Features
Pogroms in Poland and Ukraine in 1920-21 presaged what was to follow 20 years later
Review by MARTIN ZEILIG Pogrom is a Russian word meaning ‘‘to wreak havoc, to demolish violently,” says the online Holocaust Encyclopedia on the United States Holocaust Museum website.
“Historically, the term refers to violent attacks by local non-Jewish populations on Jews in the Russian Empire and in other countries. The first such incident to be labeled a pogrom is believed to be anti-Jewish rioting in Odessa in 1821.
As a descriptive term, “pogrom” came into common usage with extensive anti-Jewish riots that swept the southern and western provinces of the Russian Empire in 1881–1884, following the assassination of Tsar Alexander II.
“The perpetrators of pogroms organized locally, sometimes with government and police encouragement. They raped and murdered their Jewish victims and looted their property. During the civil war that followed the 1917 Bolshevik Revolution, Ukrainian nationalists, Polish officials, and Red Army soldiers all engaged in pogrom like-violence in western Belorussia (Belarus) and Poland’s Galicia province (now West Ukraine), killing tens of thousands of Jews between 1918 and 1920.”
In this rigorously researched, powerful book, award winning historian Jeffrey Veidlinger presents us with, as an earlier reviewer wrote, the first full depiction of the wave of anti-Jewish pogroms that followed the Russian Revolution “and how they laid the groundwork for the Holocaust.”
Veidlinger is a graduate of McGill University and a professor of history and Judaic studies at the University of Michigan. His books, which include “The Moscow State Yiddish Theatre” and “In the Shadow of the Shtetl”, have won a National Jewish Book Award, the Barnard Hewitt Award for Outstanding Research in Theatre History, two Canadian Jewish Book Awards, and the J.I. Segal Award. He lives in Ann Arbor, Michigan.
“In the years after the Holocaust, survivors around the globe began compiling memorial books, one for each city and town,” the author writes in his introduction, “‘Will a Slaughter of Jews Be the Next European Horror?’”
But, as he notes, such memorial books are not only histories of the prewar period; they are also histories of the war itself.
“Take, for instance, the memorial book from the town of Proskuriv, located in today’s Ukraine. The book’s title, “Khurbn Proskuriv”, captures the calamity the city endured. The Yiddish world khurbn (‘destruction’), a term derived from the Hebrew word hurban, denotes the destruction of the two biblical temples in the sixth century BCE and the first century CE—and has been used to describe an array of other disasters, from earthquakes to the sinking of the Titanic. After the Second World War, it became widely understood to refer to the fate of European Jewry under the Nazis.”
What differentiates “Khurbn Proskurov” though, is that it was written in 1924—nine years before Hitler’s rise to power and 15 years before the start of the Second World War, Veidlinger writes.
“The destruction of Prokuriv took place a year after the establishment of a Ukrainian state that promised broad freedoms and national autonomy to its Jewish minority, and three months after the armistice of November 11, 1918, that ended the Great War. Delegates from thirty-two nations had just gathered in Paris to work out the treaties that would formally cap what H.G. Wells called ‘the war that will end war.’”
Meanwhile, 1300 miles to the east, on the afternoon of February 15, 1919, Ukrainian soldiers murdered over a thousand Jewish civilians “in what was at the time the single most deadliest episode of violence to befall the Jewish people in their long history of oppression.”
The massacre in Proskuriv was not an isolated event.
“Between November 1918 and March 1921, during the civil war that followed the Great War, over one thousand anti-Jewish riots and military actions—both of which were commonly referred to as progroms – were documented in about five hundred different locales throughout what is now Ukraine, and which was at the time contested territory between Russian, Polish, Ukrainian, and multinational Soviet successor states of the Russian and Austro-Hungarian empires,” Veidlinger states.
He observes that a closer analysis of the progroms of 1918-1921 shows them not only to be ethnic riots carried out by enraged townsfolk and peasants, but also military actions perpetrated by disciplined soldiers, including some units of the Red Army committing atrocities.
“Thus, what happened to Jews in Ukraine during the Second World War, then, has roots in what happened to the Jews in the same region only two decades earlier,” Veidlinger maintains.
In April 1920, Polish and Ukrainian forces advanced toward Kyiv from the north, beginning what came to be known as the Polish-Soviet War.
“Their goal was to challenge Bolshevik ascendency in the region and reclaim the historic lands of the Polish-Lithuanian Commonwealth,” the author writes.
“One study submitted to the Jewish Public Committee in January 1921 on the basis of material gathered by the Society for the Protection of the Health of the Jewish Population blamed Bulak-Balachowicz for the murder of 435 Jews in 17 locations between October and November 1920. The society also counted a total of 617 incidents of sexual assault in seven towns, including the repeated rape of a twelve-year old child by three officers. The report held locals responsible for having actively participated in the progroms, or at least having done nothing to stop them.”
Veidlinger includes photographs and eyewitness accounts of this gruesome sequence of pillage, brutality and murder in Eastern Europe during those years leading up the Second World War. Even, as he intones, in the midst of civilized Europe.
“Life went on in the 20 years between 1921 and 1941:…From the fields of Ukraine to the halls of the world’s parliaments, decent people reached out to their Jewish neighbours, heeded the warnings of Jewish activists and worked to make the world a better, more civilized place,” the author notes.
“The tragedy is that it wasn’t enough.”
At one point Veidlinger quotes US President Bill Clinton during a visit to Kigali, where he acknowledged the historic failure to prevent the 1994 Rwandan genocide: “Each bloodletting hastens the next, as the value of human life is degraded and violence becomes tolerated, the unimaginable becomes more conceivable.”
Lest we forget.
“In the Midst of Civilized Europe: The Pogroms of 1918-1921 and the Onset of the Holocaust”
By Jeffrey Veidlinger (Harper Collins
466 pg. $39.99)
Features
In Dan Brown’s chaotic tale of a rampaging Golem, a case of missing Judaism
By Mira Fox September 27, 2025
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
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Strap on your best smooth-soled Italian loafers and get ready to spring over some cobblestones, because Robert Langdon — everyone’s favorite tweed-jacketed, baritone-voiced, handsome Harvard “symbologist” — is back, and he’s racing through the streets of Prague.
In Dan Brown’s newest thriller, however, there’s no Dante or Mary Magdalene; Brown is finally veering away from the Christian mythos that drove all of his previous adventures such as The DaVinci Code and Angels and Demons. This time, he’s taking on something older and far more mysterious: Judaism.
Each of Brown’s symbology books has a central guiding myth or story, i.e. the Holy Grail, Dante’s Inferno or the Founding Fathers’ involvement with Freemasonry. The Secret of Secrets follows the same formula, and its opening moments make its central myth obvious. Within the first few pages of the book, the Golem of Prague — which for some reason Brown insists on spelling as Golěm — has already murdered someone.
The story proceeds about as you’d expect, if you’ve read any of the previous Robert Langdon novels; though it has been eight years since we last read about the Harvard professor’s misadventures, he remains dashing and impressively fit for his age, as Brown reminds us regularly, though this time we hear less about his penchant for tweed. Langdon still has a photographic memory, which still comes in handy as he deciphers various codes, and the book is still loaded with long tangents about the history of various buildings and artifacts that Langdon is sprinting by. (Even while desperately attempting to escape from a gunman in a historic library, the symbologist has the presence of mind to consider the artist behind the frescoes on the ceiling.)
But the book is notably lacking in something surprising: the Jewish history of Prague, or of the Golem, or blood libel. There are no Hebrew translations or reinterpretations of Talmudic texts. We don’t learn some little known midrash that holds a secretive double meaning. These are the kinds of factoids that usually drive Brown’s mysteries, yet they’re absent.
The plot revolves, instead, around a damsel in distress, who readers may remember from the previous Langdon books: The beautiful “noetic scientist” Katherine Solomon, who is about to publish an academic treatise detailing her research on human consciousness and death. Apparently some very powerful people want to destroy her manuscript, so the action and mystery unfold across Prague as Langdon attempts to save Katherine, save her book, and — hey why not — save all of Prague and also maybe the United States. And, somewhere in there, a Golem is on the loose.
Brown’s previous novels have delved into various Christian mysteries with vigor and palpable fascination; whatever Brown’s many foibles as a writer, you could tell that he was excited by the myth of the Holy Grail, which took centerstage in The DaVinci Code, which he reinterpreted to be an allegory about a love affair between Jesus and Mary Magdalene. In Angels and Demons, Brown has great fun with the secretive inner workings of the Vatican, and Inferno is laden with delighted diversions into Christian history and ideas about the afterlife, courtesy of Dante Alighieri’s Divine Comedy.
In The Secret of Secrets, Brown outlines the basic myth of the Golem: Rabbi Judah Loew, a 16th century Talmudic scholar and leader of Prague’s Jewish community, created a magic guardian out of clay to protect the ghetto from antisemitic attacks. Loew engraved the word “emet,” or truth, in Hebrew on its forehead to bring it to life. Eventually the Golem turned on the rabbi, almost killing him, until Loew managed to rub away the aleph in “emet,” turning the word to “met,” or death, and stopping the creature; its body was placed in an attic in case it was needed again.
That’s about all we get, yet there’s so much more to explore. In another version of the story, Loew made sure to erase the aleph from the Golem’s forehead every Shabbat to allow it to rest; instead of going on a murderous rampage, the creature was eventually destroyed because it desecrated the holy day. According to some stories, a Nazi tried to ransack the attic where the Golem was stored, and died mysteriously. Others say its body was stowed in a genizah, where sacred Jewish texts are placed since they cannot be destroyed.
Then there is the actual Jewish history, the blood libel, accusations of witchcraft and antisemitic laws that kept Jews segregated in Prague’s ghetto. There is also Loew’s own life as a lauded Talmudic scholar — not a Kabbalist, as Brown describes him — and, of course, a rich tradition of Talmudic and midrashic exegesis. The setting is rife with the kind of symbols and mystery that Brown uses as fodder in all his other thrillers, inventing secret societies and mystical artifacts lost to history.
Instead, The Secret of Secrets has no Jewish characters and very little Jewish history. Though Brown sprinkles in a few of Prague’s Jewish landmarks — the Old-New Synagogue and the city’s historic Jewish cemetery — the book still manages, despite its Golem centerpiece, to spend most of its time in churches. When Langdon first encounters the Golem and sees its forehead inscription, Brown notes that the symbologist “did not read Hebrew well,” though the professor, who specializes in religion, regularly relies on his fluency in Greek, Latin, Arabic, Cyrillic and even a fake angelic language invented by two crackpot mediums that was never spoken by more than a handful of people. At one point, the Golem is described as arriving “like some kind of ascendant Christ.”
The real focus of the book is an imaginary bit of science having to do with human consciousness and life after death, a topic Brown has been exploring in the Langdon books for some time now. His interest in religion seems to stem from the idea that they are all, fundamentally, the same, and that all religions are reaching for proof that life persists after death.
But Judaism doesn’t. There are concepts — which Brown overemphasizes — like gilgul or gehenna that imply some post-death experience, but they’re not central to Jewish thought. Though one of the characters reads Loew’s most famous text, Brown clearly didn’t. (Like most works of Jewish commentary, it’s hardly the kind of work one buys in a bookstore and reads in a sitting.)
It’s not as though Brown’s previous books got everything, or even most things, right about Christianity. His wacky inventions are part of the fun — no one is reading a thriller about a fictional professor of an imaginary discipline for accuracy. The Golem is a myth, a rich story that has remained resonant over the centuries due to its flexibility and ability to be reinterpreted; Brown can make whatever he wants of it. The problem is that he has made so little.
Mira Fox is a reporter at the Forward. Get in touch at fox@forward.com or on Twitter @miraefox.
This story was originally published on the Forward.
Features
Top Free Slot Demos You Can Play Right Now
Sometimes, you might not want to pay for spinning reels. Maybe you just don’t have cash at the moment, or you want to just play for fun without any responsibilities. And that’s totally normal. Free slot demos are there for you. If you’re looking for some great options to play right now, here are the top free slot demos that are worth checking out.
Free slot demos that bring the fun
Sweet Bonanza
Fans’ favorite Sweet Bonanza demo play offers a candy-themed slot. Instead of traditional paylines, it uses a 6×5 grid where wins happen when you land eight or more matching symbols anywhere on the screen. Every win triggers the tumble feature. It means that winning symbols disappear, and new ones drop in. Potentially, they chain multiple wins together.
The highlight, though, is the free spins round. If you land four or more lollipop scatters, you’ll get 10 free spins. They’d be complete with colorful multiplier bombs that can reach up to 100x. Since the game is known for high volatility, demo mode is a nice way to test whether you enjoy the thrill of chasing those big but less frequent wins. Plus, the candy graphics and upbeat soundtrack make the whole experience surprisingly addictive.
Big Bass Bonanza
If you prefer fishing rods to candy canes, Big Bass Bonanza is another top demo slot you should try. It’s simple and fun. It has a free spins feature where the fisherman collects money values that are attached to fish symbols. As you progress through levels, multipliers increase. And it gives you a shot at some impressive wins. The demo version is a great way to see how often the fisherman shows up and whether this type of slot is what you might like.
Cleocatra
Cleocatra slots are about ancient Egypt with adorable cats. As fun as it sounds, it somehow works. The base game features wild multipliers. However, the free spins round is what makes it truly interesting. Sticky wilds lock in place and can quickly build up some wild combinations. In demo mode, you’ll get to see how powerful those sticky wilds can be without risking any cash.
Boom!
Among the slots that are packed with features, Boom! is worth a spin in demo. This game offers expanding wilds, free spins, jackpots, and even multiple bonus games. It might not be the greatest choice if you’re new to slots. There are just so many different things that it might feel overwhelming. Well, it’s free. So, even if you want to try, there’s nothing to be afraid of. That’s exactly why demo play is so useful. You can try out each feature and figure out whether you like the layered gameplay.
Sweet Bonanza 1000
Yes, Sweet Bonanza deserves two mentions. The newer Sweet Bonanza 1000 takes the original formula and cranks up the intensity. There are bigger multipliers, higher max wins, and even more fun. It makes this version perfect for people who just want extra adrenaline. Why should you try it? You can actually see if the higher risk is what you can go after. It’s more volatile than the original. That’s why trying the demo play is a wise choice.
Why play free demos?
Of course, the feeling is completely different from playing for real money. However, there are people who enjoy slots not because of the potential winnings. Here are some other reasons to pay attention to them:
- You can get the full slot experience without spending anything at all;
- You can actually figure out the bonus trigger, scatter, and volatility;
- You can see how bonus buys, multipliers, and jackpots actually play out;
- You can choose if you like slow and steady play or big swings.
Final thoughts
With the option to play free slot demos, you can try popular titles like Sweet Bonanza without any risks. Surely, they can help you just kill the time. However, they can also let you figure out the mechanics and test features. There are lots of them, and you can test them all. After that, you can decide you’re up to bet real money.
Features
New movie, “Bau, Artist at War,” now playing in Winnipeg, tells the amazing story of Joseph Bau, whose marriage to his wife Rebecca was made famous in “Schindler’s List”
“They can starve us, beat us, cage us – but they could never kill our spirit.“ – Joseph Bau
A gripping new movie, titled Bau, Artist at War, is now on at the Cineplex Odeon McGillivray Theatre.
The movie tells the story of Joseph Bau, whose dramatization of his marriage in Plaszow concentration camp to his wife Rebecca was an unforgettable scene in the movie Schindler’s List.
The film is based in large part on Bau’s memoir, Dear God, Have You Ever Gone Hungry? (published in 1998). The film was written by Deborah Smerecnik, Ron Bass, and Sonia Kifferstein, and is directed by Sean McNamara.
Featuring stellar performances by Emile Hirsch (who appeared in Once Upon a Time in Hollywood) as the protagonist, and Inbar Lavi (who appeared in the Israeli television series Fauda and the U.S. television series Imposters) as Rebecca, the movie is a combination love story and espionage tale that deserves attention in an era, as one commentator has said, “where survivors are fading away, and the Holocaust is slipping from memory.” It’s also a story about resistance during the Holocaust.
In the movie, during his time in Plaszow Concentration Camp, Bau is a Jewish forger, an artist and a designer. He is employed by the brutal commandant Josef Liepold to draw a newly planned wing in the prison. He is simultaneously forging IDs for Jewish inmates helping them escape the prison. Hirsch as Bau, also draws comics for the prisoners, and his gift of art inspires his future wife with his colorful “lifegiving” creations, to which she responds in the gloomy setting of the death camp. McNamara cleverly intercuts these wonderful artworks within the film’s action.
Joseph Bau was a man who defied the darkness of the Holocaust with art, humor, and an unbreakable spirit. A gifted artist and master forger, Bau risked his life to save others, using his talent to create false documents that helped fellow prisoners escape certain death. But in the depths of despair, he discovered something even more powerful…love.
In the Plaszow concentration camp, amid relentless brutality, Joseph met Rebecca – a woman whose courage matched his own.
Years later, when Joseph is called to testify against the sadistic Nazi officer who tormented him, he is forced to relive the horrors of his past. But through it all, he draws strength from the love that saved him, the art that sustained him, and the unyielding will that kept him alive.
A gripping war drama, a daring espionage thriller, and one of the greatest love stories of our time, Bau, Artist at War is a testament to the power of resilience, the triumph of the human spirit, and the unbreakable bonds that even war could not destroy.
More stills from the movie:
