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A new photo book celebrates the very Jewish cafeteria culture of a vanished New York
(New York Jewish Week) – Back in 1975, Marcia Bricker Halperin had just graduated from Brooklyn College with the dream of becoming a professional photographer when she stepped into the Flatbush outpost of Dubrow’s, a cafeteria-style restaurant, for a warm cup of coffee.
It was there that inspiration hit. “I was wonderstruck,” Halperin writes in the introduction to her new book of photographs, “Kibbitz & Nosh: When We All Met at Dubrow’s Cafeteria,” describing the “cavernous” space with mirrored walls and a mosaic fountain. “It was the most idiosyncratic room I had ever seen.”
“I sensed it was a vanishing world on its last legs, and that impelled me to document it,” she continues. “On many visits, the tables were empty, sans a painterly still life of condiment bottles and jars in the morning light. I also perceived cafeterias as places that embodied a secular Jewish culture, something that was of great interest to me.”
“I attended a lecture by Isaac Bashevis Singer, who was billed as an “Outstanding Anglo -Yiddish” author, at the Brooklyn Jewish Center on Eastern Parkway in Crown Heights,” Bricker Halperin writes in the introduction. “I adored his short stories, many of which were set in cafeterias, and I regret never finding the nerve that day to tell him about my own cafeterianiks.” (Marcia Bricker Halperin)
Halperin was prescient: She started photographing these once-ubiquitous eateries one decade before the final Dubrow’s location in the Garment District would close in 1985. The chain’s first location was founded in 1929 on the Lower East Side by Benjamin Dubrow, a Jewish immigrant from Minsk. By the mid-twentieth century, the family-owned company expanded throughout Brooklyn, Manhattan and Miami Beach, with ownership passing to the second generation, and then to the third. In Dubrow’s prime, a stop at one of the cafeterias was practically required for politicians such as John F. Kennedy and Jimmy Carter.
Nearly 50 years after her first visit, Halperin’s new book is a tribute to this now-defunct New York City cafeteria culture and the characters she met during the five years she regularly photographed there. The compelling 152-page book features her original black-and-white photos along with essays from Pulitzer Prize–winning playwright Donald Margulies and Jewish American historian Deborah Dash Moore.
“Although Jews were not the only ones to patronize cafeterias, they preferred them as inexpensive places to hang out to bars, which often attracted an Irish immigrant or working-class clientele,” Moore writes in her essay, titled “See You at Dubrow’s.” “By the 1930s, cafeterias were part of the fabric of Jewish neighborhood life in New York City, a welcome alternative for socializing to cramped apartments, street corners, or candy stores.”
Now living in Park Slope and retired from a career as a special education teacher, Halperin talked with the New York Jewish Week about the city’s lost cafeteria culture and what inspired her to capture it with her camera.
This interview has been edited for length and clarity.
New York Jewish Week: You took these photos nearly 50 years ago. What made you decide to publish them now?
Marcia Bricker Halperin: In the 1970s, there was such good feedback on the work. I was given a show, I was collected by a few people, I had a photo in The New York Times. People wrote me letters in the mail: “Ms. Bricker, I’m interested in buying one of your photos.” At the time, I was in a project called the CETA artists project, a federally funded arts project in the ’70s where I was paid to be a photographer. It was very much like the [Depression-era] WPA project, but one of the great differences with the CETA project was anything you shot, you owned.
So I continued photographing changing New York during those years — some of it by assignment for nonprofit organizations that I worked with, like the Jewish Museum and an organization in Brighton Beach that was resettling the Soviet Jews that were arriving in the ’70s. They wanted photographs to help both the Soviet Jews understand American life and the old Jewish population in Brighton Beach understand Russian life. What a great opportunity!
I was going to be an artist and I did adjunct teaching and different things to make it work. I kind of fell into teaching high school photography and then, from there, I fell into teaching special education — that took over. Thirty-five years later, I retired from teaching. The day after I retired, I took out my negatives and my photography stuff and bought a scanner and all kinds of printers and things.
So, I was a photographer once upon a time and then taught for many years and, overnight, I became one once again.
A man reads the Forvertz newspaper in Yiddish. (Marcia Bricker Halperin)
How did it feel to see these photos again? Had you developed any of them before?
Yes, I printed quite a few of them then. I worked as a darkroom lab technician, so I had an opportunity in the ’70s to do a lot of silver gelatin prints. I would bring in a thick envelope of the imperfect prints to the cafeteria and at that point, everybody knew me. I gave out portraits to people. If I hadn’t shot them, they would gather around me asking: “Do you have my picture? Did you print it?” Especially the staff — there was a very international cohort of people working there and they all wanted pictures to send home to their families.
After that, the pictures lay fallow for all these years. I protected them and stored them very carefully. When I had the opportunity to come back and put together a sample book, I started looking through the negatives and I said, “Oh, my God, I don’t remember that picture.” It was a time warp to see some of these photos taken in the 1970s. In Manhattan, the ’60s had happened, but Flatbush in Brooklyn was the “Old Country.” It hung onto the past for a while and some women dressed like they were still in the 1950s.
Dubrow’s Cafeteria, Kings’s Highway 1975. The photographer appears in the top left corner. (Marcia Bricker Halperin)
Dubrow’s closed just ten years after you started shooting there. Could you feel at the time that cafeteria culture was ending?
I kept a journal at the time. When I went back 42 years later to look at it, I had written: “One day I’m going to show up here and this is going to be closed.”
There were other cafeterias in Manhattan and the Bronx and they had all closed. I’ve collected like every article ever written about cafeterias, and there’s one from 1973: “Are cafeterias going to be gone?” So it was fairly well known that this was a vanishing kind of establishment in New York. The automats ceased having the little boxes, Burger King bought them out, they tried to modernize and it got pretty sad. Sometimes during the day, the huge cafeteria would be empty and people would say, “This business can’t survive.” So I knew I was photographing in the vein of needing to document the things that are there and will be gone. It was one of the things that propelled me to get out there and photograph.
Today, things are different. There’s food courts and wonderful little coffee places. There are many businesses, especially here in Brooklyn, trying to perpetuate “grandmother foods” and there are restaurants that are serving “reinvented Jewish-style foods.” So there are some continuations, but in terms of the huge, opulent cafeteria spaces — grand professional murals, intricate woodworking, food with a crazy amount of preparation, 300 items, 30 different cakes — no restaurant could possibly survive like that. The only thing that still exists are my photos of them.
Men and women converse around empty tables at Dubrow’s on Kings Highway. (Marcia Bricker Halperin)
What was the Jewish culture of Dubrow’s and Flatbush like at the time?
Growing up, we went to a little old “Conservadox” synagogue. We were the kind of family where my mother kept a kosher kitchen at home, but on Sunday nights we’d go out to the Chinese restaurant. Dubrow’s menu was “Jewish-style” but it was also a place you could go out and have your first shrimp salad sandwich, which became their most popular food. They were famous for shrimp salad!
These cafeterias were all started by Jewish immigrants. But they were democratic for everyone — there was ham on the menu, shrimp. You could choose whether to have just meat or have a meat meal and then have a cream pie for dessert. That was your choice. With cafeteria-style, like religion, you pick and choose what you want and what you want to observe.
When I would go there, all the older people would ask: “Are you Jewish? You don’t look Jewish.” I’d say,“I’m Jewish. I know a few words of Yiddish, my parents speak Yiddish at home.” They would be satisfied with that. There was this sense that it was a club a little bit, it was a Jewish establishment. Not that everybody wasn’t welcome, and everybody socialized with everyone else.
Socializing was a big thing there, not necessarily eating. Many of my pictures are people sitting around — sometimes it’s a coffee cup on the table, most of the time the table is empty. They were there to meet their friends and talk. Some people said it replaced the synagogues. The old men would go to Dubrow’s and have a cup of coffee with their friends in the morning and gossip and talk.
“Kibbitz & Nosh: When We All Met at Dubrow’s Cafeteria” will be published on May 15, 2023. The photos are on exhibit at the Edward Hopper House in Nyack, New York through June 25.
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The post A new photo book celebrates the very Jewish cafeteria culture of a vanished New York appeared first on Jewish Telegraphic Agency.
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‘No speaking Swedish here!’ — Yiddish Day in Lund University
דעם 26סטן פֿעברואַר 2026 איז אין לונד, שװעדן, פֿאָרגעקומען אַ „ייִדיש־טאָג“.
דער לונדער אוניװערסיטעט בשותּפֿות מיטן שוועדישן אינסטיטוט פֿאַר שפּראַכן און פֿאָלקלאָר („איסאָף“) האָבן אָרגאַניזירט אַ צונױפֿטרעף פֿון אַמאָליקע און איצטיקע לונדער ייִדיש־סטודענטן. ס׳רובֿ הײַנטיקע ייִדיש־לימודים בײַם לונדער אוניװערסיטעט װערן געלערנט אָנלײַן, אין דיסטאַנצקורסן. דערפֿאַר איז דער ייִדיש־טאָג פֿאַר עטלעכע אָנטייל־נעמערס געװען דאָס ערשטע מאָל װאָס זײ טרעפֿן זיך מיט זײערע שותּפֿים און לערערס מחוץ די ראַמען פֿון קאָמפּיוטער־עקראַן.
אַחוץ סטודענטן און רעדנערס, האָט מען אויך פֿאַרבעטן מאַמע־לשון־רעדערס פֿון מאַלמע, אַ שטאָט נאָענט צו לונד מיט אַ גרעסערער ייִדישער קהילה. די טאַטעס און מאַמעס פֿון די הײַנטיקע מאַלמער ייִדיש־רעדערס זײַנען געװען פֿון דער שארית־הפּליטה און האָבן זיך בשעת אָדער קורץ נאָכן חורבן באַזעצט אין שװעדן. דאָס איז דער דור וואָס האָט אויפֿגעשטעלט דעם „ייִדישן קולטור־פֿאַראײן 1945“ אין מאַלמע.
די איבעריקע אָנטײל־נעמערס זײַנען געקומען צו פֿאָרן פֿון גאַנץ שװעדן, און אױך פֿון נאָרװעגיע, פֿינלאַנד, דענמאַרק, דײַטשלאַנד און האָלאַנד. אַלץ אין איינעם האָט די אונטערנעמונג צוגעצויגן אַ 30 מענטשן, פֿון יונגע סטודענטן ביז יונגע פּענסיאָנערן.
„פֿיקאַ“
אַ שוועדיש וואָרט אינעם אָרטיקן ייִדיש: אַ שמועס אַרום אַ טעפּל קאַווע מיט קוכן און אױבס.
מיט אַזאַ „פֿיקאַ“ האָט זיך נײַן אַ זײגער אָנגעהױבן די פּראָגראַם. די אָנגעקומענע האָבן זיך באַגריסט צװישן זיך, זיך פֿאַרשריבן, און יעדער אײנער האָט זיך אָנגעקלעפּט אַ ייִדיש־שפּראַכיק נאָמען־צעטל.
מאַריאַ פּערסאָן (ראָש פֿונעם צענטער פֿאַר שפּראַכן און ליטעראַטור בײַם לונדער אוניװערסיטעט) און ראָקעל נילען (קאָאָרדינאַטאָרשע פֿון די ייִדיש־לימודים) האָבן מקבל־פּנים געװען דעם עולם מיט אַ קורצער באַגריסונג אויף ענגליש. גלײַך נאָך דעם איז מען אַריבער אױף ייִדיש: אליעזר ניבאָרסקי און אורן כּהן ראָמאַן האָבן פֿאָרגעשטעלט די מיט-אָרגאַניזאַטאָרן פֿון „איסאָף“. מע האָט אָנגעװוּנטשן, אַז יעדער אײנער זאָל „הנאה האָבן פֿון ייִדישן װאָרט.“
און דאָס האָט זיך תּיכּף אײַנגעגעבן: מע האָט זיך אַרײַנגעטאָן אין אַ ליטעראַטור־װאַרשטאַט, וווּ עטלעכע אָנטײל־נעמערס האָבן פֿאָרגעלײענט לידער פֿון אַבֿרהם רײזען, ישׂראל שטערן, קאַדיע מאָלאָדאָװסקי, איציק מאַנגער און ציליע דראַפּקין. אַז איין סטודענטקע האָט פֿאָרגעלייענט דאָס פֿאָלקסליד „אַ מאָל איז געװען אַ מעשׂה“, האָט דער גאַנצער עולם גענומען זינגען אין איינעם. מע האָט געלײענט ניקאָלײַ אָלניאַנסקיס אַ פֿיקטיווע באַשרײַבונג פֿונעם אַמאָליקן ייִדישן קװאַרטאַל אין לונד און בפֿרט פֿון איין באַזונדער הײַזל.
אײנער פֿון די אָנטײל־נעמער האָט אויך דעקלאַמירט אײגענע פּאָעטישע און דראַמאַטישע טעקסטן.
בעת אַ צװײטער „פֿיקאַ“ האָט מען געהאַט די געלעגנהײט אַ קוק צו טאָן אױף די נײַסטע ייִדישע אױסגאַבעס אין די זאַמלונגען פֿון דער אוניווערסיטעט־ביבליאָטעק, מערסטנס פֿונעם שװעדישן „אָלניאַנסקי־פֿאַרלאַג“. ס׳רובֿ אָנטײל־נעמערס האָבן לײַכט געשמועסט און זיך אױסגעשפּאַנט מיט אַ טעפּעלע קאַװע, נאָר עטלעכע סטודענטן פֿון צװײטן יאָר האָבן שױן אָנגעהויבן דורכפֿירן אינטערװיוען צוצוגרייטן אַ רעפּאָרטאַזש וועגן דער קאָנפֿערענץ.
שידוכים
הײַנט איז נישט דאָס ערשטע מאָל װי מע לײענט װעגן לונד אין דער ייִדישער פּרעסע. אליעזר ניבאָרסקי האָט געברענגט „אַלטע נײַעס“ און פֿאָרגעשטעלט עטלעכע אַנאָנסן און באַריכטן בנוגע לונד אין אַמאָליקע צײַטונגען. נאָך אין 1895, עטלעכע יאָר נאָך דעם ווי אַ צאָל ייִדישע אימיגראַנטן ליטוואַקעס האָבן זיך אײַנגעאָרדנט אין אַ נײַעם פּעריפֿערישן קוואַרטאַל פֿון דער שטאָט, האָט מען געזוכט דורך אַנאָנסן אַזש אין װאַרשע אַ בעלן אויף אַ פּאָסטן פֿון שוחט, שליח־ציבור און מלמד אין לונד. און עס װײַזט זיך אַרױס אַז אין 1940, שוין לאַנג נאָך דער בליצײַט פֿונעם „לונדער שטעטל“, האָבן די „לונדער כּלות“ נאָך געהאַט אַ שם צווישן שוועדישע ייִדן.
נאָך דעם האָט סימאָ מויִר, אַ פֿאָרשער פֿון דער ייִדישער שפּראַך און חורבן־לימודים אינעם אוניװערסיטעט פֿון אופּסאַלע, שװעדן, װאָס האָט פֿריִער געלערנט ייִדיש בײַם לונדער אוניווערסיטעט, געהאַלטן אַ רעפֿעראַט װעגן דעם פּראָיעקט „ייִדיש אין די שװעדישע אַרכיװן“. מע האַלט אין צוגרײטן אַ דיגיטאַלישן קאַטאַלאָג פֿון די ייִדישע מאַטעריאַלן װאָס געפֿינען זיך, אָפֿט מאָל אָן געהעריקע באַשרײַבונגען, אין די שװעדישע אַרכיװן.
מויִר האָט געװיזן בילדער און כּתבֿ־ידן פֿון די אַרכיװן אין שטעט װי שטאָקהאָלם, קריסטיאַנשטאַט און מאַלמע, און דערמאָנט אַז עס װאָלט געװען כּדאַי אויסצופֿאָרשן און צושטעלן די נעמען פֿון די מענטשן אױף די בילדער. האָט זיך אָפּגערופֿן דער פֿאָרזיצער פֿון מאַלמער קולטור־פֿאַראײן, יערי אײלנבערג: „דאַרפֿט איר פֿרעגן מיך, איך האָב זײ דאָך אַלע געקענט!“
דער פֿאָרשער האָט אויך גערעדט װעגן דער פּראָבלעם, אַז מע װײסט שױן נישט װוּ עס געפֿינען זיך טייל אַרכיװ־מאַטעריאַלן. זײער אַ סך פֿון צווישן די 1940ער און 1960ער יאָרן איז אַ פּנים נעלם געװאָרן, למשל פֿונעם אַרכיװ פֿון דער מאַלמער ייִדישער ביבליאָטעק. האָט זיך אָבער יערי אײלנבערג גלײַך אָפּגערופֿן: „דאָס האָבן מיר פֿאַר אַ יאָרן אַלץ אַרױסגעשלעפּט, די קעסטלעך שטײען בײַ מיר אױפֿן בױדעם.“ אַזוי אַרום האָט דער ייִדיש־טאָג טאַקע בײַגעטראָגן צו אַ פֿרוכפּערדיקן אױסבײַט צװישן פֿאָרשערס און דעם ברייטן עולם.
מיטאָג האָט מען געגעסן בײַ איינער פֿון די אוניװערסיטעטישע קאַפֿעטעריעס: עס איז געשטאַנען אַ בופֿעט מיט כּל־המינים גוטע מיטל־מיזרחדיקע מאכלים און דער עולם האָט זיך צונױפֿגעקליבן בײַ די טישלעך און געשמועסט גאַנץ לײַטיש, זיך דערצײלט װיצן – אױף ייִדיש, פֿאַרשטײט זיך.
– יערי, קײן שװעדיש רעדט מען נישט!
– זײַ מוחל! איך האָב שױן נישט געטראַכט אַז איך וועל דערלעבן דעם טאָג װאָס די אײנציקע שפּראַך װאָס מע מעג רעדן איז ייִדיש!
אױפֿן פּריפּעטשיק
נאָכן עסן איז מען אַרױס אױף אַ שפּאַציר. מע איז געגאַנגען דורך דעם היסטאָרישן לונדער צענטער שטאָט און די „מדריכים“ אינעם עולם האָבן דערצײלט װעגן אַזאַ צי אַן אַנדער פּרט פֿון דער געשיכטע פֿון ייִדישן לעבן אין לונד. טומאַס װוּדסקי, אַ מיטאַרבעטער פֿון „איסאָף“, האָט אַלעמען דערלאַנגט אַ טיפּיש שװעדישן כּיבוד, היימיש באַקאַנט ווי „שטױבזױגערלעך“: אַ מין זיסװאַרג מיט מאַרציפּאַן און שאָקאָלאַד װאָס איז שטאַרק באַליבט בײַם ייִדיש־אָפּטײל פֿון לונדער אוניווערסיטעט. מע האָט באַזוכט דעם אַמאָליקן ייִדישן קװאַרטאַל און געפֿונען דאָס הײַזל פֿון אָלניאַנסקיס דערצײלונג. פֿאַרן הויז פֿונעם ערשטן ייִדיש־לערער בײַם לונדער אוניווערסיטעט, שלמה שולמאַן ז״ל, האָט זיך די גאַנצע גרופּע אָפּגעשטעלט און געזונגען „אױפֿן פּריפּעטשיק“ לזכר אָט דער באַליבטער פֿיגור.
אַ באַקאַלאַװער
צוריק אין אוניװערסיטעט האָט יאַן שװאַרץ, עמעריטירטער ייִדיש־לעקטאָר אין לונד, געהאַלטן אַ „קלײנע זאַך, נישט קײן רעפֿעראַט“ װעגן זײַנע „לונדער יאָרן“, און דערצײלט װעגן דעם בראשית פֿון די ייִדיש־לימודים אין דער שטאָט, װעגן די חבֿרישע מחלוקתן מיט זײַן קאָלעגע שלמה שולמאַנען, און װעגן זײַן טאַטן, װאָס איז מיט זײַן זאַפֿטיקן פּױלישן ייִדיש געװען אַ יוצא־מן־הכּלל צװישן די ליטװישע קלאַנגען פֿון די ייִדיש־רעדערס אינעם נאָך־מלחמהדיקן דענמאַרק.
די געשיכטע איז אַזאַ: זײַט דעם יאָר 2000 האָט ייִדיש אין שװעדן דעם באַזונדערן סטאַטוס פֿון אַן אָפּגעהיטער מינאָריטעט־שפּראַך. אין 2007 האָט די רעגירונג אָנפֿאַרטרויט דעם לונדער אוניװערסיטעט דאָס אַחריות פֿאַר די ייִדיש־לימודים אין שװעדן, און זײַט 2012 קענען סטודענטן זיך לערנען אױף אַ באַקאַלאַװער אין ייִדישע לימודים.
דער תּחום האָט זיך אַנטװיקלט און הײַנט באַטייליקן זיך אין דעם פֿאָרשערס פֿון פֿאַרשײדענע אוניװערסיטעטן. און בזכות די איבערגעגעבענע טוערס און רעדערס האָט אױפֿגעבליט דאָס קולטורעלע ייִדישע לעבן אין שװעדן פֿון דאָס נײַ.
ווײַטער האָט מען זיך צעטײלט אין דרײַ גרופּעס אױסצופּרוּװן די נײַע ייִדישע „שמועס־קאַרטלעך“ װאָס דער „איסאָף“ האָט אָקערשט אַרױסגעגעבן. עס האָבן זיך אײַנגעשטעלט לעבעדיקע שמועסן אַרום פֿראַגעס װי „מיט װעמען רעדסטו ייִדיש?“ און (בפֿרט אַ שװעדישע פֿראַגע) „װאָסערע מאכלים עסטו לכּבֿוד מיטזומער?“ די טוערס פֿון „איסאָף“ האָבן ברייטהאַרציק געשאָנקען יעדן איינעם אַזאַ פּעשל שמועס־קאַרטלעך.
אין סופּערמאַרק
דער פֿאָרשער אורן כּהן ראָמאַן האָט געהאַלטן אַ רעפֿעראַט „ייִדיש אין סופּערמאַרק“. ער האָט פֿאַרגליכן מאכלים מיט אַ בפֿירושן ייִדישן נאָמען אין העברעיִש־שפּראַכיקע סופּערמערק אין ישׂראל און ענגליש־שפּראַכיקע אין די פֿאַראייניקטע שטאַטן, און דערצײלט װעגן די װאַריאַציעס און בײַטן אין אױסלײג, אַרױסרעד און באַניץ במשך דער צײַט אין די צוויי לענדער. מע האָט זיך צערעדט וועגן דער פֿראַגע, „צי איז „ראָגעלעך“ אויף עבֿרית צי אויף ענגליש אײנצאָל אָדער מערצאָל?“ און „פֿאַר װאָס שרײַבט מען אין ישׂראל אַזוי זעלטן אַ קמץ־אַלף?“
טראַדיציע
פֿאַרן געזעגענען זיך האָבן אַלע אָנטײל־נעמערס געזאָגט אַ װאָרט װעגן זײערע אײַנדרוקן פֿונעם טאָג, און די אָרגאַניזאַטאָרן האָבן אונטערגעצויגן אַ סך־הכּל. האָפֿנטלעך װעט זיך לאָזן אײַנשטעלן אַ טראַדיציע און מע וועט זיך װידער קענען זיך טרעפֿן אין לונד אין 2027.
דער עולם איז זיך פֿונאַנדערגעגאַנגען. אַ ווײַל האָט מען נאָך געהערט ייִדיש אױף די לונדער גאַסן און אין די רעסטאָראַנען. נאָך דעם איז דאָס ייִדיש מיט זײַנע רעדערס אַוועק אױף דער באַנסטאַנציע און אין דער װעלט אַרײַן.
דער ייִדיש־טאָג האָט דערלאַנגט אַלע אָנטײל־נעמערס אַ געלעגנהײט אָנצוקניפּן נײַע באַציִונגען און צו באַנײַען אַלטע חבֿרשאַפֿטן, זיך צו באַקענען מיט דער הײַנטיקער ייִדיש־פֿאָרשונג אין שװעדן און צו פֿילן דעם טעם פֿון דער שװעדיש־ייִדישער קולטור. בײַ ס׳רובֿ אָנטײל־נעמערס איז אָבער געשטאַנען ברומו־של־עולם דער פֿאַקט אַז מע האָט אַ גאַנצן טאָג געקענט הערן און רעדן נאָר ייִדיש.
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We’re forgetting the lessons of the Triangle Shirtwaist Factory fire
When the young women of the Triangle Shirtwaist Factory sat down before their Singer sewing machines on Saturday, Mar. 25, 1911, they could not know that their lives would soon be extinguished because of a lit cigarette.
At around 4:40 p.m., a worker flicked a still-smoldering cigarette butt into a bin filled with paper patterns and fabric scraps. The contents ignited instantly. Someone threw a bucket of water to douse the flames — to no avail. Eighteen minutes later, 148 people were dead: 123 women and 25 men, many of them teenagers, most of them immigrants.
The Triangle Shirtwaist Factory fire, which remains the deadliest workplace disaster in New York City and one of the worst in the country, not only shocked the nation, it transformed American labor law. Locked doors, unsafe conditions, and the exploitation of young workers came to symbolize an industrial system that all too often treated human beings as expendable. Public outrage led to sweeping workplace reforms and helped launch modern labor protections.
Now, 115 years later, those hard-won safeguards are eroding.
Across the country, child labor violations are rising. Teenagers are working longer hours and, in some cases, dangerous jobs like working in industrial freezers, on construction sites, and in meat-processing facilities. According to the U.S. Department of Labor’s Wage and Hour Division, the number of children employed illegally nearly quadrupled between 2015 and 2024; meanwhile, the companies that hire them often face minimal penalties.
The lesson of Triangle was clear — when economic pressure meets diminished regulations, minors become the most vulnerable workers. Today’s legislative rollbacks and declining enforcement risk recreating the very conditions reformers fought to eliminate.
Few understood those stakes better than Pauline Newman, one of the most influential labor organizers of the early U.S. labor movement. Born in Lithuania, Newman immigrated to the United States with her mother and sisters after her father’s death. By age nine, she was climbing dark factory stairs to work in a hairbrush factory. Later, she rolled cigars, and by 12, she found work at the Triangle Shirtwaist Factory, laboring 14 hours a day in what workers called the “kindergarten,” trimming loose threads from finished garments. Shirtwaists arrived piled in cases taller than some of the children themselves.
“We were too young to do anything else,” Newman later recalled.
In one of several pieces she wrote for The Forward, she chronicled her experience working at The Triangle and what she described as her “own drab existence,” wondering “dear God will it ever be different?”
Although Newman had left Triangle before the fire, the disaster changed her life. The deaths of former coworkers propelled her into a lifetime of labor organizing and fighting to protect workers, especially minors, from exploitation. Her activism helped reshape public understanding of workplace safety and child labor, showing that reform comes only when society decides certain risks are unacceptable.
Throughout the 19th century, reformers had pursued piecemeal protections. Religious leaders fretted over working children who couldn’t read scripture, while secular advocates argued democracy required an educated citizenry. Early laws limited hours or required factory owners to provide basic education, but enforcement was inconsistent and protections varied state-by-state. When Newman arrived in New York City in 1901, meaningful safeguards were largely absent.
The Triangle fire changed that calculus. By 1913, Newman and her fellow organizers, including Rose Schneiderman, Clara Lemlich and Frances Perkins, helped push legislation that moved thousands of children from factory floors into classrooms and introduced workplace safety standards. The culmination came in 1938 with the Fair Labor Standards Act, establishing nationwide rules governing wages, hours and child labor.
Now many of these protections are being undermined. Since 2021, at least 17 states have rolled back child labor protections, while others have introduced legislation to diminish existing safeguards.
In Florida, proposed legislation would remove limits on working hours for 16- and 17-year-olds, potentially allowing overnight shifts during the school year. In 2023, Iowa passed laws permitting minors to work in previously restricted environments, including meat coolers. Arkansas, Missouri, Ohio and other states have pursued similar measures.
Supporters argue the changes provide flexibility for families and help businesses facing labor shortages. Opponents warn they expose minors to injury and undermine education.
Many young workers entering hazardous jobs today come from immigrant families struggling with rising living costs. Some are recent arrivals, including unaccompanied minors particularly vulnerable to exploitation. For these families, work isn’t an extracurricular activity; it means economic survival. But hardship does not make dangerous labor safe, nor should it justify dismantling protections.
Families facing financial instability often feel they have little choice but to send children into the workforce. But no family, however, should face the choice Pauline Newman once did: education or survival.
Nostalgia often shapes today’s political arguments. Lawmakers recall babysitting, shoveling snow, or scooping ice cream as teenagers. But many modern violations occur not in safe, supervised settings but in industrial workplaces where injuries can be life-altering or fatal; as was the case when in 2023 a 16-year-old Wisconsin boy died in a cotton-packing machine.
Weakening protections risks reversing more than a century of progress, undermining not only individual futures but an economy and democracy that depend on an educated workforce.
Preventing a return to early industrial exploitation doesn’t require reinventing labor law. It requires enforcing and modernizing protections already proven to work.
States can strengthen work-permit systems, as Illinois did in 2024, improving oversight and reducing violations. Civil and criminal penalties must increase so illegal child labor is not treated as a routine business expense. For example, New York has expanded enforcement authority and centralized employment records for minors, enabling fines upwards of $50,000 for serious and repeat violations. Policymakers should eliminate subminimum wages for young workers and tighten prohibitions on hazardous work, particularly in agriculture and manufacturing. Colorado has taken steps allowing injured minors to pursue private legal action, strengthening employer accountability.
The Triangle Shirtwaist Factory fire compelled Americans to confront what happens when profit outweighs protection. Reformers like Pauline Newman spent decades ensuring children would no longer bear the cost of unsafe workplaces. Reform was hard-won, and progress is never inevitable. More than a century later we ought to remember why those protections exist.
The post We’re forgetting the lessons of the Triangle Shirtwaist Factory fire appeared first on The Forward.
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Roald Dahl’s monstrous views have a seat at the table today
Roald Dahl’s house is falling down.
It’s 1983, and the children’s author’s Buckinghamshire estate is undergoing a gut renovation. Its exposed plumbing and naked beams bespeak an unseemly core behind the author’s facade of prickly charm, cracking after publication of his incendiary review of the book God Cried, about the 1982 Lebanon War. The article, which ran in the magazine Literary Review, crossed a then-clear line from legitimate critique of Israel into antisemitic tropes of the most noxious variety.
The play Giant, now on Broadway after an Olivier Award-winning run on the West End, imagines an afternoon in which Dahl’s publishers try to cajole him into an apology he’s determined not to make.
For the greater part of the first act in Mark Rosenblatt’s crackling script, the precise nature of Dahl’s comments remains obscure. We’re told that they were condemned in the press as “the most disgraceful thing to be written in the English language in a very long time.” They were so bad as to inspire a death threat credible enough to station a police constable outside Dahl’s home.
Finally, a Jewish-American sales director from Farrar, Straus and Giroux, who has arrived to do damage control, quotes Dahl’s remarks at length following a tense lunch of salad niçoise.
“Never before in the history of man has a race of people switched so rapidly from being much-pitied victims to barbarous murderers,” Dahl wrote of Israelis — or was it simply Jews? “Never before has a race of people generated so much sympathy around the world and then, in the space of a lifetime, succeeded in turning that sympathy into hatred and revulsion. It is as though a group of much-loved nuns in charge of an orphanage had suddenly turned around and started murdering all the children.”
Is it bad to say I’ve heard worse?
Were Dahl still with us, he would have an ideological home with certain members of Corbynite Labour and the Greens, to say nothing of Roger Waters. He would not run afoul of the “Zionists in Publishing” X account that tells consumers which authors are insufficiently critical of Israel; perhaps he would be marked on reading lists as an acceptable, pro-Palestinian alternative to J.K. Rowling.
Even the context of war in Lebanon that Dahl decried has currency, as Israel now trades fire with the remnants of Hezbollah and videos of demolished apartment blocks in Beirut proliferate online. More than 1,000 have died in airstrikes, more than 1 million are displaced and a possible ground invasion looms. (The play, written well before Oct. 7, and certainly before the latest offensive in Iran, suffers from a poignant prescience.)
Can a drama built around Dahl’s screed still work with the shift of the Overton Window toward a strident, existential questioning of Israel and its influence? Remarkably, it does.
The credit is shared. John Lithgow, playing his whole repertoire from Churchill and avuncular alien to Dexter’s Ice Truck Killer, is a rangy stick of dynamite. He pivots from boyish jokes to cruel barbs that catch on his victims like nettles.
Also in the cagey chess game are Aya Cash — as the invented American FSG envoy Jessie Stone — and Elliot Levey’s Tom Maschler, Dahl’s real-life British publisher, who was a Kindertransport child from Germany.
Maschler embodies a certain Jewish-English self-effacement, angling to keep the peace and resenting Israel as an impediment to his full acceptance as an Englishman — he thinks of the country as something he’s made to defend at parties.
Stone’s more forceful, American approach — calling out Dahl for lumping all Jews together as a “single organism” — rankles her host.
Dahl waxes Goebellsian, calling her “Stein,” and has her take dictation to a Holocaust survivor bookseller in the Hudson Valley who refuses to stock his work: “The kinder of his shtetl in upstate Noo Yoik will have to make do – no, survive on a strictly kosher diet of Laura Ingalls Wilder.”
Director Nicholas Hytner has staged a boxing match for today’s discourse, without changing a line from a pre-Oct. 7 script. What makes the work sing is its refusal to resort to caricature, humanizing Dahl through his fiancée Liccy Crossland (Rachael Stirling), the tragedies of his dead daughter and disabled son and, yes, his genuine concern and justified anguish for the Lebanese and Palestinians, particularly the children.
In a quieter moment, Dahl asks Stone if she read God Cried. She tells him she was moved by an image of a legless boy with crutches. (Dahl identifies him with ease, the victim of a penetration bomb near his school, and describes in typically gruesome fashion how “his arterial blood must have sprayed everywhere like a rogue garden hose.”)
“Why is that image not enough, on its own, for you to demand a halt?” he presses Stone. “And what’s wrong with insisting Jewish people, whose country it surely is, say ‘not in my name’? Surely it’s your voice we need above all?”
This cri de coeur is common now even in Jewish circles, but the sentiment is slippery when it hints at collective blame. After his encounter with Stone, Dahl clarifies his position in a verbatim interview, infamously opining that, when it comes to Jews, “even a stinker like Hitler didn’t just pick on them for no reason.”
That draws a gasp from the audience and a gobsmacked expression from Dahl’s housekeeper Hallie (Stella Everett).
But just how different is this claim to Ana Kasparian saying the goyim are waking up, Candace Owens claiming Satanic pedophile “Frankists” control the world, Young Republicans praising Hitler in group chats, Tucker Carlson platforming Holocaust deniers who suggest Winston Churchill was the real villain of World War II or Joe Kent writing in his resignation letter that the U.S. is continually drawn into wars “manufactured by Israel”? At a point, the figleaf of anti-Zionism proves flimsy. Older innuendos peek out from behind.
In the literary world of today, an audiobook narrator’s call for Zionists to kill themselves is not a cancellable offense — a Zionist moderating a book talk is. (But then, being a Palestinian critic of Israel can lead to a disinvitation to a book festival or reading series — that may be cancelled when other authors withdraw in solidarity.)
Now that we are further from the Holocaust, the carnage in Gaza was broadcast to our phones and the monoculture has atomized into internet echo chambers, Dahl’s review seems pedestrian if not quite mainstream. A cause célèbre in 1983 is now a viral retweet or a chart-topping podcast. His claim that “ancient wounds” didn’t make Jews wiser, but gave them a “partial sight” of their own trespasses sounds a lot like the thesis of Peter Beinart’s last book.
With Giant’s move to Broadway, a local analogy may be in order.
Earlier this month, New York Mayor Zohran Mamdani’s wife, Rama Duwaji, was revealed to have contributed freelance illustrations to a book of stories by young people in Gaza compiled by the Palestinian-American writer Susan Abulhawa. Abulhawa’s social media posts, which called Israelis “vampires” and “cockroaches” and refused to distinguish between Jews and Zionists, prompted Mamdani to call her words “reprehensible,” earning him grief from pro-Palestinian quarters.
What would the response be, had the First Lady of New York provided artwork on a book of Dahl’s and his comments came to light? Abulhawa cuts a different figure: She is the daughter of Palestinian refugees and writes movingly of her people’s suffering. Yet I suspect, like her, Dahl, would have his defenders.
Just as Dahl doubled down when reached for comment on his review — the occasion of his “Hitler stinker” quote — Abulhawa responded to Mayor Mamdani’s censure in an interview by claiming American Jews were the “most privileged demographic in this country” and “the resentment that they are seeing now is stemming from the world watching the so-called Jewish State commit a genocide.”
In other words, the logic follows, the world isn’t picking on Jews for no reason. The sleeping giant of this rationale — a proverbial light sleeper — has been awakened. Dahl, it seems, was just too early to rouse it.
The play Giant is now playing at the Music Box Theatre on Broadway. Tickets and more information can be found here.
The post Roald Dahl’s monstrous views have a seat at the table today appeared first on The Forward.