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Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it.
NEW YORK (JTA) — Sidney Brustein, Jewish Hamlet?
Anne Kauffman thinks so. She made the comparison in a phone interview about the play she’s directing — a buzzy production of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” that opened on Monday at the Brooklyn Academy of Music starring Oscar Isaac and Rachel Brosnahan.
“One artistic director who was thinking of doing this [play] was like, ‘You know, it’s not like he’s Hamlet, but…’ And I thought, well, no, actually I think he is like Hamlet!” she said.
She added another take: “I feel like he’s Cary Grant meets Zero Mostel.”
Hansberry saw just two of her works produced on Broadway before her death from cancer at 34 in January 1965. Her first, “A Raisin in the Sun,” which follows a Black family dealing with housing discrimination in Chicago, is widely considered one of the most significant plays of the 20th century. The other, “The Sign in Sidney Brustein’s Window,” ran for a few months in the fall of 1964 until Hansberry’s death and has only been revived a handful of times since, all outside of New York.
Now, the star power of Isaac and Brosnahan is driving renewed interest in the play, which deals with weighty questions about political activism, self-fulfillment in a capitalist world, and racial and ethnic identity — including mid-century Jewish American identity.
The Brustein character, as Kauffman alluded to, is many things. A resident of Greenwich Village deeply embedded in that historic neighborhood’s 1960s activist and artistic circles, he is somewhat of a creative renaissance man. At the start of the play, his club of sorts (“it was not a nightclub” is a running joke) called “Walden Pond” has just shuttered and he has taken over an alternative newspaper. As the script reads, Brustein is an intellectual “in the truest sense of the word” but “does not wear glasses” — the latter description being a possible jab at his macho tendencies. Formerly an ardent leftist activist, he is now weary of the worth of activism and a bit of a nihilist. He’s in his late 30s and is a musician who often picks up a banjo.
Brustein is also a secular Jew, a fact that he telegraphs at certain key emotional and comedic moments. Others, from friends to his casually antisemitic sister-in-law, frequently reference his identity, too.
At the end of the play’s first half, for example, Brustein brings up the heroes of the Hanukkah story in talking about his existential angst — and his stomach ulcer. He has become belligerent to his wife Iris and to a local politician who wants Brustein’s paper’s endorsement.
“How does one confront the thousand nameless faceless vapors that are the evil of our time? Can a sword pierce it?” Sidney says. “One does not smite evil anymore: one holds one’s gut, thus — and takes a pill. Oh, but to take up the sword of the Maccabees again!”
Hansberry’s decision to center a white Jewish character surprised critics and fans alike in 1964 because many of them expected her to follow “A Raisin in the Sun” with further exploration of issues facing Black Americans, said Joi Gresham, the director of the Lorraine Hansberry Literary Trust.
“The major attack, both critically and on a popular basis, in regards to the play and to its central character was that Lorraine was out of her lane,” Gresham said. “That not only did she not know what she’s talking about, but that she had the nerve to even examine that subject matter.”
Hansberry’s closest collaborator was her former husband Robert Nemiroff, a Jewish New Yorker whom she had divorced in 1962 but maintained an artistic partnership with. Nemiroff was a bit Brustein-like in his pursuits: he edited books, produced and promoted Hansberry’s work, and even wrote songs (one of which made the couple enough money to allow Hansberry to focus on writing “A Raisin in the Sun”). But Gresham — who is Nemiroff’s stepdaughter through his second marriage, to professor Jewell Handy Gresham-Nemiroff — emphasized that his personality was nothing like Brustein’s. While Brustein is brash and mean to Iris, Nemiroff was undyingly supportive of Hansberry and her work, said Gresham, who lived with him and her mother at Nemiroff’s Croton-on-Hudson home — the one he had formerly shared for a time with Hansberry — from age 10 onward.
Instead, Gresham argued, the Brustein character was the result of Hansberry’s deep engagement with Jewish intellectual thought, in part influenced by her relationship with Nemiroff. The pair met at a protest and would bond over their passion for fighting for social justice, which included combating antisemitism. The night before their wedding, they protested the execution of Julius and Ethel Rosenberg, and they would remain highly involved in the wave of activism that blossomed into the Black-Jewish civil rights alliance.
“Bob and Lorraine met and built a life together at a place where there was a very strong Black-Jewish nexus. There was a very strong interplay and interaction,” Gresham said. “I think Lorraine was very influenced by Bob’s family, the Nemiroffs, who were very radical in their politics. And so there was a way in which she was introduced to the base of Jewish intellectualism and Jewish progressive politics, that she took to heart and she was very passionate about.”
Robert Nemiroff and Lorraine Hansberry were married from 1953-62. They are shown here in 1959. (Ben Martin/Getty Images)
Hansberry didn’t hesitate to criticize Jewish writers who said controversial things about Black Americans, either. When Norman Podhoretz wrote “My Negro Problem — And Ours,” an explosive 1963 article in Commentary magazine now widely seen as racist, Hansberry responded with a scathing rebuke. She also sparred with Norman Mailer, who once wrote an essay titled “The White Negro: Superficial Reflections on the Hipster.”
Gresham said Brustein’s nihilism represents what Hansberry saw in a range of Jewish and non-Jewish white writers, whom she hoped could be kickstarted back into activism. But Hansberry also nodded to the reasons why someone like Brustein could feel defeated in the early 1960s, a decade and a half after World War II.
“You mean diddle around with the little things since we can’t do anything about the big ones? Forget about the Holocaust and worry about — reforms in the traffic court or something?” Brustein says at one point in the play to a local politician running as a reformer.
Daniel Pollack-Pelzner, a Jewish scholar of literature who has written on Hansberry, said the resulting Brustein character is a very accurate depiction of a secular Jew at the time — both keenly attuned to prejudice in society and also lacking some understanding of the experience of being Black.
“I was just intoxicated that Hansberry could conjure that world, both so affectionately, but also so clear-sidedly that it seems like she can see the limitations of all of the characters’ perspectives,” he said. “But she also represents them with sympathy and humor.”
Kauffman, who also helmed a revival of the play in Chicago in 2016, is impressed with how “fully fledged” the Brustein character is.
“Who are the cultural icons who have sort of articulated the Jew in our culture in the last 50 years or 60 years, you know?” she said. “Brustein is not a caricature of a Woody Allen character, he’s not even ‘Curb your Enthusiasm’ or a Jerry Seinfeld character. He’s a fully drawn character.”
Isaac, who is of mainly Guatemalan and Cuban heritage, has played Jewish characters before, including a formerly Orthodox man in an Israeli director’s remake of the classic film “Scenes From a Marriage.” In the lead-up to this play, he has largely avoided getting caught in headlines focused on the “Jewface” debate, over whether non-Jewish actors should be allowed to play Jewish characters on stage and screen.
But when asked about the responsibility of playing a Jewish character in a New York Times interview, Isaac referenced the fact that he has some Jewish heritage on his father’s side.
“We could play that game: How Jewish are you?” he said to interviewer Alexis Soloski, who is Jewish. “It is part of my family, part of my life. I feel the responsibility to not feel like a phony. That’s the responsibility, to feel like I can say these things, do these things and feel like I’m doing it honestly and truthfully.”
When Kauffman directed a version of the play at the Goodman Theater in Chicago in 2016, her lead actor had “not a single drop of Jewish heritage…in his blood,” and she said she had to convey “what anger looks like” coming from a Jewish perspective. Working with Isaac has been different — instead of starting at a base of no knowledge, she has been pushing for more of an Ashkenazi sensibility than a Sephardic one.
“I believe that his heritage leans, I’m guessing, more towards Sephardic. And mine is pure Ashkenazi,” she said. “We sort of joke: ‘[The part] is a little bit more Ashkenazi than that, you know what I mean?’ Like, ‘the violence is actually turned towards yourself!’”
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The post Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it. appeared first on Jewish Telegraphic Agency.
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Sex, drugs and Torah scrolls: At the Psychedelicatessen, visitors receive a powerful dose of art
Hypothetically, if someone you had every reason to like and trust told you that if you went up one flight of stairs, you would “probably see things you never expected to see, ever,” how would you react? A sane individual might feel curiosity or skepticism, tempered with a dose of fear.
However, if you are anything like the crowd that gathered at YIVO for the opening of kosher-pop-art-visionary Steve Marcus’ new exhibit, “Psychedelicatessen: A Powerful Dose of Art,” the answer is simple: you’d get your tuchus upstairs, and fast.
In the gallery, the dose of art was as powerful as the exhibit title (and exhibit director Eddy Portnoy) had warned. The walls had gone groovy with technicolor mashups of Judaica and LSD, Flower Power and Maimonides. Strange shiducchim were being made in that room: There was a yad, a ritual Torah pointer, flashing a peace-sign instead of a pointer finger; a drawing of the “Power to the People” fist wrapped in tefillin; a wall of famous-rabbi-themed blotter art; a poster for “The Grateful Reb” in which a skeptical-looking Hasid in a tye-dye shirt (presumably the Grateful Reb himself) stood in front of a colorful mandala. It was like walking through a Hasidic hippie’s hallucinations.
As it turns out, Steve Marcus is neither entirely a hippie nor entirely a Hasid, though he has had brushes with both worlds. Marcus was born in the Summer of Love, 1969, just a year after the original Psychedelicatessen, an East Village headshop, got busted by narcs. Marcus spent his childhood — maybe even his life — surfing the afterwaves of the 1960s. He read MAD Magazine and Cracked. He gorged himself on Looney Tunes. As a teenager, he dug into Comix, the underground world of illustration concerned with hippie preoccupations like sex and drugs. As for Judaism?
“About a year after my bar mitzvah, I took a long sabbatical,” Marcus told me. It was the day after the opening, and we were sitting on a bench in the empty gallery. Marcus was jittering his knees up and down like he’d had too many Astro Pops.
He grew up Masorti, attending shul with his parents on Saturday morning and then booking it to the Yankee game that same afternoon to eat non-kosher hot dogs with his dad. But when Marcus was in his late thirties, his father died of a heart attack on Rosh Hashanah at the age of 66. “He was blown out like a candle,” Marcus said. “It kind of rang my bell.” He decided to say kaddish for his father three times a day for almost 11 months. It was during this period that he started grooving with the ultra-Orthodox.
“The only people showing up to shul three times a day are hardcore,” he said. He had noticed some of his Haredi compatriates studying Torah. When he asked how much it would cost to study there for a semester, “they were like, ‘You want to learn? You just come!’” For the past 17 years, at least three hours a day, Marcus has done exactly that.
Since turning to Talmud, Marcus has kept his art kosher. He obeys halachic stipulations such as not drawing the moon or the sun (or naked ladies, for that matter). He says halacha does not limit his work, but makes its reach more expansive, allowing Jews of every religious stripe to enjoy his art. But other halachic rules rankled him at first, most of all the Hasidic man uniform. Marcus looks like a countercultural Tevye. He is grizzled and bearded, and wears a baseball cap as religiously as other Jewish men wear yarmulkes. On the night of the gallery opening, he was wearing a camo jacket.
Earlier in his religious journey, he consulted a famous rabbi about his fashion troubles: “I said, ‘This white shirt, black suit, black hat thing? I don’t think it’s gonna happen … Is this a problem?’” The Rabbi in question replied with an interesting analogy. “‘You need to think of the halacha like a box,’” he said. Just because some people were crowding in one corner of the box didn’t mean that that was the only place in the box to stand.
“Sometimes, unfortunately the world, especially the Jewish world, wants to put everybody in a box,” Marcus said. “I think it’s hard to put people in a box.”
Marcus plants his eye-popping, mindbending art in familiar cultural boxes — pop art, Judaica, Flower Power counterculture — and then, before you get too comfortable, he explodes them with something unexpected. He showed me a piece called “Daf Yomi Agin!”, a yeshiva-bokher take on Robert Crumb’s famous ’70s poster “Stoned Agin!”, a six-panel depiction of a guy melting into blitzed-out goop. Except in Marcus’ version, the man is a Hasid turning aqueous at the thought of restarting the Daf Yomi, a seven-and-a-half-year cycle in which you read one of the 2,771 pages of the Talmud each day.
“They have an expression in yeshiva called ‘breaking your teeth,’ right? Which is when you’re trying so hard to understand something that they break their teeth over it,” Marcus said. “To me, it’s more like melting my brain than breaking my teeth, so that’s why it’s like this slow progression to a complete meltdown.” He has done the Daf twice already. One time, he said, he even went to the yeshiva in Lublin where the Daf Yomi began. He said his presence shattered the minds of the Hasidim. “I showed up, and it’s like I look like the hair in the matzo ball soup or something. They were like, ‘How do you know about such a place?!’”
A lot of Marcus’ stories start like this: Two dudes of different walks of life collide. First they are baffled; then they are bros. The phrase “Hey, man” makes frequent appearances. Marcus told me stories about his Zuni friends out in New Mexico who invited him to a secretive winter solstice holiday called Shalako in which the Zuni build a new house and feast on a dish that’s “almost like a cholent made of mutton.” He talked about meeting author Ken Kesey (whose grandson, Caleb Kesey, printed the rabbinic blotter art), and painting his Jeep with a phoenix rising against a psychedelic background. He told a story about a World War II vet named “Buzzy Katz” he used to hang out with who taught him how to cut onions. Marcus seems down to hang with the whole world.
“I’m one of those people that feels at home wherever I am,” he said. “I put on a backpack. I get into a truck or whatever and I fly over to another place.”
The post Sex, drugs and Torah scrolls: At the Psychedelicatessen, visitors receive a powerful dose of art appeared first on The Forward.
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What sort of Yiddish do today’s Yiddishists speak?
פֿון לייזער בורקאָ
ווען מע וואָלט הײַנט געשטעלט די שאלה, „וואָס פֿאַר אַ ייִדיש רעדן די ייִדישיסטן?“ וואָלט אַ לץ מסתּמא געענטפֿערט: הײַנט רעדן זיי ענגליש. אָבער לאָמיר נישט מאַכן קיין חכמות און טראַכטן נאָר וועגן יענע ייִדישיסטן, וואָס רעדן ייִדיש טאַקע — אַזעלכע וואָס שרײַבן און לייענען אַרטיקלען אין „פֿאָרווערטס“, למשל. ווי אַזוי רעדן מיר?
די לינגוויסטקע עמאַ ברעסלאָו האָט לעצטנס פֿאַרטיידיקט איר דיסערטאַציע דווקא אויף דער טעמע. זי האָט אינטערוויויִרט דרײַסיק ייִדיש־רעדער, אַ טייל פֿון זיי — אויף דער ייִדיש־וואָך פֿון יוגנטרוף — ספּעציעל פֿון ניו־יאָרק, באָסטאָן און מאָנטרעאָל. דערבײַ האָט זי אַנטדעקט עטלעכע וויכטיקע און אינטערעסאַנטע פֿאַקטן.
איין פֿראַגע פֿון דער דיסערטאַציע איז, ווי אַזוי מע זאָל אונדז רופֿן. ווען ברעסלאָו האָט געפֿרעגט די מענטשן, אויב זיי רופֿן זיך „ייִדישיסטן“, האָבן מערסטע געזאָגט — ניין. דאָס איז אַליין אינטערעסאַנט, פֿאַר וואָס די ווערטער „ייִדישיזם“ און „ייִדישיסט“ קלינגען הײַנט עפּעס אַלטפֿרענקיש און מע וויל נישט הייסן אַזוי. ברעסלאָו האָט נישט געפֿונען קיין בעסערן נאָמען, רופֿט זי אונדז „די מיעוט־קאָנטעקסט־ייִדיש־קהילה“ (minority-context Yiddish community). אין דער דאָזיקער קאַטעגאָריע נעמט ברעסלאָו אויך אַרײַן געוועזענע חסידים, וואָס קומען אַ מאָל אויך אויף די ייִדישיסטישע אונטערנעמונגען.
איך אַליין פֿאַרשטיי נישט, פֿאַר וואָס מע שעמט זיך מיטן נאָמען „ייִדישיסט“. ערשטנס, וועלן די חסידים און פֿרומע ייִדן אונדז ווײַטער רופֿן „ייִדישיסטן“, ווי אַזוי מיר זאָלן זיך נישט רופֿן. אַזוי הייסן מיר אין זייער ייִדיש און אַזוי וועט עס בלײַבן. עס איז פֿאָרט בעסער ווי די אַלטערנאַטיווע נעמען (כּופֿר, אַפּיקורס אאַז״וו).
אַ צווייטער סורפּריז פֿון דער דיסערטאַציע איז די פֿאַרשידנקייט פֿון דעם ייִדיש, וואָס ייִדישיסטן רעדן. אַ דרויסנדיקער, אַ סטודענט, וואָלט אפֿשר געמיינט, אַז אַלע ייִדישיסטן רעדן דאָס זעלביקע כּלל־ייִדיש. דאָס איז אָבער אַ טעות: אַ סך ייִדישיסטן רעדן אויך פּויליש ייִדיש אָדער אוקראַיִניש ייִדיש אָדער געמישטע דיאַלעקטן. אַ סך ניצן אויך אַ מאָל פֿאַרשידענע וואָקאַלן אין די זעלביקע ווערטער; למשל, מע זאָגט אַ מאָל gut און אַ מאָל git, אָדער אַ מאָל zogn און אַ מאָל zugn.
ווען ברעסלאָו האָט געפֿרעגט מענטשן זייער מיינונג וועגן כּלל־ייִדיש, וואָס מע לערנט אין די קורסן, האָט זי באַקומען אַ סך נעגאַטיווע ענטפֿערס. באמת האָט קיינער נישט געענטפֿערט פּאָזיטיוו, כאָטש אַ טייל האָבן געזאָגט, אַז כּלל־ייִדיש קען זײַן ניצלעך בײַם אויסלערנען זיך די שפּראַך. אַ טייל אינטערוויויִרטע האָבן געזאָגט מאָדנע זאַכן וועגן כּלל־ייִדיש; למשל, אַז „קיינער רעדט דאָס נישט“ — כאָטש זיי האָבן דאָרט פֿאַרבראַכט מיט אַנדערע ייִדישיסטן, וואָס רעדן יאָ כּלל־ייִדיש, און מיט קינדער, וואָס רעדן עס ווי אַן אײַנגעבוירענע שפּראַך! בקיצור, עס איז פֿאַראַן עפּעס אַ געפֿיל, אַז כּלל־ייִדיש איז נישט „עכט“, ווײַל אַזוי ווייניק מענטשן רעדן עס פֿון דער היים.
די „מיעוט־קאָנטעקסט־ייִדיש־קהילה“ באַשטייט פֿון עטלעכע גרופּעס: מענטשן, וואָס רעדן גוט ייִדיש פֿון דער היים (native speakers); מענטשן, וואָס האָבן געהערט די שפּראַך קינדווײַז, אָבער רעדן נישט אַזוי גוט (heritage speakers); סטודענטן און אַזעלכע וואָס האָבן זיך אויסגעלערנט די שפּראַך; און אויך געוועזענע חסידים, וואָס לעבן הײַנט אין דער „פֿרײַער“ וועלט. יעדע גרופּע רעדט אַוודאי אַנדערש, אָבער צווישן זיי זענען פֿאַראַן אינטערעסאַנטע פּונקטן צו פֿאַרגלײַכן.
די געוועזענע חסידים רעדן חסידיש ייִדיש, וואָס די לינגוויסטן האָבן שוין גוט אויסגעפֿאָרשט. די סטודענטן רעדן געוויינטלעך אַ סאָרט כּלל־ייִדיש, וואָס זיי האָבן זיך אויסגעלערנט פֿון זייערע לערערס. אַ סך ייִדישיסטן רעדן מיט אַ געוויסער השפּעה פֿון ענגליש — וואָס איז נישט קיין חידוש, אַזוי ווי די חסידים רעדן אויך אַזוי. מע זעט אין די טראַנסקריבירטע ציטאַטן אינטערעסאַנטע בײַשפּילן פֿון „בײַטן פֿון קאָד“ (code-switching) — ווען מע גייט אַריבער פֿון איין שפּראַך אויף אַ צווייטער, אַהין און צוריק, אין מיטן שמועס. אַ צאָל ייִנגערע ייִדישיסטן ניצן דאָס וואָרט like אין זייער ייִדיש, פּונקט ווי אויף ענגליש.
אַן אַנדער ענין, וואָס ברעסלאָו פֿאָרשט, איז די אויסשפּראַך פֿונעם קלאַנג ריש /r/. אין די אַלטע דיאַלעקטן זענען געווען צוויי הויפּט־סאָרטן ריש: דער גאָרגלדיקער אָדער אוּוווּלאַרער ריש (uvular R), ווי אויף פֿראַנצויזיש אָדער עבֿרית; און דער צינגלדיקער אָדער אַפּיקאַלער ריש (apical R), ווי אויף רוסיש אָדער שפּאַניש. ייִדישיסטן ניצן ווײַטער די צוויי סאָרטן ריש, ווי אויך דעם ענגלישן סאָרט ריש (retroflex R) — נישט געקוקט אויפֿן שווערן חרם, וואָס אוריאל ווײַנרײַך האָט אַרויפֿגעלייגט אויפֿן ענגליש ריש אין זײַן לערנבוך, „קאַלעדזש־ייִדיש“.
די גראַמאַטיק בײַ ייִדישיסטן איז אויך כּדאַי צו פֿאָרשן, ווי מע זעט אין די ציטאַטן. כאָטש אַ סך ייִדישיסטן האָבן אין די קורסן זיך מערסטנס געלערנט די כּלל־ייִדישע גראַמאַטיק, זעט מען אָפֿט, אַז מע רעדט נישט אַזוי. דאָס דאַרף אפֿשר נישט זײַן קיין חידוש, ווײַל אין די אַלטע דיאַלעקטן האָט מען אויך אָפֿט גערעדט אַנדערש ווי אין די ביכער. דערפֿאַר דאַרף מען נישט קומען מיט טענות צו די חסידים, וואָס זיי האָבן „קאַליע געמאַכט“ די גראַמאַטיק — ווײַל די גראַמאַטיק איז שוין געווען „קאַליע“ פֿון פֿריִער, און בײַ די ייִדישיסטן איז זי אויך גענוג „קאַליע“, אַחוץ געציילטע מומחים.
ברעסלאָו האָט אַנטדעקט וויכטיקע זאַכן, וואָס יעדע איז ווערט, מע זאָל זי ווײַטער אויספֿאָרשן: די אידענטיטעט פֿון די ייִדישיסטן, וואָס ווילן אַזוי נישט הייסן; די פֿאַרשידנקייט פֿונעם ייִדישיסטישן ייִדיש, וואָס איז לאַוו־דווקא כּלל־ייִדיש; זייער אויסשפּראַך און גראַמאַטיק, וואָס זענען נישט אַזוי ווי מע וואָלט זיך געריכט. די קליינע וועלט פֿון ייִדישיסטן באַשטייט באמת פֿון פֿאַרשידענע גרופּעס, וואָס יעדע האָט אַ ביסל אַן אַנדער כאַראַקטער און יעדע רעדט אַנדערש. ווי גייט דאָס ווערטל: צוויי ייִדן — דרײַ מיינונגען.
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Being a soccer superstar couldn’t save him from the Nazis
For the past 20 years, the German Soccer Federation has awarded the Julius Hirsch Prize for organizations combating racism. This year, the recipients included an 11th-grade class that created an educational tool for anti-discrimination events, a children’s soccer league based in a disadvantaged area and a club originally founded in a refugee center.
Now, graphic novelist Julian Voloj has decided that it’s time for people to learn Hirsch’s story.
In 1911, Hirsch became the first Jewish player to serve on the German national team. He was the first player to score four goals in a single game, and he played for several soccer clubs that won the German football championship. Hirsch also was a decorated war veteran in WWI. Nevertheless, Hirsch was not spared from being a victim of the Holocaust.
“He was first seen as a hero and then seen as evil that needed to be destroyed,” Voloj said.
Voloj’s previous graphic novels have included an anthology of diverse Jewish voices and a story about the first Jewish congregation in America. He learned about Hirsch when he was working with Bayern Munich on a novel, completed in 2020, that explored the life of Oskar Rohr, another Jewish soccer player, who helped lead Bayern Munich to a 1932 championship.
With the help of a grant from the German soccer federation, Voloj is planning to complete Hirsch’s novel, “Juller,” in three years. He is working with an Israeli artist, Avi Blyer, to illustrate his work.
Voloj told me that, prior to the second World War, Hirsch was one of many Jewish German soccer players. “Soccer was an academic sport,” he said. Popular within universities, soccer emphasized values like teamwork and brotherhood, which stood in stark contrast to “the Nazi ideal” of manliness, which praised individual displays of strength and talent. In Austria-Hungary, many Jews became pioneers of the sport, including Hirsch’s teammate Gottfried Fuchs, who set a world record of 10 goals in a single soccer match. Unlike Hirsch, Fuchs survived the Holocaust by immigrating to Canada; he never returned to Germany.
For Voloj, the biggest struggle in writing about Hirsch comes with illuminating his personal life, rather than solely celebrating his accomplishments. “I know a lot about the statistics, but I don’t know so much about Julius Hirsch, the human being,” he told me.
He plans to start by depicting the religion and culture Hirsch was a part of — which he says might be the first time for non-Jewish readers to learn about these traditions. Voloj told me how he plans to recreate Hirsch’s Jewish wedding: showcasing the Chuppah and the smashing of the glass. In the scene, a rabbi will discuss its symbolism — a reminder of the fragility of life and the destruction of the Temple.
Tragically, though, this moment will be followed by one later in life, in which Hirsch divorced his non-Jewish wife as the German climate became increasingly dangerous for Jews. Hirsch hoped this would spare his children from persecution, but it was no use: Both of Hirsch’s children were sent to concentration camps. They ultimately survived, though, and Hirsch’s son later worked with a historian, Werner Skretny, to publish a biography of Hirsch.
A grandchild of Holocaust survivors, Voloj says he doesn’t want to focus overwhelmingly on Hirsch’s death, but instead to honor the life he led. However, it was still important for him to represent the antisemitic reality that Hirsch lived in; in the last part of the book, Voloj said, he will discuss how “the people who celebrated him basically abandoned him.”
Voloj says he believes that exploring Hirsch’s story is especially important today, when soccer is more diverse than ever and the German soccer team has become inclusive of many ethnic minorities. However, prejudice has also increased in many ways.
Voloj told me he sees “a lot of parallels in the experience” between the hatred that Jewish players faced under Nazi rule and what many Muslim players are experiencing today. However, he also said that many lessons could be taken from Hirsch’s early experiences when few fans cared that he was Jewish.
“There is something we can learn about the acceptance of the German Jewish players back then on the national team,” Voloj said. From his work, he hopes that readers can learn both from Germany’s dark past and also “overcome misconceptions about Jewish identity.”
The post Being a soccer superstar couldn’t save him from the Nazis appeared first on The Forward.
