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A new portrait collection showcases 90 Holocaust survivors who lived long and full lives

(JTA) — Werner Reich had his opening line ready when he sat down for B.A. Van Sise to take his portrait.

“Before I could say anything, he said, ‘Everybody comes to me and they want me to talk about the Holocaust. What am I supposed to say? I went to Auschwitz. It was lousy,’” Van Sise said, recalling that Reich’s comment felt like a joke, not a lament.

But instead of dwelling on the horrors of the Nazi concentration camp, the two men spoke about magic, a refuge for Reich as a Jewish teenager trying to survive. The resulting portrait shows a man in his 90s wearing retro glasses, a cloud of smoke floating a few inches above his open palm, in a picture vibrating with life and with enchantment.

Van Sise’s portrait of Reich is the first in “Invited to Life: Finding Hope After the Holocaust,” his new portrait collection of 90 Holocaust survivors. The accompanying text acknowledges Reich’s experience at Auschwitz, but it focuses more on Reich’s life after the war and his long career in magic — striking a balance that Van Sise says is core to his project.

“This is not something that people are inclined to talk about because it’s not always bombastic. It’s not the part that you sell movie tickets to,” Van Sise said. “You can make, and people have, a hundred movies about Jewish people being imprisoned, tortured, and enslaved. Why doesn’t anybody talk about them thriving afterwards?”

Holocaust survivor and hiking enthusiast Sam Silberberg poses for “Invited to Life”. (Courtesy of B.A. Van Sise / Design by Grace Yagel)

Van Sise is far from the first photographer to capture the faces of survivors in the decades following the end of the Second World War. Famed portrait photographers Martin Schoeller and Mark Seliger, both known for their iconic celebrity portraiture — Schoeller for his uniform, stylized close-ups and Seliger as a magazine photographer who also recently photographed Jerry Seinfeld in a fashion shoot — have also set their cameras in front of Holocaust survivors. Countless other photographers have done the same. But what Van Sise says is sometimes missing from survivor photography is a focus on the postwar lives, many of them joyous, that the subjects have experienced over the last 70-plus years.

“I suspect that one person might see these folks and see victims,” Van Sise said. “And I see them as survivors.”

Holocaust survivor and Park East Synagogue Rabbi Arthur Schneier poses for “Invited to Life”. (Courtesy of B.A. Van Sise / Design by Grace Yagel)

“Invited to Life” was inspired by a 2015 photo assignment Van Sise took on for the Village Voice. Motivated by the anti-immigrant, anti-refugee rhetoric of then-candidate for president Donald Trump, he realized that a particularly cohesive cohort of refugees to come to the United States had arrived more than 75 years ago, at the end of the Second World War, and a photographic retrospective on their lives in America could be a valuable project. He reached out to the Museum of Jewish Heritage in New York to be put in touch with a dozen survivors for the story. He ended up taking more than 30 portraits. When the alternative newsweekly ceased publication in 2017 (it was revived in 2021) before he could publish the photos, the museum invited Van Sise to turn the portraits into a solo exhibition, in what became the museum’s first-ever public art installation.

Then the pandemic arrived, and like many photographers whose everyday work required travel, Van Sise was out of a job.

“It had never been a marquee project for me,” said Van Sise, who is Jewish but has no familial connection to the Holocaust. “I kept coming back and thinking about them, and about the fact that these people had been through the worst there ever was, the worst that ever has been, the worst there ever might even be.”

Holocaust survivor and painter Fred Terna poses for “Invited to Life”. (Courtesy of B.A. Van Sise / Design by Grace Yagel)

Van Sise spent the better part of 2020 driving around the United States, getting COVID swabs every three days so he could safely photograph 140 elderly survivors, 90 of whom ended up in the book. (He was insistent with his publisher that the final number of portraits in the book be a multiple of 18, the Jewish numerical symbol for “life”.)

The photos are all in black and white, but beyond that, they are as diverse as Sise’s subjects. Some incorporate backgrounds, some are solo portraits; some are serious, some are silly; some include children, grandchildren, husbands, wives, props; some are in profile, and some are shot straight on. The subjects are Nobel Prize-winning chemists and homemakers; pilots and psychologists; haberdashers and teachers; famed rabbis and partisans-turned-conmen.

All of them, Sise says, were photographed with a sense of generosity.

“A person who wants to be critical of me — which is fair — might say that I’m overly charitable,” Van Sise says of his own work, acknowledging that no photographer can avoid bias completely while behind the camera. (It didn’t help that many of the survivors he photographed were eager to feed him cookies, as he frequently recalls.)

In the nearly three years since Van Sise began photographing the subjects of his book, the reality of working with more than 100 elderly people set in. Several of the survivors, including Holocaust educator René Slotkin, Budapest-born legal secretary Kathy Griesz and Reich died before they got the chance to hold a copy of the book in their hands, much to Van Sise’s dismay.

“As a writer, you carry them with you,” he said. “So for me, there were a few where I got pretty rattled.”

Holocaust survivor and educator René Slotkin poses for “Invited to Life”. (Courtesy of B.A. Van Sise / Design by Grace Yagel)

The photographs reflect acknowledgment by all involved that the survivors in the pictures are all nearing the ends of their lives. Many of his subjects chose to include their children, grandchildren, or great-grandchildren in their portraits, and the photographer was intentional in closing the book with a portrait of Irving Roth, a longtime Holocaust educator, with his 3-year-old great-granddaughter Addie sitting on his lap. In the text, Roth remarks on the origins of his Hebrew name, Shmuel Meir, which came from his great-grandfather and imagines what life will be like for Addie when she turns 103, and what she will remember of him.

Roth passed away in February 2021 at age 91.

“Those stories don’t end in 1945,” Van Sise said. “These people have lived for, now, 77 years since and have done plenty with that time. And that’s worth exploring, because that’s the part they have control over.”

Reflecting on different styles of Holocaust survivor portraiture at a discussion at the Museum of Jewish Heritage, the original home of Van Sise’s portraits, German photographer Martin Schoeller remarked on his own preference for images of older faces.

Holocaust survivor and educator Irving Roth and great-granddaughter Addie pose together for “Invited to Life”. (Courtesy of B.A. Van Sise / Design by Grace Yagel)

“They have more life in them. You see the wrinkles and you feel that there’s more to discover in the face, in an old face. So they almost feel like they’re telling the story of the suffering of the Holocaust more visually, because they’re older faces,” Schoeller said.

“But then, it’s been 75 years since the end of the war,” he added. “So these people have lived 75 years; so to say, ‘Now I see the horror in this old man’s face’ feels a little bit — I don’t know if that’s really true. I leave it up to the people looking at the pictures.”


The post A new portrait collection showcases 90 Holocaust survivors who lived long and full lives appeared first on Jewish Telegraphic Agency.

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Looking for the right Yiddish word? This 1950 reference book finds it for you

As more people explore Yiddish, a thick 1950 book I discovered on a beloved friend’s shelf can help anyone find the exact right word for any situation.

Der Oytser fun der Yidisher Shprakh (The Treasure of the Yiddish language) published by the YIVO Institute in New York and available digitally through the Yiddish Book Center, is a 1,000-page Yiddish thesaurus, modeled on Roget’s Thesaurus of the English Language.

Like Roget’s, a standard source for writers and students of English, Der Oytser is not arranged alphabetically, but according to concepts. If you’re looking for a word related to evil, you look up the concept “evil,” and there you find many words related to it, for example,  “untoward, black, sinister, wicked, wrong, vicious, sinful and criminal.”

The book was born of a project by author Nahum Stutchkoff  to create a new kind of lexicon for the Yiddish language. He launched the project  under the editorial oversight of Max Weinreich, the great Yiddish philologist and then director of YIVO. Yiddish had had many dictionaries over the course of its existence, but never a thesaurus of this kind. The result is a magnificent work of lexicography, 15 years in the making, a storehouse of over 175,000 Yiddish words, phrases, folk sayings, and idioms.

The book is out of print but Yiddish students and enthusiasts can download it from the Yiddish Book Center’s digital library. There’s also a free digitized version of the book printed in the English alphabet for people who don’t read Yiddish. Instead of an index, readers use the search box.

In 1950, a mere five years after the Holocaust, the Oytser was finally published. It included a preface by Weinreich, with the following words:

The very fact that, despite the years of the huge catastrophe that befell our people, a great man with vision has appeared to gather the scattered treasures of our language, can surely serve as a symbol of our unbroken collective will to survive. In Nahum Stutchkoff we see a love of mame-loshn, a keen understanding of both broad concepts and the smallest of details, tireless perseverance and pragmatism in carrying out the designated plan for Der Oytser fun der Yidisher Shprakh.

It is without a doubt, the greatest complete achievement of Yiddish lexicography since Jehoshua Mordechai Lifschitz‘s dictionary, compiled during the last third of the nineteenth century.

For the first time we see the full inventory of the Yiddish language, in accordance with the knowledge that the field of Yiddish research has accumulated under the authority of the YIVO Institute.

Weinreich goes on to speak about the problems of standardizing Yiddish, Yiddish dialectology, the Germanisms, Americanisms, Slavicisms in Yiddish and how Stutchkoff addresses these issues.

In his own introduction, Stutchkoff states he had two purposes in mind: (1) to gather as many Yiddish words, phrases and proverbs as he could, and (2) to provide a helpful tool for the Yiddish speaker and writer.

When you use a dictionary, says Stutchkoff, you have a word in mind and want to find or clarify its meaning. The words in a dictionary, therefore, are arranged alphabetically. His thesaurus, on the other hand, like Roget’s, is for a user who has an idea but can’t recall the right word. It is therefore arranged according to ideas. He created 620 categories, such as onheyb, or beginning (category No. 41); glaykhayt, equality (153), and libe, love (500).

Let’s say you’re  looking for a Yiddish word related to thieves. You may know the word ganef, thief, but need a different word. So you turn to the index at the back of the Oytser where there are thousands of words arranged alphabetically and find the word ganef, which has the number 483 next to it That means all the words related to ganef are listed under number 483 of the 620 idea categories. You would then turn to the section for number 483 and find no less than seven pages of terms and expressions related to ganef, including, for example, the word marvikher — a dealer in stolen items, as well as the proverb dos ken nor a ganef (Only a thief would think of that). Those seven pages demonstrate the incredible richness of the Yiddish language.

Photo by Rukhl Schaechter

 

The Oytser also contains the colorful slang of various occupations and groups such as klezmers, thieves, cobblers, actors, tailors and butchers.

Nahum Stutchkoff wasn’t an academic. He was an actor, a playwright, and a popular radio personality before he became a masterful lexicographer.

Stutchkoff was born in 1893 in a town called Brok in Czarist Poland. When he was 7, his family moved to Warsaw, where he was sent to cheder and yeshiva. At the age of 16, he was drawn to the theatre. He began translating and reworking plays for a Yiddish theatrical company from the standard European repertoire, such as, for example, Moliere’s The Miser. Eventually he became an actor too, touring with the company throughout Poland and Russia.

In 1912 he served a stint in the Czarist army. Upon his release in 1917, he again joined a theatrical troupe, eventually becoming director of the Yiddish State Theatre in Vitebsk. In 1923, he emigrated to the United States.

In New York, where he settled, he performed in various Yiddish theatres and authored plays, musical comedies and operettas for the Yiddish theatre. In 1926, he became secretary of The Yiddish Playwrights League of America.

He then took up a radio career. Every Sunday, starting in 1932, on the Forward radio station WEVD (the call letters are the initials of Eugene Victor Debs, the leader of the American Socialist Party), he performed a children’s radio show called The Uncle Nahum Hour, as well as other radio programs.

In 1931, he turned to lexicography, publishing another creative work: a 330-page Yiddish rhyming dictionary.

Stutchkoff died in 1965, but he left us a great legacy: a wealthy storehouse of the Yiddish language that continues to inform and entertain Yiddish enthusiasts everywhere.

The post Looking for the right Yiddish word? This 1950 reference book finds it for you appeared first on The Forward.

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The harrowing German concept that Donald Trump has not yet managed to achieve

Since the start of his second term, Donald Trump has been following a despot’s playbook. Trump himself has all but acknowledged this, by gleefully sharing with New York Times reporters Maggie Haberman and Jonathan Swan for their new book a “historian’s” assessment that Trump has more power than Attila the Hun, Genghis Khan, Napoleon, Stalin, Mao and Hitler.

Never mind that it wasn’t a historian at all who came to this conclusion, but a longtime friend and caddy of golfer Gary Player. The anecdote shows what’s going on in Trump’s head: the fantasies of an 80-year-old would-be despot who’s more fixated on his place in history than on the concerns of even the MAGA faithful.

What Trump has been up to amounts to nothing less than trying to capture and radicalize the American soul — persecuting immigrants of color, gays, lesbians and other minorities; coarsening Americans into Trump’s own brand of vulgarity; lobbing figurative Molotov cocktails at the rule of law; perverting America’s history; and sowing divisions that echo the raw spite that once split North from South. It’s an attempted American variant of what Germans call Gleichschaltung, the Nazis’ 1933 rapid re-engineering of every facet of German life — business, culture, sports, education, and all else — to conform to the doctrines of Adolf Hitler.

With America’s 250th birthday now behind us, it’s worth asking how far Trump has already taken the country down the path of an American Gleichschaltung.

As Hitler was rising to power, Germany was in a perpetual state of political, economic and social upheaval. During the 15 years between Germany’s World War I defeat and Hitler’s rise to power, roughly a dozen serious attempts were made to overthrow the government — from communist revolutions to right-wing putsches. The best known is Hitler’s own failed Beer Hall Putsch in Munich in 1923.

On the evening of Nov. 8, 1923, Hitler and a contingent of Brown Shirts stormed Munich’s Bürgerbräukeller during a gathering of Bavarian government and community leaders. Climbing onto a chair, Hitler bellowed “The German revolution has begun!” The next day the Nazi leader led 2,000 followers on a march through the city, hoping to incite a nationwide uprising. Bavarian state police were waiting. About a dozen of Hitler’s followers were killed in a fusillade of gunfire. Hitler escaped but was tracked down and arrested. He was given a five-year prison sentence but a Nazi-friendly court granted him parole after only 10 months.

Hitler focused on rebuilding the party. When the Great Depression struck Germany, putting millions out of work, Hitler’s radical and antisemitic pronouncements found resonance among the populace, resulting in increased political power for the Nazi party. As successive coalition governments fell in the face of political and economic turmoil and street violence, the Nazi leader was made chancellor in January 1933 through backroom political dealings.

After fire destroyed the Reichstag on Feb. 27, 1933, there was little stopping the German chancellor on his march to one-man rule. The very next day key civil liberties — including freedom of expression, of the press, and of assembly, as well as protections against house searches and property confiscation — were abruptly suspended by a decree whose title claimed it was “For The Protection of People and State.” Amid mass arrests and terror by Hitler’s Storm Troopers, and with much of the populace already backing the Nazi leader, Gleichschaltung was carried out within two months.

Which brings us to Donald Trump.

The Jan. 6, 2021 assault on the U.S. Capitol echoes the Beer Hall Putsch in one essential respect: a leader inciting followers to march in an attempted coup d’état.

“After this, we’re going to walk down and I’ll be there with you. We’re gonna walk down to the Capitol,” Trump told the MAGA mob at a rally. “Because you’ll never take back our country with weakness. You have to show strength and you have to be strong.” Trump lied; he didn’t accompany them on the march. Back at the White House, he let the violence happen as America watched in horror.

Neither Trump nor Hitler had to stay long in the wilderness. During Hitler’s brief incarceration at Landsberg Prison, Nazi comrades like Rudolf Hess made pilgrimages to visit the boss. For Trump, after retreating to Mar-a-Lago, it became a parade of sycophants — among them the late Lindsey Graham, Matt Gaetz, Lauren Boebert and Marjorie Taylor Greene — each making the journey to pay homage.

Trump’s intent to rule like an authoritarian began manifesting itself on the very first day of his return to the White House.

There was the flurry of Executive Orders on inauguration day, signed with Trump’s Sharpie in carefully choreographed photo-ops. It was all spectacle, as Trump basked in the role of a ruler issuing edicts that were intended to recast the land in his image. “Could you imagine Biden doing this,?” Trump boasted while holding up a freshly signed order. The most outrageous edict was Trump’s pardon of about 1,500 Jan. 6 insurrectionists, akin to Third Reich pardons for Nazis who had been convicted of crimes before Hitler ascended to power.

Trump’s unleashing of ICE and other federal agents to terrorize immigrants showed how far he was willing to go — masked agents making arrests at Home Depot parking lots and inside immigration courts, brutally yanking people out of their vehicles, and in Chicago, a raid that included agents rappelling from a Black Hawk helicopter and using flashbang grenades, automatic weapons, and breaching tools as they burst into apartments.

Trump insists that he is above the law. His most radical acolyte — Stephen Miller — argued that Trump’s absolutist power extends to relations with other countries, an argument for taking Greenland.

And so here we are, a year-and-a-half after Trump’s second inauguration. The republic is battered, bruised and wobbly, but it still stands. To a significant degree this is because of federal courts that have blocked dozens of Trump’s assaults against democracy — often with excoriating words, like these from U.S. District Judge William Young, a Ronald Reagan appointee: “The President’s palpable misunderstanding that the government simply cannot seek retribution for speech he disdains poses a great threat to Americans’ freedom of speech.”

Hitler never faced this kind of judicial opposition. And he was never confronted with the magnitude and fearlessness of citizen resistance that has swept across the US — like the Minneapolis protests triggered by the killings of Renée Nicole Good and Alex Pretti.

Trump’s approval ratings have plummeted because of his war in Iran and soaring consumer prices, some Republicans are finally daring to resist him, the MAGA movement is fraying, Jeffrey Epstein still dogs him, and a snowballing number of Americans are infuriated over Trump’s abuse of his presidential powers to enrich himself and his family — raking in at least $2.2 billion in 2025.

With the midterm elections four months away, our democracy may be facing greater peril than at any time since the Civil War. Like a mortally wounded beast, Trump may resort to desperate measures for survival. He’s already working to poison the midterms — dismantling federal election oversight, suing states to imply their elections are insecure, and stoking daily mistrust about any contest where Democrats might topple Republicans. Each move lays the groundwork for claiming fraud, contesting results, or deploying more extreme measures under the guise of “protecting” the vote.

We needn’t look too far back in history for despots who chose a scorched-earth exit as they faced the loss of power.

 

The post The harrowing German concept that Donald Trump has not yet managed to achieve appeared first on The Forward.

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The real reason Clavicular is in Israel

Clavicular is partying in Tel Aviv this week.

If you don’t know who that is, first of all, I’m happy for you. Clavicular is a looksmaxxer, part of an online male subculture that subscribes to the idea that becoming as hot as possible is the main, perhaps the only, meaningful thing to do with one’s life, and the only road to success. To achieve peak hotness — “ascend,” in looksmaxxing lingo — followers of the doctrine engage in such activities as hitting themselves in the face with a hammer to supposedly sharpen their jaw line (“bone-smashing”), or taking steroids and meth to improve their physique.

The last time Clav — as people call him, though his real name is Braden Peters — went viral, it was for getting turned down repeatedly by French women during Paris fashion week. The time before that was for dancing with a bunch of far-right influencers, including noted antisemite Nick Fuentes and manosphere titan Andrew Tate, to Kanye West’s Führer-sampling song “Heil Hitler” and singing along to the offensive lyrics.

Which is why Clavicular’s sudden appearance in Israel was such a surprise — and a controversial one. In one video, the bouncer at a Tel Aviv club kicks him out, saying no one who hates Israel is welcome inside. Several Israeli feminist influencers have also decried his visit, pointing to his bad behavior with women. And, of course, countless users online have accused him of normalizing genocide, including mega-popular streamer Hasan Piker. But others are excited by his presence; a female IDF soldier is also appearing in his videos (she’s now facing disciplinary action for the collab), as is Chabad influencer, Yossi Farro and he’s drawn excited crowds in Tel Aviv.

Farro was perhaps the first Jewish influencer to court Clavicular after the “Heil Hitler” incident; his usual schtick is wrapping tefillin with celebrities. But he made a video last month feeding the looksmaxxer the traditional Ashkenazi Shabbat stew cholent — Clav said it was good — and it went viral in the Jewish world, where people decried the effort at rehabilitation. But the clip also went viral with antisemites: Fuentes said he wanted to hang a mezuzah and get in with Jews, too.

The first announcement that Clavicular was in Tel Aviv also came with a post from Farro, crossposted by several large Jewish social media accounts. In the video, Farro gifts Clav a memento that could not be more of our times: a necklace featuring an OpenAI logo with a Star of David in the middle. Later, he posted a video of a conversation with Clavicular calling the biblical Joseph the first looksmaxxer. It felt surreal.

That’s the whole point. Clavicular is just as obsessive about his fame as he is about his looks. Clicks boost accounts no matter whether they’re from haters or followers; monetized social media pays the same amount for adoring comments as it does for ones calling Clavicular evil and praying to spit on his grave. Engagement is engagement. (Farro, who didn’t reply to a request for comment, seems to be operating by the same philosophy.)

The simple answer as to why he was in Israel was because it would be controversial — which it was — and controversy earns him money and eyes. Clavicular said that he noticed everyone was talking about the nation, but almost no influencers were going. He figured he would go viral if he bucked the trend. It’s not by accident that Clav’s one-time publicist, Mitchell Jackson, specializes in cancelled figures of all political persuasions, including Candace Owens, Caroline Calloway and an OnlyFans model named Adam22. The point is attention, not adulation.

In an interview with The Free Press, Clavicular said he did not see his visit as political; he came to party. And he criticized the idea that a young influencer should have any political take, or that the outlet should even ask about his views. He doesn’t know about anything but looksmaxxing, he wrote in a post, and believes it’s irresponsible for him to talk about anything else. While one could say advising teens to take steroids and meth is also irresponsible, he’s not wrong about his ignorance of geopolitics.

But many Israelis and Jews are happy to have him, despite his “Heil Hitler” singalong. Israel has been short on positive PR, and Clav has called the country beautiful and fun. Never mind that Clavicular is followed by at least as many haters, watching out of Schadenfreude, as he is fans, and hardly brings uncomplicated good vibes to Israel with him. At least someone popular among the youth, who are increasingly critical of Israel, said something good about the nation. Many Israelis seem desperate enough for global goodwill that they’re willing to overlook Clav’s antisemitism. People are even claiming he’s Jewish now. (And maybe he is; he hasn’t confirmed or denied, but he’s certainly never mentioned it before.)

And, of course, Clavicular does have adherents who believe anything he does is cool, that he’s always “mogging” (dominating via his powerful aura, more or less). So even if he proclaims he has no political opinion, everything is politics and his presence serves to cast Israel in a more positive light, even if it’s the nihilistic glow of an amoral influencer who cares about looking good above all else. He may be cringe, but he’s popular. Maybe that’s enough for some, but it highlights how low the bar is for Israel’s public image in this moment.

For Clavicular, though, it’s all a game. He doesn’t care about Israel’s image or the war in Gaza or settlers or Palestinians. His only side is his own, and even then he doesn’t need to be popular; he only needs to be seen. He said he plans to stream in Russia next.

The post The real reason Clavicular is in Israel appeared first on The Forward.

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