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Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74
(JTA) — Robert Crumb put the “x” in comix by setting to paper his basest sexual longings, including strong-legged Jewish women who were cowgirls and who went by the name Honeybunch Kaminski.
So when an actual strong-legged Jewish cowgirl named Aline Kominsky walked into his life, it was love at first sight, and never wavered.
Aline Kominsky-Crumb, who died Wednesday at 74 in France of pancreatic cancer, was late to the revolution her husband launched in comics a few years before they met, with his Zap Comix. The “x” was a signifier of what was then known as “underground” comics and referred to the unfiltered treatment of humanity that censorious publishers, politicians and public figures had all but washed out of the art.
She soon fully embraced the art form and then helped transform it.
Working with her husband and then on her own, Kominsky-Crumb brought to comics raw self-lacerating accountability and subverted crude stereotypes about Jewish women — including those peddled by her husband — by taking possession of them.
She started out as a self-acknowledged sex object reviled by second-wave feminists and became a hero of younger feminists for modeling unfettered sexual expression. She was the brassy Jewish stereotype who became the muse who guided her husband to a deeper consideration of Judaism.
Kominsky-Crumb, born Aline Ricky Goldsmith in 1948 in the Five Towns, a Jewish enclave on Long Island, had a Jewish upbringing that was in many ways conventional, horrifying and both at the same time. She wrote about the warmth of her grandparents’ home and how she sought in it succor and about the pressures her materialistic parents placed on her. She said she was named for a Five Towns clothing store, Aline Ricky, that sold French fashion knockoffs. She resisted her mother’s pressure to get a nose job.
In one autobiographical comic, she recalls seeing one Jewish girl after another coming into school after plastic surgery. “Me ‘n’ my friends developed a ‘big nose pride,’” she writes, and one of the characters says, “I could not stand to look like a carbon copy!”
She told fellow Jewish cartoonist Sarah Lightman about the ordeal. “Like, I kept my nose, but it was really a close call, because my mother had me in Doctor Diamond’s office and he measured my nose. I remember that. They took an instrument and measured your nose. And then he took a piece of paper and he said,’ look, we can make it look like this.’ And I said, ‘Oh my God.’ My mother said, ‘Oh, it’s gorgeous, gorgeous.’”
In her teens, Kominsky-Crumb fled the suburbs for Manhattan. She studied at Cooper Union, an art school, and lived on the Lower East Side, earning plaudits from her instructors for her painting, but getting bored. She had a baby and gave it up for adoption to a Jewish agency, an experience that scarred her, and later led her to become outspoken in advocating for abortion rights.
After she married Carl Kominsky, they moved to Tucson, Arizona, which she called “hippie heaven.” There, she left her husband for a cowboy who lived with two brothers and his father in what she said was “the middle of nowhere” where she helped out on horseback, albeit under the influence of hallucinogens. (She said her beau was killed in a shootout with a romantic rival after she left.)
In Tucson, she met two pioneers of underground comics, Kim Deitch and Spain Rodriguez. They encouraged her to move to San Francisco, which was the scene of the burgeoning movement.
She did and met Crumb at a party in 1971, within three years of his having created “Honeybunch Kaminski, the drug-crazed runaway” (1968) and “Dale Steinberger, the Jewish Cowgirl.” Kominsky-Crumb, who had kept her first husband’s last name because it sounded more “ethnic” than Goldsmith, was so taken with the her husband’s lustful Jewish imaginings, and how closely she physically resembled them, that when she started creating her own, she named her avatar “Bunch,” a shortened version of the character whose name most closely matched her own.
It was kismet, except it wasn’t at first. Crumb and Kominsky-Crumb got together, but maintained open relationships. Crumb endured Kominsky-Crumb’s dalliances with other men for decades, but Kominsky-Crumb was not as able (or willing) to reciprocate. When one of Crumb’s exes arrived at their commune in Mendocino, she told The Comics Journal in 1990, she was furious. “I had a total s— fit,” she said, “I was wearing these giant platform shoes. I ran out the door and I fell and broke my foot in six places.”
Crumb sent the ex on her way and entertained the recovering Kominsky with a pastime he and his brother worked out as children: They would co-create a comic.
That process drew the couple closer, and also became a decades-long unflinching chronicle of a relationship. A culmination, “Drawn Together,” was critically acclaimed when it came out in 2012.
In one passage in the 2012 book, she gently chides her husband for resorting to antisemitic tropes — although it was tropes about loud, slightly unhinged, sexually voracious Jewish women that drew them together.
One page depicts the couple in bed. Crumb is stung by an accusation of antisemitism from Art Spiegelman. (Spiegelman joined with Crumb to launch the underground comics scene in the 1960s, but they grew apart as Spiegelman, who would author the Holocaust chronicle “Maus,” sought to attach an overarching philosophy to the genre, while Crumb continued to crave crude authenticity.)
Crumb says that Spiegelman “seems to be taking my ruminations about the Jews as antisemitism … I certainly didn’t mean it as such.” Kominsky-Crumb draws herself into the panel, listening to her husband, as a little girl wearing tefillin, a T-shirt with “kosher” in Hebrew and a Star of David pendant. In the next panel, once again appearing as a grown woman in a negligee, she makes clear to Crumb why she feels vulnerable as a Jew in the marriage.
“Dahling, you do call the Jewish religion ‘Brand X’,” she says.. “Now I might even think that’s true in some ways … and I’m one o’ them … I’m allowed to say that!”
Crumb draws himself as wounded but also awakened. “Oh, I see … ulp.” Crumb dedicated his masterwork, “The Book of Genesis,” a searing illustrated narrative of the Bible’s first book, to Aline.
The Crumbs’ collaborative work was celebrated among aficionados, but it wasn’t until 1994’s “Crumb,” a documentary directed by Crumb’s close Jewish friend, Terry Zwigoff, that she emerged into the broader culture. A vibrant, peripatetic Kominsky-Crumb cares for their daughter, Sophie, and revels in their life in a small French village, where they had moved a few years earlier, while Crumb continues to hold back, playing the wounded, misunderstood artist.
It was an arrival of sorts for Kominsky-Crumb. She had for a time been marginalized even on the underground scene, her deceptively simple art derided as sloppy. She helped found the Wimmen’s Comix collective in 1972, and wrote about her Jewish upbringing in the first issue, a piece entitled “Goldie: A Neurotic Woman.” But she was soon frozen out because some of her colleagues thought her musings about longing to be dominated (and her tendency to dress that way to please Crumb) were denigrating to women. “The Yoko Ono of Comics,” is how the New York Times described her early years.
She left the collective and joined another Jewish woman artist, Diane Noomin, in launching “Twisted Sisters” in 1976. Its cover depicts hers seated on a toilet wondering “How many calories in a cheese enchilada.” The message to her erstwhile colleagues, who depicted women heroically, was clear: Kominsky-Crumb would indulge her full unvarnished self.
It would take decades, but a later generation of feminists would come to understand her autobiographical “Bunch” not as a self-loathing caricature but as a means of understanding ones whole self. In 2020, Lightman launched an interview with Kominsky-Crumb by reviewing a 1975 cartoon, “Bunch plays with herself” that shocked even the underground scene at the time with its graphic depictions of a woman exploring every corner of her body.
“I didn’t do it to be disgusting but it’s, like, about every horrible and fun thing you can do with your body,” Kominsky-Crumb told Lightman. “I think it’s an amazing piece of feminist art,” Lightman said in the interview, “because women are drawn to be gazed at, and [here we see] their bodily juices, and everything. … The last panel is the best. ‘My body is an endless source of entertainment’.”
In 2007, she and Crumb created a cover for the Jewish counterculture magazine Heeb, where she is cradling him in her arms. “”I feel so safe in the arms of this powerful Jewish woman!” Crumb says.
By 2018, she was scrolling through her phone to show a New York Times reporter pictures of Crumb cavorting with the grandkids. (Daughter Sophie in adulthood also is a comics artist.) The photos then transition to photos of women’s behinds, taken in Miami.
“I’m enabling his big butt fixation,” she said. “Well I don’t have a big butt anymore so I have to offer him something.”
“It was her energy that transformed the American Crumb family into a Southern French one, with her daughter Sophie living, marrying and having three French children there,” the official Crumb website said in announcing her death. “She will be dearly missed within that family, by the international cartooning community, but especially by Robert, who shared the last 50 years of his life with her.”
—
The post Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74 appeared first on Jewish Telegraphic Agency.
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These legendary magicians made their Jewish identities — poof! — disappear
Harry Houdini liked to tell people that he was the son of a rabbi, and although he was known for the tricks he played on audiences, that story was true.
The world-famous escape artist was born as Erik Weisz in Budapest to Rabbi Mayer Samuel and Cecelia Steiner Weisz. The whole family emigrated to Wisconsin in 1878.
Many magicians of the Golden Age of Magic, from roughly the 1850s through the 1930s, were Jewish. Estimates put the number as high as 20%. But audiences were unlikely to know it. Onstage, these performers often became someone else.
“Abracadabra,” a new exhibit at Amsterdam’s Jewish Museum highlights the biographies of these Jewish magicians. It reveals the extraordinary tricks they created and popularized, and suggests that they may have tried to escape antisemitism through their stage acts.
Titia Zoeter, who curated the exhibition with Joanne Rosenthal, said the simplest reason why Jews took up magic as a profession was that they were often barred from tradesman guilds and other professions. Magic offered a way to earn a living independently.
The exhibition focuses on a few key figures, like Houdini, Horace Goldin, the “Whirlwind Illusionist” (born Hyman Goldstein); the Bamberg family, which produced magicians Okito and Fu Manchu, as well as the married couple Alexander and Adelaide Herrmann who toured the globe as “Herrmann the Great” and the “Queen of Magic.”
“The fact that several major names from that era were Jewish was reason enough to dedicate an exhibition to this subject.” Zoeter said. “Through these magicians, we could tell a socio-cultural story about Jews and other migrant communities seeking security and building lives in places where opportunities were available to them.”
It’s not entirely clear why Jewish performers are overrepresented in the world of magic, Zoeter said, but it was in part because of the same factors that drew Jews into the performing arts, vaudeville and Hollywood. The stage offered not only a livelihood but a chance to adopt a new persona.
Houdini sometimes played down his Jewish roots, and often told people he’d been born in the United States, rather than Hungary. Adam Begley, author of the recent biography, Houdini: The Elusive American, described how Houdini married a non-Jewish woman, moved away from the orthodoxy of his youth, and sent out Christmas cards.
But he did not deny his Jewish background, and often talked about his father, the rabbi. Audiences long questioned whether the story was true. It wasn’t until 2016 that Mayer Samuel Weiss’s rabbinical ordination certificate was discovered in the Milwaukee County Historical Society.
“Houdini broke free from his history, maybe the history of Jewish persecution, because he became very well loved, popular and famous,” Zoeter said, “although he was a Jew.”
The Bamberg family started as court magicians in 18th century Holland, and the Dutch family went on to produce five more generations of magicians.
Tobias David Bamberg, who went by Theo, became the first global star of the Bamberg magicians at the end of the 19th century. At age 18, he created a Japanese-style act that he performed in Berlin, that he went on to alter over time. He invented tricks that he built himself, including a coin box and a disappearing wand.
Hans Klok, a well-known contemporary Dutch illusionist, inherited a collection of magic props from Okito some years ago, which he loaned to the Jewish Museum for the exhibition. The 25 Okito items on display include a confetti box, which magically turns confetti into silk handkerchiefs, as well as stage decorations, a scrapbook and family photos.
Okito fled to Latin America as World War II was approaching, and later moved to New York, where he opened a magic shop.
As the Orientalist character Fu Manchu, Theo’s son, David Tobias Bamberg, created shows full of spectacular illusions and also appeared in films and musicals.
Alexander Herrmann, a French magician who once performed for Abraham Lincoln, adopted a suave devilish look, complete with tuxedo and goatee, which later became a popular fashion choice for many other magicians. He became famous for levitating his wife, Adelaide, and also shooting her out of a cannon.
For some of these performers, these elaborate stage identities were a form of protection against antisemitism. Dressing in “exotic” clothes and pretending to be unable to speak English added to their mystique, and allowed them to avoid revealing their true identities.
Asian-themed costumes also served a practical purpose: Okito’s oversized kimono had sleeves wide enough to hide all kinds of vanishing objects.
The exhibition also explores the role of women in magic, not only as indispensable assistants, but also as solo performers. After her husband, Alexander, died, Adelaide Herrmann (who was not Jewish) went on to have a very successful career on her own for another 30 years.
Trained in aerial acrobatics and ballet, Herrmann (born Adelaide Scarcez in London to Belgian parents) performed illusions in which she appeared to cut off her own head, and to catch bullets between her teeth.
She also encouraged many other women into the world of magic, as a mentor and advocate.
“I shall not be content until I am recognized by the public as a leader in my profession,” she once said, “and entirely irrespective of the question of sex.”
The Holocaust claimed the lives of many Golden Age magicians, and forced others to flee Europe, often emigrating to the Americas. In 1933, when Hitler came to power, a German author and amateur, Guenther Dammann, put together a book of some of the best magicians of the Golden Age, “Die Juden in der Zauberkunst,” or “Jews in Magic.”
Many of the Jewish magicians profiled in this exhibition also appeared in his book, which is now considered a record of a lost era.
“Abracadabra” runs until March 29, 2027 at the Jewish Museum in Amsterdam.
The post These legendary magicians made their Jewish identities — poof! — disappear appeared first on The Forward.
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A poet’s reaction to this summer’s terrorist attack in Berlin
דעם 25סטן יולי איז דער פּאָעט דזשײק שנײַדער געפֿאָרן קײן װײַמאַר כּדי צו מאָדערירן אַ כּמו־טעלעװיזיע־פּראָגראַם אױף ייִדיש מיט דער אַקטריסע עלענאָר ריסאַ, אַן אונטערנעמונג אין משך פֿונעם פֿעסטיװאַל „ייִדיש־זומער װײַמאַר“. אױף מאָרגן איז ער אַהײמגעפֿאָרן קײן בערלין, װוּ ער האָט מאַרשירט אינעם יערלעכן שטאָלץ־פּאַראַד – אײדער אַ טעראָריסט האָט אַטאַקירט דעם פּאַראַד, דערמאָרדעט אײן פֿרױ און פֿאַרװוּנדיקט מער װי 30 מענטשן. אָט דער „פּאָעטישער באַריכט“ דאָקומענטירט כראָנאָלאָגיש זײַנע פֿראַגמענטאַרישע געדאַנקען און אײַנדרוקן פֿון דעם דאָזיקן מעת־לעת.
װאָס איז טײַטש „לײַװ“?
פֿון דזשייק שנײַדער
פֿאַרבײַגעגאַנגענע רעקלאַמעס׃
פֿאַרטאָפּלט אײַער עקראַנצײַט!
װערט אַ זעלנערין פֿאַר דײַטשלאַנד!
אײַער דירה־געלט איז צו טײַער!
איך דאַרף נאָך מסרן מײַן ראָװער־גנבֿ.
כאַפּן די פֿאַרלאָזלעך פֿאַרשפּעטיקטע באַן.
שױן זיצט מײַן סטודיאָ־עולם און װאַרט.
פּונקט אַזױ װי די װערטער פֿון דער װאָך.
אונטערװאַרטן, אָפּװאַרטן, צוּװאַרטן.
פּונקט אַזױ װי יאַנקלס נײַער װערטער־װידעאָ.
עס װאַרט אַ שיסל מיט ברױנע עם־ען־עמס.
איך האָב שױן אײן מאָל פּראָבירט דעם קלאַנג.
אַ שמועס־שעה אױף פֿאַרשטומטן ייִדיש.
אַ טעלעװיזיע־פּראָגראַם אָן טעלעװיזיעס.
אַ לעבעדיקע לאַכטאַשמע, דאַנקען גאָט.
„אונדזער עולם“ איז דאָך דאָ אין װײַמאַר.
איך דאַרף נישט איבערחזרן אױף כינעזיש.
פּאָסטקאַרטלעך פֿון װאַרשע, סאַו־פּאַולו.
אַכט מדינות… אָבער נישט דײַטשלאַנד.
עלענאָר באַװױנט אונדזער נישט־טעלעװיזיע.
ליבע־בריװ פֿונעם אונטערװעש־שופֿלאָד.
דאָס טײַערסטע קלײד פֿון אַ גאַנץ לעבן.
אַז מען דערמאָנט פֿראַנק לאָנדאָנען…
כּדי צו שטראָמען באַדאַרף מען נײַעס.
אַזאַ מין איצט באַדאַרף אַן איצטיקײט.
אַנישט קומט דער נעטפֿליקס־עפֿעקט.
אָן־סופֿיקע אַפֿישן אַדורכצובלעטערן.
בײַ ממשותדיקע נײַעס קומען שטױס־מעלדונגען.
די מאָבילקעס, טאַבלעטן און זײגערלעך װיברירן.
און שױן איז אונדזער שמועס־שעה פֿאַרבײַ.
שױן האָבן מיר געבענטשט עלעקרטישע ליכט.
געריסן די חלות, געגעסן די אוגערקעס.
אֵין כּל, אֵין כּל, אֵין כּל…. „טײַ“.
נישטאָ קײן צײַט פֿאַר אַ חצות בײַם טײַך.
די באַן פֿאָרט אומהײמלעך איצטיקיסטיש.
אינסטאַגראַם האָט פֿאַרגעסן זײַן ייִדיש.
שױן אַהײמגעפֿאָרן מיטן דינג־ראָװער.
שױן געגלעט מײַן הינטלס קאָנוס־קאָפּ.
שױן אָנגעטאָן מײַן בער־קאָסטיום.
שױן געפֿאָרן צום פּרײַד־לחײם.
שױן געקװעטשט אױפֿן נײַנטן קנעפּל.
שױן איבערגעקערט אַ טעלער מיט נאַשן.
שױן געהערט מעשׂיות פֿון נעכטן בײַ נאַכט.
שױן פּאָזירט אינעם יערלעכן באַלקאָנבילד.
אַלע טראָגן װי תּמיד די סאַמע מאָדישע זאָקן.
אַ פֿרײלעכן פּרײַד. פֿרײלעך צו זײַן פֿרײלעך.
אַראָפּ און אַרױס מיט די אַנדערע פֿײגעלעך.
אַן אַנדער שׂימחה־גרופּע װאַרט שױן אין דרױסן.
איך טאָר נישט קװעטשן דאָס פֿרײלעך־קנעפּל.
איך טאָר נישט נאַשן קײן שװאַמעלע־שאָקאָלאַד.
מיר יאָגן זיך נאָך די אַנטלאָפֿענע פּאַראַד־װאָגנס.
הײַיאָר פּראָקלאַמירט מען כּמו־פּאָליטישע לאָזונגען.
דעות זענען רײצנדיק. די „גוטע גבֿירים“ בלײַבן.
מיר מאַרשירן טאַנצעװדיק, טאַנצן מאַרשירעװדיק.
ס׳איז דער הױפּטשטראָם־פּרײַד, דער באַנאַלער.
נישט דער לעסבישער, נישט דער פּאַלעסטינישער.
מיר פֿאַרלירן אַ חבֿר אַלע פֿינף מינוט.
מיר װאַרטן אױפֿן קלאָזעט־הײַזעלע.
מיר האַלטן זיך אָפּ בײַ נאָלנדאָרף־פּלאַץ.
דאָרט אױבן אַרבעט מײַן צײנדאָקטער!
דאָרט װוּ עס הענגען די נחת־פֿענער!
אַ ביר פֿון אָרגאַנישן סופּערמאַרק.
כּדי אַרײַנצוגײן דאַרף מען זיך אָנטאָן.
איך דאַרף נאָך ענדיקן דאָס „לײַװ“-ליד.
איך דאַרף שפּאַצירן מיטן קאָנוס־קעפּל.
איך דאַרף נאָך שרײַבן עטלעכע רשימות.
קודם־כּל, פֿאַר װאָס נישט אַ שניצל?
די קיך פֿאַרמאַכט זיך צען אַ זײגער.
מיר באַשטעלן אין דער לעצטער מינוט.
מיר עסן דאָס אױסגעפּלאַטשיקטן פֿלײש.
מיר שפּאַצירן אַהײם דורך די געסלעך.
צװײ פֿײגעלעך פֿון אַ גאַנץ יאָר מיט אַ הינטל.
שױן קומען די שטױס־מעלדונגען.
שױן שטײען מיר אױף דער שװעל.
איך דאַרף זיך שױן „מעלדן בשלום“.
איך דאַרף נאָך מעלדן מײַן ראָװער.
איך דאַרף נאָך ענטפֿערן אױף די בריװלעך.
צי בין איך בשלום? װער איז בלשום?
די מלחמה קעגן מלחמות איז אױס.
עס בלײַבן אונדז בלױז מײנונגען.
יעדער אײנער האָט זײַן אָפּרוף.
יעדער אײנער האָט זײַנע דעות.
יעדער אײנער האָט קלוגע פּירושים.
װער זשע װיל זײַן אין די נײַעס?
בערלין קײן װײַמאַר קײן בערלין, 26-25 יולי
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These Bundist pioneers were heroes in their time. Would they be in ours?
Academic stars in high school, Abrasha Blum and Luba Bielecka shared a slow burn romance and fervor for radical change. That hardly set them apart amid the ferment after the tsarist empire crumbled in 1919. No one would have predicted that Bielecka would go on to be awarded global nursing’s highest honor and Blum Poland’s equivalent of the Congressional Medal of Honor.
But their story poses a provocation in today’s hyper-polarized politics: Blum and Bielecka were devoted Bundists, and as such, they were not only socialists but anti-Zionists.
That combination can get you labeled today as anti-Israel and antisemitic, and even anti-American. Yet at the time they were Jewish heroes.
Bielecka repeatedly risked her life smuggling children out the Warsaw ghetto under Nazi occupation while directing the sole Jewish nursing school, sustaining its rigorous professional standards even as it was squashed into oblivion. Blum, a physically frail man, was dubbed the “ideological father of armed resistance” in the Bund; he led his band of militants into joining forces with the detested Zionists in the historic Warsaw Ghetto Uprising. When the insurgency was crushed — as all the combatants knew it would be — Blum, an engineer by training, led the surviving remnant through the cavernous sewer system to safety. But soon thereafter, in fleeing the police, he plummeted three stories from an apartment building. Badly injured, he was taken to Gestapo headquarters and never seen again.
Blum and Bielecka engaged the world as they found it and fought for justice for Jews and humanity. Blum’s photo is on display at Yad Vashem, Jerusalem’s Holocaust museum.
A lot has changed in 85 years. In 1939, most Americans Jews opposed Zionism and feared it would be misused by antisemites to justify allegations of dual loyalty. At the time, twice as many Jews lived in Warsaw as in all of British Palestine. The Bund swept 17 of 20 Jewish-designated seats on city council (Blum held one of them), far outdistancing all the Zionists parties together. Socialism made sense to Jewish voters, who were overwhelmingly “blue collar.” And so did doikayt (“hereness”), the doctrine that Poland’s three million Jews belonged there, not in a far-off desert, as the Zionists maintained.
The Holocaust radically and irrevocably changed the landscape. Ninety percent of Polish Jewry was exterminated. Even after the Nazis were vanquished, Jews continued to endure pogroms and were largely purged from Poland’s ruling communist party. By then, Israel was the sole destination in the world that welcomed large numbers of Jews.
Blum and Bielecka’s daughter, 17-year-old Aviva (née Victoria), was among the pioneers who migrated to a kibbutz in the new State of Israel. Zionism offered her the promise of milk and honey in a sanctuary free of antisemitism.
For years, her younger brother, Olek, held fast to his parents’ politics. But he too ultimately exited Poland, not for Israel but for the US, saddened that his father’s dream of “a prosperous Jewish minority inside Poland was impossible to realize.”
Like their parents, Aviva and Olek too engaged the post-WWII world as they found it and sought a better world.
Today, socialism and anti-Zionism are each experiencing something of a revival in the U.S. Self-described socialists have won mayoral elections in New York, Seattle and Washington, D.C. DSA-supported candidates won the Senate Democratic primary in Florida and narrowly lost Wisconsin’s gubernatorial primary. A recent CBS News poll found that 58% of Democrats now hold a favorable view of socialism, whereas only 32% view capitalism positively. The gap is even wider among young people. Jews, despite their relative affluence, remain among the most liberal voters in the U.S., although their current views on socialism have not been scientifically surveyed.
Anti-Zionism looks quite different in 2026 than in 1939, at least to Jews. Israel, approaching its 80th anniversary, is far from the desert mirage ridiculed by pre-war Bundists. While only a minority of American Jews self-describe as Zionists, an overwhelming majority support Israel as a Jewish and democratic state. Yet they are deeply troubled by Israel’s direction: Polls show that Zohran Mamdani, a socialist and anti-Zionist, is more popular among American Jews than Israeli Prime Minister Benjamin Netanyahu.
We’re left with this thought experiment: What if Abrasha and Luba resided in America today? What would they view as justice and how would they engage to achieve it? What if they resided in Israel?
And finally, a question about the rest of us: Would we recognize them as heroes?
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