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Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74
(JTA) — Robert Crumb put the “x” in comix by setting to paper his basest sexual longings, including strong-legged Jewish women who were cowgirls and who went by the name Honeybunch Kaminski.
So when an actual strong-legged Jewish cowgirl named Aline Kominsky walked into his life, it was love at first sight, and never wavered.
Aline Kominsky-Crumb, who died Wednesday at 74 in France of pancreatic cancer, was late to the revolution her husband launched in comics a few years before they met, with his Zap Comix. The “x” was a signifier of what was then known as “underground” comics and referred to the unfiltered treatment of humanity that censorious publishers, politicians and public figures had all but washed out of the art.
She soon fully embraced the art form and then helped transform it.
Working with her husband and then on her own, Kominsky-Crumb brought to comics raw self-lacerating accountability and subverted crude stereotypes about Jewish women — including those peddled by her husband — by taking possession of them.
She started out as a self-acknowledged sex object reviled by second-wave feminists and became a hero of younger feminists for modeling unfettered sexual expression. She was the brassy Jewish stereotype who became the muse who guided her husband to a deeper consideration of Judaism.
Kominsky-Crumb, born Aline Ricky Goldsmith in 1948 in the Five Towns, a Jewish enclave on Long Island, had a Jewish upbringing that was in many ways conventional, horrifying and both at the same time. She wrote about the warmth of her grandparents’ home and how she sought in it succor and about the pressures her materialistic parents placed on her. She said she was named for a Five Towns clothing store, Aline Ricky, that sold French fashion knockoffs. She resisted her mother’s pressure to get a nose job.
In one autobiographical comic, she recalls seeing one Jewish girl after another coming into school after plastic surgery. “Me ‘n’ my friends developed a ‘big nose pride,’” she writes, and one of the characters says, “I could not stand to look like a carbon copy!”
She told fellow Jewish cartoonist Sarah Lightman about the ordeal. “Like, I kept my nose, but it was really a close call, because my mother had me in Doctor Diamond’s office and he measured my nose. I remember that. They took an instrument and measured your nose. And then he took a piece of paper and he said,’ look, we can make it look like this.’ And I said, ‘Oh my God.’ My mother said, ‘Oh, it’s gorgeous, gorgeous.’”
In her teens, Kominsky-Crumb fled the suburbs for Manhattan. She studied at Cooper Union, an art school, and lived on the Lower East Side, earning plaudits from her instructors for her painting, but getting bored. She had a baby and gave it up for adoption to a Jewish agency, an experience that scarred her, and later led her to become outspoken in advocating for abortion rights.
After she married Carl Kominsky, they moved to Tucson, Arizona, which she called “hippie heaven.” There, she left her husband for a cowboy who lived with two brothers and his father in what she said was “the middle of nowhere” where she helped out on horseback, albeit under the influence of hallucinogens. (She said her beau was killed in a shootout with a romantic rival after she left.)
In Tucson, she met two pioneers of underground comics, Kim Deitch and Spain Rodriguez. They encouraged her to move to San Francisco, which was the scene of the burgeoning movement.
She did and met Crumb at a party in 1971, within three years of his having created “Honeybunch Kaminski, the drug-crazed runaway” (1968) and “Dale Steinberger, the Jewish Cowgirl.” Kominsky-Crumb, who had kept her first husband’s last name because it sounded more “ethnic” than Goldsmith, was so taken with the her husband’s lustful Jewish imaginings, and how closely she physically resembled them, that when she started creating her own, she named her avatar “Bunch,” a shortened version of the character whose name most closely matched her own.
It was kismet, except it wasn’t at first. Crumb and Kominsky-Crumb got together, but maintained open relationships. Crumb endured Kominsky-Crumb’s dalliances with other men for decades, but Kominsky-Crumb was not as able (or willing) to reciprocate. When one of Crumb’s exes arrived at their commune in Mendocino, she told The Comics Journal in 1990, she was furious. “I had a total s— fit,” she said, “I was wearing these giant platform shoes. I ran out the door and I fell and broke my foot in six places.”
Crumb sent the ex on her way and entertained the recovering Kominsky with a pastime he and his brother worked out as children: They would co-create a comic.
That process drew the couple closer, and also became a decades-long unflinching chronicle of a relationship. A culmination, “Drawn Together,” was critically acclaimed when it came out in 2012.
In one passage in the 2012 book, she gently chides her husband for resorting to antisemitic tropes — although it was tropes about loud, slightly unhinged, sexually voracious Jewish women that drew them together.
One page depicts the couple in bed. Crumb is stung by an accusation of antisemitism from Art Spiegelman. (Spiegelman joined with Crumb to launch the underground comics scene in the 1960s, but they grew apart as Spiegelman, who would author the Holocaust chronicle “Maus,” sought to attach an overarching philosophy to the genre, while Crumb continued to crave crude authenticity.)
Crumb says that Spiegelman “seems to be taking my ruminations about the Jews as antisemitism … I certainly didn’t mean it as such.” Kominsky-Crumb draws herself into the panel, listening to her husband, as a little girl wearing tefillin, a T-shirt with “kosher” in Hebrew and a Star of David pendant. In the next panel, once again appearing as a grown woman in a negligee, she makes clear to Crumb why she feels vulnerable as a Jew in the marriage.
“Dahling, you do call the Jewish religion ‘Brand X’,” she says.. “Now I might even think that’s true in some ways … and I’m one o’ them … I’m allowed to say that!”
Crumb draws himself as wounded but also awakened. “Oh, I see … ulp.” Crumb dedicated his masterwork, “The Book of Genesis,” a searing illustrated narrative of the Bible’s first book, to Aline.
The Crumbs’ collaborative work was celebrated among aficionados, but it wasn’t until 1994’s “Crumb,” a documentary directed by Crumb’s close Jewish friend, Terry Zwigoff, that she emerged into the broader culture. A vibrant, peripatetic Kominsky-Crumb cares for their daughter, Sophie, and revels in their life in a small French village, where they had moved a few years earlier, while Crumb continues to hold back, playing the wounded, misunderstood artist.
It was an arrival of sorts for Kominsky-Crumb. She had for a time been marginalized even on the underground scene, her deceptively simple art derided as sloppy. She helped found the Wimmen’s Comix collective in 1972, and wrote about her Jewish upbringing in the first issue, a piece entitled “Goldie: A Neurotic Woman.” But she was soon frozen out because some of her colleagues thought her musings about longing to be dominated (and her tendency to dress that way to please Crumb) were denigrating to women. “The Yoko Ono of Comics,” is how the New York Times described her early years.
She left the collective and joined another Jewish woman artist, Diane Noomin, in launching “Twisted Sisters” in 1976. Its cover depicts hers seated on a toilet wondering “How many calories in a cheese enchilada.” The message to her erstwhile colleagues, who depicted women heroically, was clear: Kominsky-Crumb would indulge her full unvarnished self.
It would take decades, but a later generation of feminists would come to understand her autobiographical “Bunch” not as a self-loathing caricature but as a means of understanding ones whole self. In 2020, Lightman launched an interview with Kominsky-Crumb by reviewing a 1975 cartoon, “Bunch plays with herself” that shocked even the underground scene at the time with its graphic depictions of a woman exploring every corner of her body.
“I didn’t do it to be disgusting but it’s, like, about every horrible and fun thing you can do with your body,” Kominsky-Crumb told Lightman. “I think it’s an amazing piece of feminist art,” Lightman said in the interview, “because women are drawn to be gazed at, and [here we see] their bodily juices, and everything. … The last panel is the best. ‘My body is an endless source of entertainment’.”
In 2007, she and Crumb created a cover for the Jewish counterculture magazine Heeb, where she is cradling him in her arms. “”I feel so safe in the arms of this powerful Jewish woman!” Crumb says.
By 2018, she was scrolling through her phone to show a New York Times reporter pictures of Crumb cavorting with the grandkids. (Daughter Sophie in adulthood also is a comics artist.) The photos then transition to photos of women’s behinds, taken in Miami.
“I’m enabling his big butt fixation,” she said. “Well I don’t have a big butt anymore so I have to offer him something.”
“It was her energy that transformed the American Crumb family into a Southern French one, with her daughter Sophie living, marrying and having three French children there,” the official Crumb website said in announcing her death. “She will be dearly missed within that family, by the international cartooning community, but especially by Robert, who shared the last 50 years of his life with her.”
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The post Aline Kominsky-Crumb, who transformed comics first as a muse and then as a feminist artist, dies at 74 appeared first on Jewish Telegraphic Agency.
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This Jewish art looks pretty Christian, and vice versa. Is this coexistence or antisemitism?
As you walk into Sacred Splendors, the new exhibit at the Jewish Museum in Manhattan, you’re greeted by a miniature city of Gothic castles.
Silver spires rise from small bessamim boxes, the containers used to hold spices for the Jewish ritual of havdalah at the end of Shabbat; each scent holder is shaped into a tiny, filigreed building. Behind the village of bessamim boxes rises a great golden cathedral. This one was meant to hold the sacred host, the bread used in Catholic masses as part of the Eucharist, believed to become the body and blood of Jesus during the ritual.
At first, it may seem surprising that these two totally disparate religious objects, serving communities that lived separately — Jews were confined to a ghetto in Prague — seem so similar.
The reason for the objects’ similarity has little to do with shared theology or social circles. It’s simple: Many of them were made by the same artisans. Because Jews were not allowed to join artisan guilds, they turned to Christian silversmiths and artisans to create their bessamim boxes. And those craftsmen created what they knew best: church-inspired miniatures. (The golden tabernacle to hold the sacred host was such a perfect model of the unfinished St. Vitus Cathedral that it was used as a reference for the church’s construction.)
But the impacts of this shared aesthetic also shaped Christian visual language. In an ornate mahzor, a holiday prayerbook, letters are adorned in the style of illuminated Christian manuscripts with four creatures — a human, a lion, an ox and an eagle — referencing Ezekiel’s description of God’s throne. Displayed next to it is a Christian Bible that uses the same four creatures to represent the Four Evangelists, adopting the Jewish symbolism to a new meaning.
Sacred Splendors brings together ritual objects from Judaism and Christianity. Side by side, it’s possible to not only see their similarities but also to examine the internal contradictions behind this shared history, showcasing how Christian iconography and rituals worked to denigrate and eradicate Judaism, even as it venerated pieces of it — often literally. It’s a pattern that has resonances in the politics of American Christians toward Jews and Israel today.
The exhibit focuses in particular on Christian reliquaries — the often heavily-adorned objects used to house, protect and idolize pieces of holy objects, usually bone shards believed to belong to Catholic saints. These reliquaries were placed in churches where attendees could come to physically commune with saints, internalizing and experiencing the story of Christianity when many were illiterate — the relics are sometimes encased in a gilded model of the body part they contain, such as an arm bone of Saint George housed in a bejeweled golden arm that looks like a piece of decorative armor, helping communicate their contents in a visual language.
Under the reign of Holy Roman Emperor Charles IV, who wished to turn Prague into a “New Jerusalem,” Saint Vitus Cathedral became a storied home for these relics as a way to achieve that vision with artifacts often brought back to Europe from the Crusades. And among the bits of saints both famous and obscure that he gathered are a few Jewish names: Abraham, Isaac and Jacob.
The Tomb of the Patriarchs and Matriarchs, in Hebron — where it still stands today, in a heavily militarized area between the Palestinian city and its small Jewish settlement — were taken over by Christian armies during the Crusades. A few relics from Holy Land and the Jewish Patriarchs were enclosed in gilded containers and brought back to the St. Vitus Cathedral to be idolized as Christian reliquaries.
The Patriarchs were key to Christianity in the era, as their Judaism affirmed Christianity’s ancient roots, authenticity and authority. But the story isn’t simply one of tracing ancestors; a shard of what was purportedly Moses’ staff is displayed alongside another relic containing a piece of Saint Peter’s staff to communicate the message that the Church inherited that authority. Saint Peter leading early Christians takes the place of Moses leading early Jews.
In short, much of the inclusion of Judaism was meant to communicate and center the idea of supersessionism, a Christian theological idea that Christianity has taken the place of Judaism in covenant with God, fulfilling and superseding its laws.
Supersessionism is also behind another central bit of Christian ritual art: Ecclesia and Synagoga, personifications of the Church and Judaism, respectively. In manuscripts and sculptures, Ecclesia stands tall, crowned and triumphant; Synagoga is always depicted blindfolded, slumping to the side, eyes downcast, with stone tablets — representing the ten commandments — falling out of her hands. Even as the Church’s art emphasized Christianity’s Jewish roots as a source of authority, it often depicted the weak and defeated nature of Judaism nearby to communicate to a largely illiterate populace that Judaism was a lesser, subordinated religion. And this message was so effective that the image triggered, at times, persecutions of Jews.
This antagonism showcased in the art and relics, however, didn’t last forever; Sacred Splendors, having detailed Jewish persecution during the Black Death, ends with rich tapestries and sumptuous books from a later period of Jewish flourishing in the Holy Roman Empire, under Rudolf II, who was notably tolerant of Judaism.
Now able to make their own ritual art, and perhaps grateful for their renewed place in society, Jews adopted Christian art more readily. In one Haggadah from this time, a kiddush cup in an illustration was originally topped by a cross, though the copy on display has removed the Christian element. In another, cherubim that would look at home in an Raphael oil painting flit about the edges of a prayerbook — though their faces have been scratched out, which the exhibit text hypothesizes was done by its owner, perhaps uncomfortable with Christian aesthetics infiltrating their Jewish prayers.
This uncomfortable interplay between acceptance of Jews, and Jewish embrace of Christian aesthetics mirrors so much of assimilation throughout history.
Today, evangelical groups are engaging with Judaism with renewed fascination. This can be seen in the proliferation of shows like The Chosen, Amazon’s House of David or the new movie David and the Fiery Furnace, as well as churches and pastors incorporating Jewish ritual objects like shofars and tallitot. There are so many Christian Zionists that they outnumber the world’s entire Jewish population. But just as in medieval Prague, this interest is not benevolent; it has little to do with respect for Judaism and more to do with Christian desires to absorb and reinterpret Jewish beliefs and rituals as part of Christianity to reinforce their own religious authority and authenticity.
It’s supersessionism, the same as the Christianity centuries ago. Even if few viewers of The Chosen would recognize Ecclesia and Synagoga today, their legacies are alive and well.
The post This Jewish art looks pretty Christian, and vice versa. Is this coexistence or antisemitism? appeared first on The Forward.
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Israel’s upcoming election could damage the country irreversibly
We live in an age of political hyperbole, when it can seem as if every election is described as the most important ever and each defeat as an existential catastrophe, and after years of hearing these warnings it is understandable that voters have become numb to them.
Thomas Friedman recently issued such a pronouncement in The New York Times, placing the coming American midterms and Israeli general election alongside each other, arguing that in both the future of democracy itself is on the ballot. But while the comparison captures the stakes, it also understates an important distinction between the two countries.
Countries are generally more resilient than their politicians, and even terrible administrations eventually end. With that in mind, I believe the United States – a globally impactful behemoth – can survive the madness Donald Trump is imposing on the Western alliance and on the norms and sanity of American political life, however long-lasting the damage may be.
But Israel faces a different order of danger. Another victory by Benjamin Netanyahu would, in the view of many people, carry the country past a point at which a subsequent election can realistically restore the developed Western democracy Israelis and the world have known. There are geopolitical and demographic issues that mean time is running out to undo the grievous damage caused by his rightist-religious coalition.
Another four years of Netanyahu could change the country’s democratic institutions, population, economy and international position so profoundly that the conditions for reversing course will substantially disappear. The choice concerns which population, which institutions and which conception of the state will define Israel for the generation ahead.
The danger lies in how these trends reinforce one another: institutional erosion enables political entrenchment, demographic change makes it more durable, emigration weakens its opponents, and international isolation compounds the damage.
For people who care about Israel, the stakes could hardly be higher.
The ‘Putinization’ of Israel
Almost immediately after Netanyahu returned to power at the end of 2022, his rightist-religious coalition embarked on the “Putinization” of Israel: a systematic effort to weaken the independent institutions capable of restraining elected power. They hoped to transform Israel’s system of liberal democracy into something closer to an elected autocracy. “Liberal”has nothing to do with leftism, as it does in America, and everything to do with the concept of checks and balances.
The original attempted judicial overhaul would have given politicians almost total control over judicial appointments and allowed a simple parliamentary majority to override Supreme Court decisions – an extraordinary concentration of power in a country with no written constitution, no second legislative chamber, no federal system and few institutional checks on the government except for the courts.
Hundreds of thousands ofIsraelis understood the implications, and throughout 2023 filled the streets week after week. Reservists threatened to stop volunteering for duty, technology leaders warned of economic consequences and the country descended into the deepest internal crisis in its history. Then came Oct. 7, shattering the country and redirecting virtually all national attention toward war, hostages and survival.
But the interruption increasingly looks like a postponement. The legislative blitz of recent months has revived the same project through measures targeting the attorney general, government legal advisers, judicial authority, independent regulators – and blocking a real investigation of Oct. 7.
This time Netanyahu’s aim is not to fool the other side (which is no longer possible) but to fire up his base. So he is campaigning on his true program – completing the judicial overhaul, exempting the Haredim from the draft and entrenching their privileges, and effectively creating a situation that would enable him to force an end to his corruption trials. A victory would not only be interpreted as a mandate for this madness – it would be an endorsement of it.
The Haredi draft exemption is especially important because it shows how institutional, political and demographic change reinforce one another. Throughout the war, Netanyahu’s government repeatedly sought to codify broad draft exemptions for the Haredi population even as Israel fought a prolonged, multi-front war and the military was howling about an acute shortage of soldiers. But Haredi parties are indispensable to Netanyahu’s coalition, and their political leverage will grow with their population. The exemption bill is now lined up.
The consequences extend far beyond the moral obscenity of unequal military service. This rapidly growing population – a sixth of the population today and perhaps a third in 20 years – receives extensive state support while participating at comparatively low rates in the workforce, and frequently educates its boys without the mathematics, English and science required by a sophisticated modern economy and society. It creates a demographic and fiscal structure that cannot sustain itself.
Israel’s predicament becomes particularly dangerous because the people most capable of carrying the burden of funding and defending the country for a while longer are also the people most capable of leaving.
The demographic dilemma
Almost 300,000 Israelis have left the country during the Netanyahu years, and many more are essentially waiting for the election. They overwhelmingly belong to the perhaps one million people who drive the tech and innovation and security sectors, medicine, academia, entrepreneurship, business and the arts. Their skills generate a disproportionate share of the investment, tax revenue, innovation and international connections that sustain Israel as a first-world economy capable of financing one of the world’s most sophisticated militaries.
They are mostly secular, or moderately observant, and they would have an increasingly difficult time living under right-wing rule, given how the right has changed. The Israeli right that created Netanyahu was substantially secular, nationalist and security-minded, while the emerging version is increasingly religious, ethnonationalist and hostile to the liberal restraints that once commanded broad support in Israel.
Demography accelerates that transformation. Haredi Israelis have vastly more children on average than secular Israelis, while religious Zionists (who are not Haredi) also maintain larger families. Religiosity has consequently become one of the strongest predictors of political allegiance among Israeli Jews: Haredim overwhelmingly support Haredi parties, non-Haredi religious voters (known as the “national religious”) overwhelmingly support the right, and secular Israelis lean heavily toward the parties opposing Netanyahu.
Elections in such a reality therefore increasingly resemble a census between populations with incompatible ideas about the basic organization of the country, from military service and education to civil marriage, public transportation on Shabbat, women’s equality, the authority of religious law and the character of constitutional democracy.
Netanyahu himself may ultimately prove a transitional figure in this transformation. He remains personally secular, cosmopolitan and Western, a product of the classic Israeli center-right, while the notorious firebrand National Security Minister Itamar Ben-Gvir more closely resembles the constituency the right is becoming: religious, ethnonationalist, impatient with liberal constraints and comfortable making Jewish supremacy throughout the land an organizing political principle – essentially, the idea that Arabs need not have equal rights.
For Israelis with foreign passports, global careers, transferable skills and children who can study abroad, emigration is a practical option. Even the departure of a fraction of this group could create a vicious cycle: a shrinking productive population faces higher taxes and greater military burdens while losing political influence, encouraging still more to leave.
Four years can therefore change the electorate twice: through demographic growth among the religious right and through selective emigration among the secular, liberal and highly productive population most alienated by the direction of the state.
The international implications
The same feedback loop operates internationally. Israel’s prosperity and military strength depend on integration with the Western economic and diplomatic system, and especially on the extraordinary strategic protection provided by the United States. Washington’s diplomatic umbrella, particularly at the United Nations Security Council, has long helped protect Israel from forms of international isolation capable of producing serious economic consequences.
A more religious, nationalist and institutionally illiberal Israel permanently ruling millions of Palestinians will become progressively harder for Western governments to defend. A future American administration willing to withdraw that protection could expose Israel to sanctions, boycotts and other forms of economic pressure precisely when demographic change and the departure of productive Israelis have weakened its capacity to absorb them.
The danger therefore lies in the convergence of these trends: weakened institutions make sectarian policies easier to entrench; those policies strengthen the religious coalition; demographic change makes that coalition more durable; emigration weakens its opponents; economic deterioration encourages further emigration; and international isolation magnifies every domestic weakness.
Israel’s secular and moderately traditional population still constitutes a majority and remains overwhelmingly central to the country’s economic, technological, scientific, military and cultural life, which means the political future remains open today even as the demographic trajectory increasingly favors the religious right.That window can close.
I predict the opposition will win, and will take steps to reverse the damage of the judicial overhaul and integrate the Haredim properly. But much could go wrong – in the vote itself and in the comportment of the divided opposition in victory.
If Netanyahu wins
An outright Netanyahu victory could be an extinction event. It would provide four uninterrupted years for institutional devastation, Haredi entrenchment, demographic sorting, brain drain and international estrangement until elections themselves become increasingly incapable of producing fundamental change.
Israel would continue to exist, sure – with considerable military power and technological sophistication for some time, while the country that emerged would bear progressively less resemblance to the liberal, globally integrated, Western-oriented society that generated its extraordinary success. But the writing will be on the wall, and the effects would snowball.
The question facing Israelis in October therefore reaches beyond Netanyahu and his corruption scandals, the Oct. 7 breakdown and the Gaza war, judicial appointments or any individual controversy, because the choice concerns which population, which institutions and which conception of the state will define Israel for the generation ahead.
My brilliant longtime friend Larry Derner recently wrote,: “When I think of Netanyahu winning the October 27 election, I think of my two 30-ish sons and the older one’s wife, and how their future in Israel will be ruined. I say that because they are Israeli patriots. … I don’t think it’s possible to remain patriotic about your country once it gets taken over permanently by a force of evil, which is what my sons, daughter-in-law and masses of other Israeli patriots see in Netanyahu, Ben-Gvir … the settler pogromists and their kind. And if they win this election, these people and others like them will indeed run the country permanently.”
He’s dead right. Countries survive bad elections because another election provides another chance, while Israel is approaching an election in which the most consequential result of another Netanyahu victory is permanence for something catastrophic.
An Israel that is shorn of its productive center and run by fanatically religious and nationalistic politicians – lording over millions of stateless Arabs, and quite probably under international sanctions – will be gradually impoverished. It will project a vulnerability greater than it did on the eve of Oct. 7, and eventually invite a far greater attack. In such a scenario, I doubt Israel will reach its hundredth birthday in 2048. This – even more than its vilification by many progressives and denigration by antisemitic far-right agitators – would be the ultimate tragedy of Zionism.
The post Israel’s upcoming election could damage the country irreversibly appeared first on The Forward.
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How wrong I was about the young Ukrainian with the Chabad yarmulke
מײַן מאַמע, עליה השלום, פֿלעגט מיר זאָגן, אַז בעסער איז טראַכטן גוטס וועגן אַ שלעכטן מענטשן, איידער שלעכטס — וועגן אַ גוטן.
ניט איין מאָל אין פֿאַרלויף פֿון מײַן לעבן האָב איך זיך אָנגעמאַכט צרות און צומאָל זיך צעקלאַפּט ביז בלוט מײַן אייגענעם פּרצוף, זיך באַמיִענדיק פֿאָלגן די דאָזיקע עצה. עס זײַנען געווען פֿאַלן, ווען איך בין אָפּגעטראָטן פֿון דעם דאָזיקן פּרינציפּ, און איך באַדויער דאָס טאַקע.
הײַנט אַרבעט איך ווי אַ פֿאָרשטייער פֿון דער ייִדישער אַגענץ אין מאָלדאָווע מיט ייִדישע — און צומאָל מיט ניט־ייִדישע — פּליטים פֿון אוקראַיִנע. מײַן אויפֿגאַבע איז פֿאַרשנעלערן דעם פּראָצעס פֿון זייער אַרויספֿאָרן קיין ישׂראל. הונדערטער פּנימער, הונדערטער גורלות. כּמעט אויסשליסלעך — פֿרויען מיט קינדער און זקנים. ניט זעלטן זקנים, וועלכע האָבן איבערגעלעבט אַלס קינדער די צווייטע וועלט־מלחמה. צו מאָל — קינדער, וועלכע שרעקן זיך פֿון דעם, וואָס איך רעד אויף רוסיש מיט אַ מאָסקווער אויסשפּראַך. אַזוי רעדן דאָך רוסישע מערדער.
דאָס גאַנצע באַזיניקטע לעבן מײַנס בין איך געווען אַ ייִדישער נאַציאָנאַליסט און איך בלײַב אַזאַ ביז איצט. איך בין ניט קיין „רוסישער“ ייִד, הגם איך בין געבוירן געוואָרן אין מאָסקווע און רעד רוסיש, ווי אַ מאָסקווער גוי. איך בין ניט קיין „אוקראַיִנישער“ ייִד, הגם מײַן מאַמע איז געבוירן געוואָרן אין פּיריאַטין אין דער פּאָלטאַווער געגנט, און איך רעד גאַנץ נישקשה אוקראַיִניש.
איך בין אַ ייִדישער ייִד. מײַן היימלאַנד אינעם סאַמע טיפֿסטן זין פֿונעם וואָרט „היים“ איז ישׂראל, און קיין שום בירגערשאַפֿט, חוץ דער ישׂראלדיקער, האָב איך ניט און דאַרף איך ניט. אָבער דאָ און איצט זע איך אַן אַבסאָלוט בייז און אַן אַבסאָלוט גוטס, וועלכע מעקן אָפּ גרענעצן פֿון נאַציאָנאַליטעטן און צווינגען זיך צו דערמאָנען, אַז מיר אַלע זײַנען בני־אָדם, אַז מיר זײַנען געבוירן געוואָרן מענטשן און מוזן שטרעבן צו בלײַבן מענטשן. טאַקע יענץ, וואָס אויף ייִדיש רופֿט מען „אַ מענטש“.
זיך אומקערנדיק צום אָנהייב, צו מײַן מאַמעס עצה — שלאָג איך זיך על־חטא: נעכטן אין איינעם פֿון די פּונקטן אין אוקראַיִנע, וווּ עס זײַנען צײַטווײַליק אײַנגעאָרדנט די ייִדישע פּליטים, האָב איך זיך פֿאַרנומען מיט מײַן אַרבעט. צו מיר איז געווען אַ גאַנץ גרויסע ריי. צווישן די, וואָס האָבן געוואַרט אין דער ריי, האָט זיך געוואָרפֿן אין די אויגן אַ יוגנטלעכער מיט אַ חב״דישער יאַרמלקע. „מסתּמא אַ דעזערטיר, וואָס אַנטלויפֿט פֿון מאָביליזאַציע אין דער אוקראַיִנישער אַרמיי,“ האָב איך אַ טראַכט געטאָן און דערפֿילט אַן אַנטיפּאַטיע צו אים.
ניט לאַנג צוריק האָב איך באַזוכט מערבֿ־אוקראַיִנע און געטראָפֿן דאָרט עטלעכע מאַנצבילן — אוקראַיִנישע בירגער, בתוכם ייִדן, וועלכע האָבן זיך באַמיט אויסמײַדן מאָביליזאַציע אין דער אוקראַיִנישער אַרמיי, געגנבֿעט די גרענעץ צווישן אוקראַיִנע און מאָלדאָווע. איך האָב געמיינט, אַז דער דאָזיקער יונגער חב״דניק איז איינער פֿון יענע, וואָס האָבן באַוויזן זיך אַרויסצושמוגלען.
אָבער איך האָב אַ טעות געהאַט. ס׳האָט זיך אַרויסגעוויזן, אַז ער איז בכלל אַ רוסלענדישער בירגער פֿון איינער פֿון די צוויי הויפּטשטעט. צופֿעליק איז ער געווען צוליב זײַנע חב״דישע ענינים אין אוקראַיִנע, אין קיִעוו, ווען עס האָט זיך אָנגעהויבן די מלחמה. דער בחור איז געבליבן אַלס וואָלונטיר אין דער אָרטיקער ייִדישער קהילה. במשך פֿון אַ חודש האָט ער געהאָלפֿן אַרויספֿירן ייִדישע פּליטים פֿון דער שטאָט דער באַשאָסענער מיט ראַקעטן, אין בײַשטעט פֿון וועלכער ס׳איז שוין אַרײַן דאָס רוסישע מיליטער. בלויז איצט, ווען די באַוואָפֿנטע כּוחות פֿון אוקראַיִנע הייבן אָן איבערצוגיין אין דער קיִעווער געגנט צו אַ קאָנטער־אָנגריף, איז ער אַוועקגעפֿאָרן פֿון אוקראַיִנע קיין מאָלדאָווע כּדי עולה זײַן קיין ישׂראל.
הײַנט וועט דער דאָזיקר יונגער חב״דניק מיט גאָטס הילף זײַן אין ישׂראל.
זײַ מיר מוחל, בחור אין דער חב״דישער יאַרמלקע. איך זאָג צו צו האַלטן זיך אין דער צוקונפֿט שטרענגער בײַ דער עצה פֿון מײַן מאַמען: בעסער איז טראַכטן גוטס וועגן אַ שלעכטן מענטשן, איידער שלעכטס — וועגן אַ גוטן.
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