Features
New book tells story of incredible courage shown by two Dutch Jewish sisters during World War II
Reviewed by BERNIE BELLAN In early August we received an email from a publicist for HarperCollins by the name of Rebecca Silver, who’s sent us interesting books to consider reviewing in the past.
Here’s how Rebecca’s email read:
Hi Bernie,
Roxane van Iperen did not know what she would eventually uncover in her home after she moved in, but later discovered it was once known as the High Nest and became enthralled with the inspiring story of its former occupants. As she unearthed the history behind her own walls, she learned it was a safehouse for Jews in the Nazi-occupied Netherlands. From then on, van Iperen was determined to explore its hidden corners and found she had unprecedented access to two sisters’ personal archives to create this remarkable work of narrative non-fiction.
The High Nest was one of Holland’s most daring rescue operations conducted by Jews for Jews. Through her excavation, she learned the story of two sisters, Janny and Lien Brilleslijper, who joined the Dutch Resistance, helped save dozens of lives, were captured by the Nazis, and ultimately survived the Holocaust. Through renovating her home, the sisters’ ingenuity and drive to survive was exposed by double walls, secret doors, and walled-off annexes that were so well concealed they were left undetected for decades.
Originally published in The Netherlands as The High Nest, the book was awarded the 2019 Opzij Literature Prize, an annual Dutch award given to female authors whose work has contributed to the emancipation, evolution, and awareness of women. Janny and Lien’s story is a remarkable story of resistance, strength, and determination — one you must read to believe.
All the best,
Rebecca
Included with Rebecca’s email was the following synopsis of the book: Eight months after Germany’s invasion of Poland, the Nazis roll into The Netherlands, expanding their reign of brutality to the Dutch. But by the Winter of 1943, resistance is growing. Among those fighting their brutal Nazi occupiers are two Jewish sisters, Janny and Lien Brilleslijper from Amsterdam. Risking arrest and death, the sisters help save others, sheltering them in a clandestine safehouse in the woods, they called “The High Nest.”
This secret refuge would become one of the most important Jewish safehouses in the country, serving as a hiding place and underground center for resistance partisans as well as artists condemned by Hitler. From The High Nest, an underground web of artists arises, giving hope and light to those living in terror in Holland as they begin to restore the dazzling pre-war life of Amsterdam and The Hague.
When the house and its occupants are eventually betrayed, the most terrifying time of the sisters’ lives begins. As Allied troops close in, the Brilleslijper family are rushed onto the last train to Auschwitz, along with Anne Frank and her family. The journey will bring Janny and Lien close to Anne and her older sister Margot. The days ahead will test the sisters beyond human imagination as they are stripped of everything but their courage, their resilience, and their love for each other.
Based on meticulous research and unprecedented access to the Brilleslijpers’ personal archives of memoirs and photos, The Sisters of Auschwitz is a long-overdue homage to two young women’s heroism and moral bravery—and a reminder of the power each of us has to change the world.
Author bio: Roxane van Iperen is a Dutch writer and lawyer who resides in the countryside east of Amsterdam, in a home known as “The High Nest” which was once the center for one of Holland’s most daring rescue operations conducted by Jews for Jews. She was shortlisted for the biggest public prize in Holland, NS Publieksprijs’ Book of the Year.
Now for my review of “The Sisters of Auschwitz”: The information I’ve quoted verbatim from Rebecca Silver’s email gives as complete an idea what the book is about as one might like. The question with which I want to deal is whether I would recommend this book.
It was a year ago precisely that I wrote about a book that was also based on documents that had been found hidden for years and which opened up an entirely different perspective on certain facets of the Second World War. That book was titled “The S.S. Officer’s Armchair – Uncovering the Hidden Life of a Nazi”. (You can read my review by entering the word “armchair” on our website when you click on “search archives”.)
Of course, there’s a world of difference in reading about a hitherto undisclosed account of what life was like for an S.S officer in contrast with the lives of two Jewish sisters (and their families), but the comparison is fair to make because, in both cases, through a combination of luck and great diligence, the authors of the two respective books were able to piece together their subjects’ lives.
As I made my way through “The Sisters of Auschwitz”, knowing that the two sisters who are at the heart of this book actually survived Auschwitz did not detract from the suspense that the author builds in telling the story. Every Holocaust survivor has their own unique story to tell, but it’s in the telling of the story that the great books separate themselves from the more mediocre ones. And, as is evidenced by author Roxanne van Iperen having been shortlisted for Holland’s most prestigious literary award, this book is not just a fine piece of reporting what the author discovered, it’s very wonderfully written.
Rebecca Silver’s email tells you about as much as you need to know about the story that was unearthed by van Iperen’s having had the good fortune to have lived in the house – the “High Nest”, which became the hiding place for Janny and Lien Brilleslijper, along with a great many other Jews, for a good part of World War II. What the author also does so well is describe the terrible fate that befell so many of Holland’s Jews during the Holocaust, when almost 75% of the Jewish population was exterminated, either by being murdered in Holland, sent to labour camps where they perished from exhaustion and hunger, or finally were gassed in death camps, particularly Auschwitz.
I’ve read before how so many Dutch citizens cooperated fully with the Nazis. It still comes as a shock to contemplate that fact because we’ve come to regard Holland as such a liberal state, which for the longest time was thought of as a mecca for those in pursuit of sex and drugs. But when you realize that 76,000 Dutch Jews were sent to their deaths, in no small part because so few Dutch gentiles were willing to come to their aid, it certainly leaves a different impression of the Dutch for Jews who might have thought of the Dutch as being active resisters to the Nazis. Sure, there were many brave souls in the Dutch resistance, but the Nazis were as comfortable in Holland as any Western European country, where they found many Dutch who were all too willing not only to work for the Nazi regime, but who were as cruel as many Nazis in carrying out their duties.
That’s not the major theme of “The Sisters of Auschwitz”, but as you read of Janny and Lien’s constant worry about being betrayed during the fairly long period in which they were able to avoid being detected by Nazi hunters, who were primarily Dutch citizens – zealous in their pursuit of Jews, it’s hard not to wonder whether there was a much deeper anti-Semitism engrained within the Dutch than perhaps we’ve thought.
While the first half of “The Sisters of Auschwitz” deals with Janny and Lien’s being able to hide from the Nazis, also their active involvement in the Dutch resistance, once the storyline moves from Holland to the sisters’ (along with their younger brother and both parents) being transported to Auschwitz, the book becomes nothing less than an outright horror story.
Before Janny was captured, by the way, she was in hiding in Amsterdam, along with her non-Jewish husband, Eberhard, where they were both quite active in the resistance. Once she is captured –and tortured, however, how she manages to endure the horrors that are subsequently thrust upon her is a testament to this woman’s utter resilience. While Lein is brave, nothing compares to Janny’s determination to carry on, no matter how many times you might think to yourself: “Why didn’t she just give up and let herself die?”
Whether it was being starved, beaten, or forced to spend hours naked outside in freezing temperatures, Janny not only managed to endure, her incredible willpower also enabled her to keep Lein alive at the same time – many times when Lein was ready to give up.
What might come as the greatest surprise to readers moreover, is the introduction of the Frank family into the story: father Otto, mother Edith, and sisters Margot and Anne. I was always under the impression that Anne Frank died in Auschwitz, but I was wrong; she died in Bergen Belsen, along with her sister Margot. If the details given in “The Sisters of Auschwitz” are accurate, the fact that Margot and Anne even made it as far as Bergen Belsen after having been in Auschwitz is largely due to the care that was given to both of them by Janny and Lein when both Frank sisters were suffering from typhus in Auschwitz.
As much as this book is a compelling read, I admit that I had a hard time with the many foreign names in the book. There are so many different characters introduced – and that is largely a reflection of just how many different Jews the two sisters were able to hide in the “High Nest” at one time or another, that it became quite confusing for me, as did the names of the sisters’ children. Still, I’m sure that if you concentrate on trying to remember who is who (and I’m terrible at that), it will all come together for you.
Just as reading “The S.S. Officer’s Armchair”, which was published in 2020, enabled an entirely new understanding of what life must have been like for an ordinary Nazi official – 75 years after that particular individual likely died, reading “The Sisters of Auschwitz” also opens up an insight into how some Jews were able to endure the tortures inflicted upon by them by the Nazis that, were it not for a quirk of fate, would also have remained undisclosed.
“The Sisters of Auschwitz”
By Roxane van Iperen
320 pages
Published by HarperCollins
Released for sale August 31, 2021
Available on Amazon
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
Related
None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
Related
- Actor-Director Rob Reiner dies at 78
- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.