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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.”
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Donald Trump actually faced a few tough questions on ’60 Minutes.’ So, why does Marine Le Pen get a pass?
Last Sunday, the news show “60 Minutes” hosted an outgoing president of one country and, quite possibly, the incoming president of another. While falsehoods and fatuities flowed from President Donald Trump, his interviewer, Ross Douthat frequently, if futilely, tried to push back. Yet when Marine Le Pen, running for the presidency of France, also fibbed or fudged the truth, her interviewer, Trevor Phillips, did little more than arch an eyebrow.
This split-screen experience was unsettling for a few reasons. First, it reminded us that our president’s famous “weave” reflects a mind that is declining as surely as his poll numbers. A glance at the interview transcript reflects the deepening incoherence of the man who occupies the world’s most powerful office. This made all the most startling the cogency of his reply to a question Douthat posed at the end of the interview: whether he could stop hating his enemies if that was the price to enter heaven. To a flabbergasted Douthat, Trump replied, “I probably cannot do that, no, because I do hate some of my enemies and I always will.”
While no one can say whether Trump is destined for heaven or hell, Le Pen’s remarks in her interview suggest that she will make life hell for those men and women who fail to qualify, in her eyes, as French.
Yet, in his interview, Trevor Phillips, formerly of The (London) Times and a recent Bari Weiss recruit, failed to make this as clear as a Mike Wallace, a Dan Rather, or a Scott Pelley would have. Nattily dressed and well-spoken, Phillips presented a segment on the violence that has “erupted in Paris’ romantic boulevards” where “the scent of warm croissants and fresh baguettes has been overwhelmed by the whiff of tear gas.”
Overwhelmed by the weight of silly clichés, Phillips could not help but add “They used to call Paris la ville de l’amour — the City of Love. But there hasn’t been much amour on show lately.” While Phillips does not state who “they” are — given the hoariness of the clichés, perhaps they asked to remain anonymous — he should think twice about his assertion that there is not much love. Of course, the protestors are expressing their anger towards the government of President Emmanuel Macron, but they are also expressing their deep attachment, even love, to the republican tradition that has made Paris la ville de la révolution.
More important than his potted account of the social upheavals in Paris, however, was Phillips’ problematic interview with Le Pen. “In 2011,” he explained, “Le Pen took over leadership of what was then a fringe movement from her father, a tough army veteran convicted and fined for Holocaust denial and hate speech.” Yet nine years earlier, in 2002, Jean-Marie Le Pen, the candidate of this “fringe party” then called the National Front, made it into the second round of the presidential election. Though Le Pen failed to make it into the second round in 2007, that more than 4 million French voted for him suggests that his party and person were hardly fringe. It is also odd that while Phillips noted Le Pen’s Holocaust denialism, he omitted Le Pen’s confession that he had tortured Algerian captives while serving in French Algeria.
No less stunning was Phillips’ description of Marine Le Pen’s decision to banish her father from the party in order “to rid it of its stain of bigotry.” If only it were mere bigotry. The National Front was founded, in part, by former members of the French division of the Waffen SS and sympathizers of the wartime collaborationist regime of Vichy. While the daughter has largely succeeded in removing these elements from the party, which she rebranded as the National Rally, she has not removed the “stain” of antisemitism. Little more than a month ago, the French newspaper Mediapart revealed that Le Pen’s second-in-command, Jordan Bardella, was trafficking in antisemitic bilge even after he joined the party as a teenager.
Time and again, Phillips posed questions but had not adequately prepared for Le Pen’s predictable replies. When he asked, in his opening question, “What is happening in Europe? Has politics here just become more radical?” Le Pen answered that “the extreme left creates chaos. They generate violence against people.” If Phillips had done his due diligence, he would have confronted Le Pen with the recent study by the historian Nicolas Lebourg revealing that while six murders in France since 1986 were “generated” by the extreme left, nearly sixty were “generated” by the extreme right. Phillips might also have mentioned last month’s mass killing and wounding of French Muslims in the town of Trappes by an individual who marinated in the literature of the extreme right.
Finally, when Le Pen made the jaw-dropping claim that “discrimination does not exist in France” and, moreover, is “the least racist country in the world,” Phillips did, in fact, raise an eyebrow while repeating her words. But it would have been more effective, perhaps, to raise the findings of various organizations, like the Defenseur des droits, which concluded in 2024 that the “perceived origin” of a job applicant weighs more than any other factor in hiring decisions in France.
As for his lack of follow-up questions to Le Pen’s assertion that France is the world’s least racist country, Phillips’ professional malfeasance was made fully manifest. In every presidential campaign, Le Pen has committed to establishing the law of national priority, which in effect would constitutionalize a racist agenda. Based on the extreme rightwing hobbyhorse of the “great replacement” — namely, that France’s white population is deliberately being replaced by third world immigrants — the law will limit employment opportunities, social and housing benefits to French citizens. Such a law not only runs counter to the laws of the European Union, but also to the humanist and universalist grounding of France’s constitution.
Phillips failed to contest this claim. Ironically, he closed the interview with Le Pen’s assurance that “French people have got to know me.” If only Phillips had done so, as well.
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The post Donald Trump actually faced a few tough questions on ’60 Minutes.’ So, why does Marine Le Pen get a pass? appeared first on The Forward.
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Israel’s parliament sworn in as leaders scramble to form a government
(JTA) — JERUSALEM – Israel’s 26th Knesset, or parliament, was sworn in on Tuesday, even as national elections two weeks ago produced no clear winner or indication of who will be Israel’s next prime minister.
On Sunday, President Isaac Herzog officially tasked former IDF chief and political novice Gadi Eisenkot with forming the government after a majority of newly elected lawmakers said they would prefer him as prime minister.
Incumbent Prime Minister Benjamin Netanyahu lost his parliamentary majority in the vote, even though his party, Likud, remained the largest of those entering the Knesset with 27 seats in the 120-member parliament.
Netanyahu has called on Eisenkot to join him in forming a national unity government, but in his ceremonial toast in the Knesset on Tuesday he ended up pushing Eisenkot’s change bloc even further away from the idea of a unity government under his leadership by casting suspicions on all of their potential partners in a future government.
Eisenkot and his bloc of four parties – his own Yashar Party, B’Yachad headed by former prime ministers Naftali Bennett and Yair Lapid, Avigdor Liberman’s Yisrael Beitenu, and the Democrats led by Yair Golan – have campaigned on a promise to change the current government and the prime minister. Following Netanyahu’s speech, Eisenkot said in a statement that now he was even more certain that change was needed.
Eisenkot’s bloc garnered 48 seats in the election, and since then has drawn additional support from the two Arab parties, which together hold 19, and an expression of support from United Torah Judaism, an ultra-Orthodox party previously aligned with Netanyahu. The extra support gives him a shaky majority in the Knesset.
Eisenkot has reiterated that any party, including Likud, is welcome to join him as long as they embrace his four conditions: Recognition of Israel as a Jewish and democratic state, acceptance of the values of the Declaration of Independence, mandatory military or civilian service for all, and recognition of Hamas as a terrorist organization.
Ilana Shpaizman, a senior lecturer in the Department of Political Studies at Bar-Ilan University, told the Jewish Telegraphic Agency that even though a new government has not yet been formed, “the Knesset can act on everything.”
“The Knesset can do oversight, the same thing as it did before; it can also pass legislation… but only private legislation and not government legislation,” she said, adding that the current government under Netanyahu will continue to function until it is replaced, just without the majority it had previously.
Shpaizman added that even if Eisenkot does not succeed in forming a government, and the country goes to another election, the Knesset sworn in on Tuesday will have at least six months to legislate as it chooses.
“This is a lot of time to legislate, so this is very important, and especially things like the finance committee, which can control the budgetary transitions of the government,” she pointed out.
Opening the Knesset swearing-in ceremony, Herzog called on the new Knesset members to “do everything possible to avoid another round of elections.”
“The people who chose you long for routine, security and tranquility,” the president said, outlining many of the challenges that Israel has faced over the past three years.
“The people you represent here yearn to see an outstretched hand that will bring unity to the nation and hope,” Herzog said. “A people that carries within it pain, devotion, and sacrifice longs to see you translate those strengths into cooperation, into unifying dialogue, and into listening.”
He added: “I ask of you: be measured toward one another. Reach out a hand for compromise, even between rivals. Look upon one another with generosity. There is much work to be done here, and it requires the ability and experience found in every part of this House.”
Before the swearing-in ceremony, each of the 11 elected parties held its first faction meeting in the Knesset. Eisenkot took the opportunity to announce that his bloc had reached agreements on nominations for key Knesset positions.
Former minister and incoming MK Matan Kahana from Yashar is slated to be the next Knesset speaker, a powerful position that sets the Knesset plenum’s daily agenda. MK Roy Folkman, also from Yashar, will be nominated as chairman of the Arrangements Committee, which is responsible for organizing the Knesset’s work at the beginning of its term.
In addition, Liberman will take over as chairman of the Foreign Affairs and Defense Committee, and MK Liran Avisar Ben-Horin from B’Yachad, will be nominated head of the Finance Committee, another powerful role.
As soon as the swearing-in ceremony concluded, Eisenkot’s party announced that it had submitted a series of bills that would reverse some of the more controversial laws passed by the previous government, including those relating to the judicial overhaul plan.
In addition, a bill was submitted calling for the establishment of a State Commission of Inquiry to investigate Hamas’s Oct. 7 massacre and how it was allowed to happen.
Of the 120 Knesset members sworn in on Tuesday, 46 are new to the parliament and roughly one in ten members has buried a loved one lost to terror or war, including Eisenkot whose son and two nephews were killed in combat.
According to statistics shared by Herzog in his speech, the most veteran Member of Knesset is Netanyahu, who has served in 15 Knessets since 1988, while MK Yonatan Shalev, a member of B’Yachad, is the youngest MK. At 24 years old, Shalev breaks a 66-year-old record.
In addition, the 5050 Initiative of the Centers for Social Justice, an Israeli non-profit, said in a statement that the new Knesset would set “an all-time record for the number of women serving in the Knesset: 33.”
“Today is a very good day for democracy because the new Knesset is being sworn in,” Shpaizman said. “It means that the election was fair and was peaceful.”
“I think the previous Knesset got to a point where the trust in it as an institution was the lowest ever, so it is a very good thing that new people are entering, new people who come in good faith from both sides who want to bring change and to make Israel better,” she added.
This article originally appeared on JTA.org.
The post Israel’s parliament sworn in as leaders scramble to form a government appeared first on The Forward.
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Evan Gershkovich survived the terrors of prison in Putin’s Russia. Not every journalist was equally lucky.
This Cursed Beautiful Land
By Evan Gershkovich
Crown, 432 pages, $34
In Evan Gershkovich’s memoir This Cursed Beautiful Land, the Wall Street Journal reporter relives his ordeal to give readers a firsthand account of how Russia’s prisons and its repressive legal system operate under Putin’s wartime regime.
Gershkovich survived 491 days in the Russian prison system and was released as part of the largest prisoner exchange between Russia and the West since the end of the Cold War. His story echoes the way in which Dostoevsky escaped death by firing squad at the last minute. Tsar Nicholas I had already commuted his death sentence to four years of hard labor in Siberia, followed by military service, but ordered the execution to be staged anyway, right up until the soldiers took aim (one of the men condemned along with Dostoevsky lost his mind as а result). In July 2024, after a closed trial, Gershkovich was convicted of espionage and sentenced to 16 years, only to be freed less than two weeks later.
In February 2022, when Russia launched its full-scale war in Ukraine, Gershkovich was at a high point in his career. He had just joined The Wall Street Journal and, he writes, “was itching to get into the action.” Russia can be especially cruel to this kind of daring.
Gershkovich calls his work as a foreign correspondent a kind of “voyeurism” — and his time in captivity “the ultimate voyeurism” — and admits that he was addicted to the adrenaline. The notion that he was being tailed by Russia’s security service felt energizing. The more action happened around him, the more alive he felt.
In his memoir, he describes how the Russian authorities’ attitude toward reporters for foreign media outlets changed drastically. For years, he writes, the unspoken rule was that foreign reporters could cover topics Russian journalists couldn’t, and would be safe doing so. After Russia’s invasion, the government passed a whole raft of new laws against free speech; independent Russian journalists had three options: go underground and work anonymously (and many are still doing exactly that despite all the personal risks), leave the country, or go to prison.
An ‘undesirable’ journalist
For my part, I tried to stay in Russia for as long as I could. I worked anonymously as a reporter for the investigative outlet Proekt, the first Russian media outlet labeled an “undesirable organization” (this status means that anyone who takes part in its work can be prosecuted and face up to four years in prison). While all my colleagues had already been forced to leave the country, I stayed to report from the inside of Russia on the corruption inside Putin’s inner circle and among the elites that supported the bloodbath in Ukraine. I also reported on the human and economic cost of the war for other Russian banned media.
As a volunteer, I tried to help Ukrainian war refugees, collecting and driving donated clothes, medications, hygiene products and other essentials in the temporary shelters, where people were forced to live with no money and no way to rent housing or find proper work.
On Feb. 4, 2023, I found my name on a Moscow court’s website: An administrative case had been opened against me for “discrediting” the Russian army. The evidence, I learned later, was an interview I had given to TV Rain, Russia’s last independent TV channel, which was banned by the authorities. I had gone on air to encourage more people to help refugees, and I talked about my anti-war tattoo, which I got as a reminder that “love and friendship are stronger than war” – those very words discredited the Russian army, according to the case files. A second such case led to a criminal charge that could have resulted in up to five years in prison. I knew I had done enough as a journalist to be charged under a whole range of other articles, including treason. By 5 a.m. the next day, I was in Tbilisi, Georgia. Less than two months later, Gershkovich was arrested.
‘How could I be so naive?’
Gershkovich writes that he believed he “had a responsibility to carry out since Russian citizens could no longer do the kind of reporting he could” and that the Russian authorities would more likely expel than arrest him: “The fact that I didn’t have a Russian passport gave me added confidence,” he says.
In early 2023, the WSJ reporter was working on several stories at once, including one on whether Russia’s war machine could sustain a long war, and another on Yevgeny Prigozhin, the Kremlin caterer-turned-warlord, whose Wagner Group had been recruiting prisoners into its ranks and posed a threat to the state’s monopoly on violence.
Gershkovich’s arrest in March 2023 officially marked the end of the period when foreign reporters could consider themselves immune. In wartime, they are seen as enemy spies and potential pawns in hostage diplomacy. As FSB (Putin’s trusted security service and the successor to the Soviet-era KGB) investigator Dmitry Sapunkov told Gershkovich, if they hadn’t gathered enough evidence to arrest him, they would have simply “poisoned” him: “In every country there are enemies that need to be put in prison or be eliminated,” an FSB investigator said.
That was no idle threat: Putin’s regime has a long history of poisoning its enemies. Alexei Navalny, Russia’s most prominent opposition leader, was poisoned twice — the second time fatally, in a penal colony above the Arctic Circle.
The FSB alleged that Gershkovich had been gathering classified information “on instructions from the CIA” about Uralvagonzavod, a major Russian defense plant that manufactures and repairs military equipment.
According to Gershkovich, union activist Pavel Sergienya had told him that he might be able to get information about the factory’s projects. They met at a steakhouse in Yekaterinburg, an industrial city in the Urals, and Sergienya showed Gershkovich notes about the increase in tank production. Moments later, a group of men in balaclavas descended on Gershkovich, handcuffed him, pulled a black sack over his head and forced him into a van. He tried to explain that he was a journalist, but one of them cut him off: “What would your government think if our journalists were working on this kind of article in your country?” they asked.
At the closed trial, as Gershkovich describes it, Sergienya, the prosecution’s key witness, testified that he had begun cooperating with the security service before meeting Gershkovich. In September 2025, the independent Russian media Mediazona identified Sergienya, a Uralvagonzavod employee and representative of the trade union Solidarity, as an FSB provocateur: He was also a key figure in the “terrorism” case against Andrei Vogel, a 65-year-old opposition activist from Nizhny Tagil.
Gershkovich berated himself for trusting Sergienya. “How did I not see it? How could I be so naive?” he asked himself. “‘’You can’t tell the story if you’re dead,’ a colleague had once told me,” he writes, “and now I thought of a coda: You can’t tell the story if you’re in prison either.”
Fortunately, he managed to tell it.
‘A valuable commodity’
Gershkovich is the son of Jewish immigrants who left the Soviet Union in the 1970s. His great-grandfather vanished after he was arrested in 1937, during Stalin’s Great Terror.
Among Russian journalists there is a shared understanding: In prison, you are of no use as a journalist; you become a burden and source of constant pain for your loved ones. Gershkovich shares similar thoughts from Lefortovo prison, where he is consumed with doubts about whether he’ll ever be swapped. He realizes that he might never again see his mother, who managed to provide him with kosher food (ahead of the start of Passover) even though he was “in a prison cell in the country she had chosen to leave.” “In that moment, I felt like I had done something unspeakably cruel,” he writes.
Gershkovich quotes Vasily Grossman on how an oppressive regime can dwarf a person: “Only people who never felt such force themselves can be surprised that others submit to it.” The WSJ reporter couldn’t be absolutely certain an exchange would ever happen or how many years he might have to spend in the prison cell; he was aware of the fate of Paul Whelan, a former US marine, convicted of espionage (charges he denied) and waiting for a swap since 2018.
In his small cell, the reporter is caught in the grip of a thousand-eyed Leviathan that keeps peering in at him: “With time, I would learn to recognize the eyes of each guard checking in on me, six times an hour, more than a hundred times a day.” Yet Gershkovich manages to reveal the human faces behind the function they play in the repressive system; he even makes conversation with his FSB investigator about the corruption of the Russian political system.
To protect the identities of his cellmates, he merges them into a composite character he calls “Seryoga,” who was accused of running an illegal weapons shop and had admitted his guilt. “On the outside, we would never have been friends,” Gershkovich writes. “But here, in these circumstances, we got along and he made me laugh.”
Seryoga, who considers himself an alpha male, tries to educate Gershkovich about the proper way to enter a cell (or khata in Russian prison jargon, which is also the Ukrainian word for a house): Never step over the threshold without wiping your feet on the rag by the door (hygiene is essential; as Seryoga put it, “we shit where we eat”), and be ready for the first questions: “What’s the trouble?” or “Is everything even in your life?” Both phrases mean “What are you in for?” That is, which article of the Russian Criminal Code were you charged under? The “uneven” articles, the so-called 130s, cover sex crimes such as rape and child sexual abuse. They automatically put a prisoner at the very bottom rung of the prison: Most likely, he will eat last and be subjected to sexual violence.
Seryoga also teaches his American cellmate the saying at the heart of the prison brotherhood in Russia: “From the soul, soulfully, into the soul. Hugged you, picked you up, and put you back down.” Gershkovich already knew the phrase “from the soul” when he was on the outside. It is shorthand for “thanks” — a vivid example of how prison slang has seeped into the Russian language and culture.
Gershkovich understood that in state custody he was seen as a “valuable commodity,” and that he hadn’t faced any real FSB interrogations: no beatings, no electrocutions, no waterboarding, no stringing up, no harassment. “They want to present a humane face to the world. They took a journalist who they know will write about the experience, so in the meantime they will treat him well,” he remembers thinking.
Gershkovich was kept safe because he was seen as leverage to secure the release of Vadim Krasikov, an FSB assassin, convicted for life in Germany of shooting dead an exiled Chechen rebel commander in a Berlin park in August 2019. In the last part of the memoir, Gershkovich that he felt “guilty” that because of him Krasikov was now free, and Putin was able to show the security services that if they committed to executing dangerous operations for him, he would have heir back.
Not every journalist swallowed up by Russia’s repressive machine is as lucky as Gershkovich. Ukrainian journalist Viktoriia Roshchyna was tortured to death in Russian custody. When her body was returned to Ukraine, her eyeballs, brain and part of her larynx were missing.
Another brick in the wall
Gershkovich calls Russia both “cursed and beautiful” and the country undoubtedly means a great deal to him. It’s where he found love (his girlfriend, Maria, is a well-known Russian journalist), made close friends, and did some very good reporting.
A Russian journalist would never tell an FSB interrogator that “people will rally in their support,” as Gershkovich did, but fortunately, he turned out to be absolutely right.
His defense lawyers, Tanya, Maria and Andrei, went through every procedural step, even though they knew a guilty verdict was a foregone conclusion. “What’s the point?” Gershkovich once asked them.
“One day all of this will come crumbling down,” Andrei told him. “Right now, we’re trying to preserve some semblance of a foundation from which to rebuild.” The stubborn work of the lawyers was a powerful form of a protest — perhaps the only one possible, without being locked away, in a dictatorship.
Maybe Gershkovich’s book will be one of the bricks in that rebuilding, too.
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