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Mayhem at Jewish Federations conference in Tel Aviv as protesters and panelists fight over judiciary and immigration
TEL AVIV (JTA) — A panel at a major American Jewish conference here descended into pandemonium as protesters in the audience shouted down a leading far-right politician.
Panelists also sniped at each other over the government’s controversial attempt to overhaul Israel’s judiciary and its threat to tighten immigration rules.
Security personnel forcibly ejected multiple protesters from the event, which took an unplanned five-minute break to calm the tensions in the room. It was the first reprimand of protesters at a conference whose organizers had made clear they expected them and supported any that did not interfere with the proceedings.
“We wanted very much to include anyone who wanted to be here, to learn and to be part of the conversation. It’s unfortunate it was disrupted so we couldn’t engage in the kind of learning we had hoped for,” Jewish Federations of North America board chair Julie Platt told the Jewish Telegraphic Agency after the interrupted panel. “It was more than we expected.”
The drama at the event surrounded Simcha Rothman, an Orthodox lawmaker who is one of the architects of, and a vocal advocate for, the government’s proposal to sap power from the Supreme Court. Protests against him on Monday began before his speaking engagement and followed him throughout his remarks.
Rothman is the most prominent advocate for the judicial overhaul to speak at the General Assembly, a conference taking place in Tel Aviv and organized by the Jewish Federations of North America. Prime Minister Benjamin Netanyahu was scheduled to speak at the conference’s opening on Sunday night but backed out hours earlier in the face of protests.
Monday morning’s events came about 12 hours after hundreds of protesters demonstrated outside the General Assembly’s opening event. Inside the conference kickoff on Sunday night, addressing the protesters, Platt said, “We see you, we hear you and we are inspired by your love of Israel.”
Rothman opted to come and met opposition in the conference’s halls almost immediately. While sitting with a reporter in the gathering’s breakfast area, a small gaggle of protesters arrived at his table and started chanting “shame” in Hebrew. One protester offered Rothman a bracelet bearing the word “democracy,” which has become the anti-government protests’ one-word slogan, and another yelled, “Rothman, go to hell.”
Some protesters were removed by security guards at the Jewish Federations of North America conference in Tel Aviv, April 24, 2023. (Ben Sales)
The protests intensified at the morning panel, which centered on proposals to change Israel’s Law of Return affording automatic citizenship to Jews, their children and grandchildren. Every time Rothman spoke, a group of protesters standing in a kind of informal ring around the room shouted him down with chants of “shame” and “liar,” in both Hebrew and English. Protesters on one side of the room held Israeli flags — another mainstay of the street protests — as well as an LGBTQ rainbow pride flag.
Multiple protesters were dragged out of the event by security — at least one of whom came back in and continued protesting. One yelled, “Rothman is destroying Israel, destroying our future! My kids! My kids!”
Rothman repeatedly had to pause his remarks and shot back at the protesters throughout his comments.
“What we see here is exactly the problem we need to address, a person that shouts ‘democracy’ while trying to shut up other people,” Rothman said after a protester shouted, “You’re an enemy of the Jewish people!” Rothman later said, “Some people are looking for consensus only when they’re in the opposition.”
The shouting was not limited to protesters in the audience. Rothman’s co-panelists were Yohanan Plesner, the president of the Israel Democracy Institute think tank, and Alex Rif, founder of the One Million Lobby, which advocates for Russian-speaking Israelis. Plesner objected in strong terms both to Rothman’s views on the Law of Return and to the judicial overhaul.
“The government came in with an agenda to fundamentally alter the fragile arrangements that existed for 75 years,” he said. “Somehow this balance was kept because the Supreme Court played a balancing role, and the Knesset and government respected that role.”
Rothman at one point suggested that Plesner join the protests and criticized him personally.
“The person that is the head of the Israeli Democratic Institution [sic] basically praises the idea that an undemocratic organization in Israel, powered in Israel, unelected… will make a decision that as we see are very tense,” Rothman said, referring to the Supreme Court. “Not the democratic body politic of the State of Israel, God forbid.”
Plesner responded by saying, “You’re misrepresenting what I said. Every democracy has an independent court that protects rights.”
Rothman responded, “They lied to you, they lied to the public in the U.S., they lied to the public in Israel.”
The panel’s stated topic, the Law of Return, also led to sharp disagreement. Rothman is in favor of making the law more restrictive by canceling the provision allowing the grandchild of a Jew to gain citizenship. The clause has allowed for a significant proportion of Israel’s Russian speakers to immigrate.
Rothman said the idea of canceling the clause “is not new, it’s not [originally] from this government, it’s to deal with the problem that arose … in the 90s,” when large numbers of Jews immigrated from the former Soviet Union. Because he said the change would mostly affect immigrants from eastern Europe, he suggested it shouldn’t be as concerning to American Jews and added, “Sadly, some people are trying to make this issue a split between American Jewry and Israeli Jewry in an unjustified way. We need to have this conversation and find a solution.”
Rif responded by accusing Rothman of telling Russian-speaking Israelis, ”You’re here by mistake.” She called on Israel to ease immigration for Jews from Russia and Belarus. In an explicit allusion to last century’s American Jewish activism on behalf of Soviet Jewry, which employed the slogan “Let my people go,” she brandished a sign onstage reading “Let my people in.”
Both Rif and Plesner drew cheers from the audience when they spoke.
“When you change the law of Return, you close the door for them forever for the Jewish people,” she said of Russian speakers already living in Israel. “You’re telling them, ‘We don’t want you here.’ Now, they’re living here for 30 years feeling second-class.”
Following particularly intense protests and onstage argument, Jewish Federations personnel called for a five-minute break. Protests against Rothman continued following the break, though the panel’s discussion continued. After the break, Plesner offered an olive branch of sorts to Rothman.
“I want to say, to Simcha Rothman’s credit, that he is a staunch ideologue. I disagree, almost, with everything he says, but he’s a staunch ideologue,” Plesner said. “Before the elections he said exactly what he’s going to promote. We sat together, and he said so.”
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Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
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NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’
(JTA) — A New Jersey church says it is “committed to engaging in dialogue, and teaching others about our heritage” after putting on a Christmas pageant that drew criticism for reflecting antisemitic stereotypes.
St. Mary Protectress Ukrainian Orthodox Church’s pageant, known as a vertep, featured an antagonist named Moshko who danced with the devil while wearing faux Hasidic garb like side locks and a black hat. The character was referred to as “zhyd,” a Ukrainian slur for “Jew.”
“We do not have any intention to promote harm or hatred with this pageant,” the church said in a statement issued on Facebook on Friday night. “However, we recognize some outside of our culture may assign elements of the performance to stereotypes when taken out of context which is inclusive of peoples historically present in eastern Europe.”
The church did not respond to a Jewish Telegraphic Agency request for comment prior to an initial report on the vertep earlier this month. It did not respond to an additional request for comment on Monday, following the statement. The church removed photos and video of the pageant from its Facebook page following the JTA report.
The vertep is a centuries-old Slavic Christmas tradition that emerged from puppet theater. In recent years, many Ukrainian Orthodox churches have removed material criticized as offensive. Since the current war between Russia and Ukraine began in 2022, one popular replacement for the Jewish antagonist has been a Russian character.
In its statement, St. Mary Protectress Ukrainian Orthodox Church emphasized that “the event does not target any specific group” but indicated that it could make changes in future pageants.
“The church is reflecting on this matter seriously and is committed to engaging in dialogue, and teaching others about our heritage while ensuring that future events continue to uphold the dignity, respect, and safety of all people,” it said.
The Anti-Defamation League of New Jersey, which said earlier this month that it was reaching out to St. Mary Protectress, told JTA on Monday that it had not been able to communicate with anyone from the church.
The church’s apology rang hollow for Lev Golinkin, a Jewish writer born in Ukraine who has advocated against the antisemitic elements of the traditional vertep.
“It’s not an apology, it’s more of an insult,” Golinkin said. “The problem is not the context. The problem is exactly that. It is in context perfectly.”
He added, “They’re making it seem that the people who are criticizing them … are the ones who have a problem because they don’t understand the culture.”
St. Mary Protectress is not the only Ukrainian church in the United States to import the antisemitic elements of the vertep from the old country. A church in Connecticut erected a backdrop poster for its pageant this year that included a Moshko character standing next to the devil.
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A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths
(JTA) — I’ve never read a Holocaust chronicle quite like Lore Segal’s autobiographical 1964 novel, “Other People’s Houses.” Mordant, unsentimental and sometimes painfully honest, it’s the story of an Austrian girl sent to England on the Kindertransport, as well as a portrait of the artist as a young refugee.
More than one of her legions of admirers have noted that Segal, who died in 2024 at the age of 96, was only one year younger than Anne Frank, and grew up to become the kind of writer Anne too might have become had she not died in Bergen-Belsen.
Segal’s work, which includes decades of stories in The New Yorker as well as a delightful children’s book, “Tell Me a Mitzi,” is also remarkable in its humility. Segal was adamant that memory — especially of traumatic events like the Holocaust — cannot be a perfect repository of truth. It’s not that authors couldn’t be trusted, but that neither the writer nor the reader should take anything for granted.
That challenge is captured in the title of a new exhibit mounted by the Leo Baeck Institute in New York: “And That’s True Too: The Life and Work of Lore Segal.” The title is a quote from “King Lear,” a favorite of Segal’s and a reminder to hold opposing truths in the same sentence, of resisting the false comfort of a single, final version.
“We tried to give you an insight into Laura’s ability to look at the world from many angles,” Karin Hanta, the exhibit’s curator, said at the exhibit’s opening on Thursday, just days before International Holocaust Remembrance Day.
At the event, actress Toni Kalem, who played Angie Bonpensiero on “The Sopranos,” read an excerpt from “Other People’s Houses.” Kalem, who met Segal years ago and discovered that their mothers shared the experience of the Kindertransport, spoke of Segal’s “unbridled curiosity” — a quality that runs through the display of photographs, manuscripts and family keepsakes.
Lore (pronounced “Laura”) Groszmann was born in Vienna in 1928; one month after the Nazi pogrom on Kristallnacht, she was sent to England and raised in a series of foster homes (her refugee parents would eventually arrive and find work as domestics). Later she would join her family in the Dominican Republic, and they eventually found refuge in Washington Heights, the Manhattan redoubt for German-speaking Jews. After she established herself as a writer, she became part of a circle of mostly Jewish writers in New York, including Cynthia Ozick, Vivan Gornick, Grace Paley, Norma Rosen and Gloria Goldreich. Her husband, book editor David Segal, was 40 when he died in 1970.
Hanta had hoped to write a biography of Segal, but when that project stalled, she pivoted. “With all the materials I had gathered,” she recalled at the opening, “why not stage an exhibition?”
The first iteration, mounted in Vienna’s Bezirksmuseum Josefstadt — located in the district where Segal grew up, and, as Hanta later discovered, near the hospital where she was born — drew thousands of visitors. The New York version, expanded and sharpened, shifts the focus westward, tracing Segal’s journey from prewar Vienna to Manhattan, where she lived for decades, taught generations of writers, and, according to the New York Times, came “closer than anyone to writing the Great American Novel.”
That novel, “Her First American,” appeared in 1985 and explored the uneasy intersection of race and Holocaust history through the relationship of a Jewish refugee and a Black intellectual. (LBI has scheduled an online event about Horace Cayton, Segal’s real-life lover and the inspiration for the novel.) “Other People’s Houses,” her first book, earned Segal a Guggenheim Fellowship, and her short-story collection “Shakespeare’s Kitchen” (2007) became a Pulitzer Prize finalist. All three books will be reissued in the spring of 2026 by the New Press, while Melville House is publishing a posthumous collection, “Still Talking.” Introduced by Gornick, it features the linked “Ladies’ Lunch” stories she wrote late in her career, about elderly Manhattan friends dealing frankly and often hilariously with the daily indignities of growing old.
The exhibit at the Center for Jewish History, where LBI catalogues the history and culture of German-speaking Jews, includes notebooks from Bedford College in London, where Segal studied after the war, filled with short stories entered into competitions. There are manuscripts marked and re-marked in a hand that never stopped revising. There are address books kept by her parents — one from England, one from the Dominican Republic — opened to pages that quietly testify to vanished worlds: cousins who hid behind kitchen curtains in France, friends who assumed false identities, children who never made it onto the trains.
One small object carries particular weight: a childhood friendship book, the sort in which relatives and friends inscribe poems and well-intentioned advice. Segal’s includes an entry from her first English foster mother, urging her to cherish friendship — advice that reads differently if you know, as Segal later wrote, that their relationship was fraught. Her father’s contribution, a drawing of a boy hiking in the mountains, echoes a story Segal drafted as a young woman about a prewar hike in the Alps with him. She revised that story at 90 and retitled it “Dandelion.” The New Yorker published it in 2019, 70 years after its first draft.
The exhibition is accompanied by a season of in-person and virtual programs, and Hanta has her own wish list of commemorative projects: She hopes that a park in Vienna where Segal played as a child might be renamed in her honor; that the exhibition might travel; that “Other People’s Houses” might be distributed free in Austria in 2028, the centenary of Segal’s birth and the 90th anniversary of the Kindertransport.
On opening night, before reading from “Other People’s Houses,” Kalem paused to apologize for the necessary cuts she made. “As you know, all her life, Lore was a master of meticulously crafting and scrupulously revising her work,” said Kalem. “So it feels like literary malfeasance on my part to attempt to edit a word of Lore’s story. It feels akin to cutting Shakespeare by shortening Hamlet’s soliloquy…. So Lore, I hope you understand and I hope you will forgive me.”
The exhibition also includes a video produced by Hanta and Segal’s grandson, Benny, which captures Segal late in life, still circling her subjects, still attentive to the elusiveness of truth. At the opening, Segal’s son Jacob spoke of his mother’s ambition and her modesty, her seriousness about art and her refusal to be undone by success or disappointment.
“She always made the world larger,” he said. “It’s smaller now.”
“And That’s True Too: The Life and Work of Lore Segal” runs through April 15 at the Center for Jewish History, 15 W. 16th St., New York, New York.
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