THE BRIDESMAN

An Israeli expatriate in Los Angeles reconnects with his aunt-by-marriage and returns to Israel, where secrets from the past resurface.

In a strong translation by Kahn-Hoffmann, Liebrecht portrays the connection between a young Micha and Adella, whom he meets for the first time when he's 9 years old and she's 18 and engaged to his favorite uncle. Micha comes from a big, opinionated Iranian Jewish family that looks down on Adella but he befriends her, and when the wedding plans are made, he is chosen to be her bridesman. In fluid prose, Liebrecht describes how Micha gets to know Adella, becomes fascinated with her, and participates in her wedding. As a young teenager, he relocates to Los Angeles with his mother, and then the chronology jumps ahead; Micha is an adult, working as a ghostwriter in Los Angeles, and Adella has reached out after many years to ask him to come to Israel for an unknown reason. Does she want him to ghostwrite her memoir? And who is this new woman? Adella has become Adel, and there is no trace of the timid, marginalized girl he remembers from his childhood. What ensues is a revelation of long-hidden secrets. Micha is in the business of ghostwriting, of crafting narratives from what he is told is true. But Adel's revelations make Micha revise his own memories of her and of his childhood, thus reminding readers to reexamine the stories we tell. The prose is clean and smooth, and Micha's narration transitions seamlessly from the voice of a young boy to the voice of an adult. Quietly intelligent and carefully written and translated, the novel encourages us to consider the relationship between truth and stories. Unfortunately, the narrative drags a little, and the story is not very compelling until its final shocking twist—which almost, but not quite, makes the rest worthwhile.

This slim novel invites us to question the narratives we know and has a rewarding payoff, but is slow-moving.