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A new translation of Franz Kafka’s diaries restores much of his Jewish musings
(JTA) – Franz Kafka was a devotee of Yiddish theater, fell in love with his Hebrew teacher and once encountered the owner of a brothel he frequented in synagogue on Yom Kippur.
The broad strokes of Kafka’s biography have long been known to historians, but a new English translation of the Czech author’s complete and unabridged diaries gives readers the fullest possible picture of his complex, contradictory relationship with Judaism. For an author most famous for his depictions of loneliness, alienation and unyielding bureaucracy, Kafka often saw in Judaism an opportunity to forge a shared community.
“The beautiful strong separations in Judaism,” he praises at one point, in a disjointed style that is a hallmark of his diaries. “One gets space. One sees oneself better, one judges oneself better.”
Later, writing about a Yiddish play he found particularly moving, Kafka reflected on its depiction of “people who are Jews in an especially pure form, because they live only in the religion but live in it without effort, understanding or misery.” He was also involved with several local Zionist organizations, and toward the end of his life fell in love with Dora Diamant, the daughter of an Orthodox rabbi who taught him Hebrew (though she receives scant mention in the diaries).
“The Diaries of Franz Kafka,” translated by Ross Benjamin and out this week from Penguin Random House, collects every entry of the writer’s personal diaries covering the period from 1908 until 1923, the year before his death from tuberculosis at the age of 41.
Although versions of Kafka’s diaries had previously been published thanks to the efforts of his Jewish friend and literary executor Max Brod (with translation assistance from Hannah Arendt), they had been heavily doctored with many passages expunged, including some of what Kafka had written about his own understanding of Judaism. A German-language edition of the unabridged diaries was published in 1990.
The author of “The Metamorphosis,” “The Trial” and “The Castle” was raised by a non-observant father in Prague, and he hated the small amounts of Jewish culture he was exposed to at a young age, including his own bar mitzvah. In addition, the city’s largely assimilated German-speaking Jewish population tended to look down on poorer, Yiddish-speaking Eastern European Jews.
But Kafka’s diaries also reveal a growing fascination with Jewish culture in young adulthood, particularly around a traveling Yiddish theater troupe from Poland whom he saw perform nearly two dozen times. He developed a close relationship with the company’s lead actor, Jizchak Löwy, and would host recitation events where he’d give Löwy the opportunity to perform stories of Jewish life in Warsaw.
Kafka himself would even write and deliver an introduction to these performances in Yiddish. He would also witness his own father harboring prejudices towards his new friend Löwy: “My father about him: He who lies down in bed with dogs gets up with bugs.”
“The Metamorphosis” famously revolves around a man who inexplicably is transformed into a bug and then is rejected harshly by his family. In his introduction, Benjamin notes, “Scholars have suggested that such tropes, prevalent as they were in the antisemitic culture in which Kafka reckoned with his own Jewishness, influenced the themes of his fiction.”
Some of Kafka’s more ambiguous comments about his Jewish brethren were previously removed by Brod, according to Benjamin’s introduction to the diaries. At one point while hanging out with Löwy, Kafka invokes antisemitic stereotypes about Jewish uncleanliness: “My hair touched his when I leaned toward his head, I grew frightened due to at least the possibility of lice.” Benjamin notes: “Here Kafka confronts his own Western European Jewish anxiety about the hygiene of his Eastern European Jewish companion.”
Other revelations in the unexpurgated diaries include Kafka’s musings about his own sexuality.
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Report: Concerned with Iran’s Rearmament, Netanyahu to Propose to Trump Joint US-Israeli Military Action
Israeli Prime Minister Benjamin Netanyahu speaks during a press conference at the Prime Minister’s office in Jerusalem, Aug. 10, 2025. Photo: ABIR SULTAN/Pool via REUTERS
i24 News – Israeli Prime Minister Benjamin Netanyahu will lay out the case for a renewed attack against the Islamic Republic’s ballistic missile program to US President Donald Trump when the two leaders will meet at Mar a Lago in the last days of December, NBC News reported on Saturday.
While the damage visited on Iran’s ballistic missile program and uranium enrichment program during the 12-day war in June this year is understood to be substantial, Jerusalem is nevertheless concerned that Tehran restarted both, the report said, citing an official with direct knowledge of the matter and four former US officials briefed on the plans.
When the leaders meet at the president’s Florida estate, Netanyahu will make the case that Iran’s rebuilding efforts represent a threat necessitating swift and decisive action.
A White House spokesperson said that “The International Atomic Energy Agency and Iranian government corroborated the United States government’s assessment that Operation Midnight Hammer totally obliterated Iran’s nuclear capabilities. As President Trump has said, if Iran pursued a nuclear weapon, that site would be attacked and would be wiped out before they even got close.”
The visit to Mar a Lago on December 29, confirmed by Netanyahu’s office earlier this week, will mark the premier’s fifth trip to the US since Trump returned to office; it will be his first since the US-brokered ceasefire and hostage release deal in October that has halted the Gaza war after two years.
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Australia PM Says Jewish Community ‘Completely Unbreakable’ After Bondi Attack
Members of Bondi Surf Life Saving Club and North Bondi Surf Life Saving Club walk towards Bondi Beach during an event to stand shoulder to shoulder as they observe three minutes of silence to honour victims, responders, and lifesavers following the mass shooting that targeted a Jewish Hanukkah celebration at Bondi Beach on December 14, in Sydney, Australia, December 20, 2025. REUTERS/Audrey Richardson
Australian Prime Minister Anthony Albanese said on Saturday that the country’s Jewish community was “completely unbreakable” after attending a memorial at a Sydney synagogue for the victims of a mass shooting attack on a seaside Hanukkah celebration.
The mass shooting at Bondi Beach on Sunday, Australia’s worst in nearly 30 years, is being investigated as an act of terrorism targeting Jews. Authorities have ramped up patrols and policing across the country to prevent further antisemitic violence.
Albanese said the event he attended at the Great Synagogue in Sydney on Friday night showed “the spirit of our Jewish Australian community is completely unbreakable.”
“It was a night of unity, resilience, comfort, faith and love,” Albanese said in remarks televised from the capital Canberra, ahead of a national day of reflection on Sunday to honor the 15 people killed and dozens wounded in the attack allegedly carried out by a father and son.
LIFESAVERS RETURN TO BONDI BEACH
Albanese, under pressure from critics who say his center-left government has not done enough to curb a surge in antisemitism since Israel launched its war in Gaza, has vowed to strengthen hate laws in the wake of the massacre.
The government of New South Wales state, which includes Sydney, has also pledged a raft of reforms, including a tightening of hate and gun control laws.
It promised on Saturday to introduce a bill on Monday to ban the display of symbols and flags of “terrorist organizations,” including those of al-Qaeda, Al Shabaab, Boko Haram, Hamas, Hezbollah and Islamic State.
“The displaying of these symbols can only be done by someone who’s either deranged or has an intention to insult and intimidate and scare,” state Attorney General Michael Daley told a press conference in Sydney, where 15 of those injured in the attack remained hospitalized.
Around 1,000 surf lifesavers returned to duty at Bondi Beach on Saturday, restarting regular patrols after a halt sparked by the shooting on the first evening of the Jewish festival of lights. After the attack, authorities closed roads across the famed beachside suburb for several days.
The Bondi Beach volunteer and professional surf lifesavers, in their distinctive red and yellow uniforms, lined the sand on Saturday morning for two minutes of silence to honor the victims, Surf Life Saving Australia said.
Peter Agnew, the group’s president, said in televised remarks that the tribute was “out of respect to the Jewish community and also to support each other this morning.”
Australia’s Jewish community on Friday gathered at Bondi Beach for prayers, while hundreds of swimmers and surfers formed a huge circle in the waters off the beach to honor victims.
Alleged gunman Sajid Akram, 50, was shot dead by police at the scene. His 24-year-old son Naveed Akram, who was also shot by police and emerged from a coma on Tuesday afternoon, has been charged with 59 offenses, including murder and terrorism, according to police. He remained in custody on Saturday in hospital, Australian Federal Police Commissioner Krissy Barrett said in a statement.
Authorities believe the pair was inspired by militant Sunni Muslim group Islamic State, with flags of the group allegedly found in the car the two took to Bondi.
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We tried to fix Hallmark’s Hanukkah problem. Here’s the movie we made instead
Hallmark holiday movies are famously formulaic. They all have guaranteed happy endings and almost universally involve a homecoming, a life-changing shift in work-life balance and a chaste kiss amid glowing lights. But that doesn’t mean they have to be bad.
Since 2019, Hallmark has occasionally applied this formula to Hanukkah. This is generous of them. It is also where the trouble begins.
Sorry to be a Grinch, but this year’s installment in the Hallmark Hanukkah canon was not only corny (that’s to be expected) but also honestly kind of offensive. In the plot, a rabbi’s son comes home for the holidays and falls for the pastor’s daughter; their families end up combining Hanukkah and Christmas services and traditions to “unite their communities through song,” since, as the logline says, “coming together is the best way for everyone to celebrate the holiday season.”
After watching the movie, two of us — Mira Fox and Benyamin Cohen — cringed in dismay. We thought we could easily write a better plot, one that didn’t seem knocked out by a monkey typing into ChatGPT but still stays true to the frothy hallmarks people love about, well, Hallmark, complete with soapy romance and happy ending, but without the Christian hegemony.
So here’s our attempt. Give us a call, Hallmark.
The name
Love at First Light
The plot
Esther Rayzel Stiefel (not all Jewish women have generic names like Rebecca Goldstein) is a high-powered Jewish consultant who flies home to her struggling childhood synagogue to “fix Hanukkah,” a simple marketing mission her boss thinks will somehow reverse decades of suburban synagogue decline through a few simple branding choices.
Naive and headstrong, Esther believes it’s a task she can confidently take care of in one night, with a PowerPoint. Instead, it drags on for all eight days — derailed by committee meetings, Talmudic disputes and the discovery that Hanukkah is, theologically, a minor holiday that has nothing to do with synagogue attendance. This insight comes thanks to Esther’s new study partner: the synagogue’s new, young rabbi, Shaya Carlebach, who is singlehandedly revitalizing the shul’s youth attendance through his impish grin and knowledge of the slang term “6-7.”
Romance, sufganiyot and and a humorous montage of the pair trying to make an “elevated” latke out of everything but a potato ensue.
The cast
Kristen Bell, Emmy-nominated for her role as a non-Jewish podcaster dating a hot rabbi in Netflix’s Nobody Wants This, stars as Esther. Some call it stunt-casting, or worse, others progress: an attractive blond with a normal-sized nose can play a television Jewess.
A shaggy-haired Timothée Chalamet repurposes his Wonka topper as a black hat to play Shaya Carlebach, a Rashi-quoting neo-Hasid who has a penchant for Yiddish EDM and moonlights as a DJ. The supporting cast — including Benny Blanco playing himself as a music industry friend — all correctly pronounce the end of his last name as “CH” and not “CK.”
Jamie Lee Curtis, who has real-life experience restoring a shul, plays Shaya’s widowed mom who falls in love with the equally widowed dad of Esther, portrayed by Kelsey Grammar. The star of Frasier — whose sixth season featured the holiday episode “Merry Christmas, Mrs. Moskowitz” — already has daddy-daughter chemistry with Bell from their little-seen 2018 film Like Father.
Seth Rogen, his beard dyed white in a nod to Santa Claus, plays Esther’s boss, Nick Frost. Barbra Streisand makes a cameo.
Behind the scenes
Hallmark passes because the jokes have too much Yiddish and the executives didn’t get any of them. Also, Streisand requests fresh rugelach on set, a bark mitzvah for her cloned dog, and $18 million.
Warner Bros. pounces, but the script spends months in development, caught up in the midst of a corporate takeover. David Ellison, the new head of Paramount who is constantly trying to prove his Jewish bona fides, promises he’ll cast an Israeli, but only if he can fund the film using sovereign wealth funds from Saudi Arabia.
Netflix produces the movie instead, repurposing the menorahs from the Nobody Wants This set, and says it will give the film a short theatrical release to qualify for an Oscar. Diane Warren scores the soundtrack and includes a song called “Let the Light Find You.”
The opening scene
Esther, wearing a power suit that signals both competence and unresolved resentment toward her mother, kisses a mezuzah as she strides through a glossy open-plan office in Manhattan murmuring into her phone buzzwords like “engagement,” “deliverables” and “community buy-in.”
A junior colleague asks the meaning of Hanukkah. Esther pauses, realizes she doesn’t really know, and says, “I’m too farklemt to do this right now.” Also, she’s late for lunch with her mom, who offers to raise a grandchild so Esther can focus on her career if she’ll just pop one out like, yesterday. (Nagging Jewish mothers might be an overdone trope, but this anecdote is straight out of real life.)
Cut to Esther’s boss assigning her the Hanukkah account — Esther’s childhood synagogue, now hemorrhaging members and relevance. “We need to make it festive,” he says. “Warm. Universal. Christmas-adjacent.”
Esther promises quick results. She books a flight home that night. Eight candles appear on the screen. Only one is lit.
The meet-cute
Esther arrives at the synagogue, a product of multiple mergers over the decades, and buys a hot drink from the lobby cafe, The Kiddush Cup. As she reaches to grab the non-dairy creamer, her hand brushes up against Shaya. They both realize they’re lactose-intolerant and have undiagnosed Chron’s. She introduces herself briskly, explaining she’s here to “optimize Hanukkah engagement.” Shaya smiles and asks if she wants to study.
They sit down for a chevruta — Shaya pulls an Artscroll Talmud off the shelf while Esther opens her laptop to Sefaria.org. They both try not to stare at each other. It’s antagonistic, flirtatious and immediately derailed by a congregant interrupting to ask the rabbi whether LED candles can be used in a menorah. In his attempt to summarize the arguments for and against the electric candles, Shaya digresses into recounting Talmudic gossip, like that time one student lay under his rabbi’s bed while he had sex with his wife because “this, too, is Torah.” Esther begins to realize there might be more to Judaism than Hanukkah-print pajamas.
The plot twist
By night four, Esther’s PowerPoint has grown to 97 slides (98 if you’re counting the one showing all the Jewish a capella groups parodying KPop Demon Hunters into Hanukkah medleys.) She has zero buy-in. Every attempt to “rebrand” Hanukkah collapses: Is it about miracles? Assimilation? Resistance? Latkes? Mensch on a Bench?
Esther is beginning to worry that all her ideas about revitalizing Hanukkah are more about trying to imitate Christmas. Hanukkah stockings aren’t going to convince anyone to come to shul.
That’s when Shaya casually mentions Purim. Esther can’t believe she didn’t think of this herself. After all, she is named after the holiday’s heroine. Perhaps it is a nod to the megillah, in which God’s divine hand is hidden.
In their study sessions, Esther and Shaya begin to speak faster and faster, cooperatively overlapping, discussing how the best way to bring people into synagogue isn’t trying to make Judaism closer to Christianity, but instead leaning into real Jewish practices. Hanukkah bushes might be pretty lame but Purim spiels can be outlandish, whip-smart and fun.
“Wow,” Esther exclaims, “It’s pretty ironic how everyone wants to make Hanukkah about Christmas when the whole holiday is about religious zealots resisting assimilation!” They laugh heartily.
The ending
On the eighth night of Hanukkah, Esther finally gives up.
At the synagogue candle lighting, she scraps her prepared remarks — a TED-adjacent d’var Torah about resilience, relevance and light as metaphor — and instead tells the truth. Hanukkah, she says, doesn’t need to be fixed. It resists optimization. It has survived this long without a content strategy.
Still, Esther has to do something to prove to her boss that she succeeded and get a long-awaited promotion, so she and Shaya decide to host a sufganiyot-eating contest in concert with a local bakery; they have their first kiss covered in strawberry jam. But the real moral — and romance — comes in the beit midrash, with Esther’s realization of the real solution to the synagogue’s woes.
What this synagogue needs is a blowout Purim party: Costumes, chaos, congregational email threads. Shaya offers to DJ. Someone starts arguing about hamentaschen fillings. Good thing they have more than eight nights to plan this time. (Coming this spring, A Very Purim Proposal.)
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