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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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Jewish Democratic support weakened slightly in midterms, survey finds
(JTA) — Democrats lost a small amount of Jewish support overall in the midterm elections, even as an overwhelming majority of Jews voted for the party, according to the results of a new survey published Tuesday.
The poll also found that significant shares of both Jewish Democratic and Jewish Republican voters believe their respective parties have become too accepting of antisemitism.
The survey from the Jewish Electorate Institute, a nonpartisan think tank that often works with Democrats, was the latest data pointing to simmering Jewish discomfort with the majority of the community’s longtime electoral home — even as actual voting patterns have remained largely consistent. Conducted by research firm The Mellman Group, the survey polled 800 national Jewish registered voters online from Oct. 29-Nov. 6, including both early and day-of voters.
The data “reveal warning signs for both political parties” in their relationship to Jews, institute chair Barbara Goldberg told reporters in a briefing.
Researchers found that 69% of Jewish respondents voted for Democrats, a six-point drop from the 2024 election. There was a 3.5% margin of error.
That drop occurred even as several other groups that have consistently voted for Democrats increased their shares in 2026, including voters under 45, voters of color, women and white, college-educated voters.
In the run-up to what would become a historic “blue wave” election, the Jewish vote – a reliably Democratic bloc — received particular attention as several high-profile candidates, including Michigan Senator-elect Abdul El-Sayed, broke with longtime party consensus on Israel or otherwise unnerved the Jewish community throughout the campaign. Studies of Jewish voting attitudes published since Election Night, which have also included polls from the liberal Zionist lobby J Street and the pro-Israel group The Jewish Majority, have found that the Jewish party-line vote was largely unchanged despite those reservations.
While the Jewish Electorate Institute did not isolate any polling on Jews in Michigan specifically, it did poll all Jews about their views on El-Sayed and found that his favorability in the group had climbed since September. He is now viewed favorably by 44% of all Jews and 59% of Jewish Democrats, the survey found, with 40% of the former group and 25% of the latter viewing him unfavorably — giving the senator-elect a net favorability rating in both camps. The same polling also found that 41% of Jewish voters view pro-Israel lobbyists AIPAC favorably, and 35% unfavorably.
The survey also found that 36% of Jewish Democratic voters expressed concern about the direction of the party, agreeing with the statement that it has become “too accepting of antisemitic rhetoric within the Party.” One in four Jewish Republicans believed their party was becoming too friendly to white nationalists and the far right.
“The one place both parties are having problems is on rising antisemitism,” Michael Bloomfield, managing director of the Mellman Group who oversaw the survey, told reporters. The questions about antisemitism within the party had not been asked in previous election surveys conducted by the Mellman Group.
In addition, 28% of Jewish Democratic voters said they voted for candidates whose views on Israel caused them concern, saying that other issues outweighed those reservations. One in six Jewish Republicans said they did the same.
In results that echoed an earlier survey put out by the liberal Zionist lobby J Street, 14% of Jewish Democrats said supporting Israel was one of the most important factors in their vote. A higher share of the Jewish Electorate Institute respondents, 27%, said fighting antisemitism was one of their most important issues, while preserving democracy was the top concern.
The Jewish Republican voters surveyed ranked fighting antisemitism as their top concern, and support for Israel as among their top concerns.
This article originally appeared on JTA.org.
The post Jewish Democratic support weakened slightly in midterms, survey finds appeared first on The Forward.
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Museum cancels Dutch synagogue’s tricentennial celebration over Israel tensions
(JTA) — An exhibition honoring the nearly 300-year-old Amersfoort Synagogue was supposed to be a celebration of Jewish life in Amersfoot, a small city in the central Netherlands.
Instead, Dutch Jews say, it could become the latest casualty of anti-Israel cancel culture that has targeted Jews in the Diaspora.
The city’s mayor in the last week has scrambled to save a planned exhibit on the synagogue after it was canceled, but so far has not been able to guarantee that it will open as planned early next year.
On Nov. 4, Paul Baltus, the director of Amersfoort in C, an organization that oversees the Museum Amersfoort and several of the city’s other cultural institutions, said he was canceling the upcoming synagogue exhibition due to “pressure,” an apparent reference to possible confrontations by pro-Palestinian activists.
Pro-Palestinian protesters have held dozens of demonstrations in the Netherlands since the Oct. 7 Hamas attack. On Nov. 8, tens of thousands of people gathered in Amsterdam to demand that the Dutch government impose stricter sanctions on Israel.
Although the museum started planning the exhibition five years ago, Baltus said in a statement, “Since then, the social climate has changed significantly. The situation in the Middle East is also having an impact on Dutch society. The public debate on this subject can be heated and, at times, lacking in nuance.”
Baltus said he is finding the “tension” surrounding the exhibition, which was slated to begin in early 2027, difficult to manage. “As a small and vulnerable organization, I do not want to expose my staff to that kind of pressure,” he said. While he acknowledged that he could hire security guards and install cameras, “the reality is that our volunteers would still have to deal with a range of reactions.”
Jewish community leaders in the Netherlands said they were shocked by the museum’s actions and called on city officials to ensure the exhibition would go on as planned.
The exhibition is one of several cultural events scheduled to mark the 300th anniversary of the Amersfoort synagogue, which opened in 1727. It is the oldest Ashkenazi synagogue in Western Europe still in use today.
On Nov. 4, Mayor Lucas Bolsius told the City Council that the municipality would begin discussions with the museum and other stakeholders “to ensure that the exhibition can proceed.” The museum’s decision to cancel “has caused considerable pain within the Jewish community, particularly by reinforcing the feeling that its members are not welcome or even allowed to exist,” he told council members.
Following a meeting the next day, Bolsius and Baltsus jointly announced on Nov. 6 that they would work together to try to find a solution.
Over the past week, the mayor said, “helping hands have been offered from the city, central government and across the country to address organizational matters. People and organizations want to help make this exhibition possible.”
Baltus said the help being offered has alleviated some of his concerns. “With this support, we will explore the possibilities with an open mind and a positive intention, in consultation with the Jewish community.”
While Jewish leaders told Jewish Telegraphic Agency that they welcomed these efforts, they said the museum controversy is just the latest example of hostility toward Jewish historical and cultural events in the Netherlands, where anything Jewish – even a 300-year-old diaspora synagogue – is often seen as inseparable from the Israeli-Palestinian conflict.
“We are very glad the mayor intervened. Let this be an example for other authorities,” said Hans Weijel, vice chairman of the Centraal Joods Overleg (CJO), the umbrella advocacy organization that represents the interests of the Netherlands’ 40,000 Jews.
Emile Schrijver, director-general of Amsterdam’s Jewish Cultural Quarter, which encompasses the Jewish Museum, the National Holocaust Museum, the Portuguese Synagogue and other Jewish cultural institutions, said the Museum Amersfoort had made its decision without first consulting the Jewish community or the organizations involved in the planned exhibition.
“Largely since Oct. 7, Jewish artists have had a difficult time finding a stage, and Jewish events, including cultural, can’t find a venue. Jewish events are being cancelled for no reason,” he said.
Schrijver rejected Baltus’s contention that security concerns made the museum exhibition unmanageable, given that the Jewish institutions Schrijver runs in Amsterdam frequently host events, despite pro-Palestinian demonstrations and related security concerns.
“We train our staff all the time. We deal with this every day. Yes, it’s difficult, but no, it’s not impossible,” he said.
Schrijver warned that treating Jewish cultural events as potential security problems risks pushing Jewish communities out of public life.
“The effect of this is that the normality of Jewish presence in a town is being pushed away,” he said. “Suddenly anything Jewish is considered a security hazard or prone to cause problems.”
Cultural institutions have a responsibility to distinguish between their views on Israeli government policy and the history of Jewish communities in the Netherlands, Schrijver said.
“You have to separate your private opinion from the long history of a small town in the Netherlands. What they’re effectively doing is pushing the Jewish community to the fringes of society.”
CJO’s Weijel said the Jewish community has played an important role in Amersfoort’s civic life since the mid-1600s.
“We think it is ridiculous that a museum in a city doesn’t want to have an exhibition about a 300-year-old synagogue and its history in that city. The conflict is in the Middle East, not here,” he emphasized. “If you want proof that this is antisemitism, this is the proof.”
Weijel accused Baltus of being “a coward.”
“He’s afraid something bad will happen, but if you’re that afraid, you should stay in bed.”
In his Nov. 4 statement, Baltus acknowledged the Jewish community’s disappointment and offered to contribute his museum’s “expertise and collection” of Jewish historical artifacts to an exhibition in the synagogue instead. He also offered to incorporate the synagogue’s history into the museum’s permanent exhibition on the history of Amersfoort.
For Schrijver, the Amersfoort controversy is yet another attempt to marginalize Jews in a country they have lived in for generations.
“The moment you make Jewish history dependent on what is happening in the Middle East, you are making Jewish existence conditional,” he said.
This article originally appeared on JTA.org.
The post Museum cancels Dutch synagogue’s tricentennial celebration over Israel tensions appeared first on The Forward.
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Donald Trump actually faced a few tough questions on ’60 Minutes.’ So, why does Marine Le Pen get a pass?
Last Sunday, the news show “60 Minutes” hosted an outgoing president of one country and, quite possibly, the incoming president of another. While falsehoods and fatuities flowed from President Donald Trump, his interviewer, Ross Douthat frequently, if futilely, tried to push back. Yet when Marine Le Pen, running for the presidency of France, also fibbed or fudged the truth, her interviewer, Trevor Phillips, did little more than arch an eyebrow.
This split-screen experience was unsettling for a few reasons. First, it reminded us that our president’s famous “weave” reflects a mind that is declining as surely as his poll numbers. A glance at the interview transcript reflects the deepening incoherence of the man who occupies the world’s most powerful office. This made all the most startling the cogency of his reply to a question Douthat posed at the end of the interview: whether he could stop hating his enemies if that was the price to enter heaven. To a flabbergasted Douthat, Trump replied, “I probably cannot do that, no, because I do hate some of my enemies and I always will.”
While no one can say whether Trump is destined for heaven or hell, Le Pen’s remarks in her interview suggest that she will make life hell for those men and women who fail to qualify, in her eyes, as French.
Yet, in his interview, Trevor Phillips, formerly of The (London) Times and a recent Bari Weiss recruit, failed to make this as clear as a Mike Wallace, a Dan Rather, or a Scott Pelley would have. Nattily dressed and well-spoken, Phillips presented a segment on the violence that has “erupted in Paris’ romantic boulevards” where “the scent of warm croissants and fresh baguettes has been overwhelmed by the whiff of tear gas.”
Overwhelmed by the weight of silly clichés, Phillips could not help but add “They used to call Paris la ville de l’amour — the City of Love. But there hasn’t been much amour on show lately.” While Phillips does not state who “they” are — given the hoariness of the clichés, perhaps they asked to remain anonymous — he should think twice about his assertion that there is not much love. Of course, the protestors are expressing their anger towards the government of President Emmanuel Macron, but they are also expressing their deep attachment, even love, to the republican tradition that has made Paris la ville de la révolution.
More important than his potted account of the social upheavals in Paris, however, was Phillips’ problematic interview with Le Pen. “In 2011,” he explained, “Le Pen took over leadership of what was then a fringe movement from her father, a tough army veteran convicted and fined for Holocaust denial and hate speech.” Yet nine years earlier, in 2002, Jean-Marie Le Pen, the candidate of this “fringe party” then called the National Front, made it into the second round of the presidential election. Though Le Pen failed to make it into the second round in 2007, that more than 4 million French voted for him suggests that his party and person were hardly fringe. It is also odd that while Phillips noted Le Pen’s Holocaust denialism, he omitted Le Pen’s confession that he had tortured Algerian captives while serving in French Algeria.
No less stunning was Phillips’ description of Marine Le Pen’s decision to banish her father from the party in order “to rid it of its stain of bigotry.” If only it were mere bigotry. The National Front was founded, in part, by former members of the French division of the Waffen SS and sympathizers of the wartime collaborationist regime of Vichy. While the daughter has largely succeeded in removing these elements from the party, which she rebranded as the National Rally, she has not removed the “stain” of antisemitism. Little more than a month ago, the French newspaper Mediapart revealed that Le Pen’s second-in-command, Jordan Bardella, was trafficking in antisemitic bilge even after he joined the party as a teenager.
Time and again, Phillips posed questions but had not adequately prepared for Le Pen’s predictable replies. When he asked, in his opening question, “What is happening in Europe? Has politics here just become more radical?” Le Pen answered that “the extreme left creates chaos. They generate violence against people.” If Phillips had done his due diligence, he would have confronted Le Pen with the recent study by the historian Nicolas Lebourg revealing that while six murders in France since 1986 were “generated” by the extreme left, nearly sixty were “generated” by the extreme right. Phillips might also have mentioned last month’s mass killing and wounding of French Muslims in the town of Trappes by an individual who marinated in the literature of the extreme right.
Finally, when Le Pen made the jaw-dropping claim that “discrimination does not exist in France” and, moreover, is “the least racist country in the world,” Phillips did, in fact, raise an eyebrow while repeating her words. But it would have been more effective, perhaps, to raise the findings of various organizations, like the Defenseur des droits, which concluded in 2024 that the “perceived origin” of a job applicant weighs more than any other factor in hiring decisions in France.
As for his lack of follow-up questions to Le Pen’s assertion that France is the world’s least racist country, Phillips’ professional malfeasance was made fully manifest. In every presidential campaign, Le Pen has committed to establishing the law of national priority, which in effect would constitutionalize a racist agenda. Based on the extreme rightwing hobbyhorse of the “great replacement” — namely, that France’s white population is deliberately being replaced by third world immigrants — the law will limit employment opportunities, social and housing benefits to French citizens. Such a law not only runs counter to the laws of the European Union, but also to the humanist and universalist grounding of France’s constitution.
Phillips failed to contest this claim. Ironically, he closed the interview with Le Pen’s assurance that “French people have got to know me.” If only Phillips had done so, as well.
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