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How Jewish comedy found religion, from Philip Roth to ‘Broad City’
(JTA) — In the 2020 comedy “Shiva Baby,” a 20-something young woman shows up at a house of Jewish mourners and gently offers her condolences. When she finds her mother in the kitchen, they chat about the funeral and the rugelach before the daughter asks, “Mom, who died?”
While “Shiva Baby” explores themes of sexuality and gender, the comedy almost never comes at the expense of Jewish tradition, which is treated seriously by its millennial writer and director Emma Seligman (born in 1995) even as the shiva-goers collide. It’s far cry from the acerbic way an author raised during the Depression like Philip Roth lampooned a Jewish wedding or a baby boomer like Jerry Seinfeld mocked a bris.
These generational differences are explored in Jenny Caplan’s new book, “Funny, You Don’t Look Funny: Judaism and Humor from the Silent Generation to Millennials.” A religion scholar, Caplan writes about the way North American Jewish comedy has evolved since World War II, with a focus on how humorists treat Judaism as a religion. Her subjects range from writers and filmmakers who came of age shortly after the war (who viewed Judaism as “a joke at best and an actual danger at worst”) to Generation X and millennials, whose Jewish comedy often recognizes “the power of community, the value of family tradition, and the way that religion can serve as a port in an emotional storm.”
“I see great value in zeroing in on the ways in which Jewish humorists have engaged Jewish practices and their own Jewishness,” Caplan writes. “It tells us something (or perhaps it tells us many somethings) about the relationship between Jews and humor that goes deeper than the mere coincidence that a certain humorist was born into a certain family.”
Caplan is the chair in Judaic Studies at the University of Cincinnati. She has a master’s of theological studies degree from Harvard Divinity School and earned a Ph.D. in religion from Syracuse University.
In a conversation last week, we spoke about the Jewishness of Jerry Seinfeld, efforts by young women comics to reclaim the “Jewish American Princess” label, and why she no longer shows Woody Allen movies in her classrooms.
Our conversation was edited for length and clarity
[Note: For the purpose of her book and our conversation, this is how Caplan isolates the generations: the Silent Generation (b. 1925-45), the baby boom (1946-65), Generation X (1966-79) and millennials (1980–95).]
Jewish Telegraphic Agency: Let me ask how you got into this topic.
Jenny Caplan: I grew up in a family where I was just sort of surrounded by this kind of material. My dad is a comedic actor and director who went to [Ringling Bros. and Barnum & Bailey’s] Clown College. My degrees were more broadly in American religion, not Jewish studies, but I was really interested in the combination of American religion and popular culture. When I got to Syracuse and it came time to start thinking about my larger project and what I wanted to do, I proposed a dissertation on Jewish humor.
The key to your book is how Jewish humor reflects the Jewish identity and compulsions of four sequential generations. Let’s start with the Silent Generation, which is sandwiched between the generation whose men were old enough to fight in World War II and the baby boomers who were born just after the war.
The hallmark of the Silent Generation is that they were old enough to be aware of the war, but they were mostly too young to serve. Every time I told people what I was writing about, they would say Woody Allen or Philip Roth, two people of roughly the same generation.
In “Funny, You Don’t Look Funny: Judaism and Humor from the Silent Generation to Millennials,” Jenny Caplan explores how comics treated religion from the end of World War II to the 21st century. (Courtesy)
The Roth story you focus on is “Eli, the Fanatic” from 1959, about an assimilated Jewish suburb that is embarrassed and sort of freaks out when an Orthodox yeshiva, led by a Holocaust survivor, sets up in town.
Roth spent the first 20 to 30 years of his career dodging the claim of being a self-loathing Jew and bad for the Jews. But the actual social critique of “Eli, the Fanatic” is so sharp. It is about how American Jewish comfort comes at the expense of displaced persons from World War II and at the expense of those for whom Judaism is a real thriving, living religious practice.
That’s an example you offer when you write that the Silent Generation “may have found organized religion to be a dangerous force, but they nevertheless wanted to protect and preserve the Jewish people.” I think that would surprise people in regards to Roth, and maybe to some degree Woody Allen.
Yeah, it surprised me. They really did, I think, share that postwar Jewish sense of insecurity about ongoing Jewish continuity, and that there’s still an existential threat to the ongoing existence of Jews.
I hear that and I think of Woody Allen’s characters, atheists who are often on the lookout for antisemitism. But you don’t focus on Allen as the intellectual nebbish of the movies. You look at his satire of Jewish texts, like his very funny “Hassidic Tales, With a Guide to Their Interpretation by the Noted Scholar” from 1970, which appeared in The New Yorker. It’s a parody of Martin Buber’s “Tales of the Hasidim” and sentimental depictions of the shtetl, perhaps like “Fiddler on the Roof.” A reader might think he’s just mocking the tradition, but you think there’s something else going on.
He’s not mocking the tradition as much as he’s mocking a sort of consumerist approach to the tradition. There was this sort of very superficial attachment to Buber’s “Tales of the Hasidim.” Allen’s satire is not a critique of the traditions of Judaism, it’s a critique of the way that people latch onto things like the Kabbalah and these new English translations of Hasidic stories without any real depth of thought or intellect. Intellectual hypocrisy seems to be a common theme in his movies and in his writing. It’s really a critique of organized religion, and it’s a critique of institutions, and it’s a critique of the power of institutions. But it’s not a critique of the concept of religion.
The idea of making fun of the wise men and their gullible followers reminds me of the folk tales of Chelm, which feature rabbis and other Jewish leaders who use Jewish logic to come to illogical conclusions.
Yes.
You write that the baby boomers are sort of a transition between the Silent Generation and a later generation: They were the teenagers of the counterculture, and warned about the dangers of empty religion, but also came to consider religion and tradition as valuable. But before you get there, you have a 1977 “Saturday Night Live” skit in which a bris is performed in the back seat of a luxury car, and the rabbi who performs it is portrayed as what you call an absolute sellout.
Exactly. You know: Institutional religion is empty and it’s hollow, it’s dangerous and it’s seductive.
Jerry Seinfeld, born in 1954, is seen as an icon of Jewish humor, but to me is an example of someone who never depicts religion as a positive thing. (Not that there’s anything wrong with that.)
“Seinfeld” is more a show about New York than it is necessarily a show about anything Jewish. The New York of Seinfeld is very similar to the New York of Woody Allen, peopled almost entirely by white, middle-class, attractive folks. It’s a sort of Upper West Side myopia.
But there’s the bris episode, aired in 1993, and written by Larry Charles. Unless you are really interested in the medium, you may not know much about Larry Charles, because he stays behind the camera. But he also goes on to do things like direct Bill Maher’s anti-religion documentary “Religulous,” and there’s a real strong case for him as having very negative feelings about organized religion which feels like a holdover from the Silent Generation. And so in that episode you have Kramer as the Larry Charles stand-in, just opining about the barbaric nature of the circumcision and trying to save this poor baby from being mutilated.
The few references to actual Judaism in “Seinfeld” are squirmy. I am thinking of the 1995 episode in which a buffoon of a rabbi blurts out Elaine’s secrets on a TV show. That was written by Larry David, another boomer, whose follow-up series, “Curb Your Enthusiasm,” is similarly known for its irreverence toward Judaism. But you say David can also surprise you with a kind of empathy for religion.
For the most part, he’s classic, old school, anti-organized religion. There’s the Palestinian Chicken episode where the Jews are rabidly protesting the existence of a Palestinian-run chicken restaurant near a Jewish deli, and where his friend Funkhouser won’t play golf on Shabbos until Larry gets permission by bribing the rabbi with the Palestinian chicken. There, rabbis are ridiculous and can be bought and religion is hollow and this is all terrible.
But then there’s this bat mitzvah montage where for one moment in the entire run of this show, Larry seems happy and in a healthy relationship and fulfilled and enjoying life.
That’s where he falls in love with Loretta Black during a bat mitzvah and imagines a happy future with her.
It’s so startling: It is the most human we ever see Larry over the run of the show, and I believe that was the season finale for the 2007 season. It was much more in line with what we’ve been seeing from a lot of younger comedians at that point, which was religion as an anchor in a good way — not to pull you down but to keep you grounded.
So for Generation X, as you write, Judaism serves “real, emotional, or psychological purpose for the practitioners.”
I wouldn’t actually call it respect but religion is an idea that’s not just something to be mocked and relegated to the dustbin. I’m not saying that Generation X is necessarily more religious, but they see real power and value in tradition and in certain kinds of family experiences. So, a huge amount of the humor can still come at the expense of your Jewish mother or your Jewish grandmother, but the family can also be the thing that is keeping you grounded, and frequently through some sort of religious ritual.
Who exemplifies that?
My favorite example is the 2009 Jonathan Tropper novel, “This Is Where I Leave You.” I’m so disappointed that the film adaptation of that sucked a lot of the Jewish identity out of the story, so let’s stick with the novel. In that book, where a family gathers for their father’s shiva, the characters are horrible people in a dysfunctional family writ large. They lie to each other. They backstab each other. But in scene where the protagonist Judd describes standing up on the bimah [in synagogue] to say Kaddish [the Mourner’s Prayer] after the death of his father, and the way he talks about this emotional catharsis that comes from saying the words and hearing the congregation say the words — it’s a startling moment of clarity in a book where these characters are otherwise just truly reprehensible.
Adam Sandler was born in 1966, the first year of Generation X, and his “Chanukah Song” seems like such a touchstone for his generation and the ones that follow. It’s not about religious Judaism, but in listing Jewish celebrities, it’s a statement of ethnic pride that Roth or Woody Allen couldn’t imagine.
It’s the reclamation of Jewish identity as something great and cool and fun and hip and wonderful and absolutely not to be ashamed of.
From left, Ilana Glazer, Abbi Jacobson and Seth Green in an episode of “Broad City” parodying Birthright Israel. (Screenshot from Comedy Central)
Which brings us to “Broad City,” which aired between 2014 and 2019. It’s about two 20-something Jewish women in New York who, in the case of Ilana Glazer’s character, anyway, are almost giddy about being Jewish and embrace it just as they embrace their sexuality: as just liberating. Ilana even upends the Jewish mother cliche by loving her mother to death.
That’s the episode with Ilana at her grandmother’s shiva, which also has the B plot where Ilana and her mother are shopping for underground illegal handbags. They spend most of the episode snarking at each other and fighting with each other and her mother’s a nag and Ilana is a bumbling idiot. But at the moment that the cops show up, and try to nab them for having all of these illegal knockoff handbags, the two of them are a team. They are an absolute unit of destructive force against these hapless police officers.
I think all of your examples of younger comics are women, who have always had fraught relationships with Jewish humor, both as practitioners and as the target of jokes. You write about “The JAP Battle” rap from “Crazy Ex-Girlfriend,” which both leans into the stereotype of the Jewish-American Princess — spoiled, acquisitive, “hard as nails” — and tries to reclaim it without the misogyny.
Rachel Bloom’s character Rebecca in “Girlfriend” self-identifies as a JAP, but she doesn’t actually fit the category. It’s her mother, Naomi, who truly is the Philip Roth, “Marjorie Morningstar,” Herman Wouk model of a JAP. So Bloom is kind of using the term, but you can’t repurpose the term when the original is still there.
So as an alternative, I offer up a new term: the Modern Ashkenazi American Woman. It’s very New York, it’s very East Coast, it’s very particular to a type of upbringing and community that in the 1950s and ’60s would have been almost exclusively Conservative Jews, and then may have become a bit more Reform as we’ve gotten into the ’90s and 2000s. They went to the JCC. They probably went to Jewish summer camp.
But even that doesn’t even really speak to the American sense of what Jewish is anymore, because American Jews have become increasingly racially and culturally diverse.
There is also something that’s happening historically with Generation X, and that’s the distance from the two major Jewish events of the 20th century, which is the Holocaust and the creation of Israel.
The Silent Generation and baby boomers still had a lingering sense of existential dread — the sense that we’re not so far removed from an attempted total annihilation of Jews. Gen X and millennials are so far removed from the Holocaust that they don’t feel that same fear.
But the real battleground we’re seeing in contemporary American Judaism is about the relationship to Israel. For baby boomers and even for some older members of Gen X, there’s still a sense that you can criticize Israel, but at the end of the day, it’s your duty to ultimately support Israel’s right to exist. And I think millennials and Zoomers [Gen Z] are much more comfortable with the idea of Israel being illegitimate.
Have you seen that in comedy?
I certainly think you can see the leading edge of that in some millennial stuff. The “Jews on a Plane” episode of “Broad City” is an absolute excoriation of Birthright Israel, and does not seem particularly interested in softening its punches about the whole idea of Jews going to Israel. I think we can see a trend in that direction, where younger American Jewish comedians do not see that as punching down.
You’re teaching a class on Jewish humor. What do your undergraduates find funny? Now that Woody Allen is better known for having married his adoptive daughter and for the molestation allegations brought by another adoptive daughter, do they look at his classic films and ask, “Why are you teaching us this guy?”
For the first time I’m not including Woody Allen. I had shown “Crimes and Misdemeanors” for years because I think it’s his most theological film. I think it’s a great film. And then a couple years ago, I backed off, because some students were responding that it was hard to look at him with all the baggage. He’s still coming up in conversation because you can’t really talk about the people who came after him without talking about him, but for the first time I’m not having them actually watch or read any of his stuff.
They have found things funny that I didn’t expect them to, and they have not found things funny that I would have thought they would. They laughed their way through “Yidl mitn fidl,” the 1936 Yiddish musical starring Molly Picon. I also thought they’d enjoy the Marx Brothers’ “Duck Soup” and they did not laugh once. Some of that is the fact that Groucho’s delivery is just so fast.
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Recalling Millie Baran, whose mark on the Yiddish world lives on
Millie Baran, a Holocaust survivor who served for many years as a “camp mother” at the socialist Yiddish summer camp, Hemshekh, and spoke publicly, even on television, about her Holocaust experiences, passed away on April 3. She was 100 years old.
Millie, whose late husband, Mikhl Baran, was the camp’s director, was known for her warmth and mentshlekhkeyt (kindness). As many former Hemshekh campers will tell you: Nishto keyn tsveyte — no one could replace her.
Born Mila Persky in 1926 in the town of Oszmiana (Oshmene in Yiddish) in what was then Poland and is now Belarus, she attended a Tarbut school, a secular Zionist Hebrew-language school. An ardent Zionist herself, she often praised the education she received there.
After Millie’s passing, her daughters, Ruth Baran Gerold and Janice Baran Blatt, talked about her fluency in both Yiddish and Hebrew in an interview with the author. “She spoke a beautiful, elegant Yiddish,” Ruth said. “In fact, her Hebrew education at Tarbut enriched her Yiddish.”
During the war, Millie was interned in the Oszmiana ghetto, the Vilna ghetto and several labor camps. She credited her survival to a specific forced labor detail on a Polish farm where the prisoners were permitted to eat the apples that had fallen on the ground.
“My mother said, ‘This farmer wasn’t the worst, and this guard wasn’t the worst, so they let us eat,’” Ruth said. “This source of nutrition was key to her survival.”
One day, when Millie’s hands became bloody from shoveling, a Polish woman, also a slave laborer, approached her. “She heard Millie singing and was so captivated, she offered to do Millie’s shoveling if Millie would sing as they worked,” Ruth said. “Throughout her life, she always emphasized that even the smallest acts of kindness from strangers could have a tremendous impact.”
Despite starvation rations, Millie would not eat the meat given to the prisoners in their soup, since it wasn’t kosher. She valued Jewish tradition even in the most dire conditions, trading the non-kosher dish for a piece of bread, or whatever another prisoner would be willing to exchange for it.
Many years later, this devotion was apparent to Forverts editor Rukhl Schaechter.
“Millie was very principled, whether it was about supporting Israel or keeping Jewish traditions,” Schaechter said. “When I worked with her husband Mikhl at Camp Kinder Ring during the 1980s, Millie, who would come up on weekends, always asked the waiter for a fish or pasta meal; she never ate the chicken or meat dishes. I once asked her if this was because she was vegetarian, and she said no, she simply didn’t eat meat in a non-kosher establishment. I was still a secular Jew then and was in awe of her willpower. Little did I know that many years later, I would do the same.”
After the war, Millie and Mikhl, who was also from Oszmiana, encountered each other in Lodz, Poland, a city that drew many survivors. They fell in love and married. In 1949, they emigrated to the United States.

As a camp mother, Millie’s loving nature impacted the lives of hundreds of children of survivors. One former camper, Moish Russ, recalled her warmth and gentleness when he was a young boy in the 1960s. “I was still homesick at times. Millie was extraordinarily kind and carried herself with a confidence and gentleness I didn’t know in my own mother. The feeling of her comforting, soapy hands was a joy. I felt loved.”
“I remember her examining my fingernails to be certain they were clean,” said another former camper, George Rothe. “Years later, whenever I saw her, I’d hold out my hands to let her inspect them. It became a joke between us.”
Millie’s daughters both spoke of their mother’s elegance and fastidious nature, even in the clothes she wore as a prisoner in the ghettos and labor camps.
“Millie always made sure she kept a needle,” Ruth said.“She hid it in her blanket. Even in the camps, she made sure she never had a dropped hem.”
That commitment to dressing properly came up again years later, after Millie and Mikhl had immigrated to New York. Janice, then six, was sitting with her mother on the bus when a woman passed by with her hem undone. “Can you believe it?” Millie said, “She’s free here, and yet she goes around like that!”
While Millie had an enormous impact on the campers and staff at Camp Hemshekh, admiration for her goes far beyond. Her life inspired a jazz collaboration by Albert Marques and Amplify Voices called “Mir Zaynen Do” (“We Are Here”) that was performed at the iconic Joe’s Pub in January 2025.
Millie’s and Mikhl’s stories also made their way onto television when they were invited to share their Holocaust experiences on The View in 2020. After Millie’s passing, The View’s host Whoopie Goldberg shared the sad news on the show and paid tribute to Millie’s accomplishments.
Millie never took her freedom for granted, Ruth said. “Her favorite holiday was pesakh (Passover), and she died right before pesakh. Every year, she would stand by the kids’ table and say, ‘We were slaves in Egypt and I was a slave by Hitler. Now I’m an American and a free Jew.’ ”
In addition to her daughters Janice and Ruth, Milllie is survived by grandsons Ben, Jonathan, and Sam, and great-grandchildren Sophia, Joshua, Ava, Olivia and Billie.
The post Recalling Millie Baran, whose mark on the Yiddish world lives on appeared first on The Forward.
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Teens in 2 states arrested over threat that shuttered Houston synagogue
(JTA) — Two teenagers were arrested this week for an alleged plot to drive through a Houston synagogue and “kill as many Jews as possible,” according to local authorities.
Angelina Han Hicks, 18, of Lexington, North Carolina, was arrested at her home on Wednesday and charged with conspiring with two other individuals to commit an attack on Congregation Beth Israel, the oldest Jewish house of worship in Texas, according to the Davidson County Sheriff’s Office. She is being held in the Davidson County jail under a $10 million bond.
In Houston, a 16-year-old boy was also arrested in relation to “a threat directed towards certain Jewish institutions in our area.” It was unclear whether the second arrest was connected to Hicks, but the judge who ordered Hicks detained said she should be prevented from communicating with unnamed co-conspirators.
“At this time, there is no other known credible threat,” the Houston Police Department said in a statement.
Congregation Beth Israel, a Reform synagogue, and the Shlenker School, a preschool and elementary school that shares its campus, closed following the threats on Wednesday.
District Court Judge Carlton Terry said the alleged conspiracy was “to kill as many Jews as possible by driving through a congregation at a synagogue.” He said Hicks should remain in custody after her arraignment.
“Allowing a co-conspirator a chance to communicate with either of those individuals or those who could relay a message puts lives at risk,” Terry wrote.
The arrests come one month after a man drove a fireworks-laden truck into Temple Israel in suburban Detroit. The attack, which left the assailant dead, also followed an arson attack on Beth Israel Congregation in Jackson, Mississippi, that left the synagogue’s library destroyed.
The Jewish Federation of Greater Houston announced on Wednesday that it would go forward with events that were planned to mark Israeli Independence Day despite the reported threats.
This article originally appeared on JTA.org.
The post Teens in 2 states arrested over threat that shuttered Houston synagogue appeared first on The Forward.
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A New York Jewish childhood at the Dalton School where privilege met progressivism
I am what is called “a Dalton lifer.” I was born in Manhattan on Dec. 1, 1943, at Lenox Hill Hospital and was a New Yorker all my life before I married and moved away. For 14 of those years, from when I was 3 (going on 4) until I was 18, I attended the Dalton School.
My parents chose Dalton because it was a progressive school that was comfortable for Jewish children, who made up about one-third of the school’s population, and it admitted Black students. There were a number of such schools in Manhattan at the time; influenced by the educational philosophy of John Dewey, they believed learning should be taught by doing, and that education should include active inquiry and problem solving. (My father, in fact, had attended the University of Chicago Lab School that Dewey created in 1896.)
When I was little, I often walked with my older brothers from our apartment at 81st and Park Avenue to 89th where Dalton was located between Park and Lexington. On the way, we would pass a stationery store where adults would put down some change on top of the newspaper pile and take one or two of the papers that the shopkeeper had neatly arranged on a wooden bench outside of the store front. As a child, I sometimes stole some of that change and to this day I am horrified at myself.
By the time I was eight, I would walk back home by myself on Lexington Avenue, which formed the western boundary of Yorkville between 72nd Street and 96th. Yorkville was then populated by Germans and German-speaking immigrants such as Hungarians and Czechs. During the 1930s and World War II, it had been the headquarters of the German Bund. It was less than a decade after the end of World War II, and as Jews, my parents were keenly aware of Yorkville’s past. While they shopped on Lexington, they warned us it could be dangerous, and indeed, one of my brothers got held up there. My parents were reluctant to allow me, as a girl, to walk east of 86th and Lex – where there were still dance halls and beer parlors and clubs that seemed to me both alien and alluring.

Nevertheless, I strode down Lexington by myself, entranced by the wonderful shops. There was a fabulous marzipan store; I loved that candy, molded into tiny figurines small apples and lemons, hand-sculpted dogs and statuettes, and seasonal Christmas and Easter pieces. Near 82nd Street, there was a drug store with a soda counter that sold sandwiches and drinks where my mother would always order an egg salad sandwich and a coffee milkshake. There was an old-fashioned health-food store that sold specialty items such as nut bread, yogurt and whole grains.
Lexington was still a two-way street, and the bus price had recently gone up from a nickel to a dime. Later, when we were in high school, we would cheat on both the bus and subway and shove a whole bunch of us through without paying for everyone. But fixed in my memory is that contrast between the still-living fear of American Nazis that my parents embodied and the richness of store life on Lexington Avenue.
A privileged childhood
Of course, memories are tricky, and mine are probably filled with biases and mistakes. We misremember to be sure. And we imagine our childhood recollections through the prism of who we were. I was from a privileged German-Jewish family. At the time I did not think of myself as especially fortunate. It was just who I was.
When I went to college, I encountered the wonderful post-Civil-War writer, Henry Adams. Near the beginning of his masterpiece, The Education of Henry Adams, he tells the story of being about 5 or 6, and playing on the grounds of his grandfather John Quincy Adams’ house. Adams’ gardener declared that young Henry probably believed that he would grow up to be president too. Henry recalled that it had never occurred to him that he would not become president; that’s what his family did.
Not only are my recollections filtered through an unconscious perception of privilege, they are also intertwined with my identity as a young Jew. When I was a student in Dalton’s lower school, I don’t remember if I was aware of the double luck of having been born into money and what we then called culture; and into an America with no close relatives who had been murdered in the Holocaust. My grandmother worried about some of her family back in Europe; she’d been told some of them were still alive, but she could not find them.

In the 1940s and 1950s, America was still a country made up largely of white European nationals and Blacks whose grandparents or great-grandparents had been born into slavery. The distinctions between European nationalities defined much of my world. I knew I was not Irish, Italian, or Polish Catholic, nor was I German-Lutheran or Scandinavian Most of the white children — other than the Jews — who attended Dalton were WASPs and I wasn’t one of those either. I remember only one boy who was Catholic, Fitzhugh Seamus MacManus Mullin whose father’s family was Irish and whose mother’s family was Spanish. His grandfather would come to Dalton, sit on a chair in our wonderful theater, and enrapture us by reciting Celtic tales. I assume that he was Seumas MacManus, who according to Wikipedia was considered by many to be the last great seanchaí, or storyteller of the ancient oral tradition.
I knew there were barriers between Jews and Christians, but they never impeded upon my sense of self. Park Avenue apartment buildings were either Jewish or gentile, and my building, 941 Park Avenue, was occupied entirely by Jewish families. The only non-Jews with whom I interacted in my building worked for one the families who lived there, or for the building itself; they were maids and supers and doormen, and they were white and largely Irish.
When I was little and in the lower school, I did not think about religion. Most of my family had come from Germany and had been in America since before the Civil War. They were not observant, in fact quite the opposite. My parents believed that religion was the opiate of the masses, and we ate shellfish and ham. My father banned uncured pork as in pork chops, so my mother often served lamb chops, which was unusual in the America of that time. Both of my parents grew up in Chicago, my mother in the northern suburb of Kenilworth, my father on the south side of the city near the University of Chicago. My mother’s family was wealthy and lived in a very large house where I happily played as a child and where my best companion there was the son of my grandparents’ chauffeur, whose family lived in an apartment above the garage.
Their world was German-Jewish, and my grandfather was one of the founders of that communities’ local country club. My grandparents, seeking spiritual meaning in their lives, followed Christian Science, but they still considered themselves Jewish, though as members of the upper-class German-Jewish world they would never have considered joining a Conservative or Orthodox community.
My father’s family was split between Eastern and Central Europe. His father was Lithuanian and Orthodox, his mother was German and reform, and that divide contributed to my paternal grandparents’ divorce. After my parents had married and moved to New York, our father would take us on excursions to the Lower East Side where we would buy challah, which we never ate on Friday night. I understood — without knowing the word — that we were part of what the larger Jewish world called Yekke. That is, we were of German and Central European descent and our grandparents and their parents before them did not speak Yiddish. This was in contrast to the Jews from the areas of Eastern Europe where Jews did speak Yiddish, who had not yet assimilated into American culture and language as we had, were often poorer, and were looked down upon by the Yekke.
My parents may have disliked organized religion, but they certainly felt Jewish. In the late 1930s, my mother and her mother sponsored Jews trying to get out of Germany. My mother had a letter from Albert Einstein, written in German and addressed to Fraulein Spiegel (her maiden name) thanking her for trying to help a Jewish family of mathematicians. And in retrospect, their Jewish identity must also have been reinforced in 1948 by the establishment of Israel, then a small, scrappy, underdog state. Like most American Jews, they thought of Israel as a symbol of survival: Hitler had not wiped us off the face of the earth.
Later I learned that my parents’ largest contribution every year was to the United Jewish Appeal (UJA). But this was true of the vast majority of Jews of their generation, and I would guess was so for the parents of virtually every Jewish child in Dalton’s lower and middle school. One of the girls in my Dalton class was Elizabeth Rosenwald (Varet), the daughter of William Rosenwald (and granddaughter of Julius Rosenwald) who, along with much of his family, helped found the UJA. Another was Ruth Slawson, daughter of John Slawson, who was director of the American Jewish Committee from 1943 to 1968. But, in the lower school I felt simply part of my environment, and a very large part of that environment was Dalton.
A world of progressives and universalists
When we were in kindergarten, our schoolroom had its own sandbox: Dalton allowed us to play and simply grow. When we started 1st grade, however, we were meant to learn how to read. But I had no interest in reading except for comic books, especially Tarzan. Not knowing how to crack the code to read all those words contained in the bubbles attached to each character’s head, I happily made up my own stories. A group of us remained illiterate until the fall of 3rd grade, when we attended a remedial class and I learned how to decode letters and symbols. When we each finally conquered the art of literacy, we were given a very small penknife clad in mother of pearl. Comics were never the same.
Each lower school grade was split into two classes, each with its own teacher. The lower school teacher I remember best was Ellie Seeger, a fabulous storyteller who regaled our class with stories until the other second grade class got so jealous she had to stop. Her husband was John Seeger, brother of Pete Seeger. John Seeger taught middle school geography where we made papier mâché maps, something I adored doing. He would sing for us sometimes, and although I became a great fan of Pete Seeger, I think John was just as good.

School at Dalton would frequently begin with a morning assembly. We would march into our wonderful proscenium theater with red-covered theater seats to piano music. It was there that John Seeger sang for us. It was there that we put on plays and made costumes in a wonderful anteroom space. And it was also there that Dalton held its Christmas Pageant, a re-enactment of the birth of Jesus and the story of the wisemen from the east, to which none of our Jewish parents objected.
In 1951, we went on a trip to Otis, a farm in Massachusetts. We crossed over a gully or a stream on a log. I still have a photo of myself milking a cow into a metal bucket
I was friends with a Black girl named Judy Walker and we had sleepover dates. She would come with us to our summer house in Connecticut, and I went with her to the vacation home her family was building, and to her home in Harlem. Her father was a chemist and one morning at her house I woke up to music, thinking it was the theme to the Lone Ranger. Her parents must have liked classical music because it was the William Tell Overture.
The biggest event of 5th grade was the Greek Festival — a very Dewey-inspired production. Tessie Ross was our teacher, and we loved her. She taught at Dalton for 43 years beginning in 1944 after she had fled to the U.S. from Belgium and she led the Greek Festival, which took place in the gym and had carriages and spears and shields and armor. We played at being Greeks — Athenians against the Spartans, with parents as our audience.
In high school, I had one other teacher who was a refugee from Europe, our history teacher Nora Hodges. Mrs. Hodges was born in 1899 as Nora August Warndorfer, from Vienna. She came from a family of wealthy Jews, and fortunately she got out of Vienna many years before the Anschluss. She went back to Austria in the mid-1930’s and told us how she had listened to the radio, and, hearing a magnetic voice come over the air, felt captivated — until she learned that it was Adolph Hitler.

In the lower school, girls got to wear pants on Fridays. That was a big deal then because girls still wore skirts and dresses. Always. I remember mine as being corduroy with an elastic waist. I believe that going casual on Fridays, however, was not simply a symptom of Dalton progressive philosophy, but an indicator that it was populated by well-off families. Of course, the America of the 1950s was not as divided between rich and poor as it is now, and those who were upper middle class, or even rich, were not inclined to be ostentatious. But many families had either country homes or were members of country clubs. So, the school allowed girls to sport trousers on Fridays so they would be dressed to go to their second homes.
Not that all families were wealthy. Robert Newman, whose daughter Hila was a class or two above me, was a radio-drama playwright turned children’s book writer. Wally Shawn’s father WIlliam was the editor of The New Yorker, so he was very well-known but wasn’t paid a banker’s salary. Bettye George Dockery’s father was a dentist. Michael Lerner’s father, Max Lerner, was a writer, professor, and public intellectual, and also famous, but not wealthy. Pebble Baker’s father was a journalist for Time.
We ended our school year with a festival called “Arch Day.” Each class went through an arch on the auditorium stage. We went in as part of one grade and exited as part of the next. There were skits as well. My brother Paul finished 8th grade in 1954, when so many Americans were obsessed with the McCarthy hearings, so Paul’s class put together a skit entitled “Point of Order.”
Most Dalton students, and I assume most of the teachers, were liberal, but establishment liberal. We all assumed Alger Hiss was innocent. His son Tony went to Dalton and was a few years ahead of me. One of his lawyers was Helen Buttenweiser. The Buttenweiser children went to Dalton. She and her husband Benjamin were wealthy German Jewish New York philanthropists..
But while we were all aware of Joseph McCarthy, of the House Un-American Affairs Committee (HUAC), and of Alger Hiss, we never talked about Ethel and Julius Rosenberg. Ethel Greenglass was a secretary and a member of the Young Communist League. Julius’ parents were immigrants from Russia who grew up on the Lower East Side and he also was a communist. Alger Hiss was accepted by much of German Jewish Yekke Manhattan, though he himself was not Jewish, but the Rosenbergs were not. They were the wrong kind of Jews — the ones who would never have sent their sons to Dalton.
That divide, between Hiss and the Rosenbergs, perhaps illuminates my Dalton world in the 1950s. We were comfortable progressives and post-World War II universalists. We believed in Civil Rights and the future of Blacks in the United States. We supported John Lindsay for congress and mayor. My father once chaperoned me and a friend to a Pete Seeger concert, and he was terrified by how Pete Seeger could whip up a crowd — it reminded him too much of Adolph Hitler.
In the 7th or 8th grade, I read The Diary of Anne Frank. I devoured it one summer when I was at my parents’ vacation house in Martha’s Vineyard. There was a great tick scare that summer, so I lay in my bed, clenching my teeth to ward off any ticks, reading Anne Frank and refashioning my identity.
By middle school, questions of my own identity began to intertwine with my Dalton childhood. My mother once told me that some of the girls whose parents sent them to Dalton in the lower and middle school did so in order to provide their children with a diverse environment but then put them elsewhere for high school so that they would not become romantically attached to a Jewish boy or too acculturated into Jewish (or at least Yekke) life.
A story worth preserving

When I went through the arch in June of 1957, I entered as an 8th grader and emerged as a high school student. Four years later, in 1961, I graduated — 65 years ago. America was a different world then. The gap between rich and poor was not as yawning, and the wealthy were not as excessive. For Jewish children today, the memory of the Holocaust is often a nearly untouchable past that they learn about in Hebrew School; the story of Anne Frank is recalled from a school assignment; and secular Jews like my family have left the emotional ghetto in which my parents still lived. Our public and private contexts have changed. And so I have decided to tell my story of one German Jewish child living in Manhattan in the 1940s and 1950s, attending one progressive grade school, during one slice of time that I feel is worth preserving.
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