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Does anime have a Nazi problem? Some Jewish fans think so.
TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw.
In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way.
In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans.
The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”
Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”
“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few.
Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities.
“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”
These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war.
“Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”
But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices.
“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”
hi
anime and manga have an antisemitism problem
good day
— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022
East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.
But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.
“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.
“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.
As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.”
“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said.
Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.
“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”
In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences.
Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.
“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”
“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)
Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.
“I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”
Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.
Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.
“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”
Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating. Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.
“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.
“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels.
In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.
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The post Does anime have a Nazi problem? Some Jewish fans think so. appeared first on Jewish Telegraphic Agency.
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‘Long overdue’: Henry Ford home to confront his antisemitism
(JTA) — DEARBORN – The bust of Henry Ford looked on sternly as hundreds of Jewish professionals flooded his pool room.
The visiting Jews admired the views of the Rouge River from Ford’s windows and strolled through his immaculately maintained garden. They studied a mock-up for a Navajo rug in his basement woven with a particular pattern — one that appeared to resemble a Nazi swastika.
The staff at Fair Lane, the historic Dearborn home of Henry and his wife Clara, welcomed the Jewish educators, historians and museum staff. Why they did soon became clear during a panel discussion in that pool room. When the home reopens to the public in June 2027, after a 17-year closure for restoration, staff will teach visitors about Ford’s antisemitism.
This facet of the pioneering industrialist’s life was hardly incidental. The onetime richest man in America published venomous conspiracy theories in his newspaper, The Dearborn Independent, for years. Hitler was a professed admirer, and Nazi Germany awarded him a medal.
Leaders of Jewish groups greeted the news that the home would address Ford’s antisemitism with optimism.
“We applaud Fair Lane’s commitment to addressing Henry Ford’s antisemitism publicly,” Catherine Cangany, CEO of the Jewish Historical Society of Michigan, told the Jewish Telegraphic Agency in a statement. “This history happened, it caused harm, and it continues to have consequences we all must confront.”
Cangany, who has research expertise on the Dearborn Independent, sat on the June panel with Fair Lane’s curators but is not involved in the antisemitism initiative itself. Local Jewish groups including hers have been pushing for Ford’s enterprises to acknowledge his antisemitism for years.
“The reckoning is long overdue, and we all will be better for it,” she said.
The curators did not broach specifics of their plan with their Jewish audience in June. For the rest of the summer, as Fair Lane proceeded with its renovations, most of the Detroit area’s Jewish leaders were kept in the dark.
More than two months after the conference, top staffers Austin Eighmey and Hannah McCready sat down with JTA in Ford’s library to outline their educational plans in more detail.
Surrounded by replicas of books on German race science that helped to inform Ford’s attitude toward Jews, they explained that they viewed discussions of antisemitism as core to the revitalized Fair Lane’s statement of purpose. Such information would sit, they said, alongside other unflattering aspects of Ford’s character, such as his union-busting activities.
“Our mission is to illuminate the lives and legacy of Henry and Clara Ford,” Eighmey, senior director of historic resources, said. Part of that legacy, he said, was noting that “he was an ignorant man, fed a lot of poor information that he himself sought out.”
“It’s our job to tell a more full picture and give people a lens with which to view history,” added McCready, the site’s director of interpretation and education.
In the Detroit area, where Ford’s name still looms large nearly 80 years after his death, such a commitment is notable. In 2023 the former president of the Ford Foundation, the family’s charitable arm, acknowledged and condemned its namesake’s antisemitism. Other local institutions devoted to historic purveyors of antisemitism have reckoned with their own legacies in recent years, including the church founded by demagogic “radio priest” Father Charles Coughlin.
But as Ford the man continues to be heavily mythologized today, by new generations of entrepreneurs and gearheads — and white supremacists — the physical museums and educational institutions in the region that bear Ford’s name and have connections to his family largely have not broached his antisemitism.
Those include The Henry Ford, a museum built around his personal collections; Greenfield Village, a historic reenactment village that includes a restoration of the mogul’s childhood home; and the Ford Piquette Avenue Plant, a Detroit heritage site where Ford’s Model Ts were built.
For a long time Fair Lane, too, didn’t touch the subject. After Ford’s widow Clara died in 1950, the property was turned over to the Ford Motor Company, which brokered a deal with the University of Michigan to build a Dearborn satellite campus on the site.
For decades the university offered tours of the grounds on a largely volunteer basis, also using it as an events space. The house has been closed to visitors since 2010, as the team undertook an extensive restoration project with an eye toward reopening for the public.
Eighmey said the plan to teach about antisemitism had been the goal since the restoration’s early days. The staff met with representatives from the Zekelman Holocaust Center, the state’s flagship Holocaust museum, to discuss how such a project would look.
“They were straightforward about Henry Ford’s antisemitism and hope that it will be incorporated into the interpretive narrative where appropriate but, at the same time, they respectfully acknowledged many of Henry Ford’s strengths and expressed a deep regard for Fair Lane’s stories, physical spaces, and current restoration work,” reads one executive summary of the focus group that a consultant shared with JTA.
A spokesperson for the Zekelman declined to comment to JTA for this article.
Local controversies in the interim called such educational commitments into question. In 2019 the city of Dearborn — where the Ford Motor Company is the largest employer — quashed a planned historical magazine that would have discussed Ford’s antisemitism, tied to the 100th anniversary of his acquisition of the Dearborn Independent.
In what Eighmey today refers to as “the whole fiasco here in Dearborn,” the city’s then-mayor, John “Jack” O’Reilly, fired the magazine’s editor, prompting outcry. O’Reilly died last year. His son, Devon O’Reilly, now serves as Fair Lane’s CEO.
Despite this history, the younger O’Reilly is supportive of the plan to teach Ford’s antisemitism on the site, the curators said. “We have not talked about his personal life, really, and his familial connections at all,” Eighmey said of O’Reilly.
The team has developed talking points about Ford’s antisemitism as part of their “non-negotiables,” museum terminology for facets of history that every visitor will encounter. Donna Braden, a museums consultant who formerly worked with The Henry Ford and who is Jewish herself, was hired to give her feedback on the plan and drafted her own proposed “non-negotiables” for the subject.
“Explaining the true story of Henry Ford’s antisemitism to non-Jewish people will help them understand why it is so important to the Jewish community,” Braden told the Fair Lane team in a report on their efforts.
In a summary she shared with JTA, Braden also advised the team to “be aware of many people who are unaware of Henry Ford’s antisemitism, and it will surprise them.”
Braden drew from “The People’s Tycoon: Henry Ford and the American Century,” an acclaimed 2006 biography by Steven Watts. Unlike other Ford biographers before him, Watts tackled his subject’s antisemitism head-on. His approach would later find surprising admirers within the Ford dynasty, leading to him presenting on the subject in 2018 to a room full of The Henry Ford staff and Ford family members.
“It was, I must say, quite an experience, because I spoke pretty frankly about all of this,” Watts, an emeritus history professor at the University of Missouri, recalled to JTA about his 2018 talk. “Most of the staff that talked to me about it actually indicated that they were a little relieved, I think, to have this brought out into the open in a fairly frank way.”
The talk, co-presented with the Jewish Historical Society of Michigan, did not lead to change — at least not at The Henry Ford, which has a separate ownership structure from Fair Lane. Today, no mention of Ford’s antisemitism can be found in The Henry Ford’s physical museum space, despite efforts from Braden and others to add such material. Some pages of its website now include some brief words on the subject.
Amid new efforts to push Ford’s family on the subject, Watts returned to Dearborn in 2024, partially to address Fair Lane at Braden’s invitation.
“I hope that they will move forward to bring Henry Ford’s antisemitism to the public,” he said, of both Fair Lane and The Henry Ford. “I got the idea when I was there that they were thinking strongly about a more frank and open approach to all of this, and I guess I would hope that is the approach that they take, and not the ‘sweep it under the rug’ maneuver.”
He told JTA that Ford’s antisemitism became most pronounced in the 1920s, shortly after the height of his business success.
Watts traces Ford’s antisemitism not to any one specific root cause, but rather to a confluence of factors, including the mogul’s economic populism; his failed efforts to send a “Peace Ship” of dignitaries to Europe during World War I, which he came to blame on a “Jewish financial interest in Europe”; and his embrace of conservative cultural signifiers, including square dancing.
“He basically begins to argue that Jews lay behind the corruption of that old-fashioned kind of rural, WASP cultural virtue, that Jews were behind jazz music, Jews were behind Hollywood movies, and that there was a kind of moral degradation that was at work,” Watts said.
Fair Lane has a separate ownership structure from The Henry Ford and Greenfield Village, both of which are largely built around other subjects Ford was passionate about, such as American innovation, rather than the mogul himself. Fair Lane, its curators say, is the natural place for visitors to learn about the Fords’ personal lives and beliefs.
Ford descendants still weigh heavily on Fair Lane’s board — including chair Edsel Ford II, Henry’s great-grandson, whom Eighmey refers to as “the Deuce.”
The family was onboard for this reappraisal, the curators said. Fair Lane’s models in the museum space include Monticello, Thomas Jefferson’s plantation in Virginia that has taught visitors about his slaveholding; and the Frick museum in Pittsburgh, where industrialist Henry Clay Frick comes under scrutiny for his fierce anti-union stance.
Visitors to Fair Lane, Eighmey promised, will “never leave here thinking, ‘Oh, it wasn’t that big of a deal.’”
The Fair Lane team chose to restore the house to its condition in 1919 — in part because the home was photographed for an architectural magazine that year, allowing the curators to use it as a visual reference.
The date is significant for another reason. 1919 was also the year that Ford acquired the Dearborn Independent, which he would soon use to publish a series of antisemitic conspiracies called “The International Jew” as well as the Russian forgery “The Protocols of the Elders of Zion,” which purported to outline secret Jewish plans for world domination.
Ford would require his dealerships to distribute copies of the paper with every automobile purchase, making the Independent, for a brief time, one of the country’s highest-circulated newspapers. Ford’s role as newspaper publisher was, in Watts’ estimation, the most notorious and seismic way the mogul’s antisemitism manifested in his lifetime.
The choice to reset his home to the year he launched the paper “is further bringing all of this together as a narrative throughline,” McCready said.
After the paper shut down in 1927, owing in part to a libel suit brought against Ford by Jewish attorney and labor activist Aaron Sapiro, Ford — with the help of Jewish community figures — publicly apologized for spreading antisemitism. Around the same time, the celebrated Jewish architect Albert Kahn helped renovate Fair Lane.
The planned 90-minute Fair Lane tour, which is currently being workshopped, touches on the Peace Ship and Ford’s wielding of the Dearborn Independent. McCready described the tour’s intended arc: “He fails with the Peace Ship. He decides that there is a hostile press that’s controlled by financiers that’s against him. He purchases this failing local newspaper and starts getting really obsessed with his image in the media, and we kind of take it from there.”
It does not get into the Sapiro trial, though tour guides will discuss the topic if visitors bring it up. They also don’t plan to discuss the medal Ford received from Nazi Germany in the late 1930s when Hitler publicly expressed admiration for him, noting that it falls nearly two decades after the time period represented by the house’s restoration.
Watts, the Ford historian, told JTA that Ford had suffered two strokes at the time he received the medal, and “was in very bad shape” — possibly impairing his judgment.
“I think Ford’s got a lot to answer for, but I don’t think he was a Nazi,” Watts said. “I think things kind of went off the rails there.” By 1942, Ford was again publicly renouncing antisemitism, calling it “a distinct disservice to our country.”
At the Jewish museums conference, Cangany, the Jewish Historical Society of Michigan CEO, suggested the Fair Lane team should display copies of the Dearborn Independent around the house to demonstrate the effects of Ford’s worldview. That’s not part of the plan, Eighmey said: “It’s not on the site, and it never was.”
But the house does have other eye-catching artifacts. A room in the basement, in keeping with historic specifications, will be outfitted with a Navajo rug stitched with the ancient “whirling logs” symbol, which the Nazis later co-opted as the swastika. Ford had acquired the rug and displayed it in his home beginning in the 1910s, well before the Nazi swastika was popularized.
Maintaining an honest assessment of its founder’s troubling history is a tall order for any museum in modern times. Even Monticello, which Fair Lane held up as a model, has faced right-wing backlash from figures who want the site to minimize discussions of slavery.
Meanwhile, Ford’s legacy continues to shape the modern era as new conservative cultural figures from the business world push similar brands of populism.
In 2022, amid a dispute with the tech mogul Elon Musk over the prevalence of antisemitism on his social network X, the Anti-Defamation League’s CEO, Jonathan Greenblatt, called Musk “the Henry Ford of our time.”
Greenblatt later apologized for the comparison -– but some commentators noted that it was even more apt than he may have meant. “Twitter is to Musk as The Dearborn Independent was to Ford,” the writer Parker Molloy wrote at the time.
Last month in Dearborn, which today has a large Arab/Muslim community, neo-Nazi activists wearing swastika armbands staged an anti-Muslim rally. Their choice of venue carried historical echoes: They organized outside the Henry Ford Centennial Library.
The Fair Lane team is aware of the modern significance of Ford’s antisemitism, they said.
“Populist movements, they always end up using antisemitism as some sort of way to recruit people to their cause,” Eighmey told JTA. “And it’s a reality that I hope, after people leave their experience here, they do reflect on it and see, ‘Wow, wait a minute. Is this happening right now around me?’”
This article originally appeared on JTA.org.
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Jewish artists face a relentless culture war over Israel. Some are building a way around it.
The pop star P!nk went into Rosh Hashanah explaining herself.
After sharing a post calling for rapper Macklemore to be dropped from Ed Sheeran’s tour over his pro-Palestinian performances, the Jewish singer faced a backlash of her own. On Friday, she clarified that she supported Palestinian humanity, opposed silencing artists and wanted room to express Jewish fear without being accused of endorsing Israel’s war.
Macklemore, meanwhile, said his criticism of Israel was not directed at Jews. Their exchange captured how quickly an argument about a performance can become a fight over identity — and who gets to define someone else’s.
Nearly three years after the Oct. 7 Hamas attacks, those fights are becoming part of the ordinary business of culture: promoting a movie, booking a concert, selling a manuscript. And some Jewish artists and executives are responding by building new places to take their work.
Consider Gal Gadot. While promoting her new Prime Video thriller, The Runner, the Israeli actress and former IDF soldier appeared on Jimmy Kimmel Live! last week, where she and Kimmel blew shofars for Rosh Hashanah. “Why platform her?” read a typical comment under the video on social media. Even sharing an episode became a point of contention: A member of MUNA, the musical guest, subsequently said the band’s performance had been prerecorded and that it hadn’t known who else would appear, adding a message supporting Palestinian freedom.
Artists critical of Israel face their own confrontations. Last month, Paramount accused Mark Ruffalo of invoking antisemitic tropes after he attacked the Ellison family’s corporate interests and Oracle’s work with the Israeli military. Ruffalo rejected the accusation, saying he was criticizing executives and government policy. The disputes involve different conduct and different stakes, but they keep returning to the same contested boundary between political criticism and prejudice.
In publishing, the consequences can be harder to see. Jewish and Israeli authors told The Wall Street Journal that agents had dropped them, editors had sought to remove Jewish or Israeli elements from manuscripts, and overseas publishers had become unwilling to buy their work. Some agents explicitly reject submissions from Zionists.
The picture is uneven: Jewish writers across the political spectrum continue to produce bestsellers, and a rejected manuscript alone cannot establish discrimination. But the accounts have helped spur new businesses.
A wave of new publishers has emerged to give Jewish and Israeli writers a home after agents and editors say mainstream houses have quietly frozen them out since Oct. 7: Neil Blair, best known as J.K. Rowling’s literary agent, launched High Line Publishing Studio last week to publish authors he says have been shut out elsewhere; Canary Publishing opened this month with the same mission; and Meg Keene Books, a new fiction imprint, will publish the American edition of Howard Jacobson’s Howl, which struggled to find a U.S. publisher despite its Booker Prize-winning author.
A similar response is taking shape in Hollywood. Former NBC co-chairman Ben Silverman is among the backers of SHOOQ, a new platform connecting Jewish filmmakers with investors and philanthropists. Its founders say talented storytellers need help finding the funding to get their projects made.
These ventures offer something practical to people exhausted by defending their right to participate: a publisher, a financial introduction, a way to keep working. They also raise a question that will outlast the latest celebrity argument: Can new Jewish cultural institutions help artists reach a wider public, or will an increasingly divided industry leave them speaking mainly to their own?
This essay first appeared in our Forwarding the News morning newsletter. Subscribe here.
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‘We return changed’: Michigan synagogue reopens for Rosh Hashanah six months after a gunman forced them out
Six months after he was injured protecting his synagogue, Danny Phillips helped carry a Torah back into its sanctuary. The security director was still recovering. So was the congregation.
On Friday evening, the Jews of Temple Israel in West Bloomfield, Michigan, returned to celebrate Rosh Hashanah in the sanctuary they had been forced to leave after a gunman attacked their synagogue in March. The Torah scrolls came home to their ark. Familiar prayers filled the room again. And the High Holidays’ ancient invitation to return took on a meaning no one there could have anticipated a year earlier.
“This room holds more than our services; it holds our memories,” Cantor Neil Michaels said in his welcome, recalling the weddings, coming-of-age ceremonies and farewells that had taken place there.
Throughout the service, clergy and congregational leaders spoke openly about what it meant to enter a sacred space where their sense of safety had been shattered. They described gratitude alongside grief, and the effort of caring for others while still struggling themselves. Returning to the building was one step toward learning to feel at home again.
The congregation’s co-presidents, Debra Gordon and Jodi Neff, gave that work a plainspoken expression: “How do you lead others when you are trying to steady yourself?” Gordon asked.
The answer, in the stories shared from the bimah, was that others helped carry the weight.
The prayer books came from other congregations. Temple Israel’s machzors had been destroyed in the attack, and the edition it used was out of print. Synagogues around the country sent replacements. Rabbi Harold Loss told worshippers that the book he picked up bore another congregation’s initials — a small reminder, held in his hands, of the community that had sustained them.
The children had already made their own return. Earlier that week, students came back to the early childhood center and received teddy bears marking the occasion with the Shehecheyanu, the blessing of gratitude for reaching a significant moment. An educator recalled a parent saying that, after six months in which nothing had felt normal, the first day back finally did.
Their neighbors had helped make the journey possible. On the day of the attack, the Chaldean Christian community’s Shenandoah Country Club across the street sheltered children and teachers. The following evening, it hosted the congregation for Shabbat. At the holiday service, Temple Israel’s leaders again thanked those neighbors, along with the staff, first responders and restoration workers who helped sustain and rebuild their community.
Coming home still required protection. The March 12 attacker drove a truck into the synagogue and exchanged gunfire with security personnel while preschoolers were inside. The reopening included additional security measures. Temple Israel’s Rabbi Josh Bennett has also spoken about the emotional and financial difficulty of making a synagogue secure while preserving its welcome — a challenge facing Jewish congregations far beyond Michigan.
Near the end of their remarks, the co-presidents described teshuvah, the season’s work of return, as something that allowed room for everything the congregation had endured.
“We return changed,” Neff said, “but still rooted.”
This essay first appeared in our Forwarding the News morning newsletter. Subscribe here.
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