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This 16-year-old turned her grandmother’s Holocaust survival story into a novel
(New York Jewish Week) — In May of 1937, 7-year-old Inge Eisinger lived in a luxurious Vienna apartment with a pantry stocked with favorite foods and a staff to keep her company. Though she had a strained relationship with her mother and an absent father, Inge, who was mostly raised by her maternal grandmother Anna, was living a charmed life.
This is the scene that opens “Running for Shelter,” a young adult novel about the Holocaust written by a young adult herself: 16-year-old Suzette Sheft, who is a junior at the Horace Mann School in the Bronx. In the novel, Sheft retells her grandmother’s story of surviving the Holocaust.
Published by Amsterdam Publishers, which specializes in Holocaust memoirs, the book is a delicate and powerful reminder of the importance of recording one’s family history. It’s a lesson Sheft learned too early in life: Her father died of pancreatic cancer when Sheft was just 13 and she soon realized she was forgetting all the stories he told her about his childhood.
“I fantasized about rewinding time, so I could go back and record my favorite stories about his childhood,” Sheft writes in an author’s note. “I wished I had taken the time to write these stories down when I had the chance, because his death allowed me to understand the vitality of preserving the stories of our loved ones before it is too late.”
In memory of her father, Sheft recorded the story of his mother, her grandmother Monique Sheft, who was once the Viennese school girl Inge Eisinger.
In pre-war Austria, Eisinger had been living a completely assimilated life — so much so that her parents never even told her that she was Jewish. Following the Nazi takeover of Austria, her mother managed to whisk the two of them away to Switzerland, then Paris, but soon abandoned her. After a twisting and tragic story, Eisinger eventually reunited with her grandmother and moved to a village in Central France to wait out the war, changing her name to the more French “Monique.”
Sheft’s novel ends in 1946, when the two are on the boat to New York after the war and Eisinger’s grandmother reveals to her that she and her family are actually Jewish.
In spite of this — or perhaps because of it — Sheft, who lives in Manhattan with her mom, her twin brother and two dogs, is very committed to her Jewish identity. “Although my grandmother never really practiced Judaism, my dad was very involved in the Jewish world,” she said. “He was very passionate about Jewish causes and just Judaism, in general. So I felt very connected to the Jewish world because of him.”
The New York Jewish Week talked with Sheft about what the book means to her, why its subject matter is important and what she learned in the process of putting it together.
This interview has been lightly edited for length and clarity.
New York Jewish Week: What was the process of writing the book; how did the idea begin and how did you collect your grandmother’s story?
Suzette Sheft: I had heard a lot of my grandmother’s stories from my dad. I always had an interest in the Holocaust — I would go to Holocaust museums in every city I visited, and I almost exclusively read books about World War II and the Holocaust growing up. So I kind of knew in the back of my head that I wanted to do something like this, but [my father’s death] sparked and ignited the necessity of doing it as soon as possible.
As for the process, a few summers ago I spent a week with my grandmother, interviewing her every day about her escape from Austria to France. At first she shared physical elements of her life, like her apartment and her family dynamics and her school life, but then she began to talk to me about the time leading up to the war — the years before the Germans invaded Austria. As she spoke, I recorded everything she said in bullet point form and I would periodically stop and ask for more detail. The next day, at the beginning of the conversation, I would recap what we had talked about, and then allow her to elaborate or clarify the story.
Later, I wanted to widen my perspective and uncover other stories and details that she may have forgotten, so I watched an interview she did with the USC Shoah Foundation. This was really helpful because there were some details that she had forgotten or that she had left out.
Even though the book is about your grandmother’s life, you wrote it as fiction. How much of the story came from your grandmother’s details, and how much did you have to research or create on your own?
Every event that happens is true, and everything actually happened to her, but there are some small details that I embellished. For me, it was really helpful because, while I love creativity and writing, I sometimes struggle to pick an idea. So the fact that she had all these little stories, and I could expand from those, was something I loved while writing this. I had to use fiction when describing the atmosphere of certain places and also to write the dialogue because I can’t know exactly what they said or how they said it.
Do you have a favorite story your grandma told you that you made sure to get in the book?
Inge goes to a boarding school [in France] with her host family and there the children play a game where they pick someone to be the “torturer,” who is usually whoever they think the ugliest person is. My grandma had red hair and green eyes, and I guess she wasn’t the traditional standard of beauty. They picked her to be the torturer and she would have to pull people’s hair and scratch them. There would also be a queen, who was usually the prettiest girl with blond hair and blue eyes, and she would be protected. I thought it was interesting because to me it was the children’s way of understanding what was going on in the world around them. It’s a bit complicated, but when she told me this story I was completely shocked. It was really fascinating.
For people your age, why do you think Holocaust education is still relevant and important?
Some people my age don’t know anything about the Holocaust. I recently came across a statistic that talked about how little Gen Z knew about the Holocaust. There’s also been a spike in antisemitism and a decrease in awareness of history. For example, with Kanye West, who has a lot of followers, saying antisemitic remarks, a lot of people are going to just go along with what he says. There’s also just been a lot of hate crimes towards Jewish people, especially during COVID.
Lastly, the number of living Holocaust survivors is diminishing by the day. Gen Z is the last generation probably that is ever going to have the ability and the opportunity to speak with Holocaust survivors before they’re all gone. It’s important that we share this book now and then we educate people now before it’s too late.
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The post This 16-year-old turned her grandmother’s Holocaust survival story into a novel appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”