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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.”
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Long Island school district pays $125K to settle lawsuit over erased pro-Palestinian student art
(JTA) — A Long Island school district agreed to pay a $125,000 settlement to a former student whose pro-Palestinian artwork was painted over in a high school parking lot.
The lawsuit stemmed from a September 2024 incident at Half Hollow Hills High School West, which permitted seniors to decorate their campus parking spots. A Muslim-American student, who was a senior at the time, painted a watermelon featuring a keffiyeh pattern alongside her name in Arabic and the phrase “Peace be upon you” on her space.
At the time, protests against the war in Gaza were at a peak, and the watermelon and keffiyeh, the traditional Palestinian headscarf, are both widely used symbols of Palestinian solidarity. The school painted over the artwork after it drew outcry from some Jewish parents in the district, determining that it had run afoul of the district’s rules barring political designs.
“For the school district, neutrality is the single most important issue when it comes to limiting speech,” the Half Hollow Hills School District’s attorney, Jacob Feldman, said at a school board meeting at the time, according to a contemporaneous Newsday report.
The student, who has not been identified publicly, testified at that meeting last year. “I was told by my principal that the watermelon was being interpreted as antisemitic by anonymous adults,” she said, according to the Newsday footage. “I feel deeply offended that the word antisemitic was used to describe a piece of my artwork.”
In March 2025, the New York chapter of the Council on American-Islamic Relations filed a lawsuit on behalf of the student alongside Stoll, Glickman & Bellina LLP, alleging that the district had violated her free speech rights and caused her emotional distress.
“The whitewash of Plaintiff’s pro-Palestinian speech was not to prevent substantial disruption of any school activity or threatened harm to the rights of others, as Half Hollow permitted and even amplified speech on other equally, even more, controversial issues,” the lawsuit stated, according to the Associated Press.
In court filings, Steven Stern, an attorney appointed by the district’s insurance provider, wrote that the watermelon image “symbolized anti-Semitic hate speech,” arguing that the district should be able to dictate art allowed in the parking lot.
“Any student, teacher, or member of the public could have driven into the parking lot and reasonably understood the school was endorsing a political message — or worse, anti-Semitic hate speech — by allowing it,” Stern wrote, according to Newsday.
The settlement, which was approved by the Half Hollow Hills school board at a meeting on April 21, will be paid by the district’s insurance carrier, according to Superintendent John O’Farrell.
In a statement obtained by Newsday, O’Farrell said that students were no longer allowed to paint their parking spaces “following the incident and the disruption it caused.”
The lawsuit was not the first time that the school district had courted controversy over Israel-related issues. Last year, the district drew scrutiny after a study guide distributed to some 10th graders described Zionism as “an example of extreme nationalism,” prompting condemnation from Rep. Elise Stefanik.
Christina John, a staff attorney for the New York chapter of the Council on American-Islamic Relations, which filed the lawsuit alongside Stoll, Glickman & Bellina LLP, welcomed the outcome in a statement.
“This settlement sends a clear message that viewpoint discrimination and the censorship of Palestinian expression cannot be justified under the guise of neutrality,” John said. “No student should be interrogated, silenced, or punished for peacefully expressing their identity or solidarity with oppressed people.”
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Assad Regime Remnants on the Ground in Lebanon Helping Hezbollah
Hezbollah fighters walk near a military tank in Western Qalamoun, Syria, Aug. 23, 2017. Photo: REUTERS/Omar Sanadiki
Senior officers from the former Assad regime in Syria are currently in neighboring Lebanon helping the terrorist group Hezbollah, raising tensions between Damascus and Beirut as the two governments seek to deepen their fragile cooperation.
The extensive coordination between Iran-backed Hezbollah and remnants of Assad’s security apparatus, which was also supported by the Iranian regime until its fall, has fueled fears of an emerging dynamic that could undermine Syria’s new government and deepen regional instability.
Last week, Lebanese Prime Minister Nawaf Salam met with Syrian President Ahmed al-Sharaa in Damascus as the two countries work to expand bilateral cooperation and engagement, with talks centered in part on former Syrian regime figures in Lebanon amid fears of emerging forces that could destabilize the new government.
Following the fall of long-time Syrian dictator Bashar al-Assad in December 2024, many officials in his regime are believed to have fled to or sought refuge in Lebanon, a development that has intensified diplomatic friction and security tensions between Damascus and Beirut.
Hundreds of pro-Assad military and intelligence officers and other security officials had reportedly entered the country through illegal border crossings in the Bekaa Valley in eastern Lebanon and via northern border regions.
In an interview with Saudi broadcaster Al Arabiya, Salam dismissed claims that most senior Assad-era officials have sought refuge in the country, while reaffirming the government’s commitment to help preserve Syria’s security interests.
“Most are in Russia and other countries, with just a small number still on Lebanese soil. But the government will work to ensure Beirut is not used as a base to undermine Damascus or to facilitate any political or military activity against it,” the Lebanese leader said.
During last week’s talks, Lebanese and Syrian officials agreed that any extradition of anti-regime forces would proceed under a joint legal framework to be coordinated through the justice and interior ministries in both countries.
The Syrian government has urged Lebanese authorities to arrest and extradite former Assad-era officers amid fears they are joining forces with Hezbollah and allied Alawite networks, where they have reportedly found refuge as part of a renewed effort to destabilize the country.
“We will not allow anyone on Lebanese soil to act against the Syrian government,” a Lebanese security source told Al Arabiya. “Lebanon will never serve as a platform for remnants of the former regime or militias operating against Arab states.”
Last year, al-Sharaa became Damascus’s president after leading the rebel campaign that ousted Assad, whose Iran-backed rule had strained ties with the Arab world during the nearly 14-year Syrian war, with an offensive spearheaded by al-Sharaa’s Islamist Hayat Tahrir al-Sham (HTS) group, a former al-Qaeda affiliate.
After years of intervening in Syria’s civil war to support Assad, the Lebanese terrorist group Hezbollah significantly expanded its political and military influence across the country as Iran’s chief proxy force.
However, the fall of Assad’s regime cut off Hezbollah’s key overland supply corridor through Syria, dealing a major setback to Iran’s “Axis of Resistance” and disrupting one of the group’s most vital strategic lifelines.
According to intelligence assessments, Assad regime supporters who fled into Lebanon have not simply gone into exile but are believed to have formed an organized network described by Syrian officials as the “operational brain” of Assad’s army on Lebanese territory, according to Arab and Israeli reports.
More than 200 former officers and senior figures from Assad’s military and intelligence apparatus have reportedly taken refuge in Hezbollah strongholds and heavily Alawite areas in northern Lebanon, where, Syrian officials warn, they are working to preserve the military infrastructure and strategic assets of the Iran-backed Shiite axis.
Arab media networks report that Hezbollah has provided former regime officers with protection and safe houses in exchange for intelligence expertise and operational support, aimed at helping establish armed cells and Alawite militias inside Lebanon.
Recently, Syrian authorities identified a covert Hezbollah-linked network allegedly plotting attacks against senior figures in the new Syrian government, with Damascus suspecting exiled Assad-era officers based in Lebanon are playing a central role in efforts to undermine the country’s stability.
Last week, Syria stopped a Hezbollah terrorist cell that was plotting to assassinate senior government officials, according to the Syrian Interior Ministry. With raids at multiple locations, Syrian security forces made 11 arrests and seized a cache of weaponry.
In April, the same Interior Ministry announced five arrests in another assassination attempt plotted by Hezbollah. The terrorists targeted Rabbi Michael Khoury in Damascus, with authorities identifying a woman who attempted to plant an explosive outside his home. The suspects later confessed to authorities they had drones supplied by Hezbollah they intended to use in an attack.
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1912 Yiddish operetta tackles class conflict and women’s rights
One of the smash hits of New York’s thriving Yiddish theater scene in the early 20th century grappled with socio-political issues that still resonate 100-plus years later. It’s coming back for a very limited run and you don’t have to speak Yiddish to enjoy it.
The production — a concert of songs from the 1912 Yiddish operetta Khantshe in Amerike — will be performed twice this month, first at Bard College in Annandale-on-Hudson, New York and then at the YIVO Institute for Jewish Research in Manhattan.
The protagonist, Khantshe, is a young working-class woman who dresses as a man, working as a chauffeur for a nouveau-riche immigrant family. Khantshe flirts with and romances the women she works for — mother and daughter alike. The operetta grapples with class conflict, women’s rights, gender fluidity and cars.
The performances, made possible by material reconstructed from archival documents, will feature students from Bard accompanied by piano. There will be no dialogue; instead the singers will deliver brief plot summaries in English before each song. A translation of the lyrics will be included in a booklet for the audience, who will also be able to follow along watching English supertitles.
The operetta first opened on Dec. 31, 1912 at Sarah Adler’s Novelty Theatre in Williamsburg, Brooklyn and was a runaway hit. It was mounted in Warsaw just six months after the New York premiere.
“This is one of the shows that were in dialogue with all of the political and social issues that people were talking about,” said Alex Weiser, director of public programs at YIVO and a member of the trio that reconstructed the performance materials. “They were made because the masses needed the cultural material in their language that spoke to the specificity of their milieu.”
Khantshe in Amerike was also a turning point in the career of both its composer, Joseph Rumshinsky, and its star, Bessie Thomashefsky. The previous year she had left her renowned husband Boris Thomashefsky, the titan of the Yiddish stage, known as a compulsive philanderer.
At the height of their influence, the Thomashefskys owned theaters in and out of New York, published their own magazine, The Yiddish Stage and wrote columns in the popular Yiddish newspapers of the day. When Boris Thomashefsky died in 1939, some 30,000 people lined the streets of the Lower East Side for his funeral.
“This show was a star vehicle for Bessie when she first left Boris,” notes Weiser. “They were a power couple and this was a really important turning point in her career. She left him, she went out on her own and there was a big question: ‘Is this it for her?’”
The angry, wily, rebellious and militantly feminist character that Bessie Thomashefsky portrayed became the prototype for a series of heroines she played going forward. They were tough, brassy, usually working-class fighters, endowed with chutzpah.
Bessie Thomashefsky also produced the operetta.
The musical was a watershed moment for Rumshinsky, as well. He went on to dominate the American Yiddish musical for the rest of the decade. It marked the first time that “American rhythm” had been incorporated in Yiddish music, a euphemism for acknowledging the influence of African-American music on the genre.
“Nothing had ever happened like that in Yiddish theater before,” said Ronald Robboy, who was part of the team that reconstructed the performance material. “Yiddish theater then quickly started incorporating elements of Tin Pan Alley. It also became interestingly more self-consciously Jewish, as smarter and better educated composers learned how to manipulate Jewish modal material, the scales that came from liturgical music and klezmer music. So the music was at once more American and at the same time more skillfully Jewish in its self-identity.”
Robboy’s connection to the material is a lengthy one. For five years he served as researcher for the Thomashefsky Project, an homage to the legacy of Boris and Bessie Thomashefsky instigated by their grandson, the late conductor Michael Tilson Thomas. The culmination of the project occurred in April 2005 with the premiere of The Thomashefskys: Music and Memories of a Life in the Yiddish Theater at Carnegie Hall. A recording of a subsequent performance in Miami Beach aired on the PBS series Great Performances in 2012.
Robboy worked with Weiser and Max Friedman, a law student in Memphis, to turn a number of archival documents into the printed matter needed to do the Khantshe performance. In 2023 the team reconstructed Rumshinsky’s Shir-hashirim operetta.
The documents for Khantshe came from YIVO and the American Jewish Historical Society, among other sources. They included a copy of the libretto that had been published as a bootleg in Warsaw.
Friedman got obsessed with Yiddish while studying for a master’s degree in music composition at Brandeis. For his master’s thesis he set to music sound recordings of Yiddish poets H. Leivick, Yankev Glatshteyn, Kadia Molodovsky, and Rokhl H. Korn reading their own work.
The last musical number in Khantshe in Amerike has the protagonist singing about herself. Soon the song Khantshe was played whenever Bessie Thomashefsky walked into restaurants and social gatherings. Tilson Thomas often played it as she made her triumphant entrance into the family living room.
Khantshe in Amerike will be performed on Thursday, May 14, in the Bitó Conservatory Building at Bard College from 7 – 8:30 p.m.
It will also be performed at YIVO on Monday May 18, at 7 p.m., as part of Carnegie Hall’s United in Sound: America at 250 festival. Admission is $15, $10 for YIVO members and students. Registration is required for the free livestream on Zoom.
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