

Like Fiddler Taking President Nelson’s Counsel
When I was a kid, I loved the soundtrack to “Fiddler on the Roof.” I sang along with it all, loving the humor of ‘Matchmaker, Matchmaker’ and ‘Tevye’s Dream,’ and while I only really liked the first half of the movie (the second half was “too sad”), I managed to enjoy the music without thinking about the context/deeper meaning of the song lyrics. When I got older and took more history classes, of course, that shifted; I still sang along with and loved the songs, and they still brought me some of the uncomplicated joy they had when I was a child, but the uncomplicated joy came from the nostalgia of childhood. By the time I was married and saw my sister-in-law’s high school production of it–she played French horn in the pit–I answered her complaint about why the ending had to be so sad with the observation that for Eastern European Jews of the time period, the ending is actually about as happy as it got. I thought I was appreciating the musical as an adult.
And then I had children.
The thing is, unless you’re a parent–or truly responsible for raising children–you can’t fully appreciate “Fiddler on the Roof.” Suddenly, ‘Sunrise, Sunset’ becomes the lynchpin of the story, you’re understanding Tevye and Golde in entirely new ways, and both ‘Matchmaker’ and ‘The Home I Love’ break your heart. Ultimately, ‘Fiddler’ is a parents’ musical in a way few other shows are, and experiencing the music as the mother of teenage daughters is a whole new experience.
Enter Katherine Applegate’s The One and Only Family. Because as Ivan and Kinyani prepare for and experience parenthood, I think young readers will enjoy their story. I think older readers will get a kick out of it as well. But until you have actively parented–for an extended period of time–you’ll never fully appreciate the whole of it. (My hubby was in the room for much of the audiobook, and he and I were reacting in similar ways–very parental ways.) It’s a lovely story and a meaningful one, with some poignant musings about freedom and circumstance, and it’s hard for me to imagine anyone not liking it, although I’m quite sure a few someones won’t. (I’m especially looking at YOU, ridiculous people who give verse novels bad reviews on Goodreads because–essentially–you don’t like verse novels.) Those readers who encounter it as children, however, should be prepared for a whole new appreciation of it when they have children of their own reading it.
As for President Nelson? One of his most famous quotes is that “the joy we feel has little to do with the circumstances of our lives and everything to do with the focus of our lives.” “Fiddler on the Roof” quite deliberately (I imagine) retains its focus on history and anti-Semitism as a cultural and historical statement, and it’s a powerful musical because of that. Those experiencing it feel the pain and grief of Tevye’s family–indeed, of Anatevka as a whole–and such experiences are both memorable and valuable. The One and Only Family focuses, ultimately, on hope and possibility–Applegate’s reasons for doing so are beautifully laid out in her author’s note–and because of that, its power brings far more joy.