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A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story.
(New York Jewish Week) — On a Wednesday evening last month, three generations of a Jewish family made their way to their seats at the Longacre Theater to see “Leopoldstadt,” Tom Stoppard’s epic Broadway play about the tragedies that befall an extended Jewish family in the first half of the 20th century in Vienna.
The date of the family gathering was a significant one: Nov. 9, the 84th anniversary of the Nazi pogroms known as Kristallnacht. And in the audience was Fini Konstat, 96, who lived in the once thriving Jewish neighborhood after which the play is named, and witnessed the horrors it portrays first-hand. Alongside her were her daughter and her son-in-law, Renee and James Akers, and her oldest great-grandchild, Lexi Levin, 23.
When Konstat was a child, she lived in a “nice apartment” in Leopoldstadt. But exactly 84 years to the day of their theater date, “I was running with my father, seeing all the Jewish stores with all their windows broken,” she told Levin in a short video her great-granddaughter filmed before the curtain rose.
“It’s such a blessing for me to be here with you,” Levin said to her great-grandmother in response. “Ninety-six years old, survived a pandemic, at a Broadway show in New York City.”
Left: Fini as a child on the balcony of her apartment in Leopoldstadt. Right: Fini with her three children in front of the very same building, pictured in 2015. (Courtesy)
Since the beginning of its Broadway run in mid-September, “Leopoldstadt,” with its depiction of a prosperous Viennese family on the brink of destruction, has moved audiences to tears and inspired deep reflections on the Holocaust. Based on the celebrated playwright’s own family history — of which he was barely aware while growing up in England — it has provided a stark counterpoint to news about rising antisemitism and the celebrities who have been purveying it.
But for Konstat, the play was much more personal. “When I heard the word ‘Leopoldstadt,’ this alone gave me lots of thrills and memories,” Konstat, who is known in her family as Mimi, told the New York Jewish Week in accented English. She recalled how Levin, who recently moved to the city, invited her to fly to New York to see one of Broadway’s hottest tickets.
“Leopoldstadt,” she repeated, her voice breaking. “The second district. That’s where we lived.”
At the end of Stoppard’s five-act play, audiences learn that most of the Jewish characters had perished under the Nazis — of the four generations in the show, just three cousins survive to carry on the family’s legacy.
For Konstat too, she and her parents were among the very few in their extended family to survive the Holocaust. “Almost all of them went to Auschwitz or other camps,” Konstat said. “My mother was a twin and only the twins remained alive. [My mother’s] five other siblings and my grandmother perished.”
L-R: Renee Akers, James Akers, Lexi Levin and Fini Konstat at the Longacre Theater to see Tom Stoppard’s ‘Leopoldstadt on Broadway,’ Nov. 9, 2022. (Courtesy)
In a Zoom conversation held over Thanksgiving weekend, Konstat, surrounded by two of her daughters, two of her granddaughters and three of her great-granddaughters, shared what the play meant to her — and how her family has restored what she lost.
In the months after Kristallnacht in 1938, Konstat and her parents hid in a neighbor’s apartment; Konstat recalls hiding under the duvet when German soldiers showed up. Eventually the family fled to Turkey, and then to India, before settling down in Mexico City. There, the teenage Fini met her husband David, also a survivor who escaped Poland. The two of them began to write the rest of their story — starting with the birth of the first of their three children in 1948.
Unlike many Holocaust survivors, Fini and David Konstat were open about their experiences during the war, instilling a sense of pride and duty to remember in their children — something that eventually extended to their grandchildren and great-grandchildren.
“They were proud to speak about how they survived this,” said the Konstats’ middle child, Renee Konstat Akers. “Their life was an odyssey. They had the courage to do things that you would never think were possible. We grew up grateful knowing how our family survived in that incredible way.”
Each child moved to different places as they grew up and got married. Manuel, the oldest, stayed in Mexico. Renee married an American and moved to the Midwest, and Denise, the youngest, to Houston. Each became deeply involved in their Jewish communities, sending their children (Konstat’s grandchildren) to Jewish day schools, celebrating Jewish holidays and participating in synagogue life.
“The word ‘miracle’ really does not feel like an understatement in this scenario,” said Sherry Levin, one of Konstat’s grandchildren. “When we think about what it took for my grandmother and grandfather to survive and how they were able to intersect in Mexico, and such an amazing multi-generational family has come to fruition, it feels miraculous.”
Pictured here on their 40th anniversary, Fini and her husband David met in Mexico City after both had fled Europe. They were married 54 years before David died in 2001. (Courtesy)
Reviews of the show have ranged from rhapsodic to resistant, with some critics suggesting the play is simplistic and obvious in its story-telling or that it is less a well-crafted play than a well-meaning lesson on the Holocaust.
But just as the Merz family clashes and argues about everything from antisemitism to intermarriage to socialism in “Leopoldstadt,” each generation of the Konstat family that saw “Leopoldstadt” that night came away with something different — a reaction influenced by their age, their Jewish identity, their nationality and their relationship with their family.
For Konstat, the arc of “Leopoldstadt” was so familiar that it hardly stirred her. “It was just very happy watching it and enjoying it and enjoying my children with me, “ she told the New York Jewish Week. “I didn’t think about anybody else.”
Akers, too, felt an intense familiarity with the story, and, perhaps toughened by her own family history, didn’t experience an intense emotional reaction. Her own parents’ lives gave Akers a sense of purpose in her life — for example, in the 1990s, she was passionate about helping resettle Jews fleeing the former Soviet Union. With her own children, she instilled in them a strong sense of Jewish purpose in their work, their education and their family.
“I was a sandwich in between seeing my mother and my granddaughter,” she said of her “Leopoldstadt” experience. “I was emotional thinking of my mom who went through it, but I was more emotional about seeing my granddaughter be so moved. It really hit her at her core.”
Indeed, it was the youngest member of the family present that night who was most shaken by the play.
“It really felt like a gift to my family and to me, specifically, to be able to see what Mimi’s life looked like before the war,” Lexi Levin said, surmising that, as a fourth-generation survivor, she is among the first in her family to be able to start processing the loss on a grander scale.
“For the first time in my life, I really felt the magnitude of her loss,” she added. “I’ve known her story and I’ve been inspired by her story to be involved with my own Jewish causes, but I have never been able to access and truly empathize with her grief and what it meant that she lost the entire family she had before this one that she created.”
Turning to her great-grandmother, as if trying to make her understand the exact precision of the show, Levin explained, “It’s a play about generations and the family was large and then it was small.”
“You made it large again,” she said, referring to the generations of family that had assembled — in the Broadway theater and again over Thanksgiving weekend. “Look at this room.”
Pictured on her 90th birthday in 2017, Fini Konstat now has three children, ten grandchildren and twenty great-grandchildren. (Courtesy)
There was a coda for the family after the curtain went down. The day after the show, the family wanted to see the 1907 “Portrait of Adele Bloch-Bauer I,” one of Gustav Klimt’s most famous paintings, which currently hangs at the Neue Galerie on the Upper East Side. A version of the portrait’s true story — how a painting of a socialite from a prominent Viennese Jewish family was looted by the Nazis and the family’s efforts to get it back — features in the plot of “Leopoldstadt.”
The gallery, however, was closed on the only day the family could visit. After a call to the management at the gallery, which showcases the German and Austrian art collections of Jewish philanthropist Ronald S. Lauder, the gallery’s director arranged a private tour.
“It felt like we were in a puzzle and everything was finally coming together,” said Akers. “It was an emotional, emotional time.”
When the week was over and the emotions were spent, Konstat and the Akers returned home with a reignited passion for their family story. But there was yet another twist: In addition to the whirlwind trip Levin planned for her grandparents and for Mimi, she had been undergoing the laborious process of applying for Austrian citizenship. Six members in Konstat’s large family have undertaken the process over the last two years.
“Part of the motivation was knowing Mimi’s story, and knowing that she survived because her mother had citizenship in Turkey,” Levin said. “That story was just inspirational to me, knowing that dual citizenship was what saved our family.” She convinced her brother and mother to apply for Austrian citizenship as well.
The day after her grandmother and great-grandmother left New York, Levin called them with news from her small apartment in Manhattan: An Austrian passport had arrived in the mail. The curtain was rising on another act.
Konstat was surprised at how interested her family was in getting Austrian citizenship. “I feel very good,” she said. “I’m very happy.”
“Does it make you emotional?” Levin asked her during the Zoom call with the New York Jewish Week.
“It does — of course it does. I used to love Austria,” she said. “I was sad to leave. I was disappointed. We never thought of coming back. I was happy to be able to escape. Thank God we made it out of hell.”
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The post A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story. appeared first on Jewish Telegraphic Agency.
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What I learned from 180 pounds of Yiddish books, one ‘interesting and complicated’ Jewish man, and Jorge Luis Borges
I’ve never met Harris Saltzberg, but one day last summer, I went to his house to abduct 180 pounds of his Yiddish books. He lived in a sturdy brown-brick co-op in Chelsea. In the lobby, there was Roz Chastian aroma of long-simmered onions and mothballs, with a subtle undertone of feet.
I took the elevator to the eleventh floor. Once I’d infiltrated Harris’ apartment, I began to get a sense of his personality. From the posters on the kitchen walls, I deduced that Harris liked Van Gogh and Martha Graham. From his box of cassette tapes, I got a taste of his cultured, klezmer-forward musical palate: Puccini Famous Arias sat next to Miriam Kressyn’s Yiddish Folk Songs. Pavarotti and Marilyn Horne kept company with Sidor Belarsky and Jennie Goldstein.
Before I go further, I should clarify: I did not burglarize Harris’ house. I was there as a “zamlerin,” a volunteer collector and schlepper of Yiddish books for the Yiddish Book Center in Amherst, Mass. I joined the international legion, some 160-zamlers-strong, at the end of a summer internship at the Center two years ago. Since then, every few months or so, I get a call or an email from an older Jew. Some Yiddish books have fallen into their hands, or maybe the books have been in the family for a long time. We tend to meet at their houses. (Once, though, I met a guy at his synagogue and sat through a full service for the first time in Hashem-knows-how-long.)

Wherever we meet, the pass-off process always feels ceremonial, more like the adoption of a child than the transfer of objects. We schmooze a bisl in Yiddish, a bisl in English while we load up the books, stacking them inside cardboard boxes like a game of 3D tetris. Sometimes, like a Yiddish-speaking Neanderthal, I’ll sound out the title of a book, and my host will light up like an electric menorah, turn the book over, rub its spine up and down, and tell me all about it. This? Oh, that’s Di Yeshiva. See, you can even see Chaim Grade’s autograph on the inside flap. That? Oh, that’s the Yiddish Kalevala. Naturally.
But zamling for Harris was different from zamling for other people, because for one thing, Harris was dead. His niece told me that Harris’ close friend, Andy, would be there to help me pack up the books. Andy was waiting in the lobby when I got there. He was a tall and weathered man of Irish extraction, about 75. His hooded blue eyes and the smoke on his deep, gravelly voice gave me the impression that he’d seen a lot in his time, like a hardbitten reporter in a noir novel. Except, Andy clarified, he was actually in publishing.
He didn’t say much after that.
Harris’ Yiddish bookshelf was right by the front door, so while I did a preliminary inventory, ooing and cooing in a way that would have annoyed me if another person were doing it, Andy shuffled through Harris’ living room and kitchen, shifting his chairs, stacking his dishware, emptying his cabinets. Even with Harris gone for months, the apartment hadn’t lost the ascetic spareness that only monks and longtime bachelors seem capable of cultivating. Dust had already settled over the few wooden tables and shelves. The rugs looked frayed, and a thin white light seeped into the room from in between the vertical blinds. There was a bottle of Cinzano Rosso sitting on the kitchen counter, forever half-finished. It seemed like a place Bernard Malamud might have cooked up for a story about an erudite bachelor character.

But what sort of erudite bachelor, exactly? Before I’d come over, I’d found a few clues on the internet. A Facebook obituary from Camp Kinderland described Harris as “an interesting and complicated person,” adding that he was “often very funny, often thoughtful and generous and warm.” He sounded prickly-sweet, not unlike a jackfruit. I’d also found a LinkedIn profile for one Harris Saltzberg who described his job as “Observer of aging,” employed at “Life.” That sounded about right.
But it was the books that brought Harris into focus. On the shelf, I found at least three Yiddish textbooks. “Harris was insecure about his Yiddish,” Andy told me later, when we were lugging boxes to the lobby. But from the looks of it, he shouldn’t have been. He had the big names on his shelf — Y.L. Peretz, Mendele Mocher Sforim, Sholem Aleichem (who, by the way, is so abundant at the Yiddish Book Center that you can sometimes get a copy of his collected works for free). But Harris was hardcore. He was a proper Yiddish junkie; he’d bought books that would have been challenging to get through even in English, like Klassenkamfn in Altertum, Class Struggles in Antiquity, by a man named Kalman Marmor. He’d collected landsmanshaft periodicals from tiny Besarabbian shtetls, school almanacs from 1929, an instructional book on Yiddish stenography, song books, and one baffling, proto-woke rhyming tale about a white thug with notably sharp elbows (“sharfn elboygn”) who torments a Black boy with sad eyes (“troyerike oygen”).

Sometimes, I would find signs of a bygone reader— maybe Harris, maybe somebody else —scrawled on a book’s inside cover, or tucked away on a scrap of paper. “To Rivke with Love — May you two get well acquainted!” wrote Manya on Jan. 30, 1959. I found grocery lists, and one detailed pencil sketch of a dog. I found a scrap of paper where Harris had scrawled in cursive ciphers, “Tammy Baker,” “Uniforms,” and something that might have been “human want,” or maybe “human meat.”
I had never met Harris and never would. But even as I stuffed the boxes to busting, I felt reluctant to throw anything out. When somebody is alive, odd bobs like scratch paper are replaceable junk. But when somebody is gone, everything becomes evidence that they lived. Maybe that is why Harris saved all those periodicals from towns that could no longer be found on any map, advertisements for pamphlets of essays and satire by long-dead Jews in the Bronx, stenography manuals, children’s books. So long as even one witness to a fading world remained, that world wouldn’t truly be gone.
There is a story by Jorge Luis Borges called “The Witness,” or “El Testigo” that I have thought about several times since visiting Harris’ apartment. It is about the last pagan in England. As church bells ring, he lies dying in a stable in the shadow of a new stone church. This man is the last living person to remember worshipping the wooden idol of the pagan god Woden. “Before dawn he would be dead and with him would die, never to return, the last firsthand images of the pagan rites,” Borges writes. “The world would be poorer when this Saxon was no more.”
In the moment, though, I was not thinking much about books beyond how many of them I could cram into one box. As Andy and I hauled the book boxes down to an extremely patient Uber driver — six boxes total, around 30 pounds each — he told me how Harris had loved opera. He talked about his own two brothers, and about his upcoming trip to the motherland, Donegal, which he taught me to pronounce “Don-ee-GAL.” In the car to the UPS store, we kvetched about how hungry we were. At the curb, he helped me unload the boxes. Then he bent down and hugged me goodbye. I was sorry to see him go. I wondered if we would ever see each other again.
It’s been over a year since that day. Harris’ apartment probably belongs to someone else now, and as for the books, they are living a literally chilled-out retirement in the temperature-controlled vaults of the Yiddish Book Center. I wonder whose fingers will touch those pages next. And whose will be the last. After all, Borges muses, there is a last for everything. There was a day when the last eyes to see Christ closed forever. When the last man to have loved Helen of Troy died. When the last person to remember the Battle of Junín was buried. “Something, or an infinite number of things, dies in each death,” he writes. “What will die with me when I die?”
The post What I learned from 180 pounds of Yiddish books, one ‘interesting and complicated’ Jewish man, and Jorge Luis Borges appeared first on The Forward.
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With Marine Le Pen on the right and Defiant France on the left, French Jews face an impossible choice
Marine Le Pen is back. And once again, the French Republic and the democratic values it represents, has its back against the wall.
On Wednesday, the judges of a French appeals court reached something of a Solomonic decision. On the one hand, they confirmed the ruling of a lower court that Le Pen, for more than a decade, oversaw the funneling of several million euros, meant for her European Parliament staff, to her political party, the extreme-right National Rally. On the other hand, they shortened the length of her ineligibility to run for political office, thus allowing her to join the fray for next year’s presidential election.
Much can be said about the consequences of this decision. First, there is the stunningly brazen legal dimension. Just as Donald Trump was the first convicted felon to be elected president of the United States, Le Pen — who leads other announced candidates by at least 10% in opinion polls — stands a very good chance to be the first convicted felon, on far more serious charges than Trump’s, to become president of France. (Two earlier presidents of the Fifth Republic, Jacques Chirac and Nicolas Sarkozy, were also found guilty of embezzlement, but only after their presidential terms ended.)
No less significant are the political ramifications. Le Pen’s announcement that nothing will stop her from running in turn stopped Jordan Bardella, her young protégé and president of the National Rally, dead in his tracks. Dismissed as an empty, though always svelte and shiny suit, Bardella proved to be, to Le Pen’s growing discontent, more popular in opinion polls than his mentor. Poised to run in her stead, this young man in a hurry, and with neither practical experience nor university education, was suddenly benched.
It is too early to predict how this will play out. On Wednesday, in their first public appearance together since the court’s ruling, Bardella, standing a few steps behind Le Pen, looked less like a partner than a prop while she bathed in the crowd’s attention. Adding to the tension are policy differences that had begun to appear between Le Pen and Bardella, with the former hewing to her populist image and Bardella leaning towards the traditional right. Tellingly, Le Pen supports the recent rollback of the retirement age to 62, while Bardella seems, like others on the traditional right, to prefer raising the age as high as 67.
More important, Le Pen’s entry may well turn the 2027 election into a choice between equally dismal options. For months, Jean-Luc Mélenchon, the turbulent tribune of the extreme-left Defiant France, has portrayed himself as the one figure who can save the republic from Le Pen. In the latest IFOP poll, Mélenchon stands an even chance to finish in second place in the first round of the election. This will mean that for the two-thirds of French voters still allergic to Le Pen, they will have nowhere to go after the second round except to the leader of a party that has repeatedly flirted with antisemitism.
This brings us, finally, to the historical significance of this event. The National Rally is, of course, the party formerly known as the Front National. Equally obvious, the latter, founded by Marine’s father, Jean-Marie Le Pen, was a gaggle of goose-steppers, antisemites, and apologists for Vichy, the collaborationist regime which did its bit for the Final Solution. (By the time he died last year, Le Pen père, who coined the infamous line that the Final Solution was a “detail of history,” had racked up multiple guilty verdicts for Holocaust denial and inciting race hatred.)
Her father’s notorious verbal dérapages, or excesses, finally led his daughter, who had slapped a new coat of paint on the party by renaming it soon after her father gave her the keys, to banish her father from its fold. Undeniably, Le Pen’s relentless pursuit of a policy of “dédiabolisation” or “detoxification,” has largely rid the party of its Nazi-adjacent followers. (As part of this renovation, the more than one hundred National Front representatives who sit on the far-right in the National Assembly — by far the largest parliamentary party — always wear business attire. This makes for a striking contrast with their Defiant France colleagues, who tend to dress as my students do.)
But a bespoke suit does not mean one is not still beholden to racism. Le Pen and Bardella have labored to distance their party from its rancid and racist origin, most recently reflected in the latter’s controversial visit last year to Israel, where he spoke at a sparsely attended conference on antisemitism. (Many of the invitees, upon learning that Bardella would attend, snubbed the event.)
No less contentious was Le Pen’s decision for her party to join the march against antisemitism two years earlier in Paris, along with her vow that the National Rally would serve as the “bouclier,” or shield to protect French Jews. She did not say against whom her party would shield French Jews, but there was no need to: All of France understood who she meant. For her party, the Jew is no longer, if only for now, the dreaded other who threatens the unity and purity of the French people. The Arab or Muslim now fills that role. Hence the party’s insistent demand for a constitutional amendment for “la préférence nationale,” which would limit an array of social privileges to French citizens, as well as the consistent drumbeat of racist and xenophobic declarations on the part of its rank and file.
Apologists for Marshal Philippe Pétain, the leader of Vichy France, insisted that he too served as his nation’s shield against Nazi Germany. They conveniently forgot, of course, that this shield was used to separate French Jews from their non-Jewish compatriots. Between now and next year’s presidential election, the French will have time enough to reflect on the promise, or threat, of a party whose origins warn us against those who use shields to clobber those they decide do not belong to a nation.
The post With Marine Le Pen on the right and Defiant France on the left, French Jews face an impossible choice appeared first on The Forward.
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Graham Platner may be gone, but his Nazi tattoo is not fading away
(JTA) — Why did it take sexual assault allegations to collapse Graham Platner’s Maine Senate campaign when the Nazi-linked tattoo was there all along?
Progressive lawmakers, Jewish leaders and conservative commentators posed the question in dozens of exasperated iterations in the hours after Platner announced Wednesday evening that he would suspend his race amid allegations reported by Politico Monday that he had raped a former girlfriend.
“Graham Platner has dropped out of the Maine Senate race amid serious sexual assault allegations,” the CEO of the Anti-Defamation League, Jonathan Greenblatt, wrote in a post on X. “But leaders should not have needed another scandal to act. The Nazi tattoo should have been enough.”
Platner, who won his Democratic primary in June on an anti-Israel progressive platform, faced mounting calls to leave the race after the Politico story ran from Democratic groups and progressive leaders who had formerly supported him, including Vermont Sen. Bernie Sanders. (Platner has denied the allegations.)
But others argued that those backers should have pulled their endorsements months earlier after it surfaced in October that he had a chest tattoo of a Totenkopf, a Nazi-era skull-and-crossbones design favored by SS officers.
At the time, Platner claimed that he had gotten the tattoo while “inebriated” as a young adult when he was on shore leave from a tour of duty in Iraq, without knowing what it meant. A number of people who knew him before his political ascent, including at least one of the women who accused him of sexual misbehaviour, said he had been aware of the symbol’s provenance. When the revelations emerged, he covered up the skull with a Celtic knot.
His campaign had dismissed as irrelevant noise the backlash the tattoo revelation received, as well as criticism over allegations that he had deployed race and gender stereotypes in the past as irrelevant noise.
“I said, ‘None of this will or should stop him from becoming a U.S. senator,’” Daniel Moraff, a progressive strategist who had headhunted Platner, told The Wall Street Journal last month, before the Politico revelations, about Reddit posts that included homophobic and ableist epithets unearthed in the vetting process. The firm that vetted Platner did not uncover anything about his Nazi tattoo, Moraff said.
The tattoo didn’t seem to be a dealbreaker for voters, either, since he coasted to victory in the June primary after his primary opponent, Gov. Janet Mills, suspended her candidacy in late April, saying her campaign could not afford to continue.
Now the Maine Democratic Party is considering replacements for the disgraced candidate, but the question of why his backers ignored warning signs still looms.
Brian Romick, the president and CEO of the Democratic Majority for Israel, told JTA in a statement that he didn’t understand why progressives had supported “a candidate with so many obvious red flags, including an allegation of sexual assault and a Nazi tattoo.”
And Halie Soifer, the CEO of the Jewish Democratic Council of America, which did not endorse Platner, told the Forward ahead of Platner’s exit that “a lesson for Democrats is that we shouldn’t compromise.”
“There were red flags about Platner from the outset,” Soifer said. “They just continued to compound on each other as more stories came out. But the Nazi tattoo for us alone was one too many.”
On Tuesday, New Jersey Democratic Rep. Josh Gottheimer argued that warning signs had been apparent long before the latest allegation.
“I said it in June: Nothing about this guy was right. From the first abuse allegations to his Nazi tattoo, the red flags were there. His endorsers just chose to accept them,” Gottheimer wrote in a post on X.
New York State Sen. Julia Salazar, a Democratic Socialist, also argued that supporters had made a mistake by overlooking Platner’s tattoo.
“Sorry to the well-intentioned people who made the mistake of supporting this guy. But: having a Nazi tattoo doesn’t pass the sniff test for running for US Senate, nor did his excuses. And far worse that he faces a credible allegation of rape,” Salazar wrote in a post on X.
Jewish Republicans said the Democratic response to Platner’s campaign was too late.
“I didn’t support Graham Platner as soon [as] we all learned he’s a Nazi,” Republican Max Abrahms, a political scientist focusing on terrorism, wrote in a post on X. “For the Democratic Party his being a Nazi wasn’t disqualifying. They viewed it as an asset. Platner matters politically for what he says about mainstream Democrats.”
The Republican Jewish Coalition also took aim at Democratic leaders who had stood by Platner earlier in the race.
“American Jews will never forget that leading Democrats chose to stand with Graham Platner KNOWING FULL WELL THAT HE HAD A NAZI SS CONCENTRATION CAMP GUARD TATTOO,” the group wrote in a post on X. “There is only ONE party where American Jews can be proudly Jewish and loudly pro-Israel: @Republicans.”
This article originally appeared on JTA.org.
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