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Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play
(New York Jewish Week) — When Jewish literary power couple Jonathan Safran Foer and Nicole Krauss divorced in 2014 — amid rumors that he was in love with his longtime friend Natalie Portman — it captivated the nation.
Well, maybe not the nation, but certainly the literary and media worlds, as well as the hipster set in brownstone Brooklyn. Safran Foer and Krauss were rare literary megastars, whose “extremely loud and incredibly expensive” Park Slope brownstone was the subject of numerous articles (and a hefty dose of envy) when it hit the market for $14.5 million in 2013.
Portman, of course, was an actual megastar, and when the confessional correspondence between the celebrated actress and the “Everything Is Illuminated” writer was later published in 2016 in the New York Times, it elicited a fresh round of jealousy, speculation and eye-rolls from the masses, as well as numerous journalistic “takes” on the topic.
I was a teenager at the time, and had only a vague idea of why any of this mattered. But apparently it stayed with me for nearly a decade, because when I saw “The Wanderers,” a new Off-Broadway play running at the Roundabout Theatre Company, it didn’t take long for me to make the connection between this fictional production and the very real but mysterious drama that occurred between these famous Jewish writers.
“The Wanderers,” directed by Barry Edelstein, follows two couples in two different timelines. In the present day are Abe and Sophie, secular Jews and writers who live in Brooklyn and have been together since they were teenagers. The other storyline, set in the 1970s, centers around Esther and Schmuli, a Hasidic couple living in Satmar Williamsburg. The latter are introduced to the audience on the eve of their wedding, one of the first times they’ve ever been alone together.
Throughout the play, the couples, seemingly from different worlds, try to balance their careers, personal lives, internal desires and family obligations.
Abe (Eddie Kaye Thomas) is a writer who boasts a Pulitzer Prize and several other literary awards. But he struggles with certain aspects of his life — his frayed relationships, mostly — and is hamstrung by an immense ego that is tempered only by a hefty dose of insecurity. As I watched the play, I began to feel like I knew the man, but I couldn’t quite place him. Was he just a stand-in for every genuinely talented, semi-pretentious, self-important male writer living in Brooklyn?
Abe eventually finds an outlet for his woes by striking up an email correspondence with fictional Hollywood actress Julia Cheever (Katie Holmes, the real Hollywood actress), whom he met when she came to a reading of one of his novels. Eventually, he declares his love for her — a pronouncement that essentially goes ignored by the actress. (In the play, Holmes sports a chic brunette bob not unlike a Jewish actress near and dear to our hearts.)
It became pretty clear who served as the inspiration for this play — and when I asked playwright Anna Ziegler about it, she said I was one of the few she had spoken with who had made the connection.
“In the summer of 2016, when I was writing, Natalie Portman and Jonathan Safran Foer were writing to each other in a correspondence they published in the New York Times,” she said. “She was promoting a new movie of hers, and I guess they had a previous relationship — that sparked the idea for one of the storylines in the play.”
What’s funny, Ziegler said, was that most audience members haven’t made the connection. “We haven’t really been talking about [Safran Foer and Portman] as one of the inspirations, and not many people have raised it,” she said. “I assumed that that resonance would be there for a certain percentage of the audience but, to be honest, I don’t think it’s there for the vast majority of people.”
At one point in the play, after learning his father died, Abe even says the line “Hineni, here I am,” to ground himself and calm his emotions. It’s a phrase in the Torah that usually translates to “I am ready,” which Abraham says to God before being asked to sacrifice his son, Isaac, as well as a prayer of humility chanted on Rosh Hashanah. But it’s also, possibly, a nod to Safran Foer’s 2016 novel “Here I Am.”
Neither Krauss nor Safran Foer responded to requests for comment on the play. “For people in my generation and younger, the recognition might be there, but it was also so many years ago now,” said Zielger, 44. “So I guess the only people who remember it are the people on whom it made an impact.”
Which is fine — “The Wanderers” stands on its own even if you don’t know the backstory. Plus, the themes of the play stretch far beyond infidelity: It also explores loneliness, free will and inherited family trauma.
Originally, Ziegler set out to write something about arranged marriages, specifically within the Jewish community. “I had always been kind of fascinated and beguiled by the idea of arranged marriage — thinking about what it would be like spending that first night together, that notion always kind of haunted me,” she said.
“I had these two different plays [one about Portman and Safran Foer and the other about arranged marriages], and they seemed thematically related,” she added. “At some point, I concluded that they really were two strands at the same play and so I started weaving them together.”
Ziegler chose to write about the Hasidic Jewish community in particular because she was “somewhat familiar with that culture and community,” she told me.
Still, as a secular Jew, it’s a topic she approached delicately. She hired a cultural consultant and an accent coach for the actors who were both from the community. Ziegler herself, who lives in Brooklyn, spent time in Williamsburg, and read memoirs and watched documentaries.
In the play, the Hasidic wife Esther (Lucy Freyer) struggles to be seen by her community and to feel in control of her life. She doesn’t know where to turn and wonders if she’s fulfilled her potential — as a parent, wife, human and Jew. “One of the great joys of being an actor is being able to learn and dive head first into a community that you ordinarily wouldn’t get to know,” Freyer said.
As the story unfolds, it’s revealed that Esther left the community with her infant son, who grows up to be the renowned Jewish author Abe, who marries his childhood friend Sophie (Sarah Cooper, the comic and actress who broke big with videos mocking Donald Trump). The younger couple is almost entirely secular, yet they grapple with the same search for meaning and belonging, the same doubt as to whether they’ve chosen the right path for themselves — or if it had been chosen for them.
“All five characters, not just Schmuli and Esther, are trying to figure out how can you be happy with what you have, with where you stand in your own skin,” said Dave Klasko, who plays Schmuli.
“We say in the play the Hebrew phrase, ‘Ein ba’al hanes makir b’niso,’ which [Ziegler] poetically translates to ‘We are never aware of the miracles, especially when we are inside them,’” Klasko added. “How can I, in my own life, realize the miracle that I’m living in before I’m on the other side of it?”
For Ziegler, these are very Jewish questions — and the questions of the “Xillennial” generation. “We’re left [with] the complex heritage of feeling chosen, but also self-hating,” said Ziegler, whose previous plays include “Photograph 51,” about Rosalind Franklin, the Jewish X-ray crystallographer who helped Watson and Crick crack the DNA model. “I think this is the most Jewish of my plays, and it’s funny because I’m not that religious, but I have found in my career that there seems to be a hunger for plays about Judaism.”
“At some point in my career, I began to be thought of as a ‘Jewish writer’ — for better or for worse,” she added.
Safran Foer, 46, and Krauss, 48, have also wrestled with the “Jewish writer” term, as well as the play’s big questions of identity, self-doubt and complicated family relationships. In fact, as Ziegler and the actors point out, issues of the play are universal, and have nothing to do with how famous you are, how expensive your home may be, or how strictly you adhere to religious law. The celebrity allusion — plus the chance to see an actual celebrity, Holmes — may be a reason to buy a ticket to see “The Wanderers,” but the timeless message is what will keep you in your seat.
“The Wanderers” is playing at the Roundabout Theatre Company (111 West 46th Street) through April 2. Find tickets and more information here.
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Homeland Security hires social media manager whose posts raised alarm for promoting ‘white-nationalist rhetoric’
(JTA) — The Department of Homeland Security has hired a new digital communications director whose social media content for the Labor Department reportedly raised alarm bells inside the department and beyond for promoting white supremacist rhetoric.
Peyton Rollins began his new role at Homeland Security this month, The New York Times was the first to report this week. Tricia McLaughlin, the Homeland Security spokeswoman, did not confirm the move to the newspaper, but Rollins’ LinkedIn profile shows that he began working at the department this month.
Rollins, 21, has been identified as the staffer responsible for posts at the Labor Department that have been decried as making veiled antisemitic and racist allusions. He also claimed credit for a large banner of President Donald Trump’s face that was hung from the Labor Department’s headquarters, which its critics said echoed fascist stylings.
During Rollins’ time at the Labor Department, its social media pages have featured a range of slogans including “the globalist status quo is OVER,” “PATRIOTISM, NOT GLOBALISM” and “Patriotism will Prevail. America First. Always,” which featured an image of an American flag with 11 stars, the number that appeared on some Confederate flags.
One post on X in November, which featured the phrase “Americanism Will Prevail,” spurred hundreds of negative comments because it appeared to use the same typeface used on the original cover of “Mein Kampf.”
Staffers at the department were alarmed, according to the New York Times. “We’re used to seeing posts about things like apprenticeships, benefits and unions,” a former employee, Helen Luryi, told the newspaper. “All of a sudden, we get white-nationalist rhetoric.”
In his new role, Rollins will oversee the Homeland Security social media accounts, including its X account which has been accused of tweeting antisemitic dog whistles.
Rollins joins a growing list of hires under the Trump administration who have faced allegations of promoting extremist rhetoric.
In March, DHS hired speechwriter Eric Lendrum, who has previously promoted the “Great Replacement” theory and likened conservatives in the United States to Jews in Nazi Germany. In May, the Pentagon also appointed Kingsley Wilson, who has repeatedly echoed antisemitic rhetoric online, as its press secretary.
Last year, the appointments of Darren Beattie as the acting undersecretary of state for public diplomacy and public affairs in February and Paul Ingrassia in May to a senior legal role drew criticism for the pair’s relationships with white supremacists.
The post Homeland Security hires social media manager whose posts raised alarm for promoting ‘white-nationalist rhetoric’ appeared first on The Forward.
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The Israeli government wants you to stop calling Oct. 7 a ‘massacre.’ Yes, really.
The Oct. 7 attack was a massacre. But Israeli authorities would prefer you not call it that.
The Prime Minister’s Office demanded that a bill establishing a national memorial for the incursion remove the term “massacre” from its title, with Minister Mickey Zohar explaining that since Israel is “strong,” no one can “massacre the people of Israel.”
In other words: To accurately describe what happened when Hamas struck Israel on Oct. 7, 2023 —killing almost 1,200 and kidnapping 251 hostages — is unpatriotic, signals weakness, and is, somehow, leftist.
This is not really a matter of semantics. It’s an attempt to control language in order to distort reality. And it’s tied to the Netanyahu government’s vast project of evading accountability for the many military and political failures that contributed to the horrors of Oct. 7.
Their method is time-tested. Early versions of it appear in classical sources, in which rulers often rename actions to soften their meaning.
King Saul masks disobedience as a religious act. King David cloaks the fact that he planned the death of his romantic rival Uriah in the language of war.
Ancient Greeks observed that political conflicts alter not only reality but also the meaning of words. Thucydides described how during civil strife, recklessness was called courage, moderation was branded as weakness, and caution was treated as betrayal, illuminating how language could be inverted to serve passion and polarization.
In ancient Rome, the phenomenon assumed a more formal character. The emperor Aurelian gave himself the title restitutor orbis, meaning “restorer of the world”; he framed a series of brutal conflicts he embarked on to reunite the Roman empire as an act of correction, rather than conquest. It was a formulation that wrapped violence in a mantle of legitimacy and proper governance.
As political systems evolved, so did linguistic sophistication. During the French Revolution, the Reign of Terror was overseen by a body called the Committee of Public Safety. The Nazi regime called its deportations of Jews to concentration camps “resettlement” and described some executions as “special treatment.” Stalin did not cause famine; there were “grain procurement difficulties.” Mao Zedong did not preside over catastrophe; he launched a “Great Leap Forward.”
George Orwell identified this mechanism with unmatched clarity in his novel 1984. His fictional government’s “Ministry of Truth” serves the function of degrading language until truth becomes inexpressible, with the slogan “War is peace. Freedom is slavery. Ignorance is strength.”
The contradictions are deliberate. Their purpose is to train citizens to accept inversion and surrender their independent grasp of reality.
Orwell’s deeper insight was that the corruption of language precedes the corruption of politics. When words lose precision, accountability dissolves. Reality becomes malleable, and loyal followers will believe whatever they are told. If aggression is always “defense,” repression always “order,” and censorship always “responsibility,” there is little limit to what rulers can do.
The American novelist Kurt Vonnegut put it even more sharply — beautifully, even — in 1973’s Breakfast of Champions: “In nonsense is strength.”
This phenomenon is not confined to totalitarian regimes. Democracies, too, are tempted to soften language when confronting failure. Even — and perhaps especially — in Israel.
Thus, the killing of civilians becomes “harm to uninvolved civilians,” phrasing that distances attention from human reality. Torture becomes “moderate physical pressure.” Extrajudicial killings become “targeted prevention.”
Set aside the question of whether these measures are ever justified: It’s essential to note that the language itself undergoes distortion for political ends.
The Netanyahu government has a specific goal behind this approach. Avoiding the word “massacre” in describing Oct. 7 fits into its broader strategy of evading responsibility for the disaster itself.
Netanyahu has refused to accept any blame since the first hours after the attack, including by arguing that no investigation into his actions could take place during wartime, while prolonging the war as much as possible. At the same time, his allies attacked the Supreme Court to justify avoiding a state commission of inquiry with real authority.
To refuse to call Oct. 7 a massacre is to suggest it was somehow less brutal or devastating than it was. So let us dispel the nonsense.
A massacre involves the deliberate killing of a large number of defenseless people. It does not imply permanent strategic defeat. It does not preclude a military response afterward. It does not suggest inherent weakness. It describes a specific act: the intentional slaughter of civilians under circumstances in which they cannot defend themselves.
On Oct. 7, 2023, armed Hamas militants invaded Israel and committed a massacre, almost unopposed by Israeli security forces, in a crushing national collapse. Families were shot in their homes. People were hunted down, executed, or burned. Hostages were taken. Most of the victims were civilians. It was hours before the public heard anything from the shell-shocked Netanyahu.
Call it what it was. Truth combined with moral clarity, over time, are a nation’s deepest source of strength. Resistance to accurate language serves to dull the recognition that something profoundly shocking occurred — something that demands deep reckoning and change, not a continuation of the morally bereft and misleading status quo.
The post The Israeli government wants you to stop calling Oct. 7 a ‘massacre.’ Yes, really. appeared first on The Forward.
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ADL retracts Tumbler Ridge shooting antisemitism claim
The ADL published and then retracted a claim that the alleged mass shooter at a school in Canada maintained a social media account with antisemitic posts, a day after it posted the erroneous information on its website.
The organization wrote Thursday at the bottom of an updated page about alleged Tumbler Ridge Secondary School shooter Jesse Van Rootselaar that it had incorrectly concluded that an X account containing the posts belonged to the alleged shooter. Nine people were killed in the shooting, including Van Rootselaar.
“A preliminary investigation uncovered an X account appearing to belong to the shooter. Upon further investigation, that X account has been found not credible. References to it have been removed,” the correction read.
Authorities in British Columbia said they could not speculate on the motive of the shooter.
The ADL, the most prominent U.S. antisemitism research and advocacy organization, had posted the claim Wednesday on its website. The Forward has reached out to the ADL for comment.
The error, from the ADL’s Center On Extremism, comes amid broader changes in the ADL’s approach.
The ADL’s original post said that on Sunday — two days before the attack — an X account connected to Van Rootselaar posted, “I need to hate jews because the zionists want me to hate jews. This benefits them, somehow.”
“The Tumbler Ridge shooter’s X profile photo also featured an image of the Christchurch shooter superimposed over a Sonnenrad, a neo-Nazi symbol, and a transgender pride flag,” the ADL wrote in the original post, referencing an antisemitic mass murder in New Zealand.
It did not link to the profile or include images of it, leaving the claim difficult to verify.
The Center On Extremism is a flagship program that has been overhauled in recent years as the organization has shifted toward a greater focus on fighting antisemitism. In September, it deleted its Glossary of Extremism, which had contained over 1,000 pages of background information on hate groups and ideologies. It said at the time that the entries were outdated.
The post ADL retracts Tumbler Ridge shooting antisemitism claim appeared first on The Forward.