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In an unusual alliance, Jewish media and striking journalists are uniting to cover the Pittsburgh synagogue shooting trial
PITTSBURGH (JTA) — How many times should an alleged synagogue shooter’s name be mentioned in a news story about his trial, now beginning after more than four years?
For the Pittsburgh Union Press last month, the answer was seven. For the Pittsburgh Jewish Chronicle, it was an uneasy five, in a departure from its usual answer of zero — a number chosen out of deference to a community devastated by the shooting.
The slight difference was the only discrepancy between one set of stories published by the two news organizations covering the trial of Robert Bowers, accused of murdering 11 Jews in their synagogue here in 2018.
The anomaly offers a window into an unusual partnership between the two publications — the city’s Jewish paper and the news site established by striking staffers for the Pittsburgh Post-Gazette — born in February when it became clear that the trial would last months.
Pittsburgh Jewish Chronicle editor Toby Tabachnick was dreading the trial coverage, with a staff of just three on the editorial side: herself and two reporters, David Rullo and Adam Reinherz.
“I started getting really nervous. Like, how are we going to do this?” Tabachnick said on the eve of the trial, speaking at the federal courthouse where jury selection would soon begin. “Our regular reporters could have been here. But it would have been extremely taxing, difficult and emotional for us, because we’re so ingrained in the community too.”
Plus, she added, “In addition to this trial, which is going to be every day for three months, we’re covering the synagogues, events and the holidays, the lectures, we still have a regular community newspaper to put out.”
Tabachnick knew Andrew “Goldy” Goldstein, one of the Post-Gazette’s team that picked up a Pulitzer for their coverage of the massacre, from his time as a Pittsburgh Jewish Chronicle intern. She also knew he was on strike and wondered whether he could use the extra freelance opportunity.
Instead, Goldstein immediately offered up a better idea: Join with the Pittsburgh Union Progress, the strike paper, in a joint reporting project, organized in part through the Pittsburgh Media Partnership, an incubator for local journalism. (The Jewish Telegraphic Agency is raising funds for the coverage.)
Working together just made sense, Goldstein said. The Chronicle was deeply resourced and credible in the Jewish community, and the Progress had on board Torsten Ove, a local legend.
From left to right, Bob Batz of the Pittsburgh Union Progress, Toby Tabachnick of the Pittsburgh Jewish Chronicle and Andrew Goldstein of the Progress pose in the Joseph Weis Jr. Courthouse in Pittsburgh, April 21, 2023. (Ron Kampeas)
“We have the all-star federal courts reporter in Torsten and we have a lot of really great journalists who love Pittsburgh, love this community, and we’ll do our best to cover it,” Goldstein said, noting that the Chronicle would also have access to the Progress’s photographers. “But the Chronicle brings something different entirely to the table, which is, they’re so deeply sourced in the Pittsburgh Jewish community, and they have such an interest in this trial in particular.”
Newsroom collaborations have become more frequent in recent years as publications realize they can expand their impact and audience by working together. But while there are a growing number of relationships between local and national publications and between daily and investigative outlets, ties between mainstream newsrooms and community or ethnic media are less common.
S. Mitra Kalita, the founder and director of URL Media, a network of Black and Brown community news outlets that share content and revenue, said the value in such partnerships was not just in delivering relief as media staffs shrink, but also in sensitizing mainstream media to minority sensibilities.
“Talking about who [the ethnic media outlet is] serving and why we’re doing it this way — the spirit of real collaboration is a bit of that give and take,” she said. “We make mainstream media way better because it starts to infuse mainstream media with aspects of community and thus redefine the mainstream.”
The residual trauma of the massacre in the Pittsburgh collaboration made it all the more important for the mainstream reporters to be sensitive to the nuances that the Jewish media was bringing, she said.
“Especially a story like this one, which was such an attack on a community — a community that was singled out for their sheer existence, the strategy cannot be ‘let’s just work in parallel,” Kalita said. “It’s not going to work. It has to be kind of a cross-pollination and a real collaboration.”
That’s exactly what is happening, according to the reporters and editors involved in the project, with communication easy between each publication’s editor and expertise flowing in both directions.
Ove a denizen of the Joseph F. Weis Jr. Courthouse for so long that he can tell stories about a sizable stretch of the portraits of judges that line its corridor walls; he may be the only court reporter to seek an interview with a judge after his death, to ask him why he was haunting the place. (The judge never showed, but his widow was less than surprised to hear that he was still working.)
He led a passel of Chronicle and Progress staffers through the warren-like courthouse on the Friday before the trial, handily impressing them with his intimacy with the building — he knew the provenance of the paintings in each courtroom — and its staff. Soo Song, the assistant U.S. attorney who is leading the prosecution team, smiled and nodded as she passed.
Torsten Ove, left, of the Pittsburgh Union Progress and Adam Reinherz of the PIttsburgh Jewish Chronicle confer on the first day of jury selection for the Pittsburgh synagogue massacre trial, April 24, 2023. (Toby Tabachnick)
Ove showed the reporters how to access court records for free, and while they stood around him at one of the computer terminals, the teams’ different emphases emerged: Ove predicted that jury selection, which started last week and is expected to last as long as three weeks, would not be a news generator, because in his experience, it rarely has been.
Reinherz and Tabachnick, attuned to reporting on faith communities, were not so sure: Reinherz wondered whether believing Catholics, who reject the death penalty, would be eliminated, and Tabachnick wondered whether defense attorneys would seek to keep Jews off the jury — and how they would go about doing that.
Reinherz ended up covering the first day of jury selection. “Local and national reporters decided the Pittsburgh Jewish Chronicle should have one seat during the initial session of day one,” Reinherz explained in a story that appeared on both news sites. He noted that the first member of the public to enter the courtroom was Daniel Leger, one of two survivors of the attack.
Working together across platforms was odd, said Bob Batz Jr., the Progress’s interim editor, but he could get used to it.
“This is uncharted territory for someone like me, and I’ve been doing this for a long time, and we don’t, you know, we don’t collaborate,” he said.
“We compete!” Tabachnick interjected.
“What we’re doing is not common, and it’s not going to be easy,” Batz said. “Surely, we’re going to tick each other off about something or somebody is going to put the wrong word in or there’s a million things that can go wrong, but the breaking of ground where you’re actually working together, it just makes sense in so many ways on this story. We’re really trying to serve the community.”
Tabachnick said she saw added value in keeping journalists she admired in the limelight while they are on strike. Journalists at the Pittsburgh Post-Gazette went on strike back in October over wages and working conditions, in a crescendo of mounting tensions between the paper’s longtime owners and the staff that contributed to a newsroom exodus even in 2018, when the paper won a Pulitzer for its synagogue shooting coverage. The strike is now one of the longest in journalism history, and the staffers contributing to the Pittsburgh Union Progress are doing so despite earning well below than their regular salaries.
“I feel good about getting their names, their publication’s name out,” Tabachnick said.
Each story is running in essentially identical form on both publications’ websites, with a line crediting their collaboration. Tabachnick and Batz had a brief and friendly email exchange before each clicked “publish” on their story about debate among victims’ families about the appropriateness of the death penalty.
The Chronicle is minimizing appearances of the name of the accused killer, out of sensitivity to readers who may want to see their community members centered rather than their aggressor. Some researchers and law enforcement officials have also called on journalists not to print mass shooters’ names and photographs, citing evidence that doing so may contribute to their glorification and even copycat crimes.
Batz says he totally gets the Chronicle’s thinking, despite making a different choice in his newsroom.
“We’re still feeling our way, we’re still figuring this out,” Batz said. “They don’t name the defendant in their story, and they haven’t. And our guy Torsten who’s an all-star courts reporter, he’s going to use the guy’s name. And then in real time going back and forth on email and text we came up with his solution and that story was on both websites in minutes and it was really kind of cool.”
Tabachnick picked up the account of the previous night’s collaboration as if she’d been working across a desk from Batz for decades instead of online since February.
“The solution was that I realized that with the trial starting, it really didn’t make sense not to use his name at all anymore that we really needed to as a news organization,” she said. “But that didn’t mean we had to overuse his name. And I’m not saying Torsten overused his name. He used it as much as he needed to use it in terms of style, but I took out a few of them and replaced it with ‘the defendant’ and we were all happy.”
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Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
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NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’
(JTA) — A New Jersey church says it is “committed to engaging in dialogue, and teaching others about our heritage” after putting on a Christmas pageant that drew criticism for reflecting antisemitic stereotypes.
St. Mary Protectress Ukrainian Orthodox Church’s pageant, known as a vertep, featured an antagonist named Moshko who danced with the devil while wearing faux Hasidic garb like side locks and a black hat. The character was referred to as “zhyd,” a Ukrainian slur for “Jew.”
“We do not have any intention to promote harm or hatred with this pageant,” the church said in a statement issued on Facebook on Friday night. “However, we recognize some outside of our culture may assign elements of the performance to stereotypes when taken out of context which is inclusive of peoples historically present in eastern Europe.”
The church did not respond to a Jewish Telegraphic Agency request for comment prior to an initial report on the vertep earlier this month. It did not respond to an additional request for comment on Monday, following the statement. The church removed photos and video of the pageant from its Facebook page following the JTA report.
The vertep is a centuries-old Slavic Christmas tradition that emerged from puppet theater. In recent years, many Ukrainian Orthodox churches have removed material criticized as offensive. Since the current war between Russia and Ukraine began in 2022, one popular replacement for the Jewish antagonist has been a Russian character.
In its statement, St. Mary Protectress Ukrainian Orthodox Church emphasized that “the event does not target any specific group” but indicated that it could make changes in future pageants.
“The church is reflecting on this matter seriously and is committed to engaging in dialogue, and teaching others about our heritage while ensuring that future events continue to uphold the dignity, respect, and safety of all people,” it said.
The Anti-Defamation League of New Jersey, which said earlier this month that it was reaching out to St. Mary Protectress, told JTA on Monday that it had not been able to communicate with anyone from the church.
The church’s apology rang hollow for Lev Golinkin, a Jewish writer born in Ukraine who has advocated against the antisemitic elements of the traditional vertep.
“It’s not an apology, it’s more of an insult,” Golinkin said. “The problem is not the context. The problem is exactly that. It is in context perfectly.”
He added, “They’re making it seem that the people who are criticizing them … are the ones who have a problem because they don’t understand the culture.”
St. Mary Protectress is not the only Ukrainian church in the United States to import the antisemitic elements of the vertep from the old country. A church in Connecticut erected a backdrop poster for its pageant this year that included a Moshko character standing next to the devil.
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A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths
(JTA) — I’ve never read a Holocaust chronicle quite like Lore Segal’s autobiographical 1964 novel, “Other People’s Houses.” Mordant, unsentimental and sometimes painfully honest, it’s the story of an Austrian girl sent to England on the Kindertransport, as well as a portrait of the artist as a young refugee.
More than one of her legions of admirers have noted that Segal, who died in 2024 at the age of 96, was only one year younger than Anne Frank, and grew up to become the kind of writer Anne too might have become had she not died in Bergen-Belsen.
Segal’s work, which includes decades of stories in The New Yorker as well as a delightful children’s book, “Tell Me a Mitzi,” is also remarkable in its humility. Segal was adamant that memory — especially of traumatic events like the Holocaust — cannot be a perfect repository of truth. It’s not that authors couldn’t be trusted, but that neither the writer nor the reader should take anything for granted.
That challenge is captured in the title of a new exhibit mounted by the Leo Baeck Institute in New York: “And That’s True Too: The Life and Work of Lore Segal.” The title is a quote from “King Lear,” a favorite of Segal’s and a reminder to hold opposing truths in the same sentence, of resisting the false comfort of a single, final version.
“We tried to give you an insight into Laura’s ability to look at the world from many angles,” Karin Hanta, the exhibit’s curator, said at the exhibit’s opening on Thursday, just days before International Holocaust Remembrance Day.
At the event, actress Toni Kalem, who played Angie Bonpensiero on “The Sopranos,” read an excerpt from “Other People’s Houses.” Kalem, who met Segal years ago and discovered that their mothers shared the experience of the Kindertransport, spoke of Segal’s “unbridled curiosity” — a quality that runs through the display of photographs, manuscripts and family keepsakes.
Lore (pronounced “Laura”) Groszmann was born in Vienna in 1928; one month after the Nazi pogrom on Kristallnacht, she was sent to England and raised in a series of foster homes (her refugee parents would eventually arrive and find work as domestics). Later she would join her family in the Dominican Republic, and they eventually found refuge in Washington Heights, the Manhattan redoubt for German-speaking Jews. After she established herself as a writer, she became part of a circle of mostly Jewish writers in New York, including Cynthia Ozick, Vivan Gornick, Grace Paley, Norma Rosen and Gloria Goldreich. Her husband, book editor David Segal, was 40 when he died in 1970.
Hanta had hoped to write a biography of Segal, but when that project stalled, she pivoted. “With all the materials I had gathered,” she recalled at the opening, “why not stage an exhibition?”
The first iteration, mounted in Vienna’s Bezirksmuseum Josefstadt — located in the district where Segal grew up, and, as Hanta later discovered, near the hospital where she was born — drew thousands of visitors. The New York version, expanded and sharpened, shifts the focus westward, tracing Segal’s journey from prewar Vienna to Manhattan, where she lived for decades, taught generations of writers, and, according to the New York Times, came “closer than anyone to writing the Great American Novel.”
That novel, “Her First American,” appeared in 1985 and explored the uneasy intersection of race and Holocaust history through the relationship of a Jewish refugee and a Black intellectual. (LBI has scheduled an online event about Horace Cayton, Segal’s real-life lover and the inspiration for the novel.) “Other People’s Houses,” her first book, earned Segal a Guggenheim Fellowship, and her short-story collection “Shakespeare’s Kitchen” (2007) became a Pulitzer Prize finalist. All three books will be reissued in the spring of 2026 by the New Press, while Melville House is publishing a posthumous collection, “Still Talking.” Introduced by Gornick, it features the linked “Ladies’ Lunch” stories she wrote late in her career, about elderly Manhattan friends dealing frankly and often hilariously with the daily indignities of growing old.
The exhibit at the Center for Jewish History, where LBI catalogues the history and culture of German-speaking Jews, includes notebooks from Bedford College in London, where Segal studied after the war, filled with short stories entered into competitions. There are manuscripts marked and re-marked in a hand that never stopped revising. There are address books kept by her parents — one from England, one from the Dominican Republic — opened to pages that quietly testify to vanished worlds: cousins who hid behind kitchen curtains in France, friends who assumed false identities, children who never made it onto the trains.
One small object carries particular weight: a childhood friendship book, the sort in which relatives and friends inscribe poems and well-intentioned advice. Segal’s includes an entry from her first English foster mother, urging her to cherish friendship — advice that reads differently if you know, as Segal later wrote, that their relationship was fraught. Her father’s contribution, a drawing of a boy hiking in the mountains, echoes a story Segal drafted as a young woman about a prewar hike in the Alps with him. She revised that story at 90 and retitled it “Dandelion.” The New Yorker published it in 2019, 70 years after its first draft.
The exhibition is accompanied by a season of in-person and virtual programs, and Hanta has her own wish list of commemorative projects: She hopes that a park in Vienna where Segal played as a child might be renamed in her honor; that the exhibition might travel; that “Other People’s Houses” might be distributed free in Austria in 2028, the centenary of Segal’s birth and the 90th anniversary of the Kindertransport.
On opening night, before reading from “Other People’s Houses,” Kalem paused to apologize for the necessary cuts she made. “As you know, all her life, Lore was a master of meticulously crafting and scrupulously revising her work,” said Kalem. “So it feels like literary malfeasance on my part to attempt to edit a word of Lore’s story. It feels akin to cutting Shakespeare by shortening Hamlet’s soliloquy…. So Lore, I hope you understand and I hope you will forgive me.”
The exhibition also includes a video produced by Hanta and Segal’s grandson, Benny, which captures Segal late in life, still circling her subjects, still attentive to the elusiveness of truth. At the opening, Segal’s son Jacob spoke of his mother’s ambition and her modesty, her seriousness about art and her refusal to be undone by success or disappointment.
“She always made the world larger,” he said. “It’s smaller now.”
“And That’s True Too: The Life and Work of Lore Segal” runs through April 15 at the Center for Jewish History, 15 W. 16th St., New York, New York.
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