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How Judy Blume’s ‘Are You There God? It’s Me, Margaret’ broke taboos around interfaith marriage
(JTA) — When Judy Blume’s young adult novel “Are You There God? It’s Me, Margaret” appeared in 1970, intermarried families were a small segment of the American Jewish population. Perhaps 17% of Jews were married to someone who wasn’t Jewish; today, 42% of married Jews have a spouse who is not Jewish, and in the past decade, 61% of Jews married non-Jewish partners.
Through the 1960s, middle-grade and young adult fiction rarely acknowledged the existence of these families, reflecting and reinforcing their outsider status. Today it is routine for authors to address the reality of inter-religious and culturally mixed families, portraying them with insight and compassion. (See “Not Your All-American Girl” by Wendy Wan-Long Shang and Madelyn Rosenberg, “Becoming Brianna” by Terri Libenson and “The Whole Story of Half a Girl” by Veera Hiranandani.)
This change was made possible partly by Blume’s story of sixth-grader Margaret Simon and her one-sided conversations with God.
Blume’s status as a pioneer in young adult literature is usually associated with her honest approach to the emotional, physical and sexual milestones of growing up, with her works still attracting readers and still finding an honored place on lists of banned books. That legacy is being celebrated in April with a new documentary, Amazon Prime Video’s “Judy Blume Forever,” and a theatrical release by Lionsgate of a feature film version of “Are You There God?”
Yet her treatment of contested identity in intermarried families is as revolutionary as her openness about bras, menstruation and sexual feelings. Actors Lena Dunham and Molly Ringwald, comedian Samantha Bee and many authors, including Raina Telgemeier, Tayari Jones and Gary Shteyngart, have cited Blume’s influence on both their lives and their work. Book lists for intermarried families frequently list the novel as a resource.
Margaret Simon is 11 years old at the start of “Are You There God?” Her Jewish dad and Christian mom have pointedly ignored the possibility that their daughter might have questions about her identity. Along with other issues of teen angst, she feels compelled to decide if she is Jewish, Christian or neither. Without any guidance, the last alternative leaves her in a frightening void. As she pointedly asks God, in her ongoing series of questions for Him, “I can’t go on being nothing forever, can I?”
Margaret’s parents, Barbara Hutchins and Herb Simon, fell in love and defied their respective parents by marrying out of their faiths. They assure Margaret that she has no religion, but can choose one when she is older, oblivious to the fact that this solution seems more of a burden than a promise of future freedom. Their avoidance of any serious engagement with either religion or culture renders any possible choice unlikely.
Blume situates Margaret’s search within the specific landscape of post-World War II America. When the Simons decide to leave their Upper West Side home in New York City and move to suburban New Jersey, their decision suggests a coded reference to their religious status. Long Island is “too social,” an implied euphemism for “too Jewish.” Living there might have made it harder for their relatively unusual situation to be discreetly ignored. On the other hand, the more affluent Westchester and Connecticut are “too expensive” and “too inconvenient.” Farbrook, New Jersey has enough Jews for it to feel right for Herb, but not so many as to make their mixed family stand out.
Margaret also suspects that her parents’ are determined to put distance between the Simons and Sylvia, her paternal grandmother, who lives in New York City. This gregarious woman shows up at their new home unannounced and toting deli foods, making it clear that Margaret’s one unambiguous connection to Judaism is not going to disappear. While Barbara’s parents utterly rejected her when she married a Jew, Sylvia has pragmatically decided to accept what she cannot change. In the postwar era, more Jews began to abandon or minimize religious practice, while still maintaining ethnically distinct customs. Like holiday observance or synagogue attendance, ethnic Jewish culture is also absent from the Simon home. Sylvia’s Jewish food, her frequent trips to Florida, even her combination of sarcasm and smothering warmth, provide Margaret with markers of the tradition her parents have eschewed.
Still, when Sylvia repeatedly asks Margaret if her (nonexistent) boyfriends are Jewish, the young girl is baffled. Given her own lack of consciousness of herself as Jewish, why would Margaret care?
Rachel McAdams and Abby Ryder Fortson in the forthcoming film adaptation of “Are You There God? It’s Me, Margaret.” (Dana Hawley/Lionsgate © 2022)
In the larger world of Farbrook, Margaret’s new friends seem to have more secure identities, conveniently defined by membership either in the “Y” (Young Men’s Christian Association) or the Jewish Community Center. Perfunctory attendance at Hebrew school until after one’s bar mitzvah is the furthest extent of her peers’ Jewishness. Margaret explains that her parents are “nothing” and that, prior to their marriage, they were Jewish and Christian, as if those identities could be cast off like an article of clothing. When Mr. Benedict, her enthusiastic young teacher, distributes a questionnaire, Margaret completes the prompt “I hate” with “religious holidays.” He attempts to draw her out about this troubling answer, and she scornfully observes that her teacher acted as if “he had uncovered some deep, dark mystery.”
On one level, he has. Her mother’s blandly universal definition of God as a “nice idea,” who “belongs to everybody,” is clearly a denial of the fractures in her family members’ lives.
Blume also captures the essence of mid-century non-Orthodox Judaism as comfortably accessible, yet also somewhat empty. On a visit to Grandma Sylvia’s elegant temple, the atmosphere is quietly decorous, the sanctuary filled with well-appointed congregants and beautifully arranged flowers. Sylvia’s rabbi greets Margaret with an enthusiastic “Good Yom Tov,” which he translates as “Happy New Year,” although it is actually a generic holiday greeting.
When Margaret later visits Presbyterian and Methodist churches, she notes the remarkable similarity among all three experiences.
The novel’s one incident of specific religious practice involves Margaret’s brief, unfinished confession in a classmate’s Catholic church. Having participated in bullying, Margaret tries to assuage her guilt through a ritual alien to both her father’s Judaism and her mother’s Protestant Christianity. She even momentarily confuses the priest with the silent God of her conversations. Nothing could be further from her parents’ rejection of religion, or from Grandma Sylvia’s loving assurance to Margaret that “I knew you were a Jewish girl at heart.”
When Margaret’s Christian grandparents decide to resume contact, the suppressed anger in the Simon home finally erupts. Herb is furious, and accuses his in-laws of only wanting to meet Margaret “to make sure she doesn’t have horns!” — a caustic reference to a persistent antisemitic myth. Blume had subtly foreshadowed this disruption of the status quo in a parallel event at school. When a Jewish student, backed by his parents, refuses to sing Christmas carols, the implicit agreement of the town’s Jews to quietly conform is broken. A Christian girl, in what seems an act of retaliation, then refuses to sing Hanukkah songs. These acts of resistance reinforce Margaret’s marginal status. Her intermarried family represents neither conformity with postwar norms nor an assertion of Jewish pride.
Blume appears to tip the scales in her portrayal of Mary and Paul Hutchins, Margaret’s maternal grandparents. Entirely unlikeable, simultaneously pushy and cold, they insist that the granddaughter they had never acknowledged is Christian. After their failed visit, Grandma Sylvia returns, along with her sweet and obviously Jewish new boyfriend, Mr. Binamin (“rhymes with cinnamon”). Readers rooting for the triumph of Margaret’s Jewish roots may breathe a sigh of relief here, but hope for a satisfying ending is illusory. Margaret’s search for a stable sense of self is still unfinished, and will not be satisfied by choosing membership in either the Y or the JCC.
For young readers, the novel’s discussion of religious identity proved as life-changing as its honest portrayal of puberty and menstruation. “I related to that kind of conflict of religion,” the comedian Chelsea Handler, who grew up in a mixed Jewish-Mormon home, told Blume in 2020. “At that time, I just found out my mom was Mormon, on top of thinking she was Jewish, and your books were such a reprieve for me and such a joy.”
More than 50 years ago, Judy Blume tackled a difficult subject, about both changing demographics and the search for authenticity in American Jewish life. Margaret’s conclusion that “twelve is very late to learn” about the essence of who you are still poses a challenge, while her persistent search for a meaningful identity offers a degree of optimism.
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Who needs a Reichstag fire when you can just pretend Portland’s burning?
Here in Portland, this supposed city of darkness, happy kids splash around in a fountain next to the sparkling Willamette River, senior citizens practice tai chi in a park, bald eagles and ospreys soar past office building windows, chefs and bakers win national awards, world-class jazz musicians draw locals into clubs, and hiking trails course through the largest urban forest in the country, with glacier-draped Mount Hood as a backdrop.
It’s hardly the hellscape depicted by Donald Trump. What the city is, however, is a primary target in Trump’s scheming to militarize American cities — at least progressive ones like Portland, my home for the past 25 years.
Demonstrations have continued outside an ICE facility in Portland since the summer. The protests have been small, overall peaceful, occasionally tense, but often cheery — such as the time when a group of elderly Portlanders sang “This Land Is Your Land.” But Trump is using the protests as an excuse to launch what local officials and residents fear could be a major military intervention in the city, turning Portland, in essence, into a domestic battleground.
Trump is employing a playbook that’s eerily similar to ones that have been used by despots, including Adolf Hitler, who consolidated his control over Germany by deploying Sturmabteilung shock troops to spread fear across the populace.
Trump has effectively weaponized ICE as his own personal police force, and is using it to bait protestors into clashes and create a pretext for exerting military-style control over cities led by Democrats. From the very beginning of Trump’s second term, federal agents’ pursuit of undocumented immigrants has been marked by the spread of fear and terror. Trump says ICE’s heavy-handed tactics are necessary to fulfill his promise that undocumented immigrants “will not be tolerated.” But the scale and spectacle of ICE actions suggest another motive: to manufacture war-like images that justify crackdowns on leftists, whom Trump routinely portrays as domestic terrorists.
So far, no ICE raid has been more chilling than its assault last week on a five-story apartment building in Chicago. In the dead of night, armed federal agents rappelled from Black Hawk helicopters onto the roof. Others stormed the building from the ground, kicking down doors, throwing flash-bang grenades, and zip-tying screaming children and elderly residents. The target of the raid was a Venezuelan gang. But Illinois Gov. JB Pritzker said many of those who were arrested were U.S. citizens with no criminal record — which has been disputed by the Trump administration.
Two weeks earlier, a pastor praying outside a Chicago ICE processing center was struck in the head by a pepper ball fired from a roof and then sprayed with tear gas as he lay on the ground. He has since sued ICE, alleging violations of religious freedom and free speech.
After weeks of threats, Trump has federalized 300 Illinois National Guard troops and ordered hundreds more to deploy from Texas — using protests against immigrant detention as a pretext for putting soldiers on the streets. The move defies the spirit of the 1878 Posse Comitatus Act, which bars the use of federal military forces to enforce civilian law without explicit congressional authorization.
At a press conference, Pritzker voiced angry defiance toward what he called “Trump’s invasion.”
“The state of Illinois is going to use every lever at our disposal to resist this power grab and get (Homeland Security Secretary Kristi) Noem’s thugs the hell out of Chicago,” Pritzker said.
Portland might well be next.
Over the weekend, a federal judge in Oregon, appointed by Trump in 2019, issued two rulings temporarily blocking his attempts to deploy National Guard troops to Portland. In a blistering decision Saturday, U.S. District Judge Karin Immergut wrote that Trump’s claims of a “war zone” were “simply untethered to the facts.” She added: “This is a nation of Constitutional law, not martial law.”
When Trump tried to circumvent her ruling by ordering California National Guard troops into Oregon, Immergut blocked that maneuver too, writing: “The executive cannot invoke emergency powers based on manufactured chaos.”
Trump responded by claiming that “Portland is on fire,” and threatened to invoke the Insurrection Act, which legal experts note would effectively amount to imposing martial law.
Trump’s description of the situation in Portland is grossly exaggerated, and intentionally so. The protests have occurred in a very small area around the ICE detention center. There have been clashes involving pepper spray, but no ongoing battles. The scene is actually more like an episode of the TV show Portlandia. During Kristi Noem’s visit to the facility on Tuesday she was mocked by activists wearing inflatable animal costumes, including a dinosaur, a raccoon and a chicken. An activist in a giant toad costume has become a social media sensation, especially after an ICE agent shot pepper spray into the air vent on the costume’s back side. Another image making the social media rounds shows protestors using donuts dangling from fishing poles to taunt ICE agents — “ICE fishing,” as they call it.
Portland wears its progressivism on its sleeve, which does not always work in the city’s favor. During the 2020 Black Lives Matter protests downtown, city officials faced accusations of being too lenient on leftist agitators. Riots during those protests, coupled with COVID, led to the closure of numerous downtown stores. Leftists who relish confrontation with right-wing counter-protesters have posed another challenge. During one protest in late August 2020, Trump supporters rode their pickup trucks into downtown Portland and picked a fight with leftist demonstrators. That night, a right-wing counter-protester was shot and killed by a self-described anti-fascist activist, who was later tracked down and fatally shot by federal agents in neighboring Washington state. Before fleeing, the shooter said he was defending himself.
Even before Trump, Portland has had a rocky relationship with federal authority. The city was the site of massive protests against President George W. Bush’s 2003 invasion of Iraq. In 2019, Portland became the second U.S. city — after San Francisco — to withdraw its police officers from the FBI’s Joint Terrorism Task Force, citing concerns over civil liberties and lack of transparency. In the 1990s, staffers for the first President Bush dubbed Portland “Little Beirut” in response to raucous anti-war protests that greeted his visits.
During his visit to Quantico Marine Base, Trump told top military commanders, “We should use some of these dangerous cities as training grounds for our military.” He singled out Chicago, Portland, Seattle, and Washington, D.C. For now, Portland’s resistance may resemble a surreal episode of protest theater—complete with inflatable dinosaurs and the viral “anti-fascist” frog. But there will be no cause for chuckling if the city becomes a proving ground for martial law, with federal troops rehearsing the suppression of dissent.
The post Who needs a Reichstag fire when you can just pretend Portland’s burning? appeared first on The Forward.
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Jewish women struggling with early menopause due to cancer treatment find new help

Beverly was 41, had two children and was contemplating a third when her first mammogram revealed a lump. Diagnosed with breast cancer, Beverly, who lives in Portland, Oregon, opted for chemotherapy, immunotherapy and a double mastectomy.
She knew the chemo would affect her fertility. What she didn’t know was that the type of cancer she had would necessitate hormone suppression drugs that would lead to severe menopausal symptoms.
For Beverly, now 46, that meant hot flashes, vaginal atrophy, zero libido, thick curly hair that turned straight, sparse and wispy, and what she describes as “old lady bones.”
“If I’m lucky enough to live to 95, am I just going to crumble into a pile of chalk?” she said.
Beverly, who asked that her last name be withheld for privacy reasons, is not alone in experiencing severe menopausal symptoms following breast cancer or ovarian cancer treatment or prophylactic surgery, which entails breast and/or ovary removal, sometimes along with removal of the uterine and fallopian tubes.
Risk-reducing surgery is often recommended for women who carry a BRCA1 or BRCA2 gene mutation, which significantly increases the risk of breast and ovarian cancer. These mutations are found in Ashkenazi Jews — in both women and men — at rates about 10 times higher than in the general population.
For women who test positive, surgery can reduce the risk of developing ovarian cancer by over 75%. There may also be reduced risk of breast cancer, though research findings are mixed.
While hormones gradually decline as older women approach menopause, younger women who undergo surgery-induced menopause may experience a sudden and dramatic hormonal crash.
“Natural menopause is gradual; surgical or medically induced menopause is intense,” said Elana Silber, CEO of Sharsheret, a Jewish nonprofit organization that provides support, counseling, patient navigation, financial assistance and education in the United States and Israel for those facing breast cancer and ovarian cancer.
“Doctors focus on immediate cancer treatment plans; Sharsheret helps support and educate women about what comes next,” Silber said. “We highlight these critical issues so that women know to raise them with their healthcare providers, and we make sure they don’t face those questions alone.”
As public discussions about menopause have become more common, Sharsheret has fielded a growing number of inquiries from young women seeking information on the subject and ways to connect with peers. Many are navigating an abrupt and frightening transition for which they never prepared, and they sometimes describe it as even more traumatic than their breast surgeries.
“Menopause brought on by breast cancer surgery or treatment doesn’t follow a normal, natural progression,” said Adina Fleischmann, Sharsheret’s chief services officer.
Sharsheret has responded by connecting women with social workers and genetic counselors to help them understand both the medical and emotional impact of treatment-induced menopause.
Through peer-to-peer connections, survivors are matched with others who have gone through the same surgeries and drug regimens. They get real-world perspectives that many women say they don’t receive from their physicians.
The organization also provides survivorship kits, medical webinars, and tailored educational materials on sexual health, bone strength, fertility preservation, and non-hormonal strategies for coping with hot flashes, sleep disruption, and vaginal dryness.
Beyond the physical symptoms, it’s not uncommon for women undergoing early menopause to experience depression, according to Dr. Gila Leiter, an Ob/Gyn affiliated with New York’s Mount Sinai Hospital and a member of Sharsheret’s medical advisory board.
“Knowing what symptoms to expect — and expect pretty suddenly — is very important,” Leiter said.
Liora Tannenbaum, Sharsheret’s Israel regional director, underwent risk reducing surgeries as a result of being a BRCA carrier. She said she was less fearful of the physical recovery from having her ovaries and uterus removed than when she did her double mastectomy, but she was terrified of the emotional and mental recovery.
“As much as I looked for people to talk to for support who had been through this, I found that so many women were suffering in silence,” Tannenbaum said. “The lowered tones and discomfort around the entire conversation caught me by surprise.”
One woman, M., 44, recalled symptoms “hitting like pile of rocks” after surgery five years ago to remove her ovaries, fallopian tubes and uterus. (She asked to use only an initial to preserve her privacy.)
Just 23 when she lost her mother to ovarian cancer, M. was 28 when she learned she carried the BRCA1 mutation. She spent several years considering her options before ultimately choosing to remove her ovaries and uterus.
“It took me a long time,” M. said. “The biggest concern is you want to have kids, and when you have these surgeries you can’t have kids.”
Most doctors, including M.’s, recommend such surgery by age 40. By 39, after two children, a third miscarriage, and ongoing exams, a suspicious finding — which proved to be nothing — made her doctor insist on risk-reducing surgery if she wanted to live to see her kids’ bar mitzvahs.
“I was already considering surgery, and that scare pushed me to do it,” M. said. “I’m glad I did.’”
But the sudden loss of hormones – not just estrogen, but also progesterone and testosterone – left her with vaginal dryness, loss of muscle mass, dry skin, diminished libido and a return of asthma. M., now a nurse who volunteers for Sharsheret’s peer network, noted that she wasn’t told during her medical appointments what to expect.
“The message was: ‘Don’t worry about it. We’ll give you a low-dose hormonal patch and everything will be fine,’” she recalled.
Menopausal symptoms aren’t severe for all women, and sometime they’re only temporary.
Farrah Zweig was 31 when she was diagnosed with hormone-positive, HER2-negative breast cancer. She had a lumpectomy, radiation and chemotherapy. She also took Lupron, a hormone suppression drug, which put her in menopause.
“My medical team did not discuss menopause with me,” said Zweig, now 42. “My only source of information was from people who had gone through it due to age, not as a result of a medical treatment like mine.”
She experienced the hot flashes and difficulty sleeping, which she expected, and also had a tough time losing weight she’d gained during chemo.
Leiter said physicians often don’t inform patients about treatments that might help their symptoms — even those that don’t involve hormones. She noted that antidepressants can reduce hot flashes and mitigate some of the irritability or emotional fluctuations. Meditation, cognitive behavioral therapy for insomnia, and laser treatments for vaginal dryness also can be effective.
“Knowing what you may feel and how you’re going to handle it, what medications are available, what support systems you’re going to have and maybe lining up your therapist or acupuncturist in advance makes all the difference,” Leiter said.
To speak with a social worker or someone at Sharsheret, visit www.sharsheret.org or call 866.474.2774.
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László Krasznahorkai, grim Hungarian author with hidden Jewish roots, wins literature Nobel

This year’s Nobel Prize for literature was awarded to a Hungarian writer whose work offers bleak visions of existence, and whose father hid his Jewish ancestry from him for much of his childhood.
László Krasznahorkai, the 71-year-old novelist and screenwriter, achieved international acclaim for formally daring books like “Satantango” and “The Melancholy of Resistance,” as well as a series of collaborations with the filmmaker Bela Tarr. He is often compared to master Russian novelists like Dostoyevsky and Gogol.
The Swedish Nobel jury called him “a great epic writer in the Central European tradition that extends through Kafka to Thomas Bernhard, and is characterized by absurdism and grotesque excess.” Another prominent champion of Krasznahorkai’s: the Jewish culture critic Susan Sontag, who praised the infamous 7.5-hour film adaptation of “Satantango” and deemed him a “master of the apocalypse.”
Krasznahorkai was born in 1954 in the small town of Gyula, near the Romanian border. As a child, he has said in interviews, he had no idea his father hailed from a Hungarian Jewish family. In 1931, as antisemitism was on the rise in Hungary but before the passage of formal anti-Jewish laws in the country, the author’s grandfather had changed their family name from Korin to the more native Hungarian-sounding Krasznahorkai.
“Our original name was Korin, a Jewish name. With this name, he would never have survived,” Krasznahorkai told a Greek interviewer in 2018. “My grandfather was very wise.”
When the author turned 11, he learned about his Jewish heritage for the first time. “In the socialist era, it was forbidden to mention it,” Krasznahorkai has said about his Jewish ancestry. “Korin” would later serve as the name of the protagonist, a suicidal Hungarian archivist, in Krasznahorkai’s acclaimed 1999 novel “War and War.”
Many of the author’s books, written in challenging postmodern style, are concerned with the effects of political turmoil and national upheaval on everyday citizens, from provincial farm workers to intellectuals. Some of his novels, including “Hersch 07769” and “Baron Wenckheim’s Homecoming,” have plots that deal directly with neo-Nazis.
In that 2018 interview, the author, an outspoken opponent of Hungary’s authoritarian prime minister Viktor Orban, also addressed his relationship to Judaism in characteristically pessimistic fashion.
“I am half Jewish,” he said, “but if things carry on in Hungary as they seem likely to do, I’ll soon be entirely Jewish.”
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