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The River – an excerpt from a new novel by former Winnipegger Zev Coehn

Cohen Zev 2019Introduction: The following story is an excerpt from a longer story in Zev Cohen’s new novel titled “Are You Still Alive?”
As Zev wrote to us recently, “this is Chapter One of my novel, “Are You Still Alive?” It is partially based on events recounted to me by my late father Moshe. The story, beyond being one of the countless tales of Jewish survival against all odds during the Holocaust, is also an allegory for the indomitable human spirit intertwined with Rabbi Akiva’s maxim ‘V’havta l’raecha kamocha’. I hope to have the complete novel published soon.
Zev’s writing has appeared several times in the past in this paper. His collection of short stories, titled “Twilight in Saigon,” was published in 2021.
Born in Israel, Zev lived in Winnipeg until he was 17, when he returned to Israel with his parents. He now spends half the year in Israel and half the year in Calgary, where his two sons live.

Chumak leads the way towards the river in the dark. I had walked the route from his hut to the riverbank in daylight a few times and am confident I know the path down to the water and back. This time, though, I intend to cross to the other side under cover of darkness. Chumak, who came up with the idea, eagerly insists on guiding me so, he says, I don’t get lost. He claims he can find his way blindfolded. I think he believes that if this works, he might soon be rid of us, although he hasn’t said anything openly about it. To be fair, my suspicion just might be a projection of my own pressing desire to escape on to Chumak, whom I trust implicitly.
This summer has been uncommonly wet, and tonight the clouds are scudding low, hiding the moon and stars and making it difficult for others to spot us. At first, the only sounds are those of our movement through the brush and the occasional whoosh of passing nightbirds. The path is not overly challenging, and my labored breathing and rapidly beating heart stem more from fear than physical effort. Though I’m soaked to the skin by the constant drizzle, it is a minor irritation in the face of what I expect lies ahead. The sudden rattle of machine-gun fire causes us to instinctively fall flat on the ground, but luckily it isn’t close by, and we move forward a moment later. Distant flickers of lightning and muffled thunder are the backdrops as I blunder through the undergrowth and futilely attempt to avoid trees. Banging my knee against a tree trunk while trying to keep up with Chumak, I stifle a cry of pain, and then suddenly, I slip and slide down the muddy embankment, unable to get any traction. He grabs me before I plunge headfirst into the river.

“Quiet, you’ll get us caught,” he whispers as he holds my arm in his vicelike grip. “There are German and Romanian patrols on both sides of the river. Be more careful, or you will end up dead before you begin.”
The slope ends at the lapping water’s edge, but the river is barely visible in the blackness. A dog begins to bark incessantly on the other side. Has it picked up our scent even before I start to swim? I have no choice but to take my chances. Along the opposite bank downriver, dim points of light seem to be moving—smugglers perhaps or night fishermen. It’s hard to estimate how far away they are. I hope the current doesn’t drag me to them, but there is no going back. At least, for now, no searchlights are combing this particular area. Chumak seems to have picked the right spot.
Lightning flashes again, stronger this time, and in that instant, I realize how far it is to the other side across the rippling current. My swimming experience is limited to a small, calm pond near home, where my brother taught me some strokes. The wide, flowing river looks ominous, but I’ve made it this far, and I can’t give up now. And Chumak urges me on. I’m already knee-deep in the water, shivering, but not because the water is especially frigid.
“You can do it,” he encourages me. “The current isn’t so strong at this time of year. You must do it. It’s your only hope. Go!”

I stop for a moment and turn to him. “If anything happens…if I don’t make it back, help Ella and Sophie, please. They have no one else.” I don’t want to sound as if I’m pleading, but I am.
“Go, nothing will happen. You’re going to save them and yourself,” he says. “It’s the only way. I will wait here till you reach the other side and when you get there, clap some stones together three times to let me know you are safely there. The sound carries far at night. I’ll hear it, and I’ll tell Pani Ella that you made it.” Amid everything, I notice that this is the first time he calls Ella by her name.
I move slowly into the deeper water. At first, it’s easy; the water is up to my chest, but my feet still touch the soft muddy bottom. Then, without warning, it drops away, and I’m flailing and swallowing water. Finally, I calm down, gain control, and begin to swim. The current takes hold and starts pushing me downriver. Sputtering, I force myself to fight the rising panic and use my arms and kick with my legs in a crawl that will hopefully propel me towards the unseen shoreline. It’s working, and I’m not drowning, but I’m weakening rapidly. The combination of sickness I haven’t completely recovered from since the camp and general malnutrition has sapped me of strength. My clothes are waterlogged and drag me down. This can’t continue much longer. How idiotic would it be, I think, if I drowned now before beginning my mission? Rolling over on my back, I take the pig’s bladder that Chumak wrapped the note in from my pocket, and holding it tight, I squirm out of my pants to lighten the load. I let the current carry me and turn on my back to stroke and move gradually in the riverbank direction. It is less exhausting this way.
I’ve lost any notion of time as I float on my back and see nothing but the overcast sky. Has it been minutes? An hour? I fear trying to stand. If it’s still deep, I might sink and not be able to come back up. At least the rain has stopped. Some clouds have dispersed, and I can see stars in the black sky. Then I hear it. A baying sound getting closer. Maybe a dog? Then barking. Yes, a dog. Thankfully I must be near the shore. My feet hit bottom. I totter through the shallow water and, in the faint moonlight, survey a pebbly beach fronting the tree line. There is no sign of the huts nor of the large two-story house Chumak had pointed out some days earlier opposite my point of departure.

The house, he told me, belonged to a certain Nicolescu, a wealthy Romanian and well-known smuggler before the war. Chumak suggested that my woman, as he called Ella, write a letter to Nicolescu in Romanian asking for his help crossing the river. I imagined that he would get the letter to the Romanian or at least knew someone who could do it, so it took me by surprise when he said, “You will bring the letter to him, and he will make the arrangements.”
It seemed like a far-fetched idea. Beyond the problem of my crossing the river, in itself seemingly suicidal, why, I asked, would any Romanian, not to mention a wealthy smuggler, have anything to do with helping Jews? This is probably a punishable offense in Romania and meant certain death in German-occupied Poland. Only gypsies were desperate enough to offer their services. Even if Nicolescu was willing to help me, I had no money to pay him.
Moreover, those who did pay were often betrayed and delivered to the authorities on one or the other side. There was no guarantee of success, and many lost their lives in the attempt. A few days earlier, I saw a clump of corpses roped to each other floating down the river. I didn’t consider my death an issue anymore, but I was afraid of exposing Ella and the child to the risks involved. I told Chumak to forget it. I couldn’t do it.
“What choice do you have?” Chumak pressed. “Don’t be a fool. You, the woman, and the child definitely won’t survive on this side of the river, and you will stand a better chance over there, as far away as you can get from the Germans.”
His understanding of the situation is correct. The local peasants were handing Jews over for some butter or sugar and an opportunity to steal their belongings. They say a drowning man will grasp at a razor blade to save himself, so I agree.
“Even if I manage to make it across, how will I convince him? I have no money.”

Chumak was skeptical about my claim of penury. This wasn’t out of spite that he had thought through but rather an inherited bias. He was of the age-old school that believed Jews always had hidden treasure somewhere. He was convinced that if I couldn’t offer cash immediately, Nicolescu would accept a promise of future payment from a “high-class” Jew like me. To me, this appeared to be just wishful thinking since Chumak admitted never having actually done business with this Romanian smuggler, who was out of his league.
Chumak remained adamant, and his confident tone was hard to resist. “Tell your woman to write that she comes from an important, prosperous family in Romania that will pay him generously for his efforts. Give him a written guarantee.”
Before I could change my mind, he produced a slightly greasy lined sheet of paper from a child’s copybook and a blunt pencil stub. I took it to our hideout in the nearby forest, where I cajoled Ella, who also thought the plan was absurd and not doable, into writing the requisite supplication and promise of reward.
Standing on the flat terrain on this side of the river, I realize that the current took me downstream, and I need to walk back to the Nicolescu house. I’m not sure how far it is, but at least I can see where I’m going in the moonlight. I find some stones and strike them together three times, as I promised Chumak, hoping that he hears me, and goes back to report to Ella. Not expecting a response, I walk close to the tree line, off the riverbank pathway used by locals and military patrols. When a searchlight sweeps the river from the Polish side, I scamper into the trees, waiting, breathing hard, and picking up a dead branch for self-defense. Going forward, I detour through the woods to avoid a small group of men sitting by the embers of a fire smoking and passing around a bottle. Hunters or fishermen, I believe.

The house lies ahead through the gate of a stone-walled enclosure. No light escapes from the windows. Nearby in the compound, there are two thatched-roof peasant huts, weak light emanating from one of the windows, and a barn where a horse nickers. I stop to consider which building would be best to approach, and then, as I take a step closer, the dogs come at me, snarling. I fend them off with the branch, hitting one of them in the head. It runs off whimpering while the others keep their distance, growling, and barking. I’m done for. They are going to wake everyone. I retreat into the adjacent cornfield, crouching there cold, miserable, and afraid, as a woman appears holding a lantern outside one of the huts. She calls off the dogs and shoos them into the barn. As she locks the barn door, she stares into the darkness in my direction before going to draw water from a well in the yard and returning to the hut.
I can’t stay here much longer as indecision eats away at my remaining determination. It’s time to make a move, either forward to Nicolescu, whatever the risk and chances of success, or back across the river in abject failure. I run to the hut showing light and knock hesitantly. The dogs continue barking hysterically in the barn. Nothing happens, and I try again more decisively.
“Who’s there,” asks a muffled woman’s voice in Ukrainian.
“It’s me,” I reply. What else could I say?
She opens the door a crack. People must be accustomed to seeing strange sights around here because she doesn’t slam the door in the face of the wet, disheveled, half-naked specter that stands before her.
“What do you want? Who are you looking for?” the woman asks as if I was routinely passing by.
“I have an important letter for Mr. Nicolescu. He needs to see it,” I say, also in Ukrainian.

She invites me into the hut. Alone in the single, earthen floor room, she wears widow’s black. Wrinkeled but unbent, her age is indeterminate. Most of the space in the room is taken up by a traditional wooden loom, while a large blackened icon of the Savior hangs above a stove. I rarely devoted attention to Christian symbols, having never, so far, entered a church and always hurrying by the ubiquitous roadside shrines in our vicinity with eyes averted. The narrative of Christianity and Christians as moral and physical threats was, since time immemorial part of our Jewish psyche, but I have no direct personal experience of it. Even the murder of my father by Jew-hating thugs, which undoubtedly weighed heavily on my perception of the people who surrounded us, didn’t feel like a religious issue. Now though, as I stand here shivering, Jesus on the cross seems to be observing me ominously. But, immediately, my attention is drawn away to a piece of bread on a side table, and without invitation, I grab it and chew hungrily. The woman sees that I am exhausted and soaked and tells me to sit and rest. She brings me a blanket and pours a cup of water, watching silently as I continue chewing the bread thoroughly.
When I finish, she says, “You are from over there. You’re a Jew.” It’s not posed as a question, and she clearly knows why I have come. I’m not the first desperate Jew who has shown up on her doorstep. To my relief, she doesn’t take long to make her decision. “I will take you to Mr. Nicolescu’s mother. She lives in the other hut. Maybe she will help you.”
“Thank you.” I’m wary of digging too deeply into the subject for fear of treading on sensitive toes, but I’m also anxious to find out what has happened on this side of the river and know what to expect if Ella and Sophie are to cross with me later. “Are there any Jews left around here?” I ask warily. “What about the Jews in the city?”
“They got rid of all our Jews,” she replies in a matter-of-fact tone. “They say the devil came for them. You need to watch out.”
“Come,” she beckons. “We should go to Nicolescu’s mother before anyone else sees you here. People won’t hesitate to give you up.” I follow her to the neighboring hut, where a tall, old woman approaches us. “Who is that with you, Bohuslava?” she calls out in Romanian. “Beware of robbers. I’ll get a stick and run him off.”
Bohuslava walks over to her. “Shh, be quiet,” she says in Ukrainian. “Stop fussing. He means no harm and just wants to show you something. “Come here quickly,” she gestures to me.

Grey-haired, slightly stooped, with one eye clouded by a cataract, she must be in her seventies but looks far from frail. She takes my hand with a firm grip. “Let’s go inside,” she says.
She lights a kerosene lamp. This is a much bigger and well-appointed abode with an ornate porcelain stove dominating the room and a dining table covered in a hand-embroidered red and white tablecloth. Adjacent to the stove stands a single bed occupied by a young woman sleeping, oblivious to us.
“Bohuslava, you may go,” the Romanian says. “Just keep your mouth shut, or it won’t be long before everybody is aware that you take in Jewish strays. We don’t need that kind of trouble.”
“What will I say?” answers the other woman on her way out. “That you have a new lover and a Jewish one at that,” she cackles.
“Sit,” the tall woman says, pointing to a chair beside the table. Like most Romanians living on the border, she is fluent in Ukrainian, while my Romanian is rudimentary at best. “Show me what you brought,” she asks. I remove it from the pig’s bladder and hand the grotty piece of paper to her. She dons reading glasses and concentrates on the message.
“Good Romanian,” is her first reaction. “Who wrote it? It couldn’t be you.”
“My wife,” I say tersely.
“Is she from around here?”
“She is from the city,” I reply. “Actually, we’re together but not officially married. She has a small child, her daughter, with her. They were forced across the river with others a few months ago, and we are trying to get back to the city to join relatives who might still be there. The situation on the other side of the river is deadly.”
“Yes, I know. It’s not really safe here, either. If you’re caught, they will send you back there without a second thought. Don’t expect much pity here because nobody wants to get in trouble for hiding Jews from the authorities.”

Not wanting to get into a discussion on motivations. I prefer to get to the point. “I was told that your son, Domnul Nicolescu, has experience getting people across the river. If your son could help us, we will take our chances. It’s preferable to certain death over there.”
“I can’t speak for him,” she says. “He is a good man, but I doubt, though, that he would be willing to take such a great risk. He was never involved in the smuggling of people across the border. It’s a bad business. For him, it has always been cigarettes and other contraband.”
I am surprised, honestly, that she speaks so openly of her son’s activities to a stranger… especially to one with a price on his head. Though she doesn’t hold out hope, her demeanor and attitude give me a sliver of confidence. “You should get some rest,” she suggests, “and I will take you to him in the morning.”
“What is your name?” I ask.
“Margareta. And yours?”
“I am Emil. Thank you, Doamna Margareta, for your kindness. I hope your son takes after you.”
She wakes the girl rudely and pushes her into the other room. “Here, take this bed. The servant girl can sleep in my room. I will leave some dry clothes for you and wake you when we need to go.”
“Thank you again. Good night.” I kiss her hand.
“Good night, Domnule Emil. Sleep well.”

I feel exhausted and drained, and my shriveled muscles ache from the unaccustomed effort of swimming across the water, but sleep remains elusive. It’s not the discomfort of the thin, lumpy mattress and the scratchy wool blanket that still hold the sour odor of their previous user, nor is it the constant, sometimes frantic, barking of dogs outside that keep rest at bay. By now, I’m also habituated to grasping moments of sleep in more dire circumstances, whether in the camp barracks or on the cold forest floor. Tonight I’m kept wide awake by the train of thoughts and questions running in a relentless loop through my mind. Are Ella and Sophie safe on the other side, alone with the Chumaks? Will Nicolescu agree to help without payment in advance? Will we be betrayed by the smuggler as so many have been before us? What lies in store for us on this side without any means for survival at our disposal? Should we hide in the countryside here or take the risk of heading for the city? I try to block out the most subversive, monstrous, cowardly, and tempting considerations, but they are there. The palpable fear of swimming back across the river toward the near certainty of death, tries to convince me that I’m now safer and that on my own, I stand a better chance of hiding and surviving. Yes, I would be abandoning Ella and Sophie, but by going back, I would only join them in being captured and killed. They would be safer staying with the Chumaks, who certainly would take pity and continue to conceal and support a defenseless woman and child. Or maybe I could remain here and just send the smuggler for them. I want to scream. I will go back.
The sun is up when Margareta nudges me awake and offers me a mug of hot tea while waiting as I put on the clothes she brought. They belong to a larger man, but they will have to do. I walk with her to the door of the house. A few people, already out and about, are on their way to work in the fields, some leading cattle and a flock of sheep. The men doff their hats and greet her, paying no attention to me.

Margareta instructs me to wait outside and enters without knocking. I hear raised voices inside. “Have you lost your mind? Why did you bring him here? Do you want to get us arrested? Send him away!” A few moments later, Margareta reappears with another woman, a pale ash blonde of about forty, holding a cigarette in her long elegant fingers with a worried look on her face — definitely not of the farming class. The woman scans the yard nervously.
“My mother-in-law told me what you want. I am sorry, but Mr. Nicolescu doesn’t do this business. We cannot do anything for you.” Her voice trembles and she is obviously terrified. “Anyway, he is not here. He is in the city, and I don’t know when he will be back. You must go. It’s dangerous here, and you will get us into trouble. Please go now.” She starts to retreat into the house.
I can’t hold her against her will, and if Nicolescu is indeed away, there is nothing more to be gained here. “Thank you, Doamna Nicolescu,” I say in Romanian and press my luck. “I will go, but could you kindly give me some bread?”
She goes inside and is soon back with half of a large loaf. I once again kiss her well-manicured hand and turn to leave.
“Mr. Emil,” says Margareta, “You should not wander around here in daylight. It’s dangerous to stay out in the open. Why don’t you hide in the barn till dark? It will be safer that way.”
“Again, you are so kind, Madame, but I must return to my family. It has been too long already. They are alone and will worry that something bad has happened to me. I will be as careful as I can.”
“Very well, if you must, but follow me.” She leads me into the forest on a narrow footpath that is a roundabout way down to the water’s edge. “Eat the bread, you need the strength, and it will be ruined in the water,” she says. I need no more encouragement as I almost choke, devouring it. She turns to leave. “Be careful, Emil, and good luck to you. I will talk to Nicolescu when he returns. Maybe he will agree to help. He has more conscience than that frightened ornament he calls his wife. How can he find you?”
“There is a peasant named Chumak. He knows where we are,” I tell her.
“Yes, Chumak. I know him. He also used to smuggle cigarettes before the war.”
“Thank you, Madame. I will remember your generosity.” She is gone.

I sit brooding among the trees looking at the river as the sun glints off the streaming water and listening to cheerful birds chirping. I can’t help but ponder the difference between the elderly women, Bohuslava and Margareta, and the wife of Nicolescu. I’m not surprised by the younger woman’s reaction. It is one version, slightly less brusque, of the general refusal to help Jews. But, all other considerations aside, who can blame people for fearing the fatal punishments meted out by the Germans and their Ukrainian lackeys to so-called Jew-lovers? Would I behave any differently in their shoes? I am more impressed, not to say astonished, by those candles in the darkness, people who have everything to lose, yet whose basic humanity causes them to stretch out their hands to support their fellow men and women. That rough peasant Chumak, whose whole universe is his tiny homestead next to an unknown village on the banks of the river, heads my list of the righteous. Now I add Bohuslava and Margareta to it. The existence of such people, beyond their contribution to our physical safety, keeps alive my essential positivity toward humankind and allows me to still retain some belief in our survival.
What next, I ask myself? I achieved nothing and have no other plan in reserve. Swimming back in broad daylight now seems suicidal. Maybe drowning is a good option? But that means abandoning Ella and the child, and I have already decided this is not an option. Bring back yesterday’s rain, I pray. I pray, though my belief in the idea of an Almighty, never cast-iron, has been dramatically undermined by the past year’s events. Then the wind picks up, and the miracle unfolds. Dark clouds scud across the sky, and the first drops wet my face, replacing the tears. In moments the downpour becomes torrential. I tie the new clothes around my neck and dive into the river, feeling more energetic on my way back. The current is slow enough for me to gradually dog-paddle most of the way across and finish with a few crawl strokes.
I’m carried only about a half-kilometer downstream, and elation replaces caution as I drag myself onto the riverbank and start walking. Climbing up the steep slope, Chumak’s hut is soon ahead, but when I approach and enter it, nobody is there. I look for Ella and Sophie, but the barn is empty too, and figuring that Chumak is probably out working in the field, I continue upwards into the forest towards our erstwhile hiding place. Ella and Sophie are supposed to wait there for me in case of trouble. I call out not to surprise them but there is no reply. I run to the hideout. They are gone.

 

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Uri Poliavich and Yael Foundation Activities: Expanding Educational Opportunities

Uri Poliavich is a co-founder of the international charitable organization Yael Foundation. The foundation systematically works on developing quality education and supporting schools in many countries. The organization’s activities cover the development of educational infrastructure and improving the physical resources of institutions. For teachers, the foundation holds international meetings, seminars, and educational events. To recognize educators’ achievements, the annual Yael Awards are presented. All the organization’s initiatives are implemented in dozens of countries and yield long-term results.

Creation of Yael Foundation, Core Principles, and Scope of Operations

In 2020, Uri Poliavich co-founded the Yael Foundation. The foundation directs investments into quality education to strengthen identity, expand community opportunities, and build a future for children. The work is built on an evaluation model and long-term investment in educational impact.

Today, Yael Foundation’s activities with the participation of Uri Poliavich cover 48 countries and 101 cities. Overall, Uri Poliavich supports 145 educational institutions through the foundation. This program covers over 29,000 children in various regions. Cooperation takes place directly with local communities. Specialists study the real needs of schools and determine the necessary amount of assistance. Uri Poliavich contributes to creating safe and modern conditions for students. Educational institutions are provided with tools to upgrade equipment and improve their physical facilities.

Principles for the selection of projects: Impact assessment and infrastructure investments

Grants are awarded based on clear criteria. The team reviews requests from educational institutions and determines the feasibility of support. Uri Poliavich focuses on projects aimed at student development and teacher support. Each program includes measuring achieved results, and funding is allocated under a structured model taking into account the educational impact that forms over time. The physical condition of premises directly affects the quality of education, which is why Uri Poliavich pays special attention to updating school infrastructure.

Comprehensive Institutional Development and Professional Development for Educators

Financial assistance is only part of the Yael Foundation grant programs. Uri Poliavich works to ensure that educational institutions receive comprehensive support for their daily operations. Schools receive resources for updating equipment, improving living conditions, and facility safety. Uri Poliavich involves specialists to study the needs of each institution. The organization provides mentorship support and recommendations for organizing educational processes. Uri Poliavich helps create conditions under which institutions expand educational opportunities and operate stably over many years. The success of any initiative depends on the people who implement it. Uri Poliavich relies on experienced educators and organizers. Conditions for continuous learning are created for teachers. Uri Poliavich supports holding international meetings, seminars, and workshops for teachers. Sharing experience helps educators raise the quality of teaching in their schools.

Strategic Philanthropy and Long-Term Social Impact with Uri Poliavich

Modern philanthropy is changing its approaches and priorities. One-off assistance is giving way to well-thought-out projects with clear goals. Uri Poliavich applies this exact approach in his public activities. For him, it is important to create conditions where every initiative yields long-term results.

Consistent work makes it possible to resolve deep social tasks. Uri Poliavich focuses efforts on strengthening the educational sphere and supporting youth. This approach allows institutions to function stably for many years.

Transition to Systemic Projects

One-time donations rarely solve complex community challenges. Philanthropy is moving toward building sustainable support models. Uri Poliavich supports this direction of development. Instead of isolated actions, Uri Poliavich builds the foundation’s work on long-term partnerships with educational institutions. Systemic projects imply sequential resource allocation. This allows schools to plan their development and expand educational opportunities.

Respecting Cultural Characteristics and Supporting Institutions

Yael Foundation activities cover dozens of countries around the world. The organization provides support to schools, kindergartens, and specialized institutions. The main objective of these projects is acquiring a quality education. Children study their own culture, language, and traditions. Educational programs are tailored to the requests of specific communities. This helps preserve students’ national identity.

Apart from education, the condition of premises is of major importance. Many institutions need internal infrastructure updates. The organization allocates resources to improve physical facilities. Upgrading classrooms and purchasing equipment creates proper working conditions. Students and teachers get a comfortable space for daily classes.

Main areas of support for educational institutions:

  • Support for programs to preserve children’s cultural identity.
  • Funding renovation work in school and kindergarten premises.
  • Purchase of new school furniture and educational materials.
  • Meeting the basic household and technical needs of institutions.
  • Creating a safe educational space for students and teachers.
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Book Review: A Yiddish Play about an American Miscarriage of Justice

By HENRY SREBRNIK Mississippi: A Yiddish Play about the Scottsboro Affairby Leib Malach, edited by Alyssa Quint,  translated by Ellen Perecman and Alyssa Quint (Bloomsbury Academic, New York, 2026; 128 pages, $89.50USD hardcover, $29.50USD paperback). 

On March 22, 1935, enthusiasts of Warsaw’s avant-garde theatre scene slipped into a community hall at 19 Dluga Street to see an edgy, new play called “Mississippi” performed by the Yiddish experimental theater group, Yung Teatr (Young Theatre; in Polish, “Teatr Mlodych”).

Program of the 1935 play, “Mississippi”

A new book that includes a translation of the play retells the story of the notorious Scottsboro Affair. Alyssa Quint, the editor, is the author of The Rise of the Modern Yiddish Theaterand the editor of two forthcoming volumes on the Yiddish theatre, Women on the Yiddish Stage and Avrom Goldfaden’s Shulamisa Critical Edition. Ellen Perecman holds a Ph.D. in Linguistics from the City University of New York. Her book, Ten Yiddish Plays in Translation, includes translations of plays by Sholem Aleichem, Sholem Asch, Peretz Hirshbein, H. Leivick and David Pinski. 

Although devoid of any Jewish themes, “Mississippi” is, nonetheless, an original Yiddish play. In their English translation” Perecman and Quint have undertaken what the publishers call “a work of cultural salvage.” Penned in 1935 by Polish-Jewish playwright Leib Malach, “Mississippi” was performed on the Warsaw stage by the experimental Yiddish theatre company Yung Teater (Young Theatre) led by legendary director and drama theoretician Mikhl Weichert. Yung Teater dramatized favorite themes of the international left, including the trials of the anarchists Sacco and Vanzetti and the Scottsboro trial. Malach and Weichert were keen to depict a dramatic episode from contemporary life that reflected their humanistic and leftist political ideas as well as avant-garde theatrical practices. Weichert praised the cultural activities of the Soviet Union, especially its innovations in the theatre, but he and Malach were not members of the Communist Party, as Communism in interwar Poland was illegal, though they saw their production as contributing to this movement.

Writing in the weekly Literarishe Bleter on the eve of Mississippi’s premiere in March 1935, Malach explains how watching Weichert’s theater group inspired him to write about the Scottsboro Affair:

“I itched to write something with a social theme. I had just been in America. . . . I had attempted to represent in dramatic form the tragic event of the Scottsboro incident, the tragic lynch-sentence of nine Black boys. The event is well known to everyone. But the living drama is so big that my first attempts at capturing it struck me as lifeless . . . But seeing the youth of Yung Teatr in their performance [. . .] brought the Scottsboro tragedy back to my head.”

Malach, Quint tells us, researched and laboured over the play “in the context of a growing corpus of literature by Yiddish writers who trained their focus on racism in the Jim Crow South, and who identified with the socialist and Communist Party politics attached to the ordeal of the Scottsboro Boys. Moreover, they also found that the racism and lynchings depicted in the play bore a deep resemblance to the injustices perpetrated against Jews both historically and contemporaneously.”

Quint notes that historically, Malach’s most significant encounter with Black Americans and Black American culture was in Harlem, and the very specific details with which one of the Scottsboro Boys, Peter, dreams of Harlem are likely a product of this encounter. 

The Yiddish composer Henekh Kon wrote all the songs that appear throughout the play. They are in Yiddish but based on Kon’s understanding of African-American genres including gospel, freedom songs and jazz. A self-taught musician who grew up immersed in Jewish music — tunes of the Hasidim, of the klezmorim and of the wedding jesters — and who later trained at the Music Academy of Berlin, Kon composed music for over forty works, including the film version of S. Y. Ansky’s The Dybbuk (1937).

“Today’s readers of Mississippi will note that it is not a play that might have been written or performed today,” Quint writes. “Its portrait of African-American life tilts toward stereotype, its Communist ideological aspirations are also too baldly expressed, and the play lends itself to charges of cultural appropriation.” Since the actors are all white, they also perform in blackface. Presumably, there were few, if any, Yiddish-speaking Black actors in Poland, so the problem of how to present the actors playing the Scottsboro Boys as Black Americans without the production’s resorting to make-up might have seemed insurmountable.

I’ve written books and articles on American Jews and Communism, so I’m familiar with the story of the “Scottsboro Boys.” But I knew almost nothing about Leib Malach and “Mississippi,” though it has been mentioned in some books by, among others, Amelia Glaser, in Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine; Joshua Morris, in The Many Worlds of American Communism; and the very many others who have written shorter articles on the Jewish left and theatre, like Zack Rothbart and Jeffrey Veidlinger. In fact Alyssa Quint herself has written about the play in a volume, Oyfn Sheydveg: At the Crossroads: Jewish Intellectuals and the Crisis of 1939, edited by Joshua Karlip.

Leib Malach (the pen name of Leib Zalzman, 1894-1936) was born in Zwolen, Poland where he received a traditional Jewish education. He moved to Warsaw as a teenager, supporting himself by working in various trades. His literary talents were discovered by Hersh Dovid Nomberg, who helped him publish his first ballad in 1915. He later became a prose writer and noted dramatist. He emigrated to Argentina in 1922 and traveled widely in South America. After his return to Poland in 1929, he continued to travel and write popular travel sketches. He lived in Mandate Palestine from 1934-35 and was active with the Labour Zionists. Many of his plays reflect his leftist politics and concern with social injustices. He died after an illness in a Paris hospital, aged 41.

Born in Podhajce in eastern Galicia and raised in Stanislawow, Weichert received his education at kheders and in Polish schools. He attended law and humanities programs at universities in Lwów, Vienna, and in Berlin, where he studied avant-garde theatre with the preeminent German director Max Reinhardt. 

“Mississippi” is a fictionalized retelling of the Scottsboro Affair, which began with the wrongful arrest of nine African American youths accused of rape in Alabama in 1931. It was staged in Warsaw in early 1935 and hundreds of times thereafter at various theatres in Poland, Israel, Canada, and Argentina. While the Scottsboro trial played out in the state of Alabama, the playwright thought it best to set the play in Mississippi, a name closely associated with the American South. The internationally acclaimed play highlighted the injustices of the American South, resonating with Eastern European Jewish audiences. It demonstrated how important it was to Yiddish writers of the 1920s and 1930s to grapple with the persecution of American Blacks. 

In her introductory essay, Quint treats the political aspirations that animated Malach and Weichert, and the vulnerability felt by European Jewry that it saw reflected in the experience of Black Americans. It was the first play on the Yiddish stage — and possibly on a Polish stage — to depict the oppression of Black Americans. It traveled to multiple Polish cities and was met by the Jewish press with almost uniform enthusiasm and curiosity. That the Scottsboro trial unfolded against the backdrop of the rise of Nazism in Germany lent Jewish works more urgency in seeking solidarity across ethnic lines.

In the 1930s, the story of the Scottsboro Boys, nine black teenagers accused of raping two white women on a train in Alabama, was reported in newspapers around the world. From the American south to the Yiddish stages of Eastern Europe, news of the affair and the injustice that followed spread quickly. Many believe the high-profile series of events was an inspiration for the book and movie To Kill a Mockingbird.

The Scottsboro Boys case began on March 25, 1931, when nine young Black men and boys hopped aboard a Southern Railway train in search of work in Memphis, Tennessee. At some point a fight with whites on board erupted, and the Black riders forced some white travelers off the train. The ejected riders then claimed that they had been attacked, and two of the female white riders then asserted that they had been raped. An all-white jury convicted the nine, and all but the youngest, who was 12 years old, were sentenced to death. Numerous retrials followed, all resulting in guilty verdicts.

No crime in American history– let alone a crime that never occurred — produced as many trials, convictions, reversals, and retrials as this one did. Over the course of the next two decades, the struggle for justice of the Scottsboro Boys launched and ended careers, wasted lives and produced heroes, opened southern juries to African Americans, exacerbated sectional strife, and divided America. 

The Scottsboro Boys, thanks to the efforts of, among others, a New York Jewish lawyer, Samuel Leibowitz, who later took over their defence and was himself under attack by antisemites, avoided execution. The fact that Leibowitz was Jewish and brought in by Communists certainly did not help his cause, nor that of his clients, once the retrial commenced. His style and bravado were not welcome in Alabama.

But he prevailed and they were all ultimately spared the death sentence. In the years and decades that followed, all of them had their convictions overturned or were pardoned. This included three posthumous pardons granted by the governor of Alabama in 2013, more than two decades after the last of them had passed away. 

A cause celebre, Scottsboro has been the subject of countless articles and books, and this new one, about a Yiddish play that dramatized the affair, provides an interesting lens to how deeply it resonated with Jews in Canada, the United States and Europe. 

Henry Srebrnik is a professor emeritus of political science at the University of Prince Edward Island.

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He was a privileged Jewish kid from NYC’s Upper East Side. Donald Trump was his greatest invention.

By Ann Levin August 31, 2026

This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.

American Scoundrel: Roy Cohn’s Dark Journey from Joe McCarthy to Donald Trump
By Kai Bird with Susan Goldmark
Scribner, $32, 528 pages

By the beginning of the new millennium, Roy Cohn, the red-baiting scourge of the McCarthy hearings, lived largely in the pages of U.S. history books, trotted out on occasion to illustrate how America always manages to overcome its worst nativist impulses. But just in case someone never knew or had forgotten about Cohn’s malign influence on U.S. politics, Tony Kushner brought him back as a villain in his brilliant drama of the early 1990s, Angels in America.

Then, in 2016, Donald Trump was elected president and suddenly, Cohn was breaking news again. The very next year, when Trump was furious at then-Attorney General Jeff Sessions for recusing himself from an investigation into whether Russia meddled with the election, the president cried out to his advisers, “Where’s my Roy Cohn?”

Now, as if in answer to that question, Kai Bird has written a magisterial biography of the notorious lawyer and Trump whisperer that is indispensable reading for anyone who wants to understand the current political moment. Bird, the co-author of American Prometheus, the Pulitzer Prize-winning biography of Robert J. Oppenheimer and inspiration for the Oscar-winning movie, began it in 2022, a couple years before Trump’s re-election. He collaborated with his wife, Susan Goldmark, who did the research for this riveting account of the unseemly, outrageous life of the hustler and con man about whom Trump once said, “If you need somebody to get vicious, hire Roy Cohn.”

Though Cohn has been long gone from public life — he died of AIDS at age 59 in 1986, insisting to the very end that he had succumbed to liver cancer — Bird demonstrates how he practically invented the dark political arts of resentment and division adopted by his former client, protégé and future president of the U.S.

Indeed, over the recent 4th of July weekend — decades after the collapse of the Soviet Union — Trump used Cohn’s divisive, inflammatory rhetoric in back-to-back speeches, including one at Mount Rushmore, branding his political opponents as evil, godless communists.

Bird walks us through Cohn’s life decade by decade. He grew up as an only child in a wealthy Jewish family on the Upper East Side and attended elite private schools, where his boyhood friends included Si Newhouse Jr., heir to the Condé Nast media empire, Gene Pope Jr., who would go on to found the National Enquirer, and, improbably, Al Lowenstein, later a well-known liberal Democratic activist and politician.

After Cohn graduated from Columbia Law School, his father, a judge, pulled strings to get him a job in the U.S. attorney’s office for the Southern District of New York, where he made a name for himself as the boy prosecutor who sent Julius and Ethel Rosenberg to the electric chair in 1953 for passing nuclear secrets to the Soviets. His tactics were highly irregular, including private meetings with the trial judge.

Not long after that, he went to work as chief counsel to Wisconsin Senator Joe McCarthy, using his position to force U.S.-funded libraries abroad to purge 30,000 books on the flimsy pretext that the authors were communists or Soviet sympathizers. He was also a central figure in the so-called Lavender Scare, when hundreds of federal employees thought to be gay lost their jobs because they were deemed a security risk.

By the 1960s, Cohn was back in New York, hanging out at the Stork Club and 21, squiring Barbara Walters around town, and representing mobsters though still living at home with his mother at 1165 Park Avenue. Over the next decade he would be indicted three times by U.S. Attorney Robert Morgenthau Jr. for bribery, perjury, extortion and other white-collar crimes. In each case, he managed to beat the rap though months before his death he was finally disbarred for unethical conduct.

After Cohn’s mother died in 1967, he moved into a stately townhouse on East 68th Street, where he established his law practice and stopped the pretense of dating women though he never publicly came out as gay. Then, in 1973, Cohn met his most consequential client. At the time, Trump was the 27-year-old son of a Queens real estate mogul trying to break into the Manhattan market and living in a rent-controlled studio on East 75th Street with a view of a water tank on an adjacent building.

Cohn advised the family on how to fight a Justice Department lawsuit accusing the real estate company of violating the Fair Housing Act by refusing to rent to Black tenants. Over the course of the litigation, Cohn taught Trump his signature moves: Keep your name in the paper. Never settle. Countersue. Claim victory. Don’t pay the bills.

Cohn also advised Trump on his first major real estate deal in Manhattan — buying the dilapidated Commodore Hotel on East 42nd Street, next to Grand Central Terminal. To get the deal done, Cohn worked his extensive connections to New York’s first Jewish mayor, Abraham Beame, a player in Democratic machine politics and an old friend of Cohn’s father.

For more than a decade, Trump continued to model himself after his mentor, adopting his penchant for personalized license plates and his snarling, scowling demeanor. Bird argues that in the decades since Cohn died, the McCarthyism of the 1950s has morphed into a nativist, America Firster politics that transformed the Republican Party into one of resentments against the old establishment, multiculturalism, globalization and liberal culture — in other words, the MAGA movement of today.

Cohn’s “values, his unethical behavior, and his political mindset have survived and replaced the values of the establishment he so resented,” Bird writes. “Perhaps his life is proof of the ability of one individual to change the arc of history. Certainly, he gave us the narcissistic politics of Donald Trump.”

Ann Levin is a writer and book reviewer who worked for many years at The Associated Press. Read full bio →

This story was originally published on the Forward.

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