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The US wants citizens to help Ukrainian refugees settle here. Jewish New Yorkers are stepping up.
(New York Jewish Week) — A year ago, Diana and Vitalii Nakonechnyi never expected that they and their two young kids would be living in Riverdale, a leafy neighborhood in the Bronx. Then again, they also never expected a war would force them to evacuate their hometown of Kharkiv, Ukraine.
“We heard it was a possibility, but we never would have expected this to happen in our lives,” Diana told the New York Jewish Week via a translator. “And we never thought we’d ever live in as big of a city as New York.”
The Nakonechnyis, a family unit of five — including Vitalii’s mother — are among the nearly 100,000 refugees who have fled Ukraine for the United States since the Russian invasion of Ukraine began in February 2022.
They first went to Poland, then stayed in Germany through the summer. There, they heard via Telegram, a global messaging service, that HIAS and other refugee resettlement agencies like it were helping bring people to the United States. HIAS, formerly known as the Hebrew Immigrant Aid Society, was created in 1881 to aid Jewish refugees fleeing Eastern Europe. In recent years, however, HIAS has pivoted to resettling non-Jewish refugees, as well as mobilizing the American Jewish community around advocating for immigrants and asylum-seekers.
As it turns out, the Nakonechnyi family were not resettled directly by HIAS or another refugee resettlement organization — a process that can often take years due to bureaucratic red tape. Instead, they were among a growing cohort of arrivals who were greeted at the airport, set up in new homes and introduced to life in the United States by trained “Welcome Circles,” a private sponsorship group, enlisted by HIAS, that consists of everyday Americans who volunteer to help resettle a refugee family. Within the span of just a few weeks, with the assistance of local community members, the Nakonechnyi family settled in the Bronx at the end of September 2022.
“Nobody really believed that there would be some help on the other side, that everything would be taken care of with housing and airline tickets,” Diana said. “Little by little, we are adjusting.”
The Northwest Bronx Coalition — the Welcome Circle of around 10 individuals that has helped welcome the Nakonechnyis in Riverdale — is largely made up of members from local congregations: Riverdale Temple, Conservative Synagogue Adath Israel of Riverdale, Hebrew Institute of Riverdale and Congregation Tehillah. It’s the latest iteration of how Jews, once refugees themselves, are now using their expertise and experience to resettle others.
“Ukraine is so pivotal in so many of our own histories and our own refugee stories, said Holly Rosen Fink, the president of the Westchester Jewish Coalition for Immigration who, working with HIAS, helps organize and mobilize Welcome Circles. “Nine times out of 10, when you ask [Jewish] people in Westchester where their families are from, it’s usually that part of the world. So it stirred a lot of people’s hearts.”
Welcome Circles like the Northwest Bronx Coalition are made up of five to eight community members who have committed themselves to accommodating and resettling a refugee family for the first six months of their time in the United States. These volunteers handle everything a resettlement agency would: helping secure housing and employment, organizing medical appointments and bills, and smoothing over any other logistics required in the transition to a new country. The groups commit to raising $2,275 for each person they are going to help resettle.
Leading the Northwest Bronx group is Irina Kimmelfeld, who came to the United States when she was 13 as an emigre from the Soviet Union in 1988. “I did feel that I was in more of a unique situation to help because I have the language and some degree of commonality of experience right from that same region,” Kimmelfeld told the New York Jewish Week. “But it really came from feeling so helpless about the war and needing to be able to do something.”
Kimmelfeld, an accountant, has been translating for the Nakonechnyis, helping them find and furnish an apartment, guiding them through public transportation, finding a house of worship (the family is Ukrainian Baptist) and showing them around the city. She’s also helped with social and medical services for Diana, who is eight months pregnant, and her son Filipp, who has special needs.
For Rosen Fink, resettling non-Jewish refugees is undoubtedly a Jewish issue. “After visiting a [refugee] camp during the Syrian refugee crisis, I just became determined to not let that happen again to anybody, not just Jewish people,” she said. “So, for me, it’s a very ingrained issue.”
Rosen Fink operates as a liaison between HIAS and New York Jewish communities, encouraging members to join these Welcome Circles in honor of their Jewish values. “We’ve been going into the community, finding the people that want to step up and giving them the tools and the resources and funding to connect with HIAS and start hosting a family,” Rosen Fink said. “We inspire people to do this work because we see this through a Jewish lens because of our history and values.”
Until recently, Welcome Circles such as the Northwest Bronx Coalition were considered part of an emergency government response towards the Afghan and Ukrainian refugee crises, and not an official resettlement policy in the United States. But as of Jan. 19, the Biden Administration announced the implementation of the “Welcome Corps,” a federally backed private sponsorship program in which refugee resettlement agencies will be able to train American citizens to help resettle refugees on a long-term basis with route to citizenship — a departure from the emergency response programs which only offered short-term, humanitarian parole.
The Welcome Corps, which the New York Times called “most significant reorientation of the U.S. refugee program since its inception more than four decades ago,” will allow an increased number of refugees to resettle in the United States for less of a cost to the government.
As such, programs like HIAS’s Welcome Circles will become an even more common way to resettle more refugees more quickly. In the last 18 months, HIAS has helped establish 80 Welcome Circles in 17 states. In New York City and Westchester, 15 of HIAS’s Welcome Circles have assisted in the resettlement of more than 50 refugees.
“It’s an exciting program that’s is opening up the opportunity for many more volunteers on the ground to get involved with supporting refugee resettlement in areas where they might not have resettlement agencies, or where resettlement agencies do not have the capacity to bring in the people themselves,” said Isabel Burton, the senior director of community engagement initiatives at HIAS.
For now, the Nakonechnyis are still getting used to the city, which is a lot bigger than their hometown (Kharkiv’s population is approximately 1.4 million). They’re not sure yet if New York will be their permanent home — the idea of planning for the future, Diana said, feels like it has been taken away from them.
“You do feel helpless — and this is something you can do,” Kimmelfeld said. “You can’t help everybody but you can make a difference for one family.”
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Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
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NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’
(JTA) — A New Jersey church says it is “committed to engaging in dialogue, and teaching others about our heritage” after putting on a Christmas pageant that drew criticism for reflecting antisemitic stereotypes.
St. Mary Protectress Ukrainian Orthodox Church’s pageant, known as a vertep, featured an antagonist named Moshko who danced with the devil while wearing faux Hasidic garb like side locks and a black hat. The character was referred to as “zhyd,” a Ukrainian slur for “Jew.”
“We do not have any intention to promote harm or hatred with this pageant,” the church said in a statement issued on Facebook on Friday night. “However, we recognize some outside of our culture may assign elements of the performance to stereotypes when taken out of context which is inclusive of peoples historically present in eastern Europe.”
The church did not respond to a Jewish Telegraphic Agency request for comment prior to an initial report on the vertep earlier this month. It did not respond to an additional request for comment on Monday, following the statement. The church removed photos and video of the pageant from its Facebook page following the JTA report.
The vertep is a centuries-old Slavic Christmas tradition that emerged from puppet theater. In recent years, many Ukrainian Orthodox churches have removed material criticized as offensive. Since the current war between Russia and Ukraine began in 2022, one popular replacement for the Jewish antagonist has been a Russian character.
In its statement, St. Mary Protectress Ukrainian Orthodox Church emphasized that “the event does not target any specific group” but indicated that it could make changes in future pageants.
“The church is reflecting on this matter seriously and is committed to engaging in dialogue, and teaching others about our heritage while ensuring that future events continue to uphold the dignity, respect, and safety of all people,” it said.
The Anti-Defamation League of New Jersey, which said earlier this month that it was reaching out to St. Mary Protectress, told JTA on Monday that it had not been able to communicate with anyone from the church.
The church’s apology rang hollow for Lev Golinkin, a Jewish writer born in Ukraine who has advocated against the antisemitic elements of the traditional vertep.
“It’s not an apology, it’s more of an insult,” Golinkin said. “The problem is not the context. The problem is exactly that. It is in context perfectly.”
He added, “They’re making it seem that the people who are criticizing them … are the ones who have a problem because they don’t understand the culture.”
St. Mary Protectress is not the only Ukrainian church in the United States to import the antisemitic elements of the vertep from the old country. A church in Connecticut erected a backdrop poster for its pageant this year that included a Moshko character standing next to the devil.
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A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths
(JTA) — I’ve never read a Holocaust chronicle quite like Lore Segal’s autobiographical 1964 novel, “Other People’s Houses.” Mordant, unsentimental and sometimes painfully honest, it’s the story of an Austrian girl sent to England on the Kindertransport, as well as a portrait of the artist as a young refugee.
More than one of her legions of admirers have noted that Segal, who died in 2024 at the age of 96, was only one year younger than Anne Frank, and grew up to become the kind of writer Anne too might have become had she not died in Bergen-Belsen.
Segal’s work, which includes decades of stories in The New Yorker as well as a delightful children’s book, “Tell Me a Mitzi,” is also remarkable in its humility. Segal was adamant that memory — especially of traumatic events like the Holocaust — cannot be a perfect repository of truth. It’s not that authors couldn’t be trusted, but that neither the writer nor the reader should take anything for granted.
That challenge is captured in the title of a new exhibit mounted by the Leo Baeck Institute in New York: “And That’s True Too: The Life and Work of Lore Segal.” The title is a quote from “King Lear,” a favorite of Segal’s and a reminder to hold opposing truths in the same sentence, of resisting the false comfort of a single, final version.
“We tried to give you an insight into Laura’s ability to look at the world from many angles,” Karin Hanta, the exhibit’s curator, said at the exhibit’s opening on Thursday, just days before International Holocaust Remembrance Day.
At the event, actress Toni Kalem, who played Angie Bonpensiero on “The Sopranos,” read an excerpt from “Other People’s Houses.” Kalem, who met Segal years ago and discovered that their mothers shared the experience of the Kindertransport, spoke of Segal’s “unbridled curiosity” — a quality that runs through the display of photographs, manuscripts and family keepsakes.
Lore (pronounced “Laura”) Groszmann was born in Vienna in 1928; one month after the Nazi pogrom on Kristallnacht, she was sent to England and raised in a series of foster homes (her refugee parents would eventually arrive and find work as domestics). Later she would join her family in the Dominican Republic, and they eventually found refuge in Washington Heights, the Manhattan redoubt for German-speaking Jews. After she established herself as a writer, she became part of a circle of mostly Jewish writers in New York, including Cynthia Ozick, Vivan Gornick, Grace Paley, Norma Rosen and Gloria Goldreich. Her husband, book editor David Segal, was 40 when he died in 1970.
Hanta had hoped to write a biography of Segal, but when that project stalled, she pivoted. “With all the materials I had gathered,” she recalled at the opening, “why not stage an exhibition?”
The first iteration, mounted in Vienna’s Bezirksmuseum Josefstadt — located in the district where Segal grew up, and, as Hanta later discovered, near the hospital where she was born — drew thousands of visitors. The New York version, expanded and sharpened, shifts the focus westward, tracing Segal’s journey from prewar Vienna to Manhattan, where she lived for decades, taught generations of writers, and, according to the New York Times, came “closer than anyone to writing the Great American Novel.”
That novel, “Her First American,” appeared in 1985 and explored the uneasy intersection of race and Holocaust history through the relationship of a Jewish refugee and a Black intellectual. (LBI has scheduled an online event about Horace Cayton, Segal’s real-life lover and the inspiration for the novel.) “Other People’s Houses,” her first book, earned Segal a Guggenheim Fellowship, and her short-story collection “Shakespeare’s Kitchen” (2007) became a Pulitzer Prize finalist. All three books will be reissued in the spring of 2026 by the New Press, while Melville House is publishing a posthumous collection, “Still Talking.” Introduced by Gornick, it features the linked “Ladies’ Lunch” stories she wrote late in her career, about elderly Manhattan friends dealing frankly and often hilariously with the daily indignities of growing old.
The exhibit at the Center for Jewish History, where LBI catalogues the history and culture of German-speaking Jews, includes notebooks from Bedford College in London, where Segal studied after the war, filled with short stories entered into competitions. There are manuscripts marked and re-marked in a hand that never stopped revising. There are address books kept by her parents — one from England, one from the Dominican Republic — opened to pages that quietly testify to vanished worlds: cousins who hid behind kitchen curtains in France, friends who assumed false identities, children who never made it onto the trains.
One small object carries particular weight: a childhood friendship book, the sort in which relatives and friends inscribe poems and well-intentioned advice. Segal’s includes an entry from her first English foster mother, urging her to cherish friendship — advice that reads differently if you know, as Segal later wrote, that their relationship was fraught. Her father’s contribution, a drawing of a boy hiking in the mountains, echoes a story Segal drafted as a young woman about a prewar hike in the Alps with him. She revised that story at 90 and retitled it “Dandelion.” The New Yorker published it in 2019, 70 years after its first draft.
The exhibition is accompanied by a season of in-person and virtual programs, and Hanta has her own wish list of commemorative projects: She hopes that a park in Vienna where Segal played as a child might be renamed in her honor; that the exhibition might travel; that “Other People’s Houses” might be distributed free in Austria in 2028, the centenary of Segal’s birth and the 90th anniversary of the Kindertransport.
On opening night, before reading from “Other People’s Houses,” Kalem paused to apologize for the necessary cuts she made. “As you know, all her life, Lore was a master of meticulously crafting and scrupulously revising her work,” said Kalem. “So it feels like literary malfeasance on my part to attempt to edit a word of Lore’s story. It feels akin to cutting Shakespeare by shortening Hamlet’s soliloquy…. So Lore, I hope you understand and I hope you will forgive me.”
The exhibition also includes a video produced by Hanta and Segal’s grandson, Benny, which captures Segal late in life, still circling her subjects, still attentive to the elusiveness of truth. At the opening, Segal’s son Jacob spoke of his mother’s ambition and her modesty, her seriousness about art and her refusal to be undone by success or disappointment.
“She always made the world larger,” he said. “It’s smaller now.”
“And That’s True Too: The Life and Work of Lore Segal” runs through April 15 at the Center for Jewish History, 15 W. 16th St., New York, New York.
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