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Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments
(JTA) — When the New York Times journalist Jodi Kantor was reporting the 2017 Harvey Weinstein sexual assault story that earned her a Pulitzer prize, the powerful Hollywood producer and his team tried to influence her by using something they had in common: They are both Jewish.
“Weinstein put [Jewishness] on the table and seemed to expect that I was going to have some sort of tribal loyalty to him,” Kantor told the Jewish Telegraphic Agency on a video call from the New York Times newsroom. “And that was just not going to be the case.”
Now, that exchange has been immortalized in “She Said,” a new film adaptation of the nonfiction book of the same name by Kantor and her collaborator Megan Twohey that details their investigation into Weinstein’s conduct, which helped launch the #MeToo movement.
The film, directed by Maria Schrader with stars Zoe Kazan as Kantor and Carey Mulligan as Twohey, is an understated thriller that has drawn comparisons to “All the President’s Men” — and multiple subtle but powerful Jewish-themed subplots reveal the way Kantor’s Jewishness arose during and at times intersected with the investigation.
In one scene, the Kantor character notes that a Jewish member of Weinstein’s team tried to appeal to her “Jew to Jew.” In another, Kantor shares a moving moment with Weinstein’s longtime accountant, the child of Holocaust survivors, as they discuss the importance of speaking up about wrongdoing.
Kantor, 47, grew up between New York and New Jersey, the first grandchild of Holocaust survivors — born “almost 30 years to the day after my grandparents were liberated,” she notes. She calls her grandmother Hana Kantor, a 99-year-old Holocaust survivor, her “lodestar.” Kantor — who doesn’t often speak publicly about her personal life, including her Jewish background, which involved some education in Jewish schools — led a segment for CBS in May 2021 on her grandmother and their relationship. Before her journalism career, she spent a year in Israel on a Dorot Fellowship, working with Israeli and Palestinian organizations. She’s now a “proud member” of a Reform synagogue in Brooklyn.
Kantor spoke with JTA about the film’s Jewish threads, the portrayal of the New York Times newsroom and what Zoe Kazan’s performance captures about journalism.
This interview has been edited and condensed for clarity and length.
JTA: How did you feel having Zoe Kazan, who is not Jewish, play you? Kazan has played some notably Jewish characters before, for example in the HBO miniseries “The Plot Against America.”
JK: I feel Zoe’s performance is so sensitive and so layered. What I really appreciate about her performance is that she captures so many of the emotions I was feeling under the surface in the investigation. You know, when you’re a reporter and especially a reporter handling that sensitive a story, it’s your responsibility to present a really smooth professional exterior to the world. At the end of the investigation, I had the job of reading Harvey Weinstein some of the allegations and really confronting him. And in dealing with the victims, I wanted to be a rock for them and it was my job to get them to believe in the investigation. And so on the one hand, you have that smooth, professional exterior, but then below that, of course you’re feeling all the feelings. You’re feeling the power of the material, you’re feeling the urgency of getting the story, you’re feeling the fear that Weinstein could hurt somebody else. You’re feeling the loss that these women are expressing, including over their careers. And so I think Zoe’s performance just communicates that so beautifully.
What Zoe says about the character is that there are elements of me, there are elements of herself, and then there are elements of pure invention because she’s an artist, and that’s what she does.
I think the screenplay gets at a small but significant line of Jewish sub-drama that ran through the investigation. It went like this: Harvey Weinstein and his representatives were constantly trying to approach me as a Jew. And they’ve done this more recently, as well. There have been times when Harvey Weinstein was trying to approach me “Jew to Jew,” like almost in a tone of “you and I are the same, we understand each other.” We found dossiers later that they had compiled on me and it was clear that they knew that I was the grandchild of Holocaust survivors, and they tried to sort of deploy that. So speaking of keeping things under the surface, I privately thought that was offensive, that he was citing that. But your job as a reporter is to be completely professional. And I wasn’t looking to get into a fight with Weinstein. I just wanted to find out the truth and I actually wanted to be fair to the guy. Anyway, even as he was approaching me “Jew to Jew” in private, he was hiring Black Cube — sort of Israeli private intelligence agents — to try to dupe me. And they actually sent an agent to me, and she posed as a women’s rights advocate. And she was intimating that they were going to pay me a lot of money to appear at a conference in London. Luckily I shooed her away.
To some degree I can’t explain why private Israeli intelligence agents were hired to try to dupe the Hebrew speaking, yeshiva-educated, granddaughter of Holocaust survivors. But it’s not my job to explain that! It’s their job to explain why they did that.
Then the theme reappeared with Irwin Reiter, Weinstein’s accountant of 30 years, who kind of became the Deep Throat of the investigation. I quickly figured out that Irwin and I were from the same small world. He was the child of survivors, and had also spent his summers at bungalow colonies in the Catskills just down the road from mine. I don’t bring up the Holocaust a lot. It’s a sacred matter for me, and I didn’t do it lightly. But once I discovered that we did in fact have this really powerful connection in our backgrounds, I did gently sound it with him – I felt that was sincere and real. Because he was making such a critical decision: Weinstein’s accountant of 30 years is still working for the guy by day and he’s meeting with me at night. And I felt like I did need to go to that place with him, saying, “Okay, Irwin, we both know that there are people who talk and there are people who don’t. And we both grew up around that mix of people and what do we think is the difference? And also if you know if you have the chance to act and intervene in a bad situation, are you going to take it?”
We didn’t talk a lot about it, because I raised it and he didn’t want to fully engage. But I always felt like that was under the surface of our conversations, and he made a very brave decision to help us.
That was a very powerful scene in the film, and it felt like a turning point in the movie that kind of got at the ethical core of what was motivating your character. Was that a scene that was important to you personally to include in the film?
What Megan and I want people to know overall is that a small number of brave sources can make an extraordinary difference. When you really look at the number of people who gave us the essential information about Weinstein, it’s a small conference room’s worth of people. Most of them are incredibly brave women, some of whom are depicted, I think, quite beautifully in the film. But there was also Irwin, Weinstein’s accountant of all these years, among them. It’s Megan and my job to build people’s confidence in telling the truth. And as we become custodians of this story for the long term, one of the things we really want people to know is that a tiny group of brave sources, sometimes one source, can make a massive difference. Look at the impact that these people had all around the world.
Did you feel the film captured the New York Times newsroom? There’s a kind of great reverence to the toughness and professionalism in the newspaper business that really came through.
Megan and I are so grateful for the sincerity and professionalism with which the journalism is displayed. There are a lot of on screen depictions of journalists in which we’re depicted as manipulative or doing things for the wrong reasons or sleeping with our sources!
We [as journalists] feel incredible drama in what we do every day. And we’re so grateful to the filmmakers for finding it and sharing it with people. And I know the New York Times can look intimidating or remote as an institution. I hope people really consider this an invitation into the building and into our meetings, and into our way of working and our value system.
And we’re also proud that it’s a vision of a really female New York Times, which was not traditionally the case at this institution for a long time. This is a book and a movie about women as narrators.
“Harvey Weinstein and his representatives were constantly trying to approach me as a Jew,” Kantor said. (The New York Times)
There have been comparisons made between this movie and “All the President’s Men.” One of the striking differences is that those journalists are two male bachelors running around D.C. And this film has scenes of motherhood, of the Shabbat table, of making lunches. What was it like seeing your personal lives reflected on screen?
It’s really true that the Weinstein investigation was kind of born in the crucible of motherhood and Megan and my attempt to combine work with parenting. On the one hand, it’s the most everyday thing in the world, but on the other hand, you don’t see it actually portrayed on screen that much. We’re really honored by the way that throughout the film you see motherhood and work mixing, I think in a way that is so natural despite our obviously pretty stressful circumstances.
I started out alone on the Weinstein investigation, and I called Megan because movie stars were telling me their secrets but they were very reluctant to go on the record. So I had gone some way in persuading and engaging them, but I was looking to make the absolute strongest case for them. So I called Megan. We had both done years of reporting on women and children. Mine involved the workplace more and hers involved sex crimes more, which is part of why everything melded together so well eventually. I wanted to talk to her about what she had said to female victims in the past. But when I reached her, I could hear that something was wrong. And she had just had a baby, and I had had postpartum depression myself. So we talked about it and I gave her the name of my doctor, who I had seen. Then she got treatment. And she not only gave very good advice on that [initial] phone call, but she joined me in the investigation.
I think the theme is responsibility. Our relationship was forged in a sense of shared responsibility, primarily for the work – once we began to understand the truths about Weinstein, we couldn’t allow ourselves to fail. But also Megan was learning to shoulder the responsibility of being a parent, and I had two kids. And so we started this joint dialogue that was mostly about work, but also about motherhood. And I think throughout the film and throughout the real investigation, we felt those themes melding. It’s totally true that my daughter Tali was asking me about what I was doing. It’s very hard to keep secrets from your kid in a New York City apartment, even though I didn’t tell her everything. And Megan and I would go from discussing really critical matters with the investigation to talking about her daughter’s evolving nap schedule. It really felt like we had to get the story and get home to the kids.
And also, we were reporting on our own cohort. A lot of Weinstein victims were and are women in their 40s. And so even though we were very professional with this and we tried to be very professional with the sources, there was an aspect of looking in the mirror. For example, with Laura Madden, who was so brave about going on the record, it was conversations with her own teenage daughters that helped her make her decision.
We didn’t write about this in our book because it was hard to mix the motherhood stuff with this sort of serious reporter-detective story and all the important facts. And we didn’t want to talk about ourselves too much in the book. But the filmmakers captured something that I think is very true. It feels particular to us but also universal. When Zoe [Kazan] is pushing a stroller and taking a phone call at the same time, I suspect lots of people will identify with that. And what I also really like is the grace and dignity with which that’s portrayed.
It must have been surreal, seeing a Hollywood movie about your investigation of Hollywood.
I think part of the power of the film is that it returns the Weinstein investigation to the producer’s medium, but on vastly different terms, with the women in charge. Megan and I are particularly moved by the portrayals of Zelda Perkins, Laura Madden and Rowena Chiu — these former Weinstein assistants are in many ways at the core of the story. They’re everyday people who made the incredibly brave decision to help us, in spite of everything from breast cancer to legal barriers.
Working with the filmmakers was really interesting. They were really committed to the integrity of the story, and they asked a ton of questions, both large and small. Ranging from the really big things about the investigation to these tiny details. Like in the scene where we go to Gwyneth Paltrow’s house and Megan and I discover we’re practically wearing the same dress — those were the actual white dresses that we wore that day. We had to send them in an envelope to the costume department, and they copied the dresses in Zoe and Carey’s sizes and that’s what they’re wearing. There was a strand of extreme fidelity, but they needed some artistic license because it’s a movie. And the movie plays out in the key of emotion.
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The power of Sukkot to unite the Jewish people
אין דער גמרא שטייט אַז יעדער ייִד קען — טעאָרעטיש — נוצן די זעלבע סוכּה. דאָס שטרײַכט אונטער דעם פֿאַקט, אַז מיר זענען אַלע גלײַך, און אַלעמען באַגריסט מען גלײַך אין דער סוכּה.
אין דער אמתן, ווען מען וואָלט געבויט אַ גענוג לאַנגע און ברייטע סוכּה, וואָלט דאָס גאַנצע ייִדישע פֿאָלק — אָן אויסנאַם — געקענט אַרײַנגיין אין איר און עסן אין דער זעלבער צײַט.
דער דאָזיקער באַגריף פֿון אַחדות דריקט זיך אויך אויס אין אַ באַזונדערער מצווה פֿון סוכּות: די אַרבעה מינים. די תּורה באַפֿעלט אונדז, אַז דעם ערשטן טאָג סוכּות זאָלן מיר נעמען אַן אתרוג, אַ לולבֿ (אַ צווײַג פֿון אַ טייטל־פּאַלמע), דרײַ הדסים (מירטן־צווײַגן), און צוויי ערבֿות (הושענות), כּדי זיך צו פֿרייען פֿאַרן אויבערשטן.
וואָס שטעלן מיט זיך פֿאָר די אַרבעה מינים? דער אתרוג האָט סײַ אַ גוטן גערוך סײַ אַ גוטן טעם; דער לולבֿ האָט אַ טעם — טייטלען — אָבער קיין גערוך נישט; דער הדס האָט אַ גוטן גערוך אָבער קיין טעם נישט; און די ערבֿה (הושענא) האָט ניט קיין טעם און ניט קיין גערוך.
דער גערוך שטעלט פֿאָר מעשׂים טובֿים, גוטע מעשׂים, וואָס — אַזוי ווי אַ גערוך — האָבן אַן השפּעה אויפֿן אַרום; בשעת דער טעם שטעלט פֿאָר לימוד התּורה, וואָס דערנערט די נשמה אַזוי ווי פֿיזישע שפּײַז דערנערט דעם גוף.
יעדער איינער פֿון די אַרבעה מינים שטעלט פֿאָר אַן אַנדער סאָרט ייִד: עס זענען דאָ ייִדן וואָס צייכענען זיך אויס מיט זייער חכמת התּורה, אַנדערע מיט זייערע גוטע מעשׂים, אַנדערע מיט ביידע, און אַנדערע מיט קיינעם פֿון די צוויי. דער געדאַנק איז, אַז מיר זענען אַלע אָפּהענגיק איינער פֿונעם צווייטן, און יעדער איינער דערגאַנצט דעם אַנדערן. נאָר ווען מען האָט אַלע פֿיר צוזאַמען קען מען מאַכן די ברכה און מקיים זײַן די מצווה.
בכלל ווערט פֿאַרשטאַנען, אַז די לערנונג פֿון דער דאָזיקער מצווה איז, אַז דער וואָס געפֿינט זיך אין דער העכערער רוחניותדיקער מדרגה פֿונעם „אתרוג“, אויסגעצייכנט סײַ מיט חכמה סײַ מיט גוטע מעשׂים, דאַרף זיך — אַלטרויִסטיש — אָפּגעבן מיט דעם וואָס געפֿינט זיך אין דער קאַטעגאָריע פֿון „ערבֿה“, אָן קיין באַזונדערער רוחניותדיקער מעלה.
לויטן זעקסטן ליובאַוויטשער רבין, רבי יוסף יצחק שניאורסאהן זצ״ל, איז פֿאַראַן אָבער נאָך אַן אַנדער דינאַמיק: דער וואָס געפֿינט זיך אין דער מדרגה פֿון „אתרוג“ קען און דאַרף אויך לערנען עפּעס ווערטפֿולס פֿון דעם וואָס געפֿינט זיך אין דער קאַטעגאָריע פֿון „ערבֿה“.
דער וואָס געפֿינט זיך אינעם מצבֿ פֿון „ערבֿה“, אָן קיין באַזונדערער רוחניותדיקער מעלה, און פֿונדעסטוועגן פֿילט ער זיך „זייער ייִדישלעך“, דריקט אויס אַ טיפֿן, אומברעכלעכן ייִדישן צושטאַנד, ניט געקוקט אויף דעם וואָס עס פֿעלט אים אין ייִדישן בילדונג און וויסן. דער וואָס האָט אַ סך געלערנט קען דורך זײַן פּערזענלעכער אַנטוויקלונג אַ סך פֿאַרשטיין און אַ סך פֿילן; פונדעסטוועגן איז אים אָפֿט שווער צו דערגרייכן און אויסדריקן דעם עסענץ פֿון זײַן נשמה. צו דער דאָזיקער בחינה פֿון זײַן אייגענעם מהות קען ער צוקומען דווקא דורך לערנען פֿונעם ייִד פֿון דעם „ערבֿה“־טיפּ, וואָס פֿילט זיך ייִדיש נישט צוליב זײַן ייִדישער בילדונג, נאָר טראָץ דעם וואָס עס פֿעלט אים. זײַן ייִדיש געפֿיל שטאַמט פֿון זײַן עצם הנשמה, דעם „פּינטעלע ייִד“ וואָס איז אינגאַנצן אומאָפּהענגיק פֿון קיין שום סיבה.
דער ליובאַוויטשער רבי זי״ע ווײַזט אָן, אַז די אַרבעה מינים שטעלן פֿאָר די אַחדות פֿונעם ייִדישן פֿאָלק, ניט נאָר ווײַל זיי רעפּרעזענטירן דעם צוזאַמען־פֿאַרבונד פֿון פֿיר פֿאַרשידענע קאַטעגאָריעס, נאָר אויך ווײַל יעדער מין פֿאַר זיך שטעלט פֿאָר אַחדות אין זײַן אייגענער קאַטעגאָריע.
דער אתרוג וואַקסט און ווערט דערנערט במשך פֿון אַלע פֿיר סעזאָנען פֿונעם יאָר. די בלעטער פֿונעם הדס וואַקסן אַזוי, אַז לענגאויס דעם שטאַם קומען אַרויס גרופּעס פֿון דרײַ בלעטער פֿון דער זעלבער הייך. בײַם לולבֿ דאַרפֿן די בלעטער ווערן פֿאַרמאַכט און צונויפֿגענומען און ניט צעשפּרייט איינער פֿונעם צווייטן — אַחוץ דעם וואָס יעדער בלעטל איז צונויפֿגעלייגט פֿון צוויי העלפֿטן — און די ערבֿות וואַקסן צוזאַמען אין אַ סאָרט אַחדות.
דאָס שטעלט פֿאָר נאָך אַן אַספּעקט פֿון אַחדות, ווײַל אַ מאָל איז גרינגער זיך צו פֿאַראייניקן מיט איינעם וואָס איז אַנדערש פֿון מיר, ווי מיט איינעם וואָס איז ענלעך צו מיר און קען אויסזען ווי אַ קאָנקורענט.
אַזוי אַז אויף סוכּות דריקן מיר אויס דרײַ מדרגות פֿון אַחדות אינעם ייִדישן פֿאָלק: איין מדרגה וואָס שטאַמט פֿון דעם געמיינזאמען עסענץ, וואָס איז העכער פֿון פֿאַרשידנאַרטיקייטן;איין מדרגה וואָס דריקט זיך אויס דווקא דורך די פֿאַרשידנאַרטיקייטן; און נאָך אַ מדרגה — די אַחדות צווישן די וואָס זענען ענלעך איינער צום צווייטן.
אין דער אמתן, קומט איינס אַרויס פֿון צווייטן. אויב אַ מענטשנס אַמביציע איז עגאָצענטריש, איז זייער שווער זיך צו פֿאַראייניקן מיט אַנדערע. אויב אָבער זײַן אַמביציע איז אויסצופֿירן דעם ג־טלעכן ציל, וועט ער אָפּשאַצן און שעצן די הצלחה פֿון יעדן וואָס שטעלט זיך צו אויסצופֿירן דעם בשותּפֿותדיקן שליחות.
עס איז די אַחדות וואָס דריקט זיך אויס אין די מצוות פון סוכּות וואָס דערמעגלעכט די אמתע שׂימחה פון „ושמחת בחגך“.
די שוואַכע, צאַרטע סטרוקטור פֿון דער סוכּה האָט איבערגעלעבט טויזנטער יאָרן פֿון געשיכטע און רדיפֿות — אין די גולאָגן און אין די קאָנצענטראַציע־לאַגערן. הײַנט־צו־טאָג קען מען אין אַ סך קהילות איבער דער וועלט זען ווי ליובאַוויטשער ישיבֿה־בחורים פֿאָרן איבער די גאַסן פֿון שטאָט מיט אַ מאָבילער סוכּה, כּדי צו פֿאַרבעטן ייִדישע דורכגייער מקיים צו זײַן די מצוות פֿון עסן אין דער סוכּה און צו מאַכן די ברכה אויף די אַרבעה מינים.
אז איר וועט זיך אָנטרעפֿן אין איינעם פֿון זיי, ביטע גיט זיי איבער א גרוס!
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The Jewish soul and Hasidic inspirations of Annie Dillard
The Pulitzer Prize-winning writer Annie Dillard, who died Sept, 15 at age 81, drew on Jewish inspiration past and present for her meditative books on humans and the deity, including the nature-imbued narrative Pilgrim at Tinker Creek.
Raised a Presbyterian, in young adulthood Dillard discovered Martin Buber’s Tales of the Hasidim, in which she found a kindred spirit among Hasidic rabbis who, according to legend, would turn somersaults and do cartwheels and flips in the synagogue before ritual acts such as reciting Kiddush, the blessing uttered to sanctify Shabbat and Jewish holidays; lighting Hanukkah candles; and weddings. As Dillard put it at Michigan’s Calvin College Festival of Faith & Writing in 1996, her introduction to Hasidism was through Buber’s books and she “really, really, really liked them.”
Herself exultant by temperament, fond of energetic dancing and sports, Dillard saw no contradiction between exuberance and serious consideration of moral and ethical questions. Indeed, she followed the Hasidic spiritual concept of Bitul ha-yesh (ego effacement) to become receptive to the divine by reading from a range of sources to find inspiration for her own books.
These included Rabbi Abraham Joshua Heschel, whom she described to an interviewer in 1992 as “the great religious thinker” of the 20th century, and Simone Weil, the French philosopher. The latter two, “especially Heschel,” added Dillard, “have everything I need.”
What she needed as a writer was to fulfill her self-definition as a “Christian Hasid,” as she informed a reporter in the year 2000. The English literature maven Lori Kanitz has observed tyhat Dillard drew on Hasidic notions to better mull over nature and creation. Dillard agreed with the concept that humans assist God in redemption by making everyday physical objects and moments into something sacred or consecrated.
She favored the argument by the 16th century rabbi Isaac Luria that divine sparks trapped in the material world might be liberated through intense spiritual awareness. Especially in books such as 1999’s For the Time Being, she blended Yiddishkeit with heterodox Christian philosophers such as the Jesuit scientist Pierre Teilhard de Chardin to address questions about faith, suffering and individual existence.
The result was an emotionally fraught style, rich with biblical allusions. Pilgrim at Tinker Creek likens a combative domestic feline’s ensanguined paws to the “mark of Cain” and “blood sign of the Passover.” In this exalted, highly artful prose with Judaism as part of its vocabulary, the Quran is mentioned in the distressing context of animals devouring one another in nature, followed by the French Catholic thinker Blaise Pascal’s implication that after creation, God more or less abandoned humanity. Yet this existential doubt is calmed by two further citations from Albert Einstein to remind the reader that “subtle is the Lord, but malicious He is not” and “Nature hides her secret because of her essential loftiness, but not by means of ruse.” Bringing in Einstein, another example for Dillard alongside Abraham Joshua Heschel of the quasi-omniscient good grey Jew, shows her acute admiration for Jewish wisdom.
Characteristically, Dillard published in a 1998-99 issue of a University of Notre Dame publication for Catholic readers an essay insistent in its Yiddishkeit. The text begins by reminding readers of the execution of Rabbi Akiva by the Romans in the aftermath of the Bar Kokhba revolt. Unsparing of gory details, this account is followed by quotes from the Nobel-Prize-winning Holocaust poet Nelly Sachs, Gershom Scholem, Rabbi Nachman of Breslov, Rabbi Yehudah Aryeh Leib Alter, Rabbi Pinhas of Koretz, Rabbi Menachem Nochum Twersky, and a rare modern too, Rabbi Lawrence Kushner.
Blending nature with Jewish elements, Dillard recounts a trip to Lavi, a kibbutz in northern Israel near Tiberias, where she witnesses birds mating in mid-air. Juxtaposed with maxims by Christians, her narrative has an anthological aura, akin to that of Aldous Huxley’s The Perennial Philosophy (1945) which by contrast contains almost no direct passages from Jewish mystics.
Overall, Dillard kept in mind, as she suggested to one critic in 1999, that her goal was to persuade “the agnostic intellectual” that all spirituality need not be discarded by a discerning reader. That said, in some of Dillard’s books, the transitions between different traditions, from Sufism to Inuit beliefs, could appear contradictory.
But then as friends observed, Dillard herself could seem to be a walking contradiction; she was obsessed with nature, but also a lifelong chainsmoker. And although according to Lori Kanitz and others, her works were redolent of such venerable Jewish ideas as tsimtsum (divine contraction) and shevirat ha-kelim (shattering of the vessels), she likewise surrounded herself with a self-created Jewish mishpocheh of literati.
Dillard achieved the latter feat by energetically supporting modern American Jewish writing, lauding authors with more sheer enthusiasm than they may have been accustomed to receiving from fellow Jews. Drawn to high spirits and celebrants among living Jews, she was a fan of Louis D. Rubin’s Small Craft Advisory about shepping nachas from boats; she termed Rubin’s book a “moving account by a happy man.”
Part of appreciating happy Jews for Dillard was relishing Jewish humor with a highly developed sense of the absurd. She provided a blurb for a book by Jewish chef Peter Kaminsky about how to prepare decidedly un-kosher pork products, noting: “I love ham and I love this book.” She similarly kvelled at the inherent absurdity of describing how in 1982, the American Jewish Beat poet Allen Ginsberg was assigned the task of guiding a tour group in Disneyland composed of visiting Chinese communist authors. And she valued that a hybrid factual/fictional work by journalist Jake Silverstein was both “warm and funny.”
Dillard also persistently lavished serious praise on Jewish contemporaries such as the American visual artist and novelist Rosalyn Drexler for being “committed to a lifetime struggle for excellence.” Dillard deemed Fortune’s Daughter (1985) by Alice Hoffman “one of the best” American novels of the previous decade and in 2010 welcomed a debut story collection from Hester Kaplan as evidence of a “remarkable new writer.”
Unsurprisingly, Jewish writer friends of Dillard expressed gratitude for her enthusiasm for their efforts. The biographer Phyllis Rose’s Parallel Lives: Five Victorian Marriages includes an acknowledgement to Dillard for “precious gifts of time, friendship, intelligence, and candor.” Jewish readers can likewise be grateful to Dillard for her characterful investment of time, friendship, intelligence, and candor in conveying elements of Yiddishkeit in serendipitous contexts.
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Robert Kraft pledged $2M to aid Palestinians amid Macklemore row. How will he do it?
(JTA) — Robert Kraft has found himself in an unusual position: nixing the rapper Macklemore’s appearance at a stadium he owns for what he said was hateful behavior — and then taking up the performer’s charity challenge.
Macklemore challenged the Jewish pro-Israel billionaire to make a donation in support of the Palestinians days after pressuring singer Ed Sheeran to drop Macklemore from his tour over the latter’s pro-Palestinian comments. Kraft responded by announcing that he would donate $2 million to “fight this humanitarian crisis” in the Middle East.
“I have dedicated much of my life to building bridges between all people,” Kraft wrote in a statement posted by Gillette Stadium, which he owns and where Sheeran and Macklemore had been scheduled to play. “I believe deeply that all lives are worth protecting.”
Kraft’s statement Wednesday came in response to challenges from both artists: a public call from Macklemore to match his own $1 million donation to a group of six pro-Palestinian organizations; and what Kraft described as private conversations with Sheeran to commit twice that amount to unspecified groups. Kraft said his own donation was meant to match Sheeran’s.
Kraft’s gift comes as the controversy has prompted questions about how pro-Israel Jews in positions of power choose to wield their influence to combat what they see as antisemitism. His pledge carries additional, politically fraught implications, as Jewish groups have been divided on whether, or how, to donate directly to Gaza relief efforts.
In his public comments, Kraft has insisted that he does not object to pro-Palestinian advocacy or aid as long as it does not cross the line into advocating for Hamas.
But where will Kraft donate? The New England Patriots owner didn’t specify in his public statement, and a representative didn’t immediately respond to questions from the Jewish Telegraphic Agency.
In Macklemore’s own post issuing the donation challenge, he said the $1 million he was giving constituted his entire net earnings from Sheeran’s tour. He named six beneficiaries: the Palestine Children’s Relief Fund, HEAL Palestine, Medical Aid for Palestinians, American Near East Refugee Aid, Gaza Soup Kitchen and UNRWA USA, a nonprofit supporting the United Nations Agency for Palestinian Refugees.
UNRWA itself has proven particularly contentious among the Jewish community. After an investigation revealed that agency members had participated in Hamas’ Oct. 7, 2023, attacks on Israel, the Trump administration led a successful effort to slash the agency’s funding.
In his posts, Kraft offered clues to where he has given in the past.
“I’d like the people who are speaking in support of the Palestinian people to know that for decades, I have supported efforts that create opportunity for Palestinians and have brought young Palestinians and Israelis together to build businesses, create jobs, and forge relationships,” he wrote on Wednesday. In an earlier statement, Kraft said he has “created athletic and entrepreneurial opportunities for Palestinians who I admire and respect.”
One well-known organization that fits Kraft’s description of bringing Palestinians and Israelis together, Seeds of Peace, has a documented relationship with the businessman. In 1994, the year after the peacebuilding initiative launched, Kraft hosted more than 100 teenagers from Israel, Gaza, the West Bank, Jordan, Egypt and Morocco at a Patriots game.
Seeds of Peace did not immediately respond to a JTA request for comment about whether Kraft would be giving to the group as part of his new pledge.
Kraft has also invested heavily in a push to bring American football to Israel via the Kraft Family Israel Football League. In that context, Palestinians have played for league teams — including for the Judean Rebels, a team based in an Israeli settlement in the occupied West Bank.
Steven Koltai, a Jewish onetime entrepreneurship liaison for former U.S. Secretary of State Hillary Clinton and author of “Peace Through Entrepreneurship,” said he welcomed Kraft’s commitment.
“I would love to see, as a Jew who believes in the two-state solution and particularly in humanitarian relief to the millions of Gazans who are completely blameless, if we could show that side of who we are,” Koltai told JTA. “I think that he would be doing an incredible mitzvah for the whole Jewish world, especially the American Jewish community, if he could leverage his money towards something like this.”
Jeremy Burton, CEO of the Jewish Community Relations Council of Greater Boston, told JTA that Kraft “deserves kudos for leaning in with his philanthropy.” Prior to the pledge, Burton had praised Kraft’s actions against Macklemore, saying in a statement that Kraft “drew a clear moral line in the sand about the demonization and offensive conduct that he will not allow in ‘his home’.”
“One can work to end Palestinian suffering without being antisemitic,” Burton wrote to JTA in a text Thursday.
Kraft has said he pressured Sheeran to drop Macklemore because he thought the latter’s conduct at a recent show, in which the rapper had accused Israel of genocide and broadcast footage from Columbia University’s encampments, crossed the line into “hate speech.” According to The Wall Street Journal, other NFL team owners had also voiced objections to Macklemore performing in their stadiums after witnessing one of his sets.
The Journal also reported that Kraft, in his conversation with Sheeran, recalled that Macklemore had performed in a costume with antisemitic signifiers in 2014. Sheeran, whose tours have grossed nearly $2 billion since 2008, and Kraft are friendly: The singer performed at Kraft’s 2022 wedding.
Backlash has been swift, with Sheeran distancing himself from the decision to drop Macklemore, and the singer’s other opening acts and supporting band leaving the tour in protest. Some of them named Kraft specifically in public comments. Figures including children’s entertainer Ms. Rachel and U.S. Rep. Alexandria Ocasio-Cortez, a New York Democrat, have also defended Macklemore, with Ocasio-Cortez additionally criticizing Kraft.
“When you see what Robert Kraft did to line up all of the stadiums to censor speech in that one specific way, it’s become clear that this is not just about one music artist or two music artists, but this is about how just a handful of stadium owners and the elite can prevent an entire massive issue, in this case, the genocide in Gaza,” the congresswoman told TMZ.
Others, including singer Pink and Barstool Sports mogul Dave Portnoy, have criticized Macklemore or defended Kraft’s decision.
Much of Kraft’s philanthropy has gone to fighting antisemitism and to Jewish organizations. He recently gave $10 million to Brandeis University to endow a new center for Jewish life at the school.
Koltai, who himself has not worked with Kraft, said it’s possible for Jewish donors to distribute money to Gaza through “vetted, kosher organizations” that are “clearly not Hamas.” He suggested that Kraft look beyond his past donations to peacebuilding and sports efforts in order to address the current need.
“Sewage, water, housing, medical care and child care are all much more important than a summer camp or a football team,” he said.
This article originally appeared on JTA.org.
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