Features
“Agent Sonya” – the story of the Soviet Union’s most important female spy
Reviewed by BERNIE BELLAN I happened to have the radio on one Saturday afternoon – more as background noise than anything, when Elanor Wachtel’s CBC program on books, “Writers & Company”, came on. Normally I don’t pay attention to Wachtel’s program because it requires paying complete attention to the radio – something which I rarely do unless I’m out for a walk. However, as soon as Wachtel began to introduce her guest, a writer by the name of Ben Macintyre, the subject matter immediately grabbed my interest. Here is how she introduced Macintyre:
“Mrs. Len Beurton of Great Rollright, a tiny village in the Cotswolds, was an apparently ordinary housewife and mother of three, famous for her home-baked scones.
“In reality, she was Agent Sonya, a top Soviet operative, transmitting plans for the atomic bomb from an outhouse in her Oxfordshire garden. Her real name was Ursula Kuczynski and her intelligence work took her from her native Germany to Shanghai, Japanese-occupied Manchuria, Poland, Switzerland and England.
“Ursula’s eventful life is the subject of Ben Macintyre’s compelling new book. The British journalist is known for his bestselling accounts of international espionage — stories of intrigue, romance, betrayal, war, loyalty and conflicted morality. Over the past 30 years, he’s produced a dozen engaging, authoritative studies of high-profile figures ranging from Britain’s famed double agent Kim Philby to Moscow’s Oleg Gordievsky, who spied for Britain. He is also currently a columnist and associate editor for the Times U.K.”
As I listened with rapt interest to Macintyre describing the life of “Agent Sonya” I was determined to read his book – and I did, in less than a week.
Now, while I have somewhat of an interest in spy thrillers, including several I’ve read by Daniel Silva who features an Israeli spymaster by the name of Gabriel Allon (after being turned on to Silva two years ago during one of the meetings of the book club this paper co-sponsors with the Rady JCC, when our brilliant convener Sharon Freed who, unfortunately died much too young, included Silva’s “Rembrandt Affair” on the reading list that year), I much prefer reading non-fiction accounts of espionage, especially when they’re about the Mossad.
So, when Macintyre began to relate the story of an incredibly successful female spy for the Russians whose story has gone relatively unreported – and then happened to remark that she was Jewish to boot – well, he had me hooked.
Sonya Buerton (born Ursula Kuczynski, a.k.a. Sonya Hambuerger) was one of those rare individuals who not only succeeded brilliantly at her craft, she managed to live out her days dying a natural death in Moscow in the 1970s. That she survived the Stalin era in itself is rather extraordinary as Stalin’s paranoia led him to purge the ranks of his spy network on an ongoing basis – including a good many of the agents who had nurtured Sonya’s own career.
The fact that Ursula Kuczynski was born into an upper class Jewish family in Berlin in 1908 is something that I found most intriguing. The often pivotal roles that many Jews played in the spread of communist ideology in the first few decades of the 20th century is something that is widely known, but reading about someone who came from quite a prosperous family and who chose to commit herself to the pursuit of an ideology that was essentially antithetical to her own upbringing – and remained absolutely committed to that vision throughout her life, is not easy to understand.
Having experienced the chaos of the Weimar Republic in Germany one might well comprehend how someone as intelligent and well-educated as Ursula would have been drawn to communism in her late teens – at a time when Germany was being polarized into two camps – fascist and communist. It doesn’t seem, however, that the Kuczynski family’s being Jewish had much to do with what eventually became a thoroughly unquestioning loyalty to Soviet Communist ideology on the part of everyone of its members, including Ursula’s father, brother, and four sisters. That Ursula remained committed to communism throughout her life, however, despite all the betrayals of its goals perpetrated by Stalin and his disciples, is much more difficult to understand.
Macintryre doesn’t spend much time exploring the lure that communism held for Jews, but what I found particularly unsettling is how each member of this family was able to rationalize Stalin’s atrocities. Further, when the Russian Foreign Minister Molotov and his German counterpart Von Ribbentrop signed their non-aggression pact in 1939, the fact that so many communist sympathizers were able to twist themselves into pretzels defending a total betrayal of everything they had been espousing when it came to fighting fascism is really an indication how easily communist sympathizers could justify a 180 degree reversal in thinking without much compunction.
Ursula’s life, as told by Macintyre, was thoroughly documented throughout her lifetime, by her and by others, who kept detailed accounts all through the 1920s, 30s, and 40s. It turned out that Ursula was actually an excellent writer and her journals were not only detailed and very readable, when she eventually managed to escape to the Soviet Union shortly after the end of World War II, she managed to turn her fine writing talent into a craft as a writer of spy thrillers under the pen name “Ruth Werner”. (Her books, written in Russian and translated into several languages, actually sold quite well. As Macintyre notes, Ursula was merely one more former spy who was able to use their own experiences in order to turn out masterful spy novels. Included in that group also were Graham Greene and John Le Carré.)
Yet, as much as Ursula’s being Jewish does not play a central role in “Agent Sonya”, consider this: Her first marriage was also to a fellow Jew, an architect by the name of Rudolf Hamburger. Hamburger himself had no interest in Ursula’s communist leanings early on, and he was rather successful as an architect. But, in one of the most surprising twists in the story, once he and Ursula moved to China, where he helped to design some of the famous buildings along Shanghai’s Bund, and Ursula was first approached with the idea of becoming a Russian spy, even all the while that their marriage was falling apart, Hamburger was gradually transforming into a communist himself.
Further, even after Ursula left him – and the child that she bore while married to him, Hamburger became convinced that he too had to become a Russian spy! All the while he still loved Ursula too, even after he learned that she had become pregnant by another man and then again, by yet a third man.
It was in China that Ursula became a full-fledged Russian spy – with a change of name to Sonya. Several characters played key roles in leading to Ursula’s gradual induction into the world of Soviet espionage, including an America writer by the name of Agnes Smedley – a larger than life character who eventually became a leading apologist for Mao Tse Tung’s totalitarian rule.
The cast of characters in “Agent Sonya” is riveting. What Macintryre does so brilliantly is describe how ordinary individuals who would not stand out in any exceptional way possess the key ingredients that it takes to be a successful spy, including, among others: resourcefulness, an exceptional ability to lie one’s way through any situation, and what Ursula Kuczynski apparently possessed in spades: an ability to thoroughly compartmentalize one’s life.
Here we have a woman who, on the one hand, is a capable housewife – and mother – to three different children, by three different men no less! (and the children actually move with her from time to time as she’s relocated by her Soviet spymasters to different locations around the world, including Manchuria, Poland, Switzerland, and finally Britain), at the same time as she is able to insinuate herself into the upper echelons of enemy administrations wherever she is based.
In one passage that I found particularly compelling, “Sonya” describes how difficult it often was for her to sleep – and dream, without finding all the contradictory aspects of her various secret lives running up against one another. All the while she did this without resorting to alcohol or drugs – which is what almost inevitably become the crutches upon which spies lean. That she was also able to move from relationship to relationship with different men – twice at the order of her Soviet spymasters, and actually have honestly warm relationships with them to the point where she did love them yet, when ordered to leave those men, embark on a new assignment, is testament to her total acceptance of her role.
Here’s another interesting note about Sonya: As much as the intelligence she provided about various enemies, including: Chinese Republicans in Shanghai, Japanese occupiers in Manchuria, and German Nazis in Switzerland, was of great value to Russian intelligence, it was when she was able to move to England in 1941 that her greatest espionage coup was to come.
Living in a nondescript farmhouse in an out of the way village not too far from Oxfordshire – and by this time her name was now Sonya Buerton (the last man to whom she was married was also a spy by the name of Len Buerton), she was put in touch with a German-born scientist by the name of Klaus Fuchs. Fuchs was a brilliant physicist who was working on Britain’s own plan to develop an atomic bomb – separate and apart from what the Americans were doing at the same time. He was, however, a devout communist and determined to share whatever secrets he could with the Russians.
Sonya became his intermediary through which he was able to pass along reams of information to the Russians that proved to be of incalculable value in helping the Russians to leap frog what would undoubtedly have taken them years more to acquire on their own. Later, he moved to the U.S. to work on the fabled Manhattan Project. It was while he was in the U.S. that he had a change of heart, however, and turned himself in as a spy to the Americans. At the same time, though, he never betrayed Sonya.
Macintyre asks repeatedly how it was that Sonya was never caught by British intelligence, despite all the evidence that had been pointing for quite some time in her direction. Although he doesn’t arrive at a definitive conclusion, he suggests that more than anything, it was the total incompetence of the head of MI5 (Britain’s internal intelligence service), someone by the name of Roger Hollis, that led to Sonya’s being able to evade arrest.
At the time there was only one woman in a senior position in MI5, whose name was Millicent Bagot. Bagot was a dedicated – and thoroughly competent spychaser, far better qualified in her position than Hollis, who never believed that a woman could be a successful spy. Bagot was actually convinced early on that Sonya was a Russian agent and she bitterly fought to keep her from being allowed to enter Britain in 1941.
There is more than a little irony in the fact that one of Russia’s most successful spies of all time was a woman who was able to carry on her espionage precisely because she was a woman, while the one individual who would undoubtedly have been able to expose Sonya was also a woman but whose abilities were constantly underestimated, just as Sonya’s were, surrounded as she was by thick headed men.
“Agent Sonya” is a thoroughly compelling read. While the fact that Sonya was Jewish may be regarded as largely irrelevant to what became the story of her life since it never seemed to play any role in what ultimately ensued, I’m sure that for Jewish readers of this book the awareness that the person they are reading about was Jewish will lead to one’s wondering whether her being Jewish played a much larger role in her story than perhaps even Sonya herself was aware.
Here’s what Macintrye himself has to say in summing up Ursula’s life toward the end of his book: “If you had visited the quaint English village of Great Rollright in 1945, you might have spotted a thin, dark-haired and unusually elegant woman emerging from a stone farmhouse called The Firs, and climbing on to her bicycle. She had three children and a husband, Len, who worked in the nearby aluminium factory. She was friendly but reserved, and spoke English with a faint accent. She baked excellent cakes. Her neighbours in the Cotswolds knew little about her.
“They did not know that the woman they called ‘Mrs Burton’ was really Colonel Ursula Kuczynski of the Red Army, a dedicated communist, a decorated Soviet military intelligence officer and a highly-trained spy who had conducted espionage operations in China, Poland and Switzerland, before coming to Britain on Moscow’s orders. They did not know that her three children each had a different father, nor that her husband was also a secret agent. They were unaware that she was a German Jew, a fanatical opponent of Nazism who had spied against the fascists during the Second World War and was now spying on Britain and America in the new Cold War. They did not know that in the outdoor privy behind The Firs, Mrs Burton had constructed a powerful radio transmitter tuned to Soviet intelligence headquarters in Moscow. The villagers of Great Rollright did not know that in her last mission of the war, Mrs Burton had infiltrated communist spies into a top-secret American operation parachuting anti-Nazi agents into the dying Third Reich. These “Good Germans” were supposedly spying for America; in reality, they were working for Colonel Kuczynski of Great Rollright.
“But Mrs Burton’s most important undercover job was one that would shape the future of the world: she was helping the Soviet Union to build the atom bomb.
“For years, Ursula had run a network of communist spies deep inside Britain’s atomic weapons research programme, passing on information to Moscow that would eventually enable Soviet scientists to assemble their own nuclear device. She was fully engaged in village life; her scones were the envy of Great Rollright. But in her parallel, hidden life she was responsible, in part, for maintaining the balance of power between East and West and (she believed) preventing nuclear war by stealing the science of atomic weaponry from one side to give to the other. When she hopped on to her bike with her ration book and carrier bags, Mrs Burton (or, more precisely, Beurton) was going shopping for lethal secrets.
“Ursula Kuczynski was a mother, housewife, novelist, expert radio technician, spymaster, courier, saboteur, bomb-maker, Cold Warrior and secret agent, all at the same time.”
“Agent Sonya” – the story of the Soviet Union’s most important female spy
“Agent Sonya”
By Ben Macintyre
354 pages
Published Sept., 2020
Available on Amazon
Features
A People and a Pulse: Jewish Voices in Jazz and Modern Music
By MARTIN ZEILIG Jazz history is usually told through its most iconic names — Armstrong, Ellington, Parker, Davis — yet running alongside that familiar story is another, often under‑acknowledged one: the deep and enduring contribution of Jewish musicians, bandleaders, composers, and cultural intermediaries.
From the moment jazz emerged at the turn of the 20th century, Jews were not simply observers but active shapers of the music and the industry around it. Their influence — artistic, entrepreneurial, and cultural — has been both significant and, in many respects, disproportionately large. Jews and Jazz (171 pg. $18.75 US) a self‑published work by Laurence Seeff, brings this parallel narrative into sharp, affectionate focus.
Seeff is an ideal guide.
Born in London in 1951, he built a career that moved from statistics to energy policy in Paris, from financial markets at Bloomberg to corporate training in the City of London, all while writing poetry, songs, and humorous verse. Today he lives in Israel, where he continues to write, perform, learn Ivrit, and enjoy life with his large family. Through all these chapters runs a constant passion for jazz — a passion sparked more than fifty‑five years ago when he first heard Terry Lightfoot’s Jazzmen in a Bournemouth pub.
His writing blends clarity, humour, and genuine love for the music and the people who made it.
The musicians he profiles often came from immigrant families who brought with them the musical DNA of Eastern Europe — the cadences of synagogue chant, the urgency of klezmer, the cultural instinct for learning and artistic expression. When these sensibilities met the African American genius of early jazz, the result was a remarkable creative fusion.
Some figures, like Chico Marx, are better known for comedy than musicianship, yet Seeff reminds us that Chico was a serious pianist whose jazz‑inflected playing appeared in every Marx Brothers film and whose orchestra launched young talents like Mel Tormé. Others — Abe Lyman, Lew Stone, and Oscar Rabin — shaped the dance‑band era on both sides of the Atlantic.
Canadian readers will be pleased to find Morris “Moe” Koffman included as well: the Toronto‑born flautist and saxophonist whose “Swinging Shepherd Blues” became an international hit and whose long career at the CBC helped define Canadian jazz.
Seeff also highlights artists whose connection to jazz is more tangential but culturally revealing. Barbra Streisand, for example — a classmate and choir‑mate of Neil Diamond at Erasmus Hall High School — was never a natural jazz singer, yet her versatility allowed her to step into the idiom when she chose.
She opened for Miles Davis at the Village Vanguard in 1961 and, nearly half a century later, returned to the same club to promote Love Is the Answer, her collaboration with jazz pianist Diana Krall. Her contribution to jazz may be limited, but her stature as one of the greatest singers of all time is unquestioned.
Neil Diamond, too, appears in these pages.
Though not a jazz artist, he starred — with gusto, if not great acting finesse — in the 1980 remake of The Jazz Singer, 53 years after Al Jolson’s original. The film was not a success, nor was it truly a jazz picture, but its title and its star’s Jewish identity make it part of the cultural tapestry Seeff explores.
Diamond and Streisand recorded together only once, in 1978, on “You Don’t Bring Me Flowers,” a reminder of the long‑standing artistic ties between them.
Mel Tormé, by contrast, was deeply rooted in jazz. Nicknamed “The Velvet Fog,” he was a prodigy who sang professionally at age four, wrote his first hit at sixteen, drummed for Chico Marx, and recorded with Benny Goodman and Artie Shaw. Ethel Waters once said he was “the only white man who sings with the soul of a black man.” His story exemplifies the porous, collaborative nature of jazz.
Seeff also includes non‑Jewish figures whose lives intersected meaningfully with Jewish culture. Frank Sinatra — perhaps the greatest crooner of them all — was a steadfast supporter of Jewish causes, from protesting during the Holocaust to raising funds for Israel Bonds and the Hebrew University. His multiple visits to Israel, including a major concert in Jerusalem in 1975, underscore the depth of his connection.
Danny Kaye earns his place through his close work with Louis Armstrong, his pitch‑perfect scat singing, and his starring role in The Five Pennies, the biopic of jazz cornetist Red Nichols. Though not a jazz musician per se, his performances radiated a genuine feel for the music.
A later generation is represented by Harry Connick Jr., whose Jewish mother and New Orleans upbringing placed him at the crossroads of cultures. A prodigy who played publicly at age five, he went on to become one of the most successful jazz‑influenced vocalists of his era, with ten number‑one jazz albums.
Even Bob Dylan appears in Seeff’s mosaic — another reminder that Jewish creativity has touched every corner of modern music, sometimes directly through jazz, sometimes through the broader cultural currents that surround it.
Taken together, the concise portraits in Jews and Jazz form a lively, engaging mosaic — a celebration of creativity, resilience, and cross‑cultural exchange. They show how Jewish musicians helped carry jazz from vaudeville and dance halls into swing, bebop, cool jazz, pop, rock, and film music.
They remind us that jazz, at its heart, is a meeting place: a space where people of different backgrounds listen to one another, learn from one another, and create something larger than themselves.
For further information, contact the author at the following email address: laurenceseeff@yahoo.co.uk
Features
Jews in Strange Places
By DAVID TOPPER The Jewish contribution to 20th century popular music is well known. From Jerome Kern through to Stephen Sondheim, Jews played major roles as both composers and lyricists in the so-called Great American Songbook. (An exception is Cole Porter.) It continued in Musical Theatre throughout the rest of the century.
One very small piece of this story involves what Time magazine in the December 1999 issue called “the tune of the century.” First recorded sixty years before that, it is the powerful and haunting tune called “Strange Fruit,” which is about the lynching of black people in the southern USA. First sung by Billie Holiday in 1939, it became her signature tune.
So, why do I bring this up? Because there is a multi-layered Jewish connection to this song that is worth recalling, which may not be known to many readers.
Let’s start with the lyrics to “Strange Fruit,” which are the essence of this powerful piece:
Southern trees bear strange fruit,Blood on the leaves and blood at the root,Black bodies swinging in the southern breeze,Strange fruit hanging from the poplar trees.Pastoral scene of the gallant south,The bulging eyes and the twisted mouth,Scent of magnolias, sweet and fresh,Then the sudden smell of burning flesh.Here is fruit for the crows to pluck,For the rain to gather, for the wind to suck,For the sun to rot, for the trees to drop,Here is a strange and bitter crop.
Before becoming lyrics in a song, this poem stood alone as a potent statement about the lynchings still taking place throughout the American South at the time. The strong metaphorical imagery never explicitly mentions the lynching, which adds to the poetic power of this poem. Standing alone, I believe it’s an important protest verse from the 20th century.
Searching it on the internet, you may find the author listed as Lewis Allan. But that’s not his real name. “Lewis Allen” is the often-used pen name of Abel Meeropol, a Jewish High School teacher from the Bronx in New York. He and his wife, Anne (nee Shaffer), had two stillborn children with those names – a fact that adds a poignant element to this story.
The origin of the poem for Abel was a photograph he had seen of a lynching of black men in the South. I have seen such images, possibly even the one Abel saw: for example, a sepia photograph of two black men hanging from a long tree limb, and a large crowd of white people below (men, women and even children!), most seeming dressed in their Sunday best (some men with straw hats) looking up and gawking at the sight, some with smiles on their faces – as if attending a festive spectacle. Like Abel, I felt repelled by the picture: it turned my stomach. This communal display of horrific cruelty gave me a glimpse into Abel’s mind, and I understood how it compelled him to write about it. He thus wrote the poem, and it was published in a teacher’s magazine in 1937.
Being a songwriter too, in 1938 Abel added a melody and played it in a New York club he often attended. But here’s where this story’s documentation gets contradictory, depending upon who is recalling the events. The club owner knew Billie Holiday, and he showed the song to her. What her initial response was, we cannot know for sure. But we do know that in a relatively short time, she added it to her repertoire. It eventually became her signature tune. She initially sang it in public, but because of its popularity among her fans, there was pressure to record it too.
There were initial rejections from recording companies because of the controversial content. But Commodore Records took a chance and pressed the first recording in April 1939. This was the same year the movie “Gone with the Wind” came out; it was steeped in racial stereotyping. It was also sixteen years before Rosa Parks refused to give up her seat on a bus in Montgomery, Alabama.
As a record, the song obviously reached a large audience. Since the content was about racism, the song was seen as politically radical; not surprisingly, many radio stations banned it from the airwaves.
Furthermore, it’s also not surprising that Abel, a schoolteacher, was called to appear before a committee of New York lawmakers who were looking for communists in the schools. Possibly they were surprised to find that the poem and the song were written by a white man – and a Jew to boot. In particular, they wanted to know if he was paid by the Communist Party to write this song. He was not. And, in the end, they let him go. But shortly thereafter he quit his teaching job.
This took place in 1941 and was a precursor to the continued American obsession with communism into the 1950s, under Senator Joe McCarthy.
Indeed, that episode had an impact on Abel and Anne too. In 1953 Julius and Ethel Rosenberg were convicted of giving information about nuclear science to the Soviet Union, and they were the first married couple to be executed in the electric chair. They left two sons, Michael (age 10) and Robert (age 6). Apparently, immediate family members were reticent to get involved with the boys, possibly afraid of being accused of sympathizing with communism.
Enter Abel and Anne. Without a moment’s hesitation they stepped in, taking and raising the boys. As Michael and Robert Meeropol they eventually went on to become college professors – and naturally were active in social issues. Anne died in 1973. Abel died in 1986 in a Jewish nursing home in Massachusetts, after a slow decline into dementia. Long before that, Billie Holiday died in 1959, ravaged by the drug addition that took her life at forty-four years of age.
See why I called this a multi-layered Jewish story that’s worth telling?
To hear Billie Holiday singing “Strange Fruit” click here: Strange Fruit
Features
Is This the End of Jewish Life in Western Countries?
By HENRY SREBRNIK “Globalize the Intifada” has been the chant echoing through streets since October 7th, 2023. It was never a metaphor, and we now see the gruesome results across the western world, from Australia to Canada: the rise of groups of large, active networks of Islamist and anti-Zionist organizations.
Jews in the West are discovering that the nations they defended, enriched, and profoundly shaped have become increasingly inhospitable. After the Holocaust, explicit Jew-hatred became unfashionable in polite society, but the impulse never disappeared. The workaround was simple: separate Zionism from Judaism in name, then recycle every old anti-Jewish trope and pin it on “the Zionists.”
We have seen the full legitimization of genocidal anti-Zionism and its enthusiastic adoption by large segments of the public. The protests themselves, as they began immediately on October 7th, were celebrations of the Hamas massacres. The encampments, the building occupations, the harassment campaigns against Jewish students, the open calls for intifada, the attacks on Jews and Jewish places have become our new norm. History shows us that antisemitism does not respond to reason, incentive or the honest appeals of the Jewish community.
Outside the United States, there is no Western political establishment with either the will or the capability to address this problem, let alone reverse its growth. I’m sorry to say this, but the future of Western Europe, Canada, Australia, and New Zealand is likely to be increasingly Jew-free.
Today, police stand and watch mobs chant for Israel’s destruction, call for the genocide of its people, harass visibly Jewish citizens, and drive antisemitic intimidation deep into urban life. They now believe their job is to enforce the law only if it does not risk upsetting violent constituencies. This makes Jews expendable, because defending them risks confrontation. This was very clear in the Bondi Beach massacre.
Jews are again donning caps instead of kippot, dressing generically with no cultural markers, and avoiding even a tote bag with Hebrew on it. A corrosive creep toward informal segregation in retail and service sectors is occurring, as Jewish customers report being refused service. A mezuzah hanging from a rideshare mirror leads to cancellations. When Jews express frustration, they are accused of exaggeration or attempting to suppress criticism of Israel. Jewish fear is not treated as a real problem.
“Jews Are Being Sent Back into Hiding,” the title of a Dec. 15 article in the New York Free Press by David Wolpe and Deborah Lipstadt, asserts that the attacks on Jews, including physical assaults, social media campaigns and, most tragically, the recent murders in Australia, are part of a purposive campaign designed to make Jews think twice about gathering with other Jews, entering a synagogue, going to kosher restaurants, putting a mezuzah on the doorpost of their apartments or dorm rooms, or wearing a Jewish star around their necks.
“We know of no one who would consider giving a niece, nephew, grandchild, or young friend a Jewish star without first asking permission of their parents,” they write. The unspoken, and sometimes spoken, question is: “Might wearing a star endanger your child’s well-being?”
Recently, a prominent American rabbi was entering a Target store in Chicago with her grandson, whom she had picked up from his Jewish day school. As they walked into the store the 10-year-old reached up and automatically took off his kippah and put it in his pocket. Seeing his grandmother’s quizzical look, he explained: “Mommy wants me to do that.”
Borrowing a phrase from another form of bigotry, they contend that Jews are going “back into the closet.” No public celebration of Hanukkah took place in 2025 without a significant police presence. Some people chose to stay home.
Lipstadt and Wolpe know whereof they speak. They are respectively a professor of history and Holocaust studies who served as the Biden administration’s ambassador tasked with combating antisemitism, the other a rabbi who travels to Jewish communities throughout the world, and who served on Harvard’s antisemitism task force in the aftermath of the October 7, 2023 pogrom.
What the world has seen over the past two years is a continual, often systematic attempt to terrorize Jews. When political leaders fail to condemn rather than merely “discourage” chants of “globalize the intifada,” we are seeding the ground for massacres like the Hannukah one in Sydney.
If each Jewish holiday will now be seen by antisemites as an opportunity for terror, then the prognosis for diaspora Jewry is bleak. There will be fewer public events, more alarms, more bag checks at doors; there will have to be more security and more police. Unless things change, Jewish life in the diaspora will become more sealed off from the larger society.
Why has this failure come about? Confronting antisemitism, stopping the mobs, challenging the activists, and disciplining antisemitic bureaucrats all carry electoral risk for politicians; Jews are demographically irrelevant, especially compared with Muslim voters, with the U.S. being the only partial exception.
There are those who suggest Jews stop donating funds to educational and other institutions that have turned against us. At this point, I doubt very much that withdrawing dollars will have an impact. For every dollar withdrawn, there will be 100 from Qatar and other sources in its place.
Throughout history, the way a society treats its Jews predicts its future with unerring accuracy. If Jews leave, it will be because a civilization that will not defend its Jews will also defend next to nothing and may itself not survive.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island