers on a father, Mr. Even, grappling with the death of his son in war. Pinto explains that the novel is not about a specific conflict but a universal exploration of grief, fatherhood, and resistance against war. The protagonist, Mr. Even, refuses to open his door to the messengers of death, symbolizing a desperate attempt to halt time and confront his past relationships, including an abusive father, a diminishing marriage, and military machism.
Pinto, also the host of the daily culture program "Gam Ken Tarbut" on Kan Tarbut radio, emphasizes the importance of connecting culture to current events, especially during national crises like the Swords of Iron War. He describes how his program has adapted to begin each broadcast with casualty reports, grounding the cultural discussion in the immediate reality of the nation. Pinto acknowledges the emotional toll this takes, sharing instances where he has had to step away from the microphone to compose himself.
The author reflects on his career, particularly his time as a culture reporter for Haaretz, where he learned to cover culture with the same rigor as political or legal reporting. He highlights the program's commitment to covering Arab culture and addressing underfunded cultural initiatives, arguing that public broadcasting has a duty to serve diverse audiences beyond mainstream appeal. Pinto criticizes the decline of cultural gatekeepers, noting how commercial interests can dictate which books are sold.
Discussing the relationship between the state and Israeli culture, Pinto uses the metaphor of a Cinderella figure and a stepmother, where culture is expected to perform all duties without receiving adequate support or recognition. He also touches upon the phenomenon of self-censorship in the creative community, suggesting it is more prevalent than overt external censorship, and calls on creators to resist fear.
In a recent interview that sparked controversy, Pinto confronted Rabbi Benny Lau, then chairman of the Sapir Prize jury, about his views on potentially sensitive content. Pinto defends his questioning as essential for engaging with public figures and ensuring that cultural institutions are taken seriously, even when addressing difficult topics. He expresses disappointment that Rabbi Lau did not fully rise to the occasion, but remains open to further dialogue.