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Swiss historical drama ‘Labyrinth of Peace’ shatters the myth of Switzerland’s neutrality in WWII
It’s Switzerland in 1945 and the war has just ended. A group of deeply traumatized, ragged-looking Jewish teenagers recently liberated from Buchenwald have been sent to live in a former Swiss school building.
A young Swiss woman named Klara cares for them, while her new husband, Johann, runs her family’s textile business, whose success is dependent on the work of unrepentant Nazis living in comfort in Swiss exile. Johann’s brother, Egon, home from the war after five years working as a Swiss border guard, is wracked by guilt for having to turn away Jewish mothers and children at the frontier. His new postwar job in the attorney general’s office: hunting down ex-Nazis.
This is the premise of “Labyrinth of Peace,” an engrossing Swiss drama set in the immediate aftermath of the Holocaust that is now available exclusively on ChaiFlicks, the Jewish streaming service in North America, Australia and New Zealand.
Shot in Switzerland and released in the country to great acclaim in 2020, the six-episode series is fraught with drama, romance and moral struggles.
“Labyrinth of Peace” is the brainchild of award-winning Swiss-Italian screenwriter and director Petra Volpe, who wanted to tell the compelling story of a little-known chapter of postwar history while also spotlighting the morally questionable role Switzerland took during and after the war.
“Switzerland wanted to show that they were on the right side of history, since they knew they had failed the Jews by locking down the country” during the Holocaust, and therefore took in Jewish refugees after the war, Volpe said in an interview from her home in Brooklyn. “When actual refugees arrived and they weren’t cute children younger than 12, and someone asked where the little boys were, the rabbi said of the youngest ones, ‘They were all gassed.’ Switzerland wasn’t happy when teenagers showed up. They didn’t treat them as nicely as they should have.”
The Buchenwald Boys, as they were called, had lost their childhoods and most of their families during the war years. More than 60,000 Jews died in Buchenwald — including my great-grandfather, after he, my grandfather and uncle were arrested on Kristallnacht and sent to the concentration camp. But some 900 youths survived and were among those liberated by U.S. forces.
Jewish refugee agencies came to their rescue, and they were sent to various sites in France, England and Switzerland for rehabilitation. “Labyrinth of Peace” turns the story of a group sent to Switzerland into an absorbing historical drama that belies the myth of Swiss neutrality and demonstrates how guilt and moral conflicts ran through families even after combat ended.
“Labyrinth of Peace” illuminates a little-known chapter of postwar history while spotlighting the morally questionable role Switzerland took during and after World War II. (ChaiFlicks)
In the series, the recently liberated Buchenwald Boys find themselves at the heart of many more interests than anyone first realizes.
One of the teens, Herschel, falls in love with the Swiss Klara, whose father’s textile factory profited handsomely during the war. The family home is rich in sumptuous detail, from silk damask wall coverings to lush oriental carpets covering the floors to the gold-rimmed Limoges tea pot from which servants pour drinks. Nearby, the Buchenwald Boys live in empty classrooms without sufficient food or clothing, after arriving in the country wearing little but rags.
In real life, the 370 or so Buchenwald Boys who were sent to Switzerland became political pawns, Volpe says. They were promised several months of rest and rehabilitation, but their stay in Switzerland was cut short when authorities in pre-state Israel told them they were going to Palestine. Most didn’t want to go; some asked to settle in Australia and others wanted to stay in Switzerland.
“Everyone just wanted to bring them to Israel and get them out of sight,” said Volpe, who is not Jewish but is married to a Jewish man. “There’s collective guilt.”
In the series, the character of Egon is based on a real Swiss border guard whose story is known from frequent letters he wrote home to his wife. Egon is introduced to viewers as he arrives home just in time for his brother’s wedding to Klara. He is wracked with guilt and anger.
“Every day he had to drag mothers and young kids back across the border and it’s killing him,” Volpe said.
Desperate for expiation, Egon gets drawn into the U.S. authorities’ search for Nazis who moved to Switzerland and are living under cover with adopted names and identities.
Meanwhile, his brother Johann — Klara’s husband — is trying to transform his father-in-law’s textile business into a success by producing a low-cost synthetic alternative to nylon. Johann touts the achievement as a pure Swiss creation, but it turns out that it’s the work of a Nazi chemist working under an assumed name in the family lab — putting Johann in a morally dubious position and creating conflict with his wife.
Many Nazis who fled Germany after the war found new lives in Switzerland, where their pasts largely were overlooked. The same happened in America, too; the U.S. government put ex-Nazi scientists to work developing military hardware and even rockets for the country’s fledgling space program.
The setting for “Labyrinth of Peace” is a verdant Swiss school where Jewish teens recently liberated from the Buchenwald concentration camp are sent to be rehabilitated. (ChaiFlicks)
“Switzerland imported the knowledge of German war criminals,” said Volpe, who grew up near Zurich, lived in Berlin for 20 years as an adult and has resided in New York for the past decade. “They tried to hire scientists from the chemical industry. Swiss economic success is based on knowledge we took from the Nazis.”
Volpe’s series shatters the notion of Switzerland’s ostensible neutrality and demonstrates how many Swiss shared in the war’s sins.
“War criminals were treated like royalty in Switzerland because they had money, and refugees were treated like criminals,” observed Volpe.
“Labyrinth of Peace” was a hit when it aired on Swiss national television, and last year won awards at several Jewish film festivals in the United States. The series is now available nationwide on ChaiFlicks, the subscription streaming service that focuses on Jewish and Israeli content.
For Holocaust Remembrance Day on April 18, the JCC of Manhattan will screen two episodes from the series followed by a Q&A with Volpe.
At the end of the series (no spoilers!), Klara and a friend are shown driving while she opens a thin book that Herschel, the eldest of the Buchenwald Boys who fell in love with her, wrote and gave her. In his introduction Herschel writes, “I have done my best to prevent what was meant to be prevented. The eradication of us and our history.”
“The main message in his diary is: ‘They didn’t erase our voice and I can still tell my story,’ Volpe said. “That’s a form of victory also, and a very important message.”
Watch “Labyrinth of Peace” here.
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Synagogue targeted by picketers inspires Ann Arbor ordinance to protect houses of worship
Ann Arbor, Michigan has become the latest city to pass legislation aimed at protecting houses of worship from protests, echoing similar policies passed by New York and proposed by California earlier this year.
But while New York and California introduced such legislation in response to occasional anti-Israel protests outside synagogues, Ann Arbor has been home to the persistent and brazen protest of a Holocaust denier who shows up to picket the same congregation every week on Shabbat.
While synagogue leaders are moved by the city council’s gesture, they don’t expect the protests to end anytime soon.
“The significance of the resolution is that a city council in a highly progressive city had the bravery to call out the antisemitism of Jew haters,” said Rabbi Nadav Caine, the spiritual leader of Ann Arbor’s Beth Israel Congregation. And that’s no small thing.
For the past 23 years, a small group of protesters have gathered outside Beth Israel on Shabbat carrying signs with hateful slogans like “Jewish Power Corrupts,” “No More Holocaust Movies” and “Antisemitism is earned, never given.”
Partly in response to those decades of hateful demonstrations, the Ann Arbor City Council on Monday unanimously passed a resolution directing the city manager to develop a plan for protecting houses of worship during protests, which can include protest-free buffer zones.
Jerry Sorokin, executive director of Beth Israel, expressed gratitude for the city council’s sentiment — though he also believes the measures “won’t make any real difference.”
The protesters carry “incredibly offensive” signs, Sorokin said. But they also stay off synagogue property and don’t interfere with congregants trying to enter, he said, making it unlikely that a security perimeter would affect their demonstrations.
“They’ve found out exactly what the limits of their legal rights are in terms of what they can say, where they can say it, and how they can interact with the public, and they push it right to the limit without going over,” Sorokin said.
A court agreed. In 2019, a congregant and local Holocaust survivor lost a lawsuit against the Beth Israel protesters and the city of Ann Arbor, with a court concluding that the protesters were engaging in protected speech.
Buffer zones across the country
The measure in Ann Arbor reflects a broader national debate about balancing protesters’ free speech rights with worshippers’ ability to safely access religious services, as New York and California have also moved to enact buffer zones outside houses of worship.
In May, demonstrators outside Park East Synagogue in Manhattan chanted “We don’t want no Zionists here” and “There is only one solution, intifada revolution,” outside an event promoting real estate sales in Israel and the West Bank. New York lawmakers approved a 50-foot security buffer around houses of worship proposed by Gov. Kathy Hochul. Meanwhile, New York City Mayor Zohran Mamdani allowed a bill that requires the New York City Police to develop a plan for managing protests at houses of worship.
In Los Angeles, protesters targeting Wilshire Boulevard Temple for hosting speakers affiliated with the Israeli defense contractor Elbit Systems prompted California lawmakers to introduce a buffer-zone bill that would make it a crime to approach a person within 100 feet of a synagogue in order to hand out a leaflet, hold a sign, or “engage in oral protest.” First-time offenders would face up to six months in jail.
At the federal level, U.S. Rep. Tom Suozzi of New York introduced the SACRED Act, which would make it a federal crime to intimidate, obstruct or harass people within 100 feet of a house of worship.
But those proposals all face the same constitutional constraint: They can regulate how protests are conducted, but not the viewpoints being expressed. There’s no legal remedy to the offensive messages painted on placards and yelled at passing drivers, Sorokin said.
“I think what the city council did is laudable, and it is reassuring to us that they’re showing support for freedom of worship and for access to synagogues, churches, and mosques,” he said. “But I don’t think it’s going to change what goes on outside our building every Saturday.”
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In the world of Jewish translators, she was known as a mentor, a friend and a literary giant
Barbara Harshav, widely considered one of the most important translators of Jewish literature of our time, passed away June 24 at age 85. She translated from French, German, Hebrew, and Yiddish — and won acclaim from scholars and fellow translators for her range and high standards. Her curiosity and willingness to tackle difficult material were legendary.
“Few people would be able to and feel comfortable translating from French and German alongside Hebrew and Yiddish,” Shachar Pinsker, professor of Judaic Studies and Middle East Studies at The University of Michigan, wrote in an email.
She translated giants, including Shmuel Yosef Agnon, winner of the Nobel Prize; Avrom Sutzkever, the towering Yiddish poet; the Israeli novelist Meir Shalev; and the beloved poet Yehuda Amichai. But she was also loved as a mentor and friend to scholars and translators of several generations.
“I knew Bobbi Harshav through reading her translations before I met her for the first time, when I helped her carry a suitcase to a room in Berkeley’s Bancroft Hotel in 2005,” Pinsker recalled. “Since then, we have seen each other in Ann Arbor, Tel Aviv, New York and Boston. It was always a thrill to meet her, speak and correspond with her, and learn from her.”
Her personality was reflected in the books she translated.
“Bobbi had a fierce sense of curiosity and independence that carried her forward. I can’t think of anyone else who would translate the Palestinian author Emile Habibi’s essay ‘Your Holocaust and our Catastrophe,’ alongside poetry by Abraham Sutzkever, Yehuda Amichai, the best of American Yiddish poetry, as well as novels, stories, and plays by Hanoch Levin, Yoram Kaniuk, Yehudit Hendel, Yehudit Kazir, and Leah Goldberg,” Pinsker wrote.
Harshav also co-translated many books with her late husband, Benjamin Harshav, including Sing Stranger: A Century of American Yiddish Poetry.
Her translations included some of the most challenging books in recent Jewish literature, like Agnon’s fiction. Made up of layers upon layers, with allusions to Jewish texts everywhere, it is notoriously challenging, if not impossible, to translate.
“Bobbi took on the heroic task of translating S.Y. Agnon’s Tmol Shilshom (“Only Yesterday”), which many considered untranslatable, and although she was aware of the limitations of Agnon in English, she proved them wrong,” Pinsker recalled.
“Perhaps the main thing about this translation is that Bobbi captured Agnon’s sense of irony, because of her own smart and wicked sense of humor.”
On social media, scholars mourned this loss.
“I just read her translation of The Loves of Judith. It’s a stunning and masterful translation of a book that plays with languages, gender, timelines and so much,” Shayna Weiss, Senior Associate Director of the Schusterman Center for Israel Studies at Brandeis, wrote. “What a loss.”
Weiss, in an email, shared that she was reading Harshav’s translation of Shalev’s book because she is speaking at a film festival that is showing For the Love of a Woman, a new film based on this book.
Bobbi, as she was known, was famous inside translation circles for her warmth and kindness to other translators, including invitations to live in her home, rent-free, while translating.
She was especially encouraging to beginners.
When I was a graduate student, she emailed me out of the blue and invited me to participate in a panel at the American Literary Translators Association conference, which was meeting that year in Chicago. I knew no one there, and made a friend — the Yiddish translator Leah Zazulyer, also gone now — while waiting for Bobbi to show up.
I did not know it then, but Bobbi was a celebrity in that conference; she was a past president of the American Literary Translators Association. Later she would become the only Hebrew or Yiddish translator in history to win the PEN/ Manheim medal.
The Manheim medal is awarded every three years for lifetime achievement in literary translation. Bernard Malamud and Gay Talese donated the initial funding for the award; it received additional support from the family and friends of Ralph Manheim, the American translator of Mein Kampf, who died in 1992, and it is now named after him.
The medal recognizes translators “whose career has demonstrated a commitment to excellence through the body of their work.” Prior winners include Gregory Rabassa, translator of A Hundred Years of Solitude, which Gabriel García Márquez famously declared superior to his original, and Edith Grossman, translator of Don Quixote and author of the influential book Why Translation Matters.
Harshav published more than 40 books of translation including works of poetry, drama, fiction, philosophy, economics, sociology and history.
“I know that the Manheim Lifetime Achievement medal acknowledges the full range of Barbara’s work, including her translations from French and German, but the fact that this award casts the spotlight on Hebrew and Yiddish translation, languages that often are overlooked in the world literary economy, is just monumental,” translator, scholar, and Oxford professor Adriana X. Jacobs said when Harshav won the medal.
“In all her translations, Barbara’s voice comes across so clearly and distinctly, even as she is capturing the qualities unique to a specific writer. And what I mean is that when you read Barbara’s translations, her commitment to her choices is evident. And every time I have heard Barbara speak on translation, this has been confirmed,” Jacobs said. “She can tell you why she made one choice and not another, why she chose to translate a particular text and not another, and she always — always — stands by her work.”
Harshav’s comments on writing and translation sometimes made it to Twitter and other social media, like this snippet from her talk at Davidson College: “Style is the morality of the mind. And obscurantism is sinful.”
She came of age in a time well before AI and before translation apps. Learning a language then was slow hard work. For French and German, she focused on basics, then read newspapers and novels.
“As for Hebrew, I started studying Jewish history and realized that I had a serious handicap because I did not know Hebrew at all, not the alphabet, nothing,” she told Rainer Schulte in Translation Review in 2012.
Unlike many Hebrew translators, Harshav came to the language relatively late, at 34.
“I literally fell in love with the language. There was the exhilarating feeling of learning a new language and a new alphabet at that age. It must have repeated the original childhood sense of learning to read, when the letters suddenly make sense and a new world is opened.” She learned Yiddish last.
Scholars and translators saw something distinctive in Bobbi Harshav’s work, in all four languages she translated from. In conversation, she often talked about translation quality; her goal was always excellence.
One reason for her excellence was that she was always reading. Another reason was her attitude, toward the text, and toward herself.
“I carry books all the time because you never know when the elevator will break down, and I am reading all the time,” she told Translation Review. “It is the element of play that is very important. Humility is also important, and the text is sacred. It is also true for performance. You have to have a kind of humility. I take what I do very seriously, but I do not take myself seriously.”
You can hear all of that in her translator’s note to Tmol Shilshom, or Only Yesterday, by Agnon. “If there is some other world, where translators can discuss ‘deviations’ with authors,” she wrote,” I hope Agnon will understand.”
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AIPAC isn’t to blame for the Graham Platner scandal — no matter what social media trolls say
“Zionists are just upset anti-Israel candidates are winning,” read one Instagram comment, which got 164 likes. “Israel working over time on this one,” read another, which garnered 341. “AIPC” — presumably meaning AIPAC — “is going hard against you, but fuk em keep going,” read a third, with 458.
These comments were prompted by allegations that Graham Platner, the Democratic candidate for Senate in Maine, sexually assaulted a woman in 2021. Such insights did not exclusively come from random internet users: former Rep. Marjorie Taylor Greene posted on X, “I do find it interesting that Platner is hated by AIPAC and rape accusations show up years later from a woman who dated him.”
It’s impossible to determine how widespread a conspiracy theory that AIPAC, a pro-Israel lobbying group, is somehow behind Jenny Racicot’s credible allegations might be. But the fact that such a baseless idea is spreading at all is instructive in two ways.
First: It forces us to once again confront the fact that too much of our society tends to treat allegations of sexual violence as a team sport — only disqualifying if they attach to the side you root against. A version of this same trend was on view earlier this year, with the wildly disparate responses of pro-Israel and pro-Palestinian parties to reporting about sexual violence committed by Hamas and Israeli forces.
In fairness, the majority of the politicians who had previously endorsed Platner have retracted their support in the wake of Racicot’s allegations. But there are still people out there who would rather think that Israel and AIPAC somehow made a woman come forward than sit with the fact that these allegations were made against someone with whom they are ideologically aligned. (Racicot also told multiple people about the alleged assault years before Platner ever ran for office. I am unclear on how, exactly, AIPAC is meant to have coordinated that, although I have no doubt proponents of this theory have an explanation.)
This is what happens when we see having theoretically good principles as more important than actually being and doing good in the world.
Second, this discourse is a reminder of the importance of drawing a clear line between criticism of AIPAC and conspiracy-mongering, which can quickly edge into antisemitism.
The importance of this distinction has come up repeatedly in recent weeks, as political candidates have made criticism of AIPAC central to their campaigns.
Criticism is about what an individual or entity is actually saying or doing. Conspiracy, on the other hand, is not about what someone is actually doing. It is about suggesting someone holds too much power and control, often over events that have little to nothing to do with them, rather than examining their actual actions.
It is not antisemitic to say, for example, that AIPAC has endorsed election deniers; that it spent more $4 million dollars in 2022 campaigning against a Jewish Democrat who sponsored a “Two State Solution Act” because it deemed him insufficiently pro-Israel; or that it spent almost $14 million across just four Illinois races this year. Those are just facts. To observe that they are things that happened is not perpetuating antisemitism, but noting reality.
There is nothing realistic, on the other hand, about suggesting that AIPAC somehow made Racicot talk to the press about her experiences with Platner.
Hence a basic rule: Grounded criticism of AIPAC isn’t antisemitic, and conspiracy theories about it are.
Take the example of Brad Lander, who recently won his Congressional primary in New York City, and who told The New York Times that he felt “queasy” discussing AIPAC critically but felt it needed to be done. Lander was making an important point: the fact that antisemitic tropes can be evoked while critiquing powerful Jewish and pro-Israel institutions does not mean that that any such critique is inherently antisemitic, as some have suggested.
Yet the fact that criticism of AIPAC isn’t inherently bigoted doesn’t mean that invoking it never is. Crying “AIPAC” to deflect from blame or responsibility, as those blaming the lobby for Platner’s scandal are, is absolutely antisemitic.
The stakes of this aren’t just Jewish well-being, or the future of a particular Senate seat. When we infuse our politics with conspiracies, it doesn’t matter if they come from the left or right: The end result is a politics that’s more hateful and deluded, regardless of the source. Those who wanted Graham Platner in the Senate because they yearn for officials who will further human rights and dignity should ask themselves whether that’s the kind of politics that helps us achieve those goals.
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