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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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Helen Mirren criticizes Israel at film festival after being called ‘evil Zionist’ in viral video
(JTA) — British actor Helen Mirren criticized Israel at a film festival in Italy, in her first public comments since security footage of a November incident where she was accused by a stranger of being an “evil Zionist b—h” went viral late last month.
“Evil forces are rising everywhere, even in a country like Israel,” Mirren said in an interview with journalists at the Taormina Film Fest in Sicily, according to reports in entertainment media. “How could you possibly repeat the actions of what was done to you as people to other people? Crimes against humanity, it’s called.”
The Academy Award-winning actor, who is 80, is being honored with a lifetime achievement award from the festival on Friday. Her many roles have included playing former Israeli Prime Minister Golda Meir in the 2023 biopic “Golda,” which she premiered in Jerusalem.
Mirren is not Jewish but has a long history of connection to Israel, dating back to 1967, when she traveled with a Jewish boyfriend to work for a month on a kibbutz in the country’s north.
She referenced that period in her comments at Taormina.
“I saw it from the inside and I saw some things that disturbed me from the inside in Israel at that time,” she said, according to Deadline. “I’m talking about six months after the Six Day War.”
Mirren has previously criticized the Israeli government. While promoting “Golda” in early 2023, she said she believed that Meir would be “utterly horrified” by Israel’s current leadership, which she referred to as a “dictatorship.”
But she also spoke favorably about Israel during the promotional events, which shortly preceded the Hamas attack that began the war in Gaza.
“I believe in Israel, in the existence of Israel, and I believe Israel has to go forward into the future, for the rest of eternity,” she told the country’s Channel 12 in August 2023. “I believe in Israel because of the Holocaust.”
During the November incident, the person who accosted Mirren and her husband Taylor Hackford appeared to reference those comments, saying, “She said Israel should last forever because of the Holocaust, and she was very happy that Palestinians’ houses were gone.”
Hackford responded, “F–ck off,” and Mirren did not say anything in the video.
At Taormina, the actor offered a more nuanced characterization of her beliefs while also praising Israel’s creative and intellectual communities.
“I grew up in Europe post-Second World War and the realization in my parents’ generation of what had happened in the Holocaust was so profound, so important,” Mirren said. “Therefore, the creation of Israel was a very important moment, although maybe it was done in completely the wrong way, in the wrong place, I don’t know. But something had to happen after the horror.”
According to Variety, she also said, “The evil is always lurking, waiting to take over, even in a place like Israel. I played Golda Meir and worked in a country that was the idealistic Israel, and I always thought it was a country that would never do wrong, but of course they were doing wrong, even then.”
About the viral video showing her being accosted, Mirren told journalists at the festival she believes she was “attacked by mistake by a man who was maybe a little over passionate or maybe mentally not quite stable.”
She added, “I don’t know whether he read things on the Internet or thought he read something which he hadn’t read, I don’t know.”
Though London’s Metropolitan Police initially said it was possible for an incident to be investigated as an antisemitic hate crime even if the victim is not Jewish, it will not be investigating further, as Mirren and Hackford have decided not to press charges.
The post Helen Mirren criticizes Israel at film festival after being called ‘evil Zionist’ in viral video appeared first on The Forward.
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After dozens of Jewish girls get lost in NY creek tunnel, antisemitic comments follow online
(JTA) — When dozens of Jewish girls emerged from a storm drain in Nyack, New York, Wednesday after becoming lost on a school trip, local officials described the episode as a fortunate ending to a potentially dangerous situation.
On social media, however, the incident quickly drew a slew of antisemitic comments.
“They can’t help it. Roaches and rats love the sewers,” wrote one Facebook user on a post by the Rockland Daily.
“Those tunnels were promised to them 3,000 years ago,” another user wrote, referencing the common online antisemitic phrase ridiculing the Jewish connection to Israel.
Many of the comments also referenced the 2024 incident at the Chabad-Lubavitch movement’s world headquarters in Crown Heights, Brooklyn, in which a group from the movement attempted to dig an unauthorized tunnel beneath the building.
“From the tunnels in Brooklyn to the tunnels in nyack! The black coats never disappoint 🤣🤣🤣🤣🤣🤣🤣,” one user wrote. “There drawn to tunnels. Natural instinct😂,” another wrote.
The girls, students from the Toras Emachu school in Monsey, New York, had been visiting Nyack Memorial Park on a school trip when they entered a large drainage culvert located in the park, according to the Orangetown Police Department.
While walking through the tunnel system, the students got lost but were heard by individuals in the town who alerted police, according to Nyack Mayor Joseph Rand.
“First responders immediately came to the scene and located all the girls at various points in Nyack,” Rand wrote in a post on Facebook. “Technically, none of the girls were ‘rescued,’ because they all came out in their own power, but everyone’s lucky that the authorities responded and figured out where all the girls were as quickly as they did.”
Rand said that roughly 70 students were on the trip, and there were no serious injuries beyond some “cuts and scrapes.”
Nyack Village Administrator Andy Stewart told the Jewish Telegraphic Agency that the school group had not been given a permit to host a field trip in the park Wednesday, and while there was “definitely concern over the violation of that law,” he wasn’t sure how the local government would follow up with the school.
“This is a group that did not have a permit, and so we didn’t know they were there, and they made no plans with the village,” Stewart said.
The Toras Emachu school did not respond to numerous requests for comment from the Jewish Telegraphic Agency.
But while local town officials handle the response to the incident, for some Jewish groups, the online response underscored how an innocuous incident can become a vehicle for antisemitic rhetoric.
“Unfortunately, internet comment sections have become havens for antisemitic memes and conspiracies, and commenters emboldened by relative anonymity will jump at any opportunity to demonize Jews,” Nate Wolfson, the communications director for the Nexus Project, told the Jewish Telegraphic Agency about the incident. “In this case, a story of dozens of children getting lost on a field trip is appallingly used to spread stereotypes about Jews, including comparing them to rats.”
Wolfson added that the references to the Chabad tunnel incident had been “especially troubling,” adding that the story had been “routinely used by antisemites to spread truly vicious and dangerous conspiracies about child sex trafficking.”
Some Nyack residents also called out the spate of antisemitic comments about the incident online.
“This was not hard to find. It was not buried. It was not one bad comment from one bad actor. It was thread after thread of people in this county saying the same old bullshit about Jewish people like it was nothing,” wrote one resident in a post on Facebook alongside a series of screenshots of antisemitic comments. “If all it takes is one local news story for your contempt to come spilling out, the contempt was already there.”
The post After dozens of Jewish girls get lost in NY creek tunnel, antisemitic comments follow online appeared first on The Forward.
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The battle between tradition and revolution in Soviet-Yiddish culture
די סאָװעטיש־ייִדישע קולטור איז געװען עסטעטיש אָדער אידעאָלאָגיש פֿילזײַטיק, לכל־הפּחות אין משך פֿון די ערשטע פּאָר צענדליק יאָר. דאָס איז דער עיקר־טעזיס פֿון דער װאָגיקער שטודיע „רױטע ייִדן: דער ייִדיש־סאָװעטישער קולטור־פּראָיעקט“ פֿון דער ליטעראַטור־פֿאָרשערין דאַריע װאַכרושאָװאַס (אוניװערסיטעט פֿון מינכען).
דער ציל פֿון דער פֿאָרשונג איז צו לאָזן דעם הײַנטיקן לײענער הערן די פֿאַרשײדענע שטימען אינעם אַלגעמײנעם כאָר פֿון סאָװעטישע ייִדישע ליטעראַטן, קינסטלער און כּלל־טוער.
ווי האָבן אָט די פֿיגורן פֿאַרשטאַנען די צוקונפֿטיקע ייִדישע קולטור? װי אַזױ האָבן זײ בדעה געהאַט צונױפֿצוברענגען ייִדישקײט און סאָװעטישקײט? װוּ שטײט די סאָװעטישע ייִדישע קולטור אױף דער ייִדישער װעלטמאַפּע? דאָס זײַנען די פֿראַגן, װאָס װאַכרושאָװאַ באַהאַנדלט.
זי גיט זיך ספּעציעל אָפּ מיט לינגװיסטישע פּרטים — טערמינען, מעטאַפֿאָרן, אימאַזשן — װאָס מען האָט גענוצט אין די קריטישע װיכּוחים פֿון יענער תּקופֿה. דערבײַ באַטראַכט זי ניט נאָר די מער באַקאַנטע ליטעראַרישע טעקסטן, נאָר אַ ברײטערן פֿאַרנעם פֿון מקורים פֿון צײַטונגען.
װאַכרושאָװאַ פּרוּװט צו אַנטפּלעקן די פֿילשטימיקײט פֿונעם סאָװעטיש־ייִדישן קולטורעלן פּראָיעקט. זי איז ספּעציעל פֿאַראינטערעסירט אין פֿאַרשײדענע װיזיעס פֿון דער צוקונפֿט פֿון ייִדיש אין סאָװעטן־פֿאַרבאַנד, װאָס מען האָט אַרומגערעדט אין די 1920ער יאָרן.
דאָס בוך באַשטײט פֿון דרײַ טײלן. אינעם ערשטן באַטראַכט װאַכרושאָװאַ כּלערלײ עסטעטישע מאַניפֿעסטן און קינסטלערישע פּראָגראַמען פֿון ייִדישער קולטור, װאָס מען האָט אַרױסגעגעבן נאָך דער ערשטער װעלט־מלחמה אין קיִעװ, מאָסקװע, לאָדזש, װאַרשע און בערלין.
דער צװײטער טײל איז געװידמעט דעם נסתּרס זאַמלונג רײַזע־פֿאַרצײכענונגען „דרײַ הױפּטשטעט“(1934). דער לעצטער חלק אַנאַליזירט די סטיליסטישע און לינגװיסטישע אַספּעקטן פֿון סאָװעטישע ליטעראַרישע איבערזעצונגען אױף ייִדיש פֿון רוסיש און אײראָפּעיִשע שפּראַכן.
די יאָרן נאָך דער ערשטער װעלט־מלחמה זײַנען געװען אַ בלי־תּקופֿה פֿון ייִדישן אַװאַנגאַרד אין ליטעראַטור און קונסט. אין װאַרשע זײַנען דערשינען די זשורנאַלן „רינגען“, „אַלבאַטראָס“, „כאַליאַסטרע“, „די װאָג“; אין בערלין — „מילגרױם“; אין קיִעװ — דיאַלמאַנאַכן „אײגנס“ און „אױפֿגאַנג“. לרובֿ האָבן די דאָזיקע פּובליקאַציעס ניט לאַנג געדױערט, אָבער זײ האָבן געמאַכט דרײסטע פּראָקלאַמאַציעס װעגן דער רעװאָלוציע אין דער ייִדישער קולטור.
למשל, אינעם ערשטן נומער פֿון דער סאָװעטישער קאָמוניסטישער צײַטונג „דער עמעס“ דעם 7טן נאָװעמבער 1920 האָט פּרץ מאַרקיש פֿאַרעפֿנטלעכט אַן אַרטיקל „אױף די װעגן פֿון ייִדישער דיכטונג“. עס איז מערקװירדיק, באַמערקט װאַכרושאָװאַ, װאָס דער דאָזיקער מאַניפֿעסט פֿון דער נײַער סאָװעטישער ייִדישער פּאָעזיע פֿאַרמאָגט ניט קײן מאַרקסיסטישע קאָמוניסטישע מליצה.
אַנשטאָט דעם רעדט מאַרקיש װעגן טיפֿע איבערלעבונגען, װאָס פֿאַרכליניען דעם מענטשן אין דער צײַט פֿון דער רעװאָלוציע. די רעװאָלוציע האָט גורם געװען אַן איבערבראָך אין דער טראַדיציע, „און טאַקע דערפֿאַר קאָנען די דיכטער פֿון אונדזער נײַער שטורעמדיקער תּקופֿה ניט שאַפֿן קײן מאָנומענטאַלע װערק, זײ זײַנען קױלן־גראָבערס […] פֿאַר נײַע תּקופֿות, פֿאַר קומעדיקע דורות,“ שרײַבט מאַרקיש.
אָבער מיט פֿיר יאָר שפּעטער האָט מאַרקיש זיך באַרעכנט װעגן דער המשכדיקײט פֿון דער ייִדישער קולטור. אין אַ רעפֿעראַט אין װילנע אין 1924 האָט ער געזאָגט, לױטן באַריכט אין דער װילנער צײַטונג „טאָג“: „ניטאָ קײן צװײ ליטעראַטורן, ס’זײַנען בלױז פֿאַראַן צװײ ליטעראַרישע עפּאָכעס, מיט פֿאַרשײדענע פֿאָרמעס, אָבער מיט אײן גרונד־ליניע, אײן ענדציל.“
דאָ האָט מאַרקיש פּראָקלאַמיט די המשכדיקײט צװישן די קלאַסיקער װי מענדעלע, שלום־עליכם און פּרץ און דער נײַער ליטעראַטור, װי מאַרקיש אַלײן, װאָס איז אַנטשטאַנען נאָך דער ערשטער װעלט־מלחמה.
אָט די צװײ קעגנזײַטיקע דעות װעגן דער ליטעראַרישער אַנטװיקלונג — אַן איבערבראָך אָדער המשכדיקײט — האָבן באַשטימט צװײ שטרעמונגען אין דער אַלװעלטלעכער ייִדישער ליטעראַטור נאָך דער ערשטער װעלט־מלחמה, סײַ אין סאָװעטן־פֿאַרבאַנד, סײַ אין פּױלן און סײַ אין אַמעריקע.
אין אונטערשייד צו דער הײַנטיקער אַמעריקאַנער שיטה אין ייִדיש־פֿאָרשונגען, װאָס פּרוּװן כּסדר צופּאַסן ייִדישע טעקסטן צו דער הײַנטיקער מאָדע אין ליטעראַרישער טעאָריע, איז װאַכרושאָװאַס מעטאָד דער עיקר אַ פֿילאָלאָגישער.
זי באַזירט אירע אױספֿירן אױף אַ גרונטיקן אַנאַליז פֿונעם שפּראַכלעכן סטיל פֿון ייִדישע מקורים. אַזאַ צוגאַנג מאַכט אירע אַרגומענטן גלײַכצײַטיטק מער װאָגיק און מער ניואַנסירט. זי דערװײַזט פּינקטלעך, װי אידעיִשע און עסטעטישע חילוקי־דעות צװישן ייִדישע ליטעראַטן האָבן זיך אַנטפּלעקט דורך שאַטירונגען אין זײער זאַצבױ, װאָקאַבולאַר, אינעם אױסקלײַב פֿון גערמאַנישע, סלאַװישע און לשון־קודשדיקע קאָמפּאָנענטן.
װאַכרושאָװאַ באַמערקט, אַז כּסדר שאַצט מען אָפּ די פּאָזיציעס פֿון סאָװעטישע שרײַבער, אַזעלכע װי מאַרקיש און דוד בערגעלסאָן, פֿונעם שפּעטערן שטאַנדפּונקט, װען מען איז שױן געװױר פֿון זײער טראַגישן אומקום. זי פּרוּװט, להיפּוך, לײענען זײערע טעקסטן דורך דעם מיטצײַטלערישן שפּאַקטיװ. זי ברענגט דעם לײענער אַרײַן אינעם סאַמע ברען פֿון קריטישע װיכּוחים פֿון די 1920ער יאָרן.
אַן אינטערעסאַנטער בײַשפּיל פֿון דעם, װי אַזױ מען האָט זיך געפּרוּװט צופּאַסן צו די נײַע סאָװעטישע באַדינגונגען, זײַנען דעם נסתּרס פֿאַרצײכענונגען װעגן די שטעט כאַרקעװ, לענינגראַד און מאָסקװע אינעם זאַמלבוך „הױפּטשטעט“. דאָס איז געװען זײַן פּרוּװ אַריבערצוגײן פֿונעם סימבאָליסטישן סטיל פֿון זײַנע פֿריִערדיקע דערציילונגען צו דעם רעאַליסטישן סטיל פֿונעם זשאַנער פֿון רײַזע־פֿאַרצײכענונג.
װאַכרושאָװאַ האַלט, אַז דער נסתּר האָט בכּװוּן אָפּגעהיט עלעמענטן פֿון זײַן סימבאָליסטישן סטיל – אַזעלכע װי ריטמישע איבערחזרונגען פֿון די אײגענע װערטער אין אײן זאַץ, דער שװערלעכער דײַטשמערישער זאַצבױ, דער ניט־פֿאַרלאָזלעכער נאַראַטאָר – כּדי אונטערצורײַסן די פּאָזיטיװע שטימונג, װאָס עס האָט געפֿאָדערט די אָפֿיציעלע סאָװעטישע ליטעראַטור. „הױפּטשטעט“ איז אַ דאָקומענט פֿון דעם נסתּרס אַנטױשונג אינעם פּראָיעקט פֿון אױפֿבױען די ייִדישע קולטור אינעם סאָװעטן־פֿאַרבאַנד, פֿאַרסך־הכּלט װאַכרושאָװאַ.
װי אַ צאָל אַנדערע ייִדישע און ניט־ייִדישע מחברים, װאָס זײַנען געשטאַנען אױף די ראַנדן פֿון דער אָפֿיציעלער סאָװעטישער ליטעראַטור, האָט דער נסתּר געפֿונען אַ מקום־מקלט אין איבערזעצערישער אַרבעט. ער האָט איבערגעזעצט אויף ייִדיש די װערק פֿון די רוסישע קלאַסיקער לעװ טאָלסטאָי, פֿיאָדאָר דאָסטאָיעװסקי, איװאַן טורגענעװ, און פֿון אַ היפּשער צאָל דײַטשישע, פֿראַנצײזישע און אַנדערע שרײַבער.
איבערזעצונגען פֿון דער רוסישער און אײראָפּעיִשער בעלעטריסטיק און דיכטונג, פֿון פּאָליטישער און װיסנשאַפֿטלעכער ליטעראַטור אױף די סאָװעטישע מינאָריטעט־שפּראַכן זײַנען געװען אַ װיכטיקער עלעמענט פֿון דער סאָװעטישער קולטור־פּאָליטיק, און ייִדיש איז ניט געװען קײן אױסנאַם. דערצו איז דאָס געװען אַ מער־װײניקער סטאַבילע פּרנסה, װײַל די האָנאָראַרן האָבן באַצאָלט מלוכישע פֿאַרלאַגן.
דװקא די איבערזעצונגען האָבן אַ סך בײַגעטראָגן צו דער אַנטװיקלונג פֿונעם אײגנאַרטיקן סאָװעטישן נוסח פֿון ייִדיש. איבערזעצונגען זײַנען אויך געװאָרן אַ װיכטיק ליטעראַריש פֿעלד פֿאַר שפּראַכלעכע עקספּערימענטן, בפֿרט װען די פּאָליטישע באַדינגונגען זײַנען אין די 1930ער יאָרן געװאָרן אַלץ שװערער, פֿאַרסך־הכּלט װאַכרושאָװאַ. אַזױ האָט זיך די ייִדישע שפּראַך װײַטער אַנטװיקלט, ניט געקוקט אױף דעם פּאָליטישן דרוק.
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