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As ‘The Marvelous Mrs Maisel’ ends, will its Jewish legacy be more than a punchline?
(JTA) — After five seasons, 20 Emmy awards and plenty of Jewish jokes, “The Marvelous Mrs. Maisel” airs its final episode on Friday.
The lauded Amazon Prime show from Amy Sherman-Palladino has enveloped viewers in a shimmering, candy-colored version of New York during the late 1950s and early 1960s — a world in which “humor” has meant Jewish humor and “culture” has meant Jewish culture.
But as it comes to an end, the show’s Jewish legacy is still up for debate: Did its representation of Jews on mainstream TV make it a pioneer of the 2010s? Or did it do more harm than good in the battle for better representation, by reinforcing decades-old comedic tropes about Jews?
The comedy-drama followed the vivacious Midge Maisel (Rachel Brosnahan) on a journey from prim Upper West Side housewife — left in the lurch after her husband has an affair with his secretary — to ambitious, foul-mouthed comic fighting her way through the male-dominated standup comedy industry. Her New York Jewishness colored her jokes, her accent, her mannerisms and much of her daily life.
That’s because the whole landscape of the show was Jewish, from the well-to-do, acculturated intelligentsia (such as Midge’s parents) to the self-made garment factory owners (such as her in-laws). Even the radical Jewish comic Lenny Bruce, a countercultural icon of the midcentury, appeared as a recurring character who propels Midge’s success.
Henry Bial, a professor specializing in performance theory and Jewish popular culture at the University of Kansas, said the emergence of “The Marvelous Mrs. Maisel” in 2017 exemplified a shift to more overt portrayals of Jews on TV — especially on streaming services. Although Jewish characters featured in TV shows throughout the 20th century, such as “The Goldbergs” in the 1950s, “Rhoda” in the 1970s and “Seinfeld” in the 1990s, their Jewishness was often more coded than explicit. Network television, seeking to attract the majority of Americans coveted by advertisers, feared alienating audiences who couldn’t “relate” to ethnic and racial minorities.
“If there are only three things you can put on television at 8 o’clock on Tuesday night, then there’s a lot more incentive for networks and advertisers to stay close to the herd, because you’re competing for the same eyeballs,” said Bial. “But when people can watch whatever they want whenever they want, then it opens up for a much wider range of stories.”
Other shows such as “Transparent,” “Broad City” and “Crazy Ex-Girlfriend,” which debuted in 2014 and 2015, are often cited alongside “Mrs. Maisel” as part of a new wave of Jewish representation.
Riv-Ellen Prell, a professor emerita of American studies at the University of Minnesota, argued that Midge subverts the stereotype of the “Jewish American princess.” At the start of the show, she appears to embrace that image: She is financially dependent on her father and husband and obsessive about her appearance, measuring her body every day to ensure that she doesn’t gain weight. Despite living with her husband for years, she always curls her hair, does her makeup and spritzes herself with perfume before he wakes up.
“She looks for all the world like the fantasy of a Jewish American princess,” said Prell. “And yet she is more ambitious than imaginable, she is a brilliant comic who draws on her own life. You have Amy Sherman-Palladino inventing the anti-Jewish princess.”
Bial said that Midge’s relationship with her Jewishness defies another stereotype: That identity is not a source of neurosis or self-loathing, as it often appears to be in the male archetypes of Woody Allen and Larry David, or in Rachel Bloom’s “Crazy Ex-Girlfriend.” Through the spirited banter, the pointed exclamations of “oy,” the titillation over a rabbi coming for Yom Kippur break fast — Midge’s Jewishness is a source of comforting ritual, joy and celebration.
“She has anxieties and issues, but none of them are because she’s Jewish,” said Bial.
Some critics argue the show’s depiction of Jewish culture relies on shallow tropes. In a 2019 review, TV critic Paul Brownfield said “The Marvelous Mrs. Maisel” repurposed stereotypes to appear “retro chic.” He pointed to a consistent contrast between the Weissmans (the assimilated, cultured Jews of the Upper West Side) and the Maisels (the boorish, money-focused Jews of the Garment District), arguing that these superficial types replace an exploration of what the period was actually like for American Jews.
“However ‘Jewish’ Sherman-Palladino wants the show to be, ‘Maisel’ fails to grapple with the realities of the moment in Jewish American history it portrays,” Brownfield wrote. “Which is ultimately what leaves me queasy about its tone — the shtick, the stereotypes, the comforting self-parody.”
Meanwhile, Andy Samberg took a jab while co-hosting the 2019 Golden Globes with Sandra Oh. “It’s the show that makes audiences sit up and say, ‘Wait, is this antisemitic?’” he joked.
Tony Shalhoub and Marin Hinkle, shown in a synagogue scene, are two of the show’s non-Jewish actors. (Nicole Rivelli/Amazon Studios)
Others have criticized the show’s casting: Its titular heroine, her parents Abe and Rose Weissman (Tony Shalhoub and Marin Hinkle) and Lenny Bruce (Luke Kirby) are all played by non-Jews. A debate over the casting of non-Jewish actors in Jewish roles has heated up in recent years, taking aim not only at Brosnahan as Midge Maisel, but also at Felicity Jones as Ruth Bader Ginsberg in “On The Basis of Sex,” Helen Mirren as Golda Meir in “Golda” and Gaby Hoffmann and Jay Duplass as the Pfefferman siblings in “Transparent.” Comedian Sarah Silverman popularized the term “Jewface” to critique the trend.
“Watching a gentile actor portraying, like, a Jew-y Jew is just — agh — feels, like, embarrassing and cringey,” Silverman said on her podcast in 2021.
Midge’s rise as a comedian is interlocked with her ally and one-time fling, the fictionalized Lenny Bruce. His character has a softened glow in the show, but in reality, Bruce was branded a “sick comic” for his scathing satire that railed against conservatism, racism and moral hypocrisy. Between 1961 and 1964, he was charged with violating obscenity laws in San Francisco, Los Angeles, Chicago and New York, and he was deported from England. At his Los Angeles trial in 1963, Bruce was accused of using the Yiddish word “shmuck,” taken as an obscenity to mean “penis.” He incorporated the charge into his standup, explaining that the colloquial Jewish meaning of “schmuck” was “fool.”
Driven to pennilessness by relentless prosecution, police harassment and blacklisting from most clubs across the country, he died of a morphine overdose in 1966 at 40 years old. The real Lenny Bruce’s tragedy lends a shadow to the fictional Midge Maisel’s triumphs.
The United States that he struggled with until his death also looks comparatively rosy through the lens of “The Marvelous Mrs. Maisel,” whose protagonist battles misogyny but takes little interest in other societal evils — including still-rampant antisemitism. Some critics have noted that she is oblivious to segregated facilities when she tours with Black singer Shy Baldwin, then nearly outs him as gay during her set.
“‘Mrs. Maisel’ takes place in a supersaturated fantasy 1958 New York, one where antisemitism, racism, homophobia and even sexism are barely a whisper,” Rokhl Kafrissen wrote in 2018.
Reflecting on the criticism that had piled up by 2020, Sherman-Palladino and her husband Daniel Palladino, also an executive producer and a lead writer for the show, told the Jewish Telegraphic Agency that trying to appease every Jewish viewer was a futile exercise.
“We knew that if we show a Jewish family at temple — if we show them and talk about Yom Kippur and all those kinds of things — there are going to be people who are going to nitpick at specifics that maybe we didn’t get exactly right,” said Palladino, who is not Jewish. “But a lot of the feedback that we’ve gotten has been ‘Thank you. Thank you for leaning into it and showing Jews being Jewish, as opposed to just name checking them as Jewish.’”
Sherman-Palladino added: “[T]here are many different kinds of Jews! To say, ‘oh, Jewish stereotypes,’ well, what are you talking about? Because we have an educated Jew, we have a woman who was happy to be a mother, we have another woman striking out as a stand up comic, and, you know, Susie Myerson’s [Alex Borstein’s character] a Jew! We’ve got a broad range of Jews in there.”
However “The Marvelous Mrs. Maisel” is assessed in the future, it will remain significant for thrusting a new kind of Jewish heroine into the mainstream consciousness, said Bial.
“Because of its popularity, its longevity and frankly its quality, it’s going to be the example,” Bial said. “In the history of Jews and TV, this is going to be the chapter for the late 2010s and early 2020s — you have to mention ‘Mrs. Maisel.’ It is very clearly a landmark in Jewish representation, particularly for Jewish women.”
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The Trump administration’s latest affront to Jewish history
President Donald Trump’s administration either does not understand or does not care about the point of the International Criminal Court.
In announcing that the United States would try to “dismantle” the ICC, Secretary of State Marco Rubio recently wrote in The Wall Street Journal that “the ICC and its allies seek a standing world tribunal with near-unlimited reach, empowered to override the courts and constitutions of the U.S. and other sovereign states — and to prosecute and arrest our citizens.”
As examples of the court’s potential overreach, he cited the possibility of it taking action in response to activist pleas to prosecute Trump administration officials for deporting people to a notoriously inhumane El Salvador prison — regardless of their country of origin — and calls to treat the administration’s airstrike campaign against alleged drug smuggling boats as a crime against humanity.
The ICC is an imperfect institution. But to argue against its necessity is an affront to Jewish history, which has taught us, over and over again, that a country sometimes needs to be held to international account over its treatment of disempowered minority groups.
Because while the ICC is the self-described court of last resort, meant in large part to complement national courts, it exists at least in part because there are times that national courts — like nation states more generally — do not consider everyone within their borders to be worthy of their protection, and when words like “sovereignty” are used to bludgeon individual human rights and dignity.
The proof of the court’s importance lies in how deeply tied its origin story is to the crimes of the Holocaust, even though the ICC itself was only formally established in the 1990s.
Aryeh Neier, whose family fled Nazi Germany when he was a small child, was instrumental in the creation of the International Criminal Tribunal for the former Yugoslavia — the development of which was an important stop on the way to the creation of the ICC. Ben Ferencz, top prosecutor against the Einsatzgruppen at Nuremberg, was a prominent advocate both for the creation of the court and for the adoption of the Rome Statute, the treaty that established the court and the court’s jurisdiction over four core crimes: genocide, crimes against humanity, war crimes, and the crime of aggression. (The U.S. has never ratified that treaty.)
Theodor Meron, who was born in Poland in 1930 and survived the Holocaust before becoming an Israeli diplomat, spent decades as a judge both for the ICTY and for a similar special tribunal for Rwanda. He was part of the delegation that led to the ICC’s establishment in the 1990s, and in 2024, he recommended that the ICC consider issuing warrants for the arrest of both Israeli and Hamas leaders for war crimes and crimes against humanity as a result of the Oct. 7 attack and the subsequent Gaza war.
It’s not coincidental that all these men were Jewish, and aware from firsthand experience of the dangers of unchecked national power.
Ben Ferencz deliberately drew a connection between the two in 2011, when he delivered the closing prosecution speech at the first trial ever heard by the ICC at its home in the Hague. “The case we present is a plea of humanity to law,” he said — the same statement he used in his opening statement at the Einsatzgruppen trial.
In a Prospect UK interview in 2024, Meron said he has always been driven by the desire to bring ours closer to being “a world with no holocausts.”
Neier, for his part, has criticized the ICC for its ineffectiveness, despite being one of its leading proponents. But writing in The New York Review of Books over the weekend, Neier — who suggested that Rubio’s announcement may be motivated by the coming Israeli elections — pointed out the court’s continued significance.
“The trial in the International Criminal Court of former President Rodrigo Duterte of the Philippines is scheduled to get underway this fall. While in power, Duterte presided over the summary executions of many thousands of Filipinos, most of them poor people, because they were suspected of using contraband drugs,” he wrote. “It is a shame to see the United States try to destroy the ICC — the only global institution with a mandate to address such horrors — merely because those subject to its jurisdiction may be Americans or their friends.”
There are those who see the ICC itself as an affront to Jewish history, including prominent Jews who have condemned the ICC over its outstanding warrant out for Israeli Prime Minister Benjamin Netanyahu’s arrest. They, too, point to Jewish history to make their case: Netanyahu’s office called the warrant a”modern Dreyfus trial,” and Israeli President Isaac Herzog said that “the outrageous decision at the ICC has turned universal justice into a universal laughing stock.” Meanwhile, attorney Alan Dershowitz posted, “The ICC has never indicted Assad. Of course not because he’s neither Israeli nor Jewish.”
Their common argument: that the ICC has become yet another venue for international antisemitism.
But Neier, Ferencz and Meron’s arguments in favor of the court are more persuasive. They didn’t just think the court was important; they saw international law as so necessary that they dedicated their lives to trying to make it matter, in part through the ICC. Meron said he was working for “a universe in which injustice and violence and mistreatment of people on ethnic and religious grounds is less likely.” That vision is only a threat to sovereignty when sovereignty is interested in injustice.
This does not mean that the U.S. government needs to agree with every ICC decision. Nor does it mean that every individual associated with the ICC is above censure. (Karim Khan, the chief prosecutor of the ICC, was accused of sexual misconduct and is now facing a vote as to whether he will keep his role; Ken Roth, former head of Human Rights Watch, noted that the accusations — and the fact that the ICC Executive Bureau found Khan’s denials lacking credibility — seriously challenge Khan’s ability to do his job.)
What it does mean is this: The ICC does not exist to be friendly — or, for that matter, to be unfriendly — to any country. Nor does it exist to undermine sovereignty, or to treat sovereignty as sacrosanct. To only think of the court in terms of protecting or violating sovereignty is to overlook its real purpose: to protect our shared humanity, and bring justice to people who are no less worthy of dignity or justice than Netanyahu, Rubio or Trump.
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75 artifacts tell the fitful, inspiring, unfinished story of Jews in America
In May 1818, Mordecai Manuel Noah, a prominent Jew of his time and a member of the Madison administration, delivered a discourse on Jewish history on the occasion of a synagogue consecration. One man read Noah’s words with interest, and took pen to paper to say so.
“Your sect by its sufferings has furnished a remarkable proof of the universal spirit of religious intolerance,” the correspondent noted, in elegant cursive. “Our laws have applied the only antidote to this vice, protecting our religious, as they do our civil, rights by putting them all on equal footing. But more remains to be done, for although we are free by the law, we are not so in practice.”
The letter’s author was Thomas Jefferson. 200 years later, there’s still work to do.
The Jefferson letter is one of 75 objects on view at All We Have Standing Between Us: 250 Years of Jews and American Democracy, the American Jewish Historical Society’s new exhibit at the Center for Jewish History. Arranged in chronological order, from the outbreak of the Revolution to the tiki torches of Charlottesville, the survey takes stock of the at times harmonious but very often discordant, relationship between American Jews and the country, and among themselves.
“One of the throughlines is that for 250 years, American Jews have certainly not been a monolithic community in terms of how they’ve approached key issues,” said Gavriel Rosenfeld, president for the Center for Jewish History.
To that end, visitors can see Shearith Israel’s hazzan Gershom Mendes Seixas’ patriot prayer for the Continental Congress and, a vitrine or two away, a sampler from the loyalist Hendricks family of Psalm 78, whose words were associated with a pro-monarchist sentiment.
Most Jews lived in the Union at the outbreak of the Civil War, but currency with Judah Benjamin’s face, from the Confederate Secretary’s own collection, is proof of just how embedded Southern Jews were in their communities. A telegram nearby, denouncing General Grant’s wartime expulsion order for the Jews of Kentucky, shows how tenuous Jewish belonging was.
The story was never only one of brother against brother. Moving into the 20th Century, with wall text addressing the Gilded Age, we see how American Jews confronted the revival of the Klan and the “Cross of Gold” populism of William Jennings Bryan with the influx of Jews from Eastern Europe. (An explanation of Woodrow Wilson’s veto of a literacy test for immigrants is displayed, as is a scroll inviting well-heeled Jews to a Purim benefit for new arrivals.)
The Anti-Defamation League, a copy of whose founding charter is on display, was formed after the conviction of Leo Frank. But by the 1950s, with the Red Scare gathering storm clouds, the ADL Bulletin dismissed the claim that the Rosenberg trial was animated by antisemitism.
“This is the latest propaganda tactic with which the Communist Party hopes to bludgeon the Jewish community to its support,” Oliver Pilat wrote in March 1952.
Fissures in the community continued with the Civil Rights Movement.
That Jews played an outsized role in the push for Black equality — attested to by Ben Shahn’s lithographs of James Chaney and Northern Jews Andrew Goodman and Michael Schwerner — is contextualized with the objections of their Southern coreligionists, who feared the blowback of their neighbors.
Betty Friedan wrote The Feminine Mystique, and Midge Decter savaged it in Commentary. The so-called culture wars that dominate our discourse today are nothing new.
Among the more recent acquisitions are former U.S. Representative Steve Israel’s handwritten notes on a Sept. 13, 2001 FEMA briefing, marking the start of a new American reality. But one is struck by how much remains the same.
A signed photo of Nita Lowey shaking hands with Barack Obama — a Jewish congresswoman and a Black president— was unthinkable in the days of Jefferson and Noah, but their dynamic was not dissimilar from those two men. The intolerance Jefferson wrote about has not abated, only shifted its focus. A Time report on the Unite the Right Rally tells the tale.
The exhibit stops short of the pandemic, Oct. 7 and the emerging rifts among American Jews and their neighbors. That history is still in progress.
“Longer than there’s been a country, there have been Jews,” said Gemma Birnbaum, executive director of the AJHS. At first it was only 23 off the boat to New Amsterdam, she said, but the Jewish story has always been a part of the American one.
Birnbaum and Rosenfeld want visitors to recognize continuities in the unfinished American Revolution, both the progress and the work that remains. Sometimes, this means reassuring visitors. One thing they’re asked a lot: “Does it ever get better?”
“What is better?” Birnbaum asks. “There are times when things are really difficult, and there are times when things feel a little less difficult. And if you can take inspiration from that — to me, I find it grounding.”
The American Jewish Historical Society’s exhibit All We Have Standing Between Us: 250 Years of Jews and American Democracy is on view at the Center for Jewish History through Dec. 31, 2026.
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Diary of a Jewish ghetto refugee, written in a pigsty
אין דער װעלט פֿון ייִדיש איז בערל כּהנס נאָמען גוט באַקאַנט צוליב זײַנע היסטאָרישע און ביבליאָגראַפֿישע שטודיעס, צװישן זײ — דער צוגאָב־באַנד צו דעם „לעקסיקאָן פֿון דער נײַער ייִדישער ליטעראַטור“ און „ייִדישע שטעט, שטעטלעך און דאָרפֿישע ייִשובים אין ליטע ביז 1918“.
אָבער זײַן ערשט בוך איז געװען דער חורבן־טאָגבוך „אַ ייִד אין װאַלד“, װאָס איז אַרױס אין ניו־יאָרק אין 1955. דאָ דערצײלט כּהן װעגן צען חדשים אונטער דער דײַטשישער אָקופּאַציע פֿון ליטע צװישן אָקטאָבער 1943 און אױגוסט 1944. די דאָזיקע צײַט האָט ער, אין אײנעם מיט זיבן אַנדערע פּליטים פֿונעם קאָװנער געטאָ, פֿאַרבראַכט אין אַ באַהעלטעניש טיף אין ליטװישע װעלדער.
איצט, העכער װי 70 יאָר נאָך דער פּובליקאַציע פֿון דעם ייִדישן טאָגבוך, איז עס סוף־כּל־סוף אַרױס אױף ענגליש מיטן טיטל, „אַ ייִד אין וואַלד: זײַטלעך פֿון אַ טאָגבוך“.
פֿאַר דער מלחמה איז כּהן געװען אַן אַקטיװער לינקער ציוניסט און האָט געשריבן פֿאַר קאָװנער ייִדישע צײַטונגען. װען די דײַטשן האָבן פֿאַרכאַפּט די שטאָט, האָט ער זיך געפֿונען אינעם געטאָ אין דער ייִדישער פֿאָרשטאָט סלאַבאָדקע.
„אין דער צװײטער העלפֿט פֿון 1943 זײַנען די אילוזיעס פֿון די פֿאַרשפּאָרטע ייִדן אין סלאַבאָדקער געטאָ אַריבערצולעבן היטלערן געװאָרן אַלץ שװאַכער.“ אַזױ הײבט כּהן אָן די דערצײלונג װעגן זײַן ראַטעװען זיך פֿונעם חורבן.
כּהן, זײַן פֿרױ ראַיע און איר שװעסטער נחמה זײַנען אַנטלאָפֿן פֿונעם געטאָ מיט דער הילף פֿון אַ ליטװישן פּױער טאַדעוש. ער האָט זײ פֿאַרבאַהאַלטן אינעם חזיר־שטאַל בײַ זײַן שטוב אין אַ װײַטן דערפֿל אין מיטן װאַלד.
אין זײַנע נאָטיצן האָט כּהן פֿאַרפֿיקסירט פּרטים פֿון זײער טאָג־טעגלעכן לעבן מיט אַלע דאגות, אַנגסטן און האָפֿענונגען. ער האָט אױך געפּרוּװט צו באַזיניקן דאָס, װאָס עס קומט פֿאָר מיט זײ און מיט אַנדערע ייִדן, כאָטש קײן פֿאַרלאָזלעכע ידיעות פֿון דער ברײטערער װעלט האָט ער ניט געקענט קריגן.
פֿאַרװאָס האָט אַן עלטערער ליטװינער באַשלאָסן צו ראַטעװען ייִדן? טאַדעוש האָט דערקלערט: „איך טו עס ניט דערפֿאַר, װאָס איך װיל פֿאַרדינען געלט. איך בין שױן אַלט – און דאָס געלט אין דער ערד װעל איך סײַ װי ניט מיטנעמען. איך װיל אָבער, אַז ס׳זאָל ניט פֿאַרגאָסן װערן נאָך אומשולדיק בלוט. װאָלט איך געקענט װאָלט איך געראַטעװעט נאָך ייִדן, קען איך עס ניט, װעל איך באַשיצן די, װעמען איך האָב יאָ געראַטעװעט.“
אינעם טאָגבוך ווײַזט כּהן אַרויס אַ סך דרך־ארץ פֿאַר טאַדעוש און זײַן פֿרױ באַרבאַראַ, װאָס שטעלן אײַן זײער לעבן פֿאַר פֿרעמדע מענטשן. ער פֿרעגט זיך: „װיפֿל ייִדן װאָלטן געווען פֿעיִק אַזױנס צו טאָן?“
יעדע מינוט קען װערן די לעצטע פֿאַר די ייִדישע פּליטים אינעם שטאַל. אָבער כּהן איז געװױר אױך פֿונעם שװערן מצבֿ פֿון די ליטװינער: „פֿון דײַטשן װילן זײ פּטור װערן, אָבער דעם רוס װילן זײ אױך ניט האָבן.“
די גרעסטע סכּנה פֿאַר ייִדישע פּליטים קומט טאַקע ניט פֿון די דײַטשן, װאָס באַװײַזן זיך זעלטן אין יענע טיף־באַגראָבענע מקומות, נאָר פֿון די שכנישע פּױערים און פֿון די ליטװישע פּאַרטיזאַנער, װאָס הרגענען ייִדן.
אָבער די מיאוסטע פּאַרשױנען אינעם בוך זײַנען ניט קײן דײַטשן און ניט קײן ליטװינער, נאָר צװײ מיטגלידער פֿון זײער גרופּע — דער „אַמאָליקער פּריץ“ און זײַן פֿרױ. פֿאַר דער מלחמה האָט דער דאָזיקער ייִד געפֿירט געשעפֿטן אין דער געגנט און איצט האַלט ער, אַז די אָרטיקע פּױערים זײַנען אים מחויבֿ צו העלפֿן.
זײַן אַני־מאמין איז געװען „כּל־זמן מע לעבט, דאַרף מען מאַכן געשעפֿטן.“ און ער האָט טאַקע געװאָלט באַקומען רװח אַפֿילו פֿון די פּליטים אינעם אײגענעם שטאַל.
אָבער װאָרעם זײ האָבן ניט געהאַט מיט װאָס צו באַצאָלן, האָט זיך דער פּריץ ניט געטײלט מיט זײ מיטן עסן, װאָס ער האָט געקױפֿט בײַ די פּױערים: „די אַמאָליקע ייִדישע פּריצים עסן פֿאַר אונזערע אױגן פֿלײש און אַלדאָס גוטס – און מיר זיצן און חלומען װעגן אַ שטיקל טרוקן ברױט“, פֿאַרשרײַבט כּהן אינעם טאָגבוך.
אַפֿילו אין יענע ביטערע באַדינגונגען האָט כּהן אָפּגעהיט אַן אײגנאַרטיקן חוש פֿון הומאָר. דאָס קומט פֿאָר למשל אין זײַנע שילדערונגען פֿון די באַציִונגען צװישן ייִדן און דעם חזיר: „אונדזער אײנציקער ׳ניט־ייִדישער׳ שכן אין שײַער איז – דער חזיריוק. אַזױ װי מע קען דאָך ניט פֿיר און צװאַנציק שעה אין מעת־לעת טראַכטן װעגן טױט – קוקט מען גאָר אָפֿט אױפֿן קלײנעם חזיר. די עקלדיקסטע באַשעפֿעניש פֿאַר אַ ייִד […] װאַקסט ברוך־השם פֿון טאָג [צו טאָג].“
מאַקס ראָזענפֿעלדס ענגלישע איבערזעצונג פֿונעם טאָגבוך איז גאַנץ פּינקטלעך און פֿליסיק, אָבער זי גיט ניט איבער דעם אײגנאַרטיקן טעם פֿון כּהנס פּראָזע.
אָט איז אַ משל: אײן טאָג אַנטלױפֿט דער חזיר פֿונעם שטאַל און ייִדן מוזן זיך יאָגן נאָך אים כּדי צו ברענגען אים צוריק. כּהן באַשרײַבט דאָס בזה הלשון: „מיר פֿירן דעם דבֿר־אחר צו זײַן מקום־מקלט“. אָבער אױף ענגליש קלינגט דאָס פּשוט: „we are taking him back to the barn“. דאָ איז ניטאָ קײן שפּור פֿון כּהנס איראָניע, װאָס שטאַמט פֿון זײַן שפּיל מיט לשון־קדוש.
דער חורבן־היסטאָריקער יצחק ארד האָט אָפּגעשאַצט, אַז בערך 25,000 ייִדן זײַנען אַנטלאָפֿן פֿון די געטאָס אין װעלדער בעתן חורבן. אַרום 15,000 פֿון זײ האָבן זיך צוגעשטאַנען צו די סאָװעטישע פּאַרטיזאַנער, בעת 10,000 האָבן געפּרוּװט איבערלעבן אין קלײנע גרופּקעס, אָפֿט מאָל מיט דער הילף פֿון ניט־ייִדישע פּױערים.
די גענױע צאָל פֿון די, װאָס האָבן זיך געראַטעװעט אונטער אַזעלכע ביטערע און געפֿערלרכע באַדינגונגען, װעט מען קײן מאָל ניט װיסן, זאָגט ארד. װאָס איז יאָ זיכער, איז אַז זײער צאָל איז געװען אַ סך קלענער אײדער די צאָל פֿון די, װעמען עס האָט זיך אײַגעגעבן צו אַנטלױפֿן פֿון די געטאָס.
כּהנס טאָגבוך איז ניט נאָר אַ ביז גאָר װיכטיקער היסטאָרישער מקור װעגן דער דאָזיקער דערפֿאַרונג, אָבער אױך אַ מערקװירדיקער מענטשלעכער דאָקומענט און אַ פֿאַרכאַפּנדיקע לעקטור דערצו.
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