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The legacy of Isaac Babel, Russia’s Jewish Hemingway, is dissected in new Chicago play
CHICAGO (JTA) — All writers strive for a good story. How far they will go to find it depends on their ambition, their wherewithal and their sanity.
Isaac Babel, a Russian-Jewish writer who came from a relatively stable, privileged background in Odessa in the late 1800s, would go to war among Cossacks who murdered Jews, make friends with Soviet agents and then cuckold one of them. The reason why Babel constantly put himself in harm’s way may have been simple, according to another writer.
“I think he wanted something to write about,” said Rajiv Joseph, whose play at Steppenwolf Theater in Chicago, “Describe the Night,” centers on Babel. “He was a young man who had wanted to be a writer but had nothing to write about.”
“Describe the Night” blends three stories from different eras that engage with questions of who controls the truth. The first portrays Babel, the Soviet secret police head Nikolai Yezhov and Yezhov’s wife, Yevgenia, with whom Babel begins an affair. The second follows a young Soviet agent rising through the ranks just before the Berlin Wall falls, and the third dives into a conspiracy behind a 2010 plane crash near Smolensk, Russia.
Babel himself may not rise to the ranks of Tolstoy or Dostoevsky in terms of immediate name recognition in the United States, but the journalist, author and playwright is remembered as one of Russia’s preeminent 20th-century writers. His modernist and bloody tales in “Red Cavalry,” a collection of short stories inspired by his time on the frontlines of the Polish-Soviet War of 1919, vaulted him to the status of a Russian Hemingway. The pithy American war correspondent once expressed his admiration, perhaps even jealousy, of Babel’s writing, saying “Babel’s style is even more concise than mine.”
Like Hemingway, Babel went to war in search of a good story. Combat itself was not the only threat to him: as a Jew, he bore witness to the Cossack cavalry’s antisemitic atrocities. Babel tamped down his Jewish identity while covering the war, though he would feel a sense of isolation in both societies or as his grandson would later describe him “a Jew among the Cossacks, and a Cossack among the Jews.” In his own diary, Babel wrote “Talking to the Jews, I feel kin to them, they think I’m Russian and my soul is laid bare.”
Joseph, who is not Jewish and authored the Pulitzer-nominated play “Bengal Tiger at the Baghdad Zoo,” had read “Red Cavalry” years ago but was inspired to write “Describe the Night” after discovering the poetic journal Babel had kept during the war. The title of the play comes directly from the diary, which repeats the word several times in Babel’s own prompts to describe things ranging from kitchens to marketplaces to women to horses. Sometimes Babel successfully answers his own prompts by forcing himself to write, and other times he doesn’t, Joseph said.
Lead actor James Vincent Meredith is also not Jewish and admitted he had concerns about “the choice of casting a black man in the role of a Jewish man living in the world of Russia, the Ukraine and Paris.” He partly found his way to the character by watching the 2015 documentary “Finding Babel,” which follows Babel’s grandson across Russia and Ukraine as he searches for his famous ancestor’s remains.
“I can read Babel’s work (I have), I can travel to Israel (I have, decades ago), I can take Hebrew as an elective in college (I did, not very well), I can read Chaim Potok (I have). But these are at their best, however well intentioned, tourist pursuits for one who is not Jewish,” he said. “I will never come close to knowing the true soul of a Jewish person. Thankfully, Rajiv has created this character that by his design, anyone can inhabit.”
Yasen Peyankov and James Vincent Meredith in a scene from the play about Isaac Babel. (Michael Brosilow)
He added that the play isn’t meant to be historically accurate. “The character of Isaac, as well as others in the play, is meant to be an entry point into a world where the scalpel crafting the ‘truth’ is rarely placed in the hands of those who are adversely affected by it. As a black male and father of a black male in the U.S., I’m certainly cognizant of that world.”
Joseph feels that he and other artists share the instinct Babel had to leave his comfort zone. He wanted to be a writer, but growing up in suburban Cleveland gave him little inspiration. After college, he joined the Peace Corps and spent three years in West Africa.
“That was a real life-changing event for me that opened my world and opened my mind,” Joseph said. “Not nearly as traumatic as traveling with the cavalry through Poland in 1920, but the same impulse to break out of your norms.”
Yet Joseph believes Babel’s desires went beyond pushing boundaries and into a deep, pathological need to associate with danger.
“The thing I find really interesting about Babel, both through his writing and through his personal life, is this inexorable draw towards danger and filth,” Joseph said, adding that Babel would hang out in taverns with Soviet soldiers, members of the secret police and executioners like Yezhov. “He was already treading on such thin ice. So he had a recklessness, you could call it a death wish if you want.”
Meredith was also stunned by the writer’s intense flirtations with danger.
“Why get that close to the flame? That to me is one of the things that really appealed to me about this guy,” Meredith said. “I tend to play it safe, as safe as an actor can play it, but I see this guy who had these kinds of desires, he had this quest to make this amazing art as far as his stories and I just I’m just so attracted to that.”
Joseph said he saw some parallels between Babel’s story and the exodus of some of his artistic peers in Russia, who have fled to Europe. In his time, Babel was seen as subversive by nature, existing as a Jewish man in early Soviet Russia. His relished writing about prostitutes and mobsters, transforming underworld characters into urban legends. His 1935 political play “Maria” was canceled during rehearsals and by 1939, Soviet police arrested him and confiscated his writing. Throughout the 1940s, his works disappeared from circulation. Though some believed Babel had spent time throughout that decade in a prison camp, the government had executed him in 1940.
“In the 1930s and ‘40s, I think if you are a Jewish creative writer, you’re automatically subversive,” Joseph said. He noted one pivotal scene where Nikolai Yezhov labels Babel as such because his writing portrays Russia as gloomy rather than inspiring.
“If you’re telling the truth, you are subversive,” Joseph added. “So I think that pretty much any creative writer worth his or her weight would be considered subversive at that moment.”
“Describe the Night” runs until April 9 at the Steppenwolf Theater in Chicago.
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Mamdani isn’t the real resistance against Netanyahu — Israelis are
If you, like so many American Jews this week, are focused on New York Mayor Zohran Mamdani’s video message urging protests against Israeli Prime Minister Benjamin Netanyahu when he visits the city in September, you’re missing the real story.
Pay attention, instead, to what is happening thousands of miles away — not in Manhattan, but in Israel, where the latest polls show Netanyahu and his ruling coalition trailing badly.
In New York, it’s the same old story: Israel guilty, Palestinians blameless, nothing in between. In Tel Aviv and Jerisalem, in Nazareth and Eilat, something else is brewing: change, maybe even hope.
Gadi Eisenkot — the former IDF chief of staff who broke with Netanyahu’s government over the Gaza War — now leads a new party, Yashar. Projections suggest his bloc would win 59 seats if the election were held today, compared to 51 for Netanyahu’s ruling coalition, according to the latest poll,
Eisenkot also beats Netanyahu head-to-head as the preferred prime minister, 43% to 37%.
If Eisenkot joins with Arab parties his coalition would receive 69 seats, substantially more than the 61 seats needed to govern. Though Eisenkot has not said yet whether he would link up with Arab parties, a plurality of Eisenkot’s potential voters (44%) said they would support such a move, in a country where Arab parties have only once been part of a governing coalition.
Eisenkot is no dove. He is someone who has concluded, rightly, that the threats Israel faces include the ones it’s inflicting on itself.
He has vowed to strengthen Israeli democracy and pursue diplomacy with Israel’s neighbors. His party’s platform calls for non-military national service for Arabs, something 75.8% of them favor. His likely coalition partners will include the Democrats, a smaller party expected to win 10 to 11 seats, for whom resolving the Israeli-Palestinian issue is a defining issue. “I see the conflict and the continued occupation as the greatest tragedy of our lives,” Emilie Moatti of the Democrats said at a party rally last month. “The most moral and patriotic act is to end it.”
These are the most hopeful winds to blow through Israeli politics in memory, ahead of the Oct. 27 election — the closest Israelis have come to real, structural change in years. Meanwhile, in the United States, it’s Mamdani’s admission that he lacks the power to arrest Netanyahu — and call for the federal government to do so instead — that has captured the media’s attention and consumed American Jews all week. But one of these stories is theater, the other is real.
We’ve let ourselves become consumed by an empty threat from a politician with no power to carry it out, instead of doing everything we can to support those Israelis who actually have the power to change their country.
In this farce, Netanyahu and the anti-Israel movement each need a cartoon version of the other to keep telling their one-sided story.
Imagine if Mamdani used his platform to draw attention to Makom Lekulanu, “A Place for Us All,” the only Arab-Jewish party standing for election. Instead the mayor of the American anti-Israel movement keeps the focus relentlessly on Netanyahu — because a country full of Netanyahus is a much darker story to tell, and a much more useful foil, than the complicated, pluralistic reality the polls actually show.
Netanyahu and his American supporters need Mamdani for the same reason — to paint Israel as besieged and alone, and all of Israel’s critics as clownish and illegitimate. But Netanyahu’s real critics aren’t clowns. They’re serious, Israel-loving Israelis — a former army chief among them — and they are beating him at the polls.
With Netanyahu offering voters more of the same — attacks on the judiciary, fear-mongering over Arab citizens voting and deeper dependence on his religious and far-right partners — a growing number of centrist Israelis have concluded that a Netanyahu win would put Israel’s very future at risk.
“If Netanyahu wins, it’s going to be a significant crisis, maybe a final crisis for many segments of Israeli society,” journalist Nadav Eyal said on the Jonah Platt podcast.
In this context, Mamdani’s theatrics are one more sign of how untethered the American conversation about Israel has become from what’s actually at stake on the ground. American Jews should stop reacting to him and start paying attention to the people with the power to actually change Israel’s future.
They can’t donate to Israeli political parties, but they can support Israeli NGOs that fund get-out-the-vote and voter education campaigns. They can back U.S. nonprofits that help promote better Israeli policies. And they can do the simplest thing of all: talk about this election — online, in shul, at the Shabbat table, anywhere the conversation has gotten stuck on Mamdani, which is everywhere. Doing that will add real dimension to a very stale debate.
New York voters will, in time, vote on whether their mayor’s selective obsession with Israel is making their city a better, more affordable place to live. That’s their business. But anyone who cares about Israelis and Palestinians should put their energy and focus where it really matters: on the people and movements who haven’t been this close to real, positive change in years.
The post Mamdani isn’t the real resistance against Netanyahu — Israelis are appeared first on The Forward.
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Why do I work for the “Foe-ward”? I traced my accent’s journey to find out
I began my internship at The Forward in May, just a few weeks after I finished my sophomore year at Duke, where I’m majoring in religion and history. My initial days back in my home city were a whirlwind: dinners at Top Thai; long walks up to the Met; reconnecting with friends. The period also included a still ongoing linguistic journey that has fostered a connection with my great-grandmother.
When my friends asked me how I was spending my summer, I was struck by how few of them had heard of the Forward. Initially, I assumed this was because my friends were younger or not Jewish (which was likely the main reason), but I later realized that their confusion was also connected to how I say the paper’s name.
I pronounce “forward” non-rhotically, meaning that I drop the first r so that the word sounds more like Foe-ward. My mom — though born in San Francisco — pronounces the word the same way, and has encountered the same confusion whenever she does. She decided to ask around to find other kindred spirits. My maternal grandmother’s family, we discovered, all pronounced the word the same way: “foe-ward.”
We attribute this to my great-grandmother, whom we call “Bubby Classic.”
My great-grandmother Sadie — my namesake, along with my other maternal great-grandmother — grew up on the Lower East Side. Originally, her family was from Vilna, Lithuania. Her father came to the country at the age of 9 and spoke excellent English, but her mother didn’t speak a word.
My family says that Sadie described her childhood as the happiest period in her life. No one around her was wealthy, but it didn’t matter. Her father was a tailor, which brought in a steady income. As he always said, even if people were poor, they still needed clothes — but he would also donate clothes to those who couldn’t afford them. Sadie had three older brothers, and she told stories about them running after the ice truck together and jumping onto it.
At the time, Jews frequently changed their names to assimilate. Sadie, who wasn’t in love with her name, adopted Syde after the dancer Cyd Charisse. In the last decade of her life, though, she returned to her given name. At one point, she told my family that she didn’t know why she had changed it in the first place.
Sadie was the last member of my maternal family to speak Yiddish, and she spoke with a heavy New York accent; she grew up on “Hestuh” (Hester) Street, as my mom likes to say. When she started a family, Sadie moved out to Long Island, but she brought her children to the Lower East Side every Sunday; my great-uncle and Bubby recall sitting in family members’ apartments, playing with their cousins, eating and talking for hours.
This culture, though, began to fade. My great-uncle Michael tells me that his New York accent was still strong during childhood, but after the family moved to Florida, it softened. Though he still says many words with the accent, he’s been told that he also gained a slight southern twang. Bubby and my grandfather were San Francisco hippies, and she grew up there without a heavy accent, leaving none to pass on to me.
When my family realized how all we pronounced forward, we decided it had to have come from Sadie. We knew “foe-word” wasn’t her exact New York accent, but we thought dropping the “r” must run in the family.
The truth, as I discovered while speaking with linguist David Braun, was that our theory probably wasn’t the most accurate. The New York accent, like Sadie had, is non-rhotic and modifies the pronunciation of “er.” This is typically considered a type of vowel sound, which is stressed in words like her, bird, or person. When it’s unstressed, it is called a schwa and sounds like “uh”: “watuh,” “doctuh,” “fuh-wuhd.” Given that New York was an original colony, these pronunciations were heavily influenced by British speaking patterns, which are similarly non-rhotic.
As time went on, New Yorkers began to pronounce more and more words rhotically, with the accent being rare among newer generations. This was an evolutionary process, which could have resulted in some New Yorkers pronouncing forward as “foe-ward,” but there would also have been those who pronounced the word as “for-wuhd.” In any case, this wouldn’t have been the only word these New Yorkers pronounced non-rhotically: they’d still say caw-nuh instead of corner or regu-luh instead of regular.
My pronunciation of forward — dropping the first r, but not the second — is often interpreted as a phenomenon called dissimilation, which is the process when two similar sounds in a word become less alike. In this case, “r” is used in two back-to-back syllables, and one is dropped to ease pronunciation: “sup-rise” instead of “sur-prise,” “gov-enor” instead of “gov-er-nor,” and of course “foe-ward” instead of “for-ward.” Dissimilation occurs across many regions: unlike the accent, it’s not necessarily tied to New York.
This habit, though I’m not sure where it originated, is more than likely where my family’s pronunciation came from. Still, when I say “foe-ward,” I can’t help but think of my great-grandmother who lived on “Hestuh” Street, and feel connected to the place where she grew up.
How do you pronounce “Forward”? Let us know in this google form.
The post Why do I work for the “Foe-ward”? I traced my accent’s journey to find out appeared first on The Forward.
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Trump administration drops demand that Penn turn over list of Jewish employees
(JTA) — The Trump administration has withdrawn a controversial demand for the University of Pennsylvania to produce a list of Jewish employees as part of a larger investigation into alleged employment discrimination at the Ivy League university.
The withdrawal ends a round of lawsuits over the legality of such a demand, which alarmed Jewish groups on campus and beyond.
The federal Equal Employment Opportunity Commission, which is overseeing the probe, did not explain its decision to drop the subpoena in its Thursday court filing. A representative for the agency declined further comment to the Jewish Telegraphic Agency.
In its own statement, Penn, which had been engaged in a legal back-and-forth over the school’s refusal to compile such a list, said it had “protected its employees’ rights.” The school had shared the names of Jewish staff who had consented to the probe, but resisted sharing the names of all Jewish staff.
“Penn remains committed to fighting antisemitism and all other forms of discrimination, to ensure everyone it serves can learn, work, and thrive,” a university spokesperson said.
The unusual demand, first made in November, came as the Trump administration has aggressively targeted a handful of elite schools accused of failing to curb antisemitism on campus. Most of the time, its intervention has come through the education and health and human services departments, which have cited civil rights violations in seeking to yank billions of dollars in federal funding.
But the EEOC has gotten involved, too, arguing that Penn, in particular, had failed to protect its Jewish and Israeli employees from discrimination. Its case against Penn originated in 2023, and its subpoena had included demands to reveal members of “all clubs, groups, organizations and recreation groups” that were “related to the Jewish religion, faith, ancestry/national origin.” The subpoena also targeted the school’s Jewish studies personnel.
Jewish groups, including Penn Hillel, had argued against the demand, as did free-speech organizations. In an email, Penn Hillel’s director, Rabbi Gabe Greenberg, told JTA the organization welcomed the news.
“Over the past year, I have spoken with hundreds of students, faculty, and staff across the University of Pennsylvania regarding this issue. Every single person expressed objections to the EEOC’s attempt to compel the University to surrender data on Jewish identity and affiliation,” Greenberg said.
He continued, “While many in our community share Penn Hillel’s conviction that campus antisemitism requires urgent, sustained action, demanding ‘lists of Jews’ was a fundamentally incorrect and inappropriate way to address it.”
Earlier this year the agency chair, Andrea Lucas, defended the list-of-Jews demand during an antisemitism conference at Harvard. Lucas told the roomful of Jewish professionals that her office needed the list to identify “potential victims,” including as a means of distributing potential payouts.

(L-r) Andrea Lucas, chair of the federal Equal Employment Opportunity Commission, speaks with Brandeis Center founder Kenneth Marcus at an antisemitism conference held at Harvard University in Cambridge, Massachusetts, April 16, 2026. (Dillon Meyer Media)
“At some point, either the government will know information about individuals related to their religion or we will not be able to enforce the laws on their behalf,” Lucas said at the time.
A federal judge had ruled in March that the request was reasonable, dismissing efforts by Penn and Jewish groups to declare the ruling unconstitutional. However, the judge delayed the deadline by which Penn would have been forced to comply, giving the university more time to appeal.
The EEOC’s larger antisemitism inquiry into Penn continues.
This article originally appeared on JTA.org.
The post Trump administration drops demand that Penn turn over list of Jewish employees appeared first on The Forward.

