Features
Rose’s Odyssey” is an absolutely riveting story of surviving the Holocaust that tells a story quite different from almost any other Holocaust story you might have read.
By BERNIE BELLAN In the spring of 1984, Dr. Meir Kryger (whose name is no doubt well known to many readers as the “sleep doctor” who spent many years in Winnipeg), his wife, Barbara, and daughter, Shelley, along with Meir’s mother, Rose, went to Rome where they were to spend Passover with Meir’s cousin, Henry Welch.
It was during a Passover seder in Henry’s apartment that Rose Kryger opened up – for the very first time, about what had happened to her during the Second World War. As a child of Holocaust survivors – and like so many other children of Holocaust survivors, Meir didn’t have a clue about his parents’ past, but as a child, he didn’t consider that unusual.
As Meir notes in his mother’s recently published memoir, “Rose’s Odyssey,” “I eventually learned that what is considered normal is quite different for children of Holocaust survivors. I never touched a single artifact from my family that predated the second World War. I thought that was normal. I never knew grandparents. I thought that was normal. As I was growing up every family that I knew had survived the horror of losing everything. I thought that was normal. Our family had no place it considered home, even when we were living in Montreal. I thought that was normal. Most of the adults I knew while growing up had horrible unspeakable memories locked up that were never discussed.”
Now, there have been countless memoirs and accounts of Holocaust survivors published over the years, but in many ways “Rose’s Odyssey” is unlike any other that I have ever read. In the first place, Rose, her husband Sam, sister Ghenia, and nephew Zvi (who later adopted the Anglicized name Henry), ended up traveling east from Poland to escape the Nazis, in contrast to so many other accounts of survivors who either remained trapped in Poland or managed to escape by going west.
Reading about the travails that beset those four individuals beginning in 1939 and through to 1945 is horrifying, but in a totally different way than it was for the millions of victims who didn’t manage to escape Poland.
A second aspect of “Rose’s Odyssey” that was so totally gripping is the matter of fact language that Rose uses in describing what happened to her. As it turned out, Rose had compiled a very detailed set of journals in which she described her experiences – both during and immediately after the war, along with those of her husband, sister, and young nephew.
As Meir Kryger notes in the prologue to this book, however, it was only after Rose’s death in 1993, in Montreal, that his sister and he actually discovered those notebooks, all written in Yiddish. As well, there were two audiocassettes in which Rose had also told what had happened.
Henry Welch actually translated Rose’s words and published a book in 2004 titled “Passover in Rome.” That book went out of print, but during Covid Meir reread the book and “felt the book needed to be made available again.”
Thus, after revising the original “Passover in Rome” and updating it with new maps, photos, and a glossary of Yiddish expressions, “Rose’s Odyssey” was published in 2022. It is available on Amazon as both a paperback and in Kindle format.
While the mere fact that the four individuals whose story is told in the book travelled over 18,000 kilometers from 1939-1947, which is when the story ends with Rose and Sam going to Palestine, is astonishing enough, it is reading about all the horrendous experiences they endured – yet somehow managed to survive, that makes this book so compelling to read.
In conversations with Holocaust survivors myself I’ve often asked them what it was that they think kept them going when so many others around them perished? In most cases, the answer that they would give is “luck,” and while that was certainly an ingredient in so many survivors’ stories, I often thought there was something else that had been at play.
Rose and her sister, Ghenia, were not exceptionally strong physically, and while the book also doesn’t indicate that Sam Kryger was much different from the average Polish male Jew, he was certainly capable of shouldering extreme physical challenges, it turned out.
But it was Rose and Ghenia whose abilities to endure anything thrown at them which made me write to Meir Kryger at one point when I was about halfway through reading the book, saing that I just “couldn’t put it down.” Of course, knowing that all four survived the war – even before I began to read the actual story of how they survived, told me that there wouldn’t be a shocking surprise – which might have made me hesitant to want to continue reading what is, in no uncertain terms, a true horror story.
Yet, some elements of the story related such abject descriptions of suffering that once I had finished reading certain chapters I just has to take a break from finding out yet another story about the absolute degradation that was forced upon those four individuals.
At the same time though, the book is a remarkable adventure. Traveling 18,000 kilometers – on trains, boats – leaky rafts at one point, camels at another point, and very often, simply on foot, would make anyone wonder where Rose and Ghenia, in particular, drew the strength to carry on?
From managing to survive a slave labour camp in Siberia their first winter after escaping to Poland to constantly seeking a warmer place where they might live, Rose and the others reached what must have been the nadir of their journey when they found themselves in Kazakhstan in 1941.
In a chapter titled “Worst Winter of Our Lives,” Rose describes having to deal with a typhoid epidemic that swept through the hellhole in which they found themselves, known as “Zhyd Ken Chek”:
“We were in the middle of the Kazakhistan Steppes, where the wind runs wild without any obstacles. Outside there were no trees and very scarce vegetation. The highest tree was a small bush not higher than 8 to 10 inches. That little bush dried by the wind became the only fuel we had to cook, bake and heat our kibitka. We collected these bushes and stored them in our hallway.”
In the course of the chapter, Henry Welch who, from time to time in the book, adds his own commentary to Rose’s words – sometimes to clarify certain aspects of the story, at other times to give his own perspective on something she has written, describes what happened to him in Zhyd Ken Chek:
“The minute we got into this settlement, I got sick. As my mother used to say, may she rest in peace; when it comes — it comes in bunches. I got measles. After the measles, I got pneumonia, then a horrible case of diarrhea and finally typhoid fever like everybody else. It was very unusual because I was never sick since we left our home in Lodz. I sure made up for it all at once in Zhyd Ken Chek.”
As typhoid fever swept through the settlement, however, everyone there became infected at one point or another that horrible winter.
Even as I’m writing this, I have to pause to consider what Rose wrote about that typhoid epidemic, in her typical unsentimental “just the facts” style of writing: “That winter Zhyd Ken Chek turned out to be a death trap. Of the 128 people who had arrived at the end of December 1941, only about 25 survived by the time spring of 1942 made its slow appearance. The four of us were among the survivors.”
But, as if that weren’t enough, Rose adds this note about one of the huts that had housed 45 men: “That ill-fated single men’s hut; out of 45 strong, young men, only two or three survived. The rest of them died during the typhoid epidemic. There was no medication, no medical assistance and not enough food. I would visit them from time to time and bring whatever food we had to spare.”
Returning to the question which I had posed previously: Was there something special that allowed Rose, Sam, Ghenia, and Ziv to survive when so many others didn’t? Rose herself gives no clue as to what it was that enabled those four to survive, but there is a hint that Ghenia had an exceptional ability to improvise to the point that she became a skilled black marketer in many of the outposts where they found themselves, and that proved crucial to the wellbeing of all four.
Whether it was trading various food items or other different commodities in their possession, reading about Ghenia’s resourcefulness is not only fascinating, it’s highly entertaining in many respects.
And, in the end, as gut wrenching as so many parts of “Rose’s Odyssey” are – and how could any story of surviving the Holocaust not be – it’s also a story of triumph – of taking all those blows leveled at the four individuals who faced unremitting challenges together, and persevered.
The book doesn’t end with the end of Word War II, however. Rose and Sam end up returning to Poland, where they found out that Rose’s other sister, Sally, has also survived the war. even though she had been taken to Auschwitz, as had several other of their relatives. But the Poles were decidedly unwilling to welcome Jews back into their midst, so Rose and Sam ended up making their way to Germany where, in one of the great ironies of the aftermath of the war, many Jews did find a welcome mat laid out for them.
Eventually though, Rose and Sam could simply not accept the notion that they would live their lives amidst the very people who had brought about the Holocaust in the first place. As noted, Rose’s journey ends with her and Sam emigrating to Palestine, along with their two children, Marylka, who was born during the war, and Meir, who was born in 1947. I should also mention that Rose did have another child – a girl named Gucia – in Siberia, but because there was so little food, Rose could not properly nurse the child, and she died after three months. Rose never got over the loss of that child and, while she didn’t attempt to put it out of her mind at any point, her iron will to survive led her to find the inner strength to carry on.
Again, reading out about Holocaust survivors who went from Poland to Siberia – and then to even more distant lands, never knowing when they would have to move again, and then returning to where it all began – is an engrossing story in itself. The fact that this book is so well written is a credit not only to Rose Kryger’s vivid account of horrific events, but also to Henry Welch and Meir Kryger, both of whom contributed to the editing of this absolutely compelling story.
Even though the book was self-published somehow it made its way on to the reading list of none other than Arianna Huffington, author, entrepreneur, and founder of he Huffiington Post, who was effusive in her praise of the book, writing “I love this book: it is compelling, enlightening and at times, heartbreaking.”
One final note: Meir Kryger had contacted me about this book back in August when it was first published. I told him back then that I simply didn’t have time to read it because I was quite busy putting out the paper – although I did say that I would try to find time to read it at some point. If only I had known then how good a book “Rose’s Odyssey” was; I can only hope that this review leads others to making that same discovery – sooner rather than later, as was unfortunately the case with me.
Features
A People and a Pulse: Jewish Voices in Jazz and Modern Music
By MARTIN ZEILIG Jazz history is usually told through its most iconic names — Armstrong, Ellington, Parker, Davis — yet running alongside that familiar story is another, often under‑acknowledged one: the deep and enduring contribution of Jewish musicians, bandleaders, composers, and cultural intermediaries.
From the moment jazz emerged at the turn of the 20th century, Jews were not simply observers but active shapers of the music and the industry around it. Their influence — artistic, entrepreneurial, and cultural — has been both significant and, in many respects, disproportionately large. Jews and Jazz (171 pg. $18.75 US) a self‑published work by Laurence Seeff, brings this parallel narrative into sharp, affectionate focus.
Seeff is an ideal guide.
Born in London in 1951, he built a career that moved from statistics to energy policy in Paris, from financial markets at Bloomberg to corporate training in the City of London, all while writing poetry, songs, and humorous verse. Today he lives in Israel, where he continues to write, perform, learn Ivrit, and enjoy life with his large family. Through all these chapters runs a constant passion for jazz — a passion sparked more than fifty‑five years ago when he first heard Terry Lightfoot’s Jazzmen in a Bournemouth pub.
His writing blends clarity, humour, and genuine love for the music and the people who made it.
The musicians he profiles often came from immigrant families who brought with them the musical DNA of Eastern Europe — the cadences of synagogue chant, the urgency of klezmer, the cultural instinct for learning and artistic expression. When these sensibilities met the African American genius of early jazz, the result was a remarkable creative fusion.
Some figures, like Chico Marx, are better known for comedy than musicianship, yet Seeff reminds us that Chico was a serious pianist whose jazz‑inflected playing appeared in every Marx Brothers film and whose orchestra launched young talents like Mel Tormé. Others — Abe Lyman, Lew Stone, and Oscar Rabin — shaped the dance‑band era on both sides of the Atlantic.
Canadian readers will be pleased to find Morris “Moe” Koffman included as well: the Toronto‑born flautist and saxophonist whose “Swinging Shepherd Blues” became an international hit and whose long career at the CBC helped define Canadian jazz.
Seeff also highlights artists whose connection to jazz is more tangential but culturally revealing. Barbra Streisand, for example — a classmate and choir‑mate of Neil Diamond at Erasmus Hall High School — was never a natural jazz singer, yet her versatility allowed her to step into the idiom when she chose.
She opened for Miles Davis at the Village Vanguard in 1961 and, nearly half a century later, returned to the same club to promote Love Is the Answer, her collaboration with jazz pianist Diana Krall. Her contribution to jazz may be limited, but her stature as one of the greatest singers of all time is unquestioned.
Neil Diamond, too, appears in these pages.
Though not a jazz artist, he starred — with gusto, if not great acting finesse — in the 1980 remake of The Jazz Singer, 53 years after Al Jolson’s original. The film was not a success, nor was it truly a jazz picture, but its title and its star’s Jewish identity make it part of the cultural tapestry Seeff explores.
Diamond and Streisand recorded together only once, in 1978, on “You Don’t Bring Me Flowers,” a reminder of the long‑standing artistic ties between them.
Mel Tormé, by contrast, was deeply rooted in jazz. Nicknamed “The Velvet Fog,” he was a prodigy who sang professionally at age four, wrote his first hit at sixteen, drummed for Chico Marx, and recorded with Benny Goodman and Artie Shaw. Ethel Waters once said he was “the only white man who sings with the soul of a black man.” His story exemplifies the porous, collaborative nature of jazz.
Seeff also includes non‑Jewish figures whose lives intersected meaningfully with Jewish culture. Frank Sinatra — perhaps the greatest crooner of them all — was a steadfast supporter of Jewish causes, from protesting during the Holocaust to raising funds for Israel Bonds and the Hebrew University. His multiple visits to Israel, including a major concert in Jerusalem in 1975, underscore the depth of his connection.
Danny Kaye earns his place through his close work with Louis Armstrong, his pitch‑perfect scat singing, and his starring role in The Five Pennies, the biopic of jazz cornetist Red Nichols. Though not a jazz musician per se, his performances radiated a genuine feel for the music.
A later generation is represented by Harry Connick Jr., whose Jewish mother and New Orleans upbringing placed him at the crossroads of cultures. A prodigy who played publicly at age five, he went on to become one of the most successful jazz‑influenced vocalists of his era, with ten number‑one jazz albums.
Even Bob Dylan appears in Seeff’s mosaic — another reminder that Jewish creativity has touched every corner of modern music, sometimes directly through jazz, sometimes through the broader cultural currents that surround it.
Taken together, the concise portraits in Jews and Jazz form a lively, engaging mosaic — a celebration of creativity, resilience, and cross‑cultural exchange. They show how Jewish musicians helped carry jazz from vaudeville and dance halls into swing, bebop, cool jazz, pop, rock, and film music.
They remind us that jazz, at its heart, is a meeting place: a space where people of different backgrounds listen to one another, learn from one another, and create something larger than themselves.
For further information, contact the author at the following email address: laurenceseeff@yahoo.co.uk
Features
Jews in Strange Places
By DAVID TOPPER The Jewish contribution to 20th century popular music is well known. From Jerome Kern through to Stephen Sondheim, Jews played major roles as both composers and lyricists in the so-called Great American Songbook. (An exception is Cole Porter.) It continued in Musical Theatre throughout the rest of the century.
One very small piece of this story involves what Time magazine in the December 1999 issue called “the tune of the century.” First recorded sixty years before that, it is the powerful and haunting tune called “Strange Fruit,” which is about the lynching of black people in the southern USA. First sung by Billie Holiday in 1939, it became her signature tune.
So, why do I bring this up? Because there is a multi-layered Jewish connection to this song that is worth recalling, which may not be known to many readers.
Let’s start with the lyrics to “Strange Fruit,” which are the essence of this powerful piece:
Southern trees bear strange fruit,Blood on the leaves and blood at the root,Black bodies swinging in the southern breeze,Strange fruit hanging from the poplar trees.Pastoral scene of the gallant south,The bulging eyes and the twisted mouth,Scent of magnolias, sweet and fresh,Then the sudden smell of burning flesh.Here is fruit for the crows to pluck,For the rain to gather, for the wind to suck,For the sun to rot, for the trees to drop,Here is a strange and bitter crop.
Before becoming lyrics in a song, this poem stood alone as a potent statement about the lynchings still taking place throughout the American South at the time. The strong metaphorical imagery never explicitly mentions the lynching, which adds to the poetic power of this poem. Standing alone, I believe it’s an important protest verse from the 20th century.
Searching it on the internet, you may find the author listed as Lewis Allan. But that’s not his real name. “Lewis Allen” is the often-used pen name of Abel Meeropol, a Jewish High School teacher from the Bronx in New York. He and his wife, Anne (nee Shaffer), had two stillborn children with those names – a fact that adds a poignant element to this story.
The origin of the poem for Abel was a photograph he had seen of a lynching of black men in the South. I have seen such images, possibly even the one Abel saw: for example, a sepia photograph of two black men hanging from a long tree limb, and a large crowd of white people below (men, women and even children!), most seeming dressed in their Sunday best (some men with straw hats) looking up and gawking at the sight, some with smiles on their faces – as if attending a festive spectacle. Like Abel, I felt repelled by the picture: it turned my stomach. This communal display of horrific cruelty gave me a glimpse into Abel’s mind, and I understood how it compelled him to write about it. He thus wrote the poem, and it was published in a teacher’s magazine in 1937.
Being a songwriter too, in 1938 Abel added a melody and played it in a New York club he often attended. But here’s where this story’s documentation gets contradictory, depending upon who is recalling the events. The club owner knew Billie Holiday, and he showed the song to her. What her initial response was, we cannot know for sure. But we do know that in a relatively short time, she added it to her repertoire. It eventually became her signature tune. She initially sang it in public, but because of its popularity among her fans, there was pressure to record it too.
There were initial rejections from recording companies because of the controversial content. But Commodore Records took a chance and pressed the first recording in April 1939. This was the same year the movie “Gone with the Wind” came out; it was steeped in racial stereotyping. It was also sixteen years before Rosa Parks refused to give up her seat on a bus in Montgomery, Alabama.
As a record, the song obviously reached a large audience. Since the content was about racism, the song was seen as politically radical; not surprisingly, many radio stations banned it from the airwaves.
Furthermore, it’s also not surprising that Abel, a schoolteacher, was called to appear before a committee of New York lawmakers who were looking for communists in the schools. Possibly they were surprised to find that the poem and the song were written by a white man – and a Jew to boot. In particular, they wanted to know if he was paid by the Communist Party to write this song. He was not. And, in the end, they let him go. But shortly thereafter he quit his teaching job.
This took place in 1941 and was a precursor to the continued American obsession with communism into the 1950s, under Senator Joe McCarthy.
Indeed, that episode had an impact on Abel and Anne too. In 1953 Julius and Ethel Rosenberg were convicted of giving information about nuclear science to the Soviet Union, and they were the first married couple to be executed in the electric chair. They left two sons, Michael (age 10) and Robert (age 6). Apparently, immediate family members were reticent to get involved with the boys, possibly afraid of being accused of sympathizing with communism.
Enter Abel and Anne. Without a moment’s hesitation they stepped in, taking and raising the boys. As Michael and Robert Meeropol they eventually went on to become college professors – and naturally were active in social issues. Anne died in 1973. Abel died in 1986 in a Jewish nursing home in Massachusetts, after a slow decline into dementia. Long before that, Billie Holiday died in 1959, ravaged by the drug addition that took her life at forty-four years of age.
See why I called this a multi-layered Jewish story that’s worth telling?
To hear Billie Holiday singing “Strange Fruit” click here: Strange Fruit
Features
Is This the End of Jewish Life in Western Countries?
By HENRY SREBRNIK “Globalize the Intifada” has been the chant echoing through streets since October 7th, 2023. It was never a metaphor, and we now see the gruesome results across the western world, from Australia to Canada: the rise of groups of large, active networks of Islamist and anti-Zionist organizations.
Jews in the West are discovering that the nations they defended, enriched, and profoundly shaped have become increasingly inhospitable. After the Holocaust, explicit Jew-hatred became unfashionable in polite society, but the impulse never disappeared. The workaround was simple: separate Zionism from Judaism in name, then recycle every old anti-Jewish trope and pin it on “the Zionists.”
We have seen the full legitimization of genocidal anti-Zionism and its enthusiastic adoption by large segments of the public. The protests themselves, as they began immediately on October 7th, were celebrations of the Hamas massacres. The encampments, the building occupations, the harassment campaigns against Jewish students, the open calls for intifada, the attacks on Jews and Jewish places have become our new norm. History shows us that antisemitism does not respond to reason, incentive or the honest appeals of the Jewish community.
Outside the United States, there is no Western political establishment with either the will or the capability to address this problem, let alone reverse its growth. I’m sorry to say this, but the future of Western Europe, Canada, Australia, and New Zealand is likely to be increasingly Jew-free.
Today, police stand and watch mobs chant for Israel’s destruction, call for the genocide of its people, harass visibly Jewish citizens, and drive antisemitic intimidation deep into urban life. They now believe their job is to enforce the law only if it does not risk upsetting violent constituencies. This makes Jews expendable, because defending them risks confrontation. This was very clear in the Bondi Beach massacre.
Jews are again donning caps instead of kippot, dressing generically with no cultural markers, and avoiding even a tote bag with Hebrew on it. A corrosive creep toward informal segregation in retail and service sectors is occurring, as Jewish customers report being refused service. A mezuzah hanging from a rideshare mirror leads to cancellations. When Jews express frustration, they are accused of exaggeration or attempting to suppress criticism of Israel. Jewish fear is not treated as a real problem.
“Jews Are Being Sent Back into Hiding,” the title of a Dec. 15 article in the New York Free Press by David Wolpe and Deborah Lipstadt, asserts that the attacks on Jews, including physical assaults, social media campaigns and, most tragically, the recent murders in Australia, are part of a purposive campaign designed to make Jews think twice about gathering with other Jews, entering a synagogue, going to kosher restaurants, putting a mezuzah on the doorpost of their apartments or dorm rooms, or wearing a Jewish star around their necks.
“We know of no one who would consider giving a niece, nephew, grandchild, or young friend a Jewish star without first asking permission of their parents,” they write. The unspoken, and sometimes spoken, question is: “Might wearing a star endanger your child’s well-being?”
Recently, a prominent American rabbi was entering a Target store in Chicago with her grandson, whom she had picked up from his Jewish day school. As they walked into the store the 10-year-old reached up and automatically took off his kippah and put it in his pocket. Seeing his grandmother’s quizzical look, he explained: “Mommy wants me to do that.”
Borrowing a phrase from another form of bigotry, they contend that Jews are going “back into the closet.” No public celebration of Hanukkah took place in 2025 without a significant police presence. Some people chose to stay home.
Lipstadt and Wolpe know whereof they speak. They are respectively a professor of history and Holocaust studies who served as the Biden administration’s ambassador tasked with combating antisemitism, the other a rabbi who travels to Jewish communities throughout the world, and who served on Harvard’s antisemitism task force in the aftermath of the October 7, 2023 pogrom.
What the world has seen over the past two years is a continual, often systematic attempt to terrorize Jews. When political leaders fail to condemn rather than merely “discourage” chants of “globalize the intifada,” we are seeding the ground for massacres like the Hannukah one in Sydney.
If each Jewish holiday will now be seen by antisemites as an opportunity for terror, then the prognosis for diaspora Jewry is bleak. There will be fewer public events, more alarms, more bag checks at doors; there will have to be more security and more police. Unless things change, Jewish life in the diaspora will become more sealed off from the larger society.
Why has this failure come about? Confronting antisemitism, stopping the mobs, challenging the activists, and disciplining antisemitic bureaucrats all carry electoral risk for politicians; Jews are demographically irrelevant, especially compared with Muslim voters, with the U.S. being the only partial exception.
There are those who suggest Jews stop donating funds to educational and other institutions that have turned against us. At this point, I doubt very much that withdrawing dollars will have an impact. For every dollar withdrawn, there will be 100 from Qatar and other sources in its place.
Throughout history, the way a society treats its Jews predicts its future with unerring accuracy. If Jews leave, it will be because a civilization that will not defend its Jews will also defend next to nothing and may itself not survive.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island