Uncategorized
The sequel to the Holocaust novel ‘Boy in the Striped Pajamas’ is here. Its author has no regrets.
(JTA) – At one point in John Boyne’s new novel “All The Broken Places,” a 91-year-old German woman recalls, for the first time, her encounter with a young Jewish boy in the Auschwitz death camp 80 years prior.
“I found him in the warehouse one day. Where they kept all the striped pajamas,” she says.
The woman, Gretel, quickly realizes her mistake: that “this was a phrase peculiar to my brother and me.” She clarifies that she is referring to “the uniforms. … You know the ones I mean.”
Boyne’s readers are, in fact, likely to know what Gretel means, as “All The Broken Places” is a sequel to Boyne’s 2006 international bestseller “The Boy in the Striped Pajamas.” At a time when other Holocaust books intended for young readers have been challenged or removed from some American schools, the enduring popularity of “Striped Pajamas” has conjured up love and loathing in equal measure for its depiction of Nazi and Jewish youths during the Holocaust. It has sold 11 million copies, appeared in 58 languages and in major motion picture form, and been the only assigned reading about Jews or the Holocaust for countless schoolchildren, mostly in Britain. Yet Holocaust scholars have warned against it, panning it as inaccurate and trafficking in dangerous stereotypes about Jewish weakness.
Speaking to the Jewish Telegraphic Agency from his Dublin home on Tuesday, the day “All the Broken Places” hit U.S. shelves, Boyne said he hoped readers would take his new book on its own terms — as a more sophisticated meditation on guilt, culpability and evil, for an adult audience rather than children this time. But he also wants to defend the original work that made him famous.
“I do feel it’s a positive contribution to the world and to Holocaust studies,” said Boyne, who estimates that he has personally spoken to between 500 and 600 schools about “Striped Pajamas.”
Not everyone agrees. A 2016 study published by the Centre for Holocaust Education, a British organization housed at University College London, found that 35% of British teachers used his book in their Holocaust lesson plans, and that 85% of students who had consumed any kind of media related to the Holocaust had either read the book or seen its movie adaptation.
That level of widespread familiarity with the book led many students to inaccurate conclusions about the Holocaust, such as that the Nazis were “victims too” and that most Germans were unaware of the horrors being visited upon the Jewish people, the study found.
A promotional image from the 2008 film adaptation of “The Boy in the Striped Pajamas.” (Miramax)
As overall awareness of the Holocaust has decreased among young people especially, Boyne’s novel has become a casualty of its own success. Holocaust scholars in the United Kingdom and United States have decried the book, with historian David Cesarani calling it “a travesty of facts” and “a distortion of history,” and the Holocaust Exhibition and Learning Centre in London publishing a long takedown of the book’s inaccuracies and “stereotypes.”
“With the rise in antisemitism, such as it is in this country, and that so often manifests through trivialisation, distortion and denial of the Holocaust, this book could potentially do more harm than good,” Centre for Holocaust Education researcher Ruth-Anne Lenga concluded at the end of her 2016 study.
Boyne came to the Holocaust as subject matter purely on his own, having never been taught about the history growing up in Ireland. (He attended a Catholic school, where, as he has recounted publicly, he was physically and sexually abused by his teachers.) Reading Elie Wiesel’s “Night” as a teenager, Boyne said, “made me want to understand more.”
He would read many more Holocaust books during his twenties, from Primo Levi to Anne Frank to “Sophie’s Choice,” fascinated by the sheer recency of the atrocity. “How could something that seems like it should have happened, say, 1,000 years ago — because the death count is so enormous and so horrifying — how could that happen so close to the time that I’m alive in?” he thought. “And if it could, then what’s to stop it happening again?”
That fascination led to the publication, when Boyne was 33, of “Striped Pajamas,” which he’d always conceived of as a children’s story. In the book, Bruno, the 9-year-old son of a Nazi commandant, befriends Shmuel, a Jewish concentration-camp prisoner of the same age; it ends with Bruno donning the “striped pajamas” and following his friend into the gas chambers. Further driving home the fable conceit, an initial draft included a framing device of Boyne as a character reading the story to an audience of children, before an editor advised him to cut it.
During his writing process, Boyne said he was concerned with “the emotional truth of the novel” as opposed to holding to historical accuracy, and defended much of the book’s ahistorical details — such as moving the Auschwitz guards’ living quarters to outside the camp, and putting no armed guards or electric fences between Bruno and Shmuel — as creative license. A common critique of the book, that the climax encourages the reader to mourn the death of Bruno over that of Shmuel and the other Jews in the camps, makes no sense to Boyne: “I struggle to understand somebody who would reach the end of that book and only feel sympathy for Bruno. I think then if somebody does, I think that says more, frankly, about their antisemitism than anything else.”
He also justified his decisions by reasoning that a novel like his shouldn’t be the basis for Holocaust instruction.
“I don’t think that it’s my responsibility, as a novelist who didn’t write a school book, to justify its use in education when I never asked for that to happen,” he said. “If [teachers] make the choice to use a novel in their classrooms, it’s their responsibility to make sure the children know that there is a difference between what happens in this novel and what happened in real life.”
Boyne added that he was “appalled” by a recent JTA report about a Tennessee school district removing Art Spiegelman’s graphic Holocaust memoir “Maus” from its curriculum. If teachers are choosing between teaching the two books, he said, “‘Maus’ is better, no question about that. And a much more important book.” (Earlier this year, Spiegelman himself took a swipe at “Striped Pajamas” by telling a Tennessee audience that no schools should read Boyne’s novel because “that guy didn’t do any research whatsoever.”)
“The Boy in the Striped Pajamas,” John Boyne’s 2006 bestseller, has been critiqued for the way it presented the Holocaust to children. (Illustration by Grace Yagel)
For the first decade of his book’s release, Boyne would frequently receive invites to speak at Jewish community centers and Holocaust museums. He met with survivors who shared their stories with him.
Over the years, more research has been published about the book’s popularity in the classroom, which has led to more scrutiny of its factual inaccuracies. Other authors, Holocaust researchers and some educators have come out forcefully against the book’s use in the classroom. At the same time, Boyne said, his invitations to Jewish venues dried up.
The author has also been known to exacerbate the issue by sparring with his critics, even when they are respected institutions. Most infamously, in 2020, Boyne got into a Twitter feud with the Auschwitz-Birkenau Memorial and Museum, which said his Auschwitz-set book “should be avoided by anyone who studies or teaches about the history of the Holocaust.”
The back-and-forth was provoked after Boyne criticized what he saw as the crassness of more recent Holocaust novels, such as “The Tattooist of Auschwitz” by Heather Morris. Reflecting on the spat, Boyne said of the Auschwitz memorial, “I hope that they do understand that, whether my book is a masterpiece or a travesty, that I came at it with the very best intentions.”
Boyne conceived of the sequel shortly after finishing “Striped Pajamas.” It follows Bruno’s older sister Gretel as she lives in hiding after the war and successfully conceals her Nazi upbringing all the way into the present day. A preteen during the Holocaust, Gretel becomes gradually more aware of its horrors after seeing newspaper articles and documentaries and encountering former Resistance members and Jewish descendants of survivors (including one, David, who becomes her lover without knowing her true background).
Unlike “Striped Pajamas,” “All the Broken Places” is intended for adults. It’s filled with sex, violence, suicide attempts and bad language — and also some of the details of the Holocaust that were omitted from the first book. It mentions the Sobibor death camp by name, for example, and also takes the time to correct Bruno’s childish assumptions about the death camps being a “farm.”
But it tells the story from the perspective of a German who was directly implicated in the Holocaust. Throughout, Gretel reflects on her complicity in the Nazi regime, and her self-interest in hiding from authorities in the following years rather than trying to bring people like her father to justice. Missing from the book is any serious discussion of antisemitism as an ideology, and to what extent Gretel ascribes to it — though there is plenty of hand-wringing over postwar anti-German sentiment. In one shocking moment, a former S.S. lieutenant in hiding presents Gretel with a pair of Hitler’s eyeglasses and urges her to try them on; she is terrified to discover that this excites her.
The book’s reception has been mixed. While praised by publications including Kirkus Reviews (“a complex, thoughtful character study”) and the Guardian (“a defense of literature’s need to shine a light on the darkest aspects of human nature”), the New Statesman took Boyne to task for writing an “immoral” and “shameless sequel” that further erodes the “Jewishness” of the Holocaust.
At the behest of his publisher, Boyne has included an author’s note with “All The Broken Places” alluding to criticisms of “Striped Pajamas.” “Writing about the Holocaust is a fraught business and any novelist approaching it takes on an enormous burden of responsibility,” he tells the reader. “The story of every person who died in the Holocaust is one that is worth telling. I believe that Gretel’s story is also worth telling.”
Still, “Striped Pajamas” has its Jewish defenders. One, the 24-year-old composer Noah Max, is behind a new opera adaptation of the book, to be titled “The Child in the Striped Pyjamas.” It will debut in London in January; a recent story by the U.K. Jewish Chronicle helped convince the film’s rights holder Miramax to waive a $1 million licensing fee for the project.
A great-grandson of Jews who fled Vienna when the Nazis arrived, Max told JTA he’d initially read the book “years before I was capable of absorbing testimony,” and that it inspired him to seek out actual survivor testimonies and to begin composing the opera at the age of 19. He compared its message to Rabbi Jonathan Sacks’ writings on moral relativism.
“Ultimately, the book motivated me to write an opera about the Shoah and integrate Holocaust education into my music,” Max said. “Any book capable of that is worthy of attention.”
Composer Noah Max (center) rehearses for his upcoming opera adaptation of “The Boy in the Striped Pajamas,” to premiere in January 2023. (Courtesy of Noah Max)
Max’s passion for “Striped Pajamas” inspired at least one Holocaust group to change its mind about its educational merits. The Holocaust Educational Trust, a London-based group that advocates British educators on how to teach the Holocaust, had as recently as 2020 declared that “we advise against using” the book in the classroom.
But following what Max described as “richly fulfilling conversations” about “the story’s symbolic and artistic worth,” the trust fully endorsed the opera and, he said, has begun to rethink its view of the book. (The group did not respond to a JTA request for comment.)
Even with 16 years of hindsight and the chance to rethink his bestseller, Boyne said he wouldn’t change anything. Reflecting on his youthful audience, he said, “If they weren’t reading ‘Striped Pajamas,’ it’s more likely they would be reading something that has no relevance to this subject at all.”
—
The post The sequel to the Holocaust novel ‘Boy in the Striped Pajamas’ is here. Its author has no regrets. appeared first on Jewish Telegraphic Agency.
Uncategorized
A nose is a nose is a nose: A Brooklyn artist’s quest to paint 100 Jewish noses, including mine
I have never been good at resisting advertising, but one day last July, I came across a poster aimed at me like a heat-seeking missile: “Are you Jewish? Do you have a nose?”
Check and check.
The flyer went on: “Looking for noses for the 100 Jewish Noses Project, a series of 100 Jewish nose paintings.”
Strange forces were afoot on Franklin Avenue. I had seen a lot of papers taped to poles in my time, but never one that had seen me so clearly. The page was dominated by a painting of a nose, a handsome Romanesque specimen with an oily sheen. Below, the mystery artist invited me to “Submit your nose here” via a tinyurl link. I didn’t need to be asked twice.
After I filled out a Google Form that asked some basic questions (name, genre of Jewish heritage, availability to come to Brooklyn for reference photos) and a few more nasally-reflective inquiries relating to my nose-job status and my general relationship with my nose, I found myself in artist Goldie Gross’ Crown Heights apartment, preparing to do some modeling for the first time in my life. Gross was reserved but generous with her laughter. Her loose black dress, mane of golden-brown crinkly curls and red nail polish lended her a certain Jew-ne-sais-quoi.
“I don’t think there is such a thing as a Jewish nose,” said Gross once we had sat down on her couch to talk, “and so I wanted to do a series that captures the full range, the diversity of the Jewish nose across one hundred paintings.”
There are Jewish noses hanging on Gross’ living room wall. Well, paintings of Jewish noses. Noses of every conceivable style, from the aquiline to the Asiatic, the beringed to the bulbous. Gross began painting (not just noses) in 2012, when she was 15 or 16, before going on to earn a BA in Art and Business at Baruch College and an MA in Art History at NYU’s Institute of Fine Arts. The 100 Jewish Noses idea intrigued her because it fulfilled a trifecta of artistic goals.
“I wanted a longstanding series that would take time, that would be something on the easel, and that would allow me to master something that was also relevant to the current moment,” she told me.
To Gross, the stereotype of the “Jewish Nose” has cast a huge, humped and hooked shadow over Jewish collective self-esteem for centuries. And, Gross pointed out, unlike wearing a yarmulke or claiming the title “People of the Book,” the “Jewish Nose” is not a feature that the Chosen People chose to be known by.
“It goes back to the 12th or 13th century, just a way to differentiate Jews as ‘other,’” Gross said. “The Nazis really ran with it. A ton of Nazi propaganda has the big nose as this way to ‘other’ the Jew. This propaganda has, I think, become part of our cultural identity. We’ve accepted this image of the Jew as a big-nosed, unattractive person as an actual reflection of who we are and how we view ourselves.”
Like endocrine disruptors sneaking into the bloodstream, these nasal prejudices have been encoded in the Jewish cultural genome and passed from generation to generation. “Asking people to submit their noses, I asked people to write about their relationships with their noses. And so many people have bad relationships with their noses,” Gross said. “They’re like, ‘I hated it growing up, I was bullied, my family made fun of me.’ Or conversely, ‘I have a small nose; I was always proud of it.”
Proud of it? I snorted indignantly through my not-inconspicuous schnozz. Those tiny-nosed Jews — they might laugh now, but they would never, ever build the true grit demanded by a plus-size honker. I almost pitied them.
But as Gross positioned me in direct light and prepared to snap some nose pics, a bit of my bravado wore off. I thought of younger, bat-mitzvah-age Clara, who would have had the same reaction to an iPhone camera pointed at her nose as an AK-47. She would rather have posed nude for a remake of the “Draw me like one of your French girls” scene in Titanic than pose her nose.
Like many girls in middle school, I celebrated my entrance to womanhood by selecting at least one arbitrary physical feature to rag on. I picked my nose (not like that). For years, I fretted over my nose. I pinched and poked it. I spent many enriching hours flaring my nostrils in front of the mirror, amazed and horrified by the width I could achieve. I wished for a more unobtrusive nose, like Keira Knightley’s — or, failing that, Voldemort’s. Never mind that with a Korean-American mother and a Jewish father, looking like Voldemort wasn’t even phenotypically possible.
I don’t remember a revelatory flash that made me accept my nose. My father tried to inspire me by telling me about the “Black Is Beautiful” movement from the 1960s, but I struggled to apply it: “Jewish is … Jewtiful?!” By and by, I became too busy to worry about my nose. Noses receded into the rearview mirror as I sped down the highway of life.
Yet I wonder whether things might have changed for me if I had seen a project like Gross’ sooner. Even if I didn’t suddenly start reveling in my nose’s beauty, I might have seen that nature is creative and full of variety. There’s beauty in that. Around six months after I posed for Gross, she sent me a message on Instagram; my nose was finished. And there it was, Nose 14 of 100, nestled among its Jewish brethren. I blinked at it like a caveman examining his own reflection in a puddle. Could that be me? Yet there my Jewish nose was, one nose among noses beaked, beringed, button and bulbous. Paint me like one of your Jewish girls, I thought.
The post A nose is a nose is a nose: A Brooklyn artist’s quest to paint 100 Jewish noses, including mine appeared first on The Forward.
Uncategorized
Trump, on eve of new ceasefire talks: ‘Israel never talked me into the war with Iran’
(JTA) — President Donald Trump insisted that “Israel never talked me into the war with Iran” on his social network Monday, apparently seeking to tamp down a series of reports — including from members of his own administration — that the Israeli government had manipulated him into striking the Islamic Republic.
In the same post on Truth Social, Trump added that his own reaction to the Oct. 7, 2023, Hamas attack on Israel contributed to his decision: “Israel never talked me into the war with Iran, the results of Oct. 7th, added to my lifelong opinion that IRAN CAN NEVER HAVE A NUCLEAR WEAPON, did.”
Trump is facing growing backlash to the Iran war that had been launched with joint U.S.-Israeli strikes, with members of his own party joining a chorus of voices opposing it. A key point of contention is to what degree Israeli pressure played a role in the president’s decision to go to war, with the GOP’s anti-Israel wing maintaining that Trump was manipulated by Prime Minister Benjamin Netanyahu, and Secretary of State Marco Rubio initially suggesting that Israel had forced the president’s hand.
Anti-war protesters have often linked the strikes either to Trump and Netanyahu equally, or portrayed Netanyahu as Trump’s puppet master.
A recent report in The New York Times also indicated that Trump had trusted Netanyahu’s assessment that regime change in Iran would be swift, rather than dissenting views among his own generals. The war has continued for nearly two months, with Iran’s blockade of the Strait of Hormuz undercutting the world’s oil supply. The Trump administration is currently eyeing an exit ramp, with polls showing that Jewish Americans are largely opposed to the war even as they support its aims.
But in his new post, Trump continued to confidently declare that regime change in Iran was a possibility.
“Just like the results in Venezuela, which the media doesn’t like talking about, the results in Iran will be amazing,” the president wrote. “And if Iran’s new leaders (Regime Change!) are smart, Iran can have a great and prosperous future!”
Trump’s post comes days after another that appeared designed to combat the perception that he was not in full control. A day after announcing a truce in the Israel-Hezbollah fight in Lebanon, which reportedly surprised even members of Netanyahu’s cabinet, he posted, “Israel will not be bombing Lebanon any longer. They are PROHIBITED from doing so by the U.S.A. Enough is enough!!!” White House officials, responding to confusion from the Israelis, later clarified that the prohibition did not extended to strikes that are considered defensive.
The new post comes as Trump has sent competing signals about the future of the ceasefire, which is set to expire on Tuesday. Over the weekend, he both indicated that he believed the ceasefire would be extended and warned in a different post that the Iranians must comply with his demands or he would target the country’s civilian infrastructure.
“We’re offering a very fair and reasonable DEAL, and I hope they take it because, if they don’t, the United States is going to knock out every single Power Plant, and every single Bridge, in Iran,” Trump wrote. “NO MORE MR. NICE GUY!”
Iran has said it has “no plans” to attend talks meant to extend the ceasefire scheduled for Monday night in Islamabad, Pakistan. Netanyahu, meanwhile, told Israelis on Monday that he stands ready to return to war if needed.
This article originally appeared on JTA.org.
The post Trump, on eve of new ceasefire talks: ‘Israel never talked me into the war with Iran’ appeared first on The Forward.
Uncategorized
If Iran Won’t Deal, Trump Must Make the Cost of Refusal Unbearable
A US Navy sailor signals an F/A-18E Super Hornet on the flight deck of the Nimitz-class aircraft carrier USS Abraham Lincoln in support of the Operation Epic Fury attack on Iran at an undisclosed location, March 4, 2026. Photo: US Navy/Handout via REUTERS
The ceasefire with Iran is expiring. The talks collapsed after 21 hours in Islamabad. Iran has closed the Strait of Hormuz. Trump himself, speaking aboard Air Force One, put the choice plainly: “Maybe I won’t extend [the ceasefire]. So you have a blockade, and unfortunately, we’ll have to start dropping bombs again.”
That is the right instinct. But dropping bombs alone is not a strategy. It is a continuation of what has not worked. The question before the administration is not whether to apply pressure, but what kind of pressure actually changes Iran’s calculus. The answer requires being honest about what the war has so far failed to accomplish, and clear about what must follow.
Start with what the strikes achieved and what they did not. The United States and Israel killed Iran’s supreme leader, wiped out much of its senior military command, and damaged its nuclear facilities. These were historic accomplishments. But US intelligence assessments say Iran’s regime likely will remain in place for now, weakened but more hardline, with the Revolutionary Guard Corps (IRGC) exerting greater control. As one analyst put it: “When President Trump says he has changed the regime in Iran, he’s right in one sense: he’s changed it to a much more radicalized regime.” The war shifted who holds power in Tehran, but it did not shift what that power wants.
The IRGC, which now runs Iran more openly than at any point since 1979, looks at the nuclear question through the lens of survival. Analysts say the IRGC will be looking toward the example of North Korea, noting that the country has not been subject to attacks precisely because it possesses a nuclear deterrent. Former Supreme Leader Khamenei’s fatwa banning a nuclear bomb died with him, and for any military whose conventional deterrence has been degraded, the ultimate deterrent is now “a very attractive prospect.”
This is the central strategic reality the Trump administration must accept: Iran’s incentive to acquire a nuclear weapon has increased, not decreased, as a result of the war. Bombing alone will not change that. Only a combination of measures that makes the pursuit of the bomb more costly than abandoning it can.
The first requirement is maintaining the naval blockade unconditionally, regardless of Iranian announcements about Hormuz openings. Iran has been selectively admitting ships from China, Turkey, Pakistan, and India under bilateral arrangements while blocking others, converting the strait into a political instrument rather than surrendering the leverage it provides. A blockade that can be circumvented through side deals is not a blockade. It is theater. CENTCOM must enforce the blockade against all sanctioned traffic without exceptions, including Chinese tankers, and Trump must be prepared to make that enforcement the hill his presidency stands on, economically and diplomatically.
The second requirement is activating European snap-back sanctions immediately. Secretary of State Marco Rubio urged European countries on April 18 to quickly reimpose sanctions, warning that Iran is approaching nuclear weapons capability. This call should not have been made publicly as a request. It should have been delivered as a condition. Washington has leverage over European access to American markets and defense cooperation that it has consistently refused to use in Iran policy. That reluctance must end. A European sanctions regime that closes off the money that the blockade does not reach, will give Iran no economic off-ramp that does not run through US terms.
The third requirement is the most uncomfortable to name. The Iranian people have already done the work the administration hoped bombing would do. Surveys conducted inside Iran show that Iranians believe protests, foreign pressure, and intervention are more likely to bring about political change than elections and reforms. The regime is militarily weakened, culturally weakened, and economically weakened, with a plummeting currency. Protests that began in December 2025 over economic conditions grew into nationwide demonstrations in all 31 provinces, with hundreds of thousands participating and calls shifting from economic grievances to the overthrow of the Islamic Republic itself. This is the most significant popular uprising Iran has seen since 1979, and it is happening right now, under the weight of the war and the blockade.
Trump called on the Iranian people to take their government at the outset of the war. He should not abandon that call as a diplomatic inconvenience. Materially supporting the opposition, providing Internet access to circumvent the regime’s blackout, and making unambiguous public commitments to the protesters that American pressure will not cease while the IRGC shoots demonstrators in the street are actions within the administration’s power. They cost nothing militarily and they impose a political cost on the regime that no bomb can replicate.
A deal that leaves Iran with a five-year enrichment window and underground missile cities under reconstruction is not a deal. It is a countdown. Trump knows what the alternative looks like. He should pursue it.
Amine Ayoub, a fellow at the Middle East Forum, is a policy analyst and writer based in Morocco. Follow him on X: @amineayoubx