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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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The Holocaust Torah that survived a Mississippi synagogue fire was brought there by the state’s only survivor
When firefighters cleared Beth Israel Synagogue after an arson attack this month, the library floor was slick with water and ash. Prayer books lay swollen and blackened. Smoke clung to the sanctuary walls.
Two Torah scrolls burned. A third Torah did not.
That Torah, displayed for decades in a glass case near the front of the synagogue, survived unscathed. Its presence at Beth Israel was not incidental. It was brought to Mississippi by Gilbert Metz, the state’s only concentration camp survivor — a man who retrieved it from Europe and brought it to the American South. It, too, had survived the Nazis.
“The million dollar question is: How in the hell did he get to Mississippi?” his grandson, Joseph Metz, recalled in an interview on Tuesday.
From Auschwitz to Jackson
Gilbert Metz was born in 1929 in Alsace-Lorraine, France. At 13, the family was forced into hiding. When people fled Nazi Germany, they often gathered silver or jewelry. Gilbert’s mom packed her prayer books and Rashi commentary instead. She had taught her son Hebrew and Talmud, and she refused to leave those books behind.
They snuck back and forth to their summer home in northeastern France, but were eventually captured by the Nazis and sent to an internment camp. From there, a 14-year-old Metz and his family were sent to Auschwitz. His mother and 10-year-old sister were murdered in the gas chambers shortly after their arrival. His father later met the same fate.
Metz survived multiple concentration camps, including Auschwitz and Dachau, and was liberated by American troops in April 1945. He was eventually bar mitzvahed after the Holocaust at 16, a delayed rite marking a childhood interrupted and then resumed.
Relatives who had settled in Mississippi sponsored Metz to come to the United States. He finished high school in Natchez, attended Tulane University, and served in the U.S. Army during the Korean War — at one point having to reapply for citizenship after being deployed overseas.
He eventually moved to Jackson, where he raised a family and became a traveling salesman before co-founding Metz Industries, a wholesale lingerie business that sold brassieres, hosiery and feather boas to stores across the region — the work of an ordinary American life rebuilt mile by mile. He and his wife, Louise, were married for more than 50 years.
Bringing the Torah to Mississippi
In 1992, Robert Berman, a longtime congregant and former Beth Israel president, heard about an international effort to restore and redistribute scrolls damaged, desecrated or orphaned during the Holocaust. He and his sisters, Joan and Brenda, along with their families donated the funds to acquire one. Shul leaders decided there was only one person who should retrieve it.
Metz and his son, Lawson, traveled to London to bring the Torah back to Jackson. At a restoration warehouse, he was shown piles of scrolls — some burned, some torn, some riddled with bullet holes — many painstakingly pieced together from fragments. They chose a Torah rescued from Prague and took turns carrying it on their laps during the international flight.
Other Torahs rescued from the Holocaust made similar southern journeys, to congregations in Alabama, Louisiana, and Tennessee. Joseph Metz said his grandfather felt honored to be the one chosen from Beth Israel to collect the Torah, and that bringing it to Mississippi was closure for him — a full-circle moment.
A welcoming committee from the shul — including Berman, the rabbi and others — greeted the Metzs and the Torah at Jackson’s airport. “They sang prayers,” recalled Berman, now 94.
Beth Israel held a dedication ceremony at the synagogue and the Torah was installed in a glass case near the front doors, where it remained for decades. The words “Memory sustains humanity” is etched across the top of the case. Next to it hangs a photograph of Metz as an adult wearing the yellow star he was forced to wear under Nazi rule.
The scroll is displayed unfurled to a chapter in Exodus that comes after the Red Sea has closed behind the fleeing Israelites and before the Ten Commandments are given — a narrow span of time when survival has been achieved but meaning has not yet arrived. The scroll has remained that way for years, suspended between catastrophe and covenant.
“The congregation understood exactly whose story that Torah represented,” said Stuart Rockoff, a historian and longtime member of the 165-year-old Beth Israel. “This was a synagogue with one Holocaust survivor.”
Behind its building, Beth Israel also maintains a Holocaust memorial garden, dedicated to Metz and to Gus Waterman Herrman, a U.S. Army officer from Mississippi who fought in Europe during World War II and later became a philanthropist. The garden, which features stained-glass sculptures and is used for Yom HaShoah commemorations, was not damaged in the fire.
Berman’s daughter, Deborah Silver, had her bat mitzvah and wedding at the synagogue. She’s now a jazz singer, nominated for a Grammy this year, and plans to perform charity concerts in New York City and Jackson to benefit the shul. “We will be back,” she said, “and we will recover.”
Surviving another act of antisemitism
Saturday’s fire at Beth Israel is being investigated by federal authorities as a possible hate crime. A local teen, Stephen Spencer Pittman, confessed to igniting the blaze.
The bulk of the damage was concentrated in the library and administrative offices, which are also home to the Institute of Southern Jewish Life. It’s the same part of the building targeted in a 1967 Ku Klux Klan bombing.
After the fire, the congregation moved the Torahs to the nearby Northminster Baptist Church, which offered its space. There, five Torah scrolls from the sanctuary were carefully unfurled and laid out across long tables, allowing soot and smoke to dissipate.
On the advice of a sofer, a ritual scribe, the Holocaust Torah was not unrolled.
“It’s extremely delicate,” said Sarah Thomas, Beth Israel’s vice president. She said it appeared to have no visible damage and is now wrapped and stored for safekeeping until the congregation is able to move back into the building.
The Torah’s survival can be explained without invoking a miracle: it was protected by its glass case and by where it stood. Still, for those who know its history, the moment carried weight.
What survives
Gilbert Metz spent decades speaking publicly about his Holocaust experience. His oral testimony is preserved in Holocaust archives, and his story has been taught in schools across Mississippi.
That inheritance was also ritual: For decades at Beth Israel, the shofar on the High Holidays was blown by Metz’s son, Lawson, and later by his grandson, Joseph.
Joseph Metz — now the president of the Jewish federation in Mobile, Alabama — has written a book about his grandfather’s survival, Behind the Silent Doors — a phrase Gilbert used to describe the gas chambers. Joseph regularly appears at Holocaust remembrance events and in classrooms. When he does, he pins his grandfather’s yellow star to his jacket before he speaks — the same object that once marked Gilbert for death now marking the story as one that refuses to disappear.
Metz, who died at 78 in 2007, bore the tattooed number the Nazis assigned him at Auschwitz for the rest of his life: 184203. Joseph and his sister, Caroline, each later chose to replicate the number on a tattoo of their own, as an inheritance. He said his grandfather survived so the story would not end with him, but be carried forward.
The Torah Metz carried across an ocean — and across a lifetime — remains.
The post The Holocaust Torah that survived a Mississippi synagogue fire was brought there by the state’s only survivor appeared first on The Forward.
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This California synagogue was just vandalized with anti-Zionist graffiti, one year after being destroyed by wildfire
(JTA) — The remains of a synagogue in southern California destroyed in last January’s Eaton wildfire were vandalized over the weekend with anti-Zionist messages.
The rabbi of the Pasadena Jewish Temple and Center and the Anti-Defamation League decried the vandalism as antisemitic.
“The vandalism of the Pasadena Jewish Temple and Center is antisemitism — full stop,” ADL Los Angeles senior regional director David Englin said in a statement. “This was a deliberate act of hate meant to intimidate a Jewish community already rebuilding after last year’s fire, and it comes at a time when antisemitism is already at unprecedented levels in California and nationwide. Targeting a synagogue is simply unacceptable and represents an attack on our entire community.”
Photographs of the graffiti showed that it was scrawled in black spray paint on an exterior wall fence and read “RIP Renee” followed by “F— Zionizm” [sic].
This is the remaining outside wall of the Pasadena Jewish Temple and Center. The Temple burned down last year in the Eaton fire. Intersectionality in all its glory. pic.twitter.com/4Z3CbfdUVl
— Gregg Mashberg (@gregg_mashberg) January 12, 2026
The first words appeared to be a likely reference to Renee Good, the 37-year-old unarmed Minneapolis resident shot whose killing by Immigration and Customs Enforcement is igniting a nationwide spate of anti-ICE activism.
Anti-Zionist graffiti has been painted on synagogues around the country over the last two years amid a spike in anti-Israel sentiment during the war in Gaza.
The vandalism came days after congregants from the Conservative synagogue gathered at the burnt site of their spiritual home to commemorate one year since the wildfire tore through their synagogue. Dozens of members also lost their homes or were forced to evacuate due to last year’s fire, which was the second-deadliest in the state’s history.
The vandalism also came a day after an arson attack at a Mississippi synagogue that had been bombed by the Ku Klux Klan in 1967 in retaliation for the rabbi’s involvement with civil rights activism. The man charged with the crime said he targeted that synagogue due to its “Jewish ties.”
No suspect has yet been named in the Pasadena vandalism, which the Altadena station of the Los Angeles County Sheriff’s Department first received a call about on Sunday at 9 a.m.
“Acts of antisemitism and hate have no place in our diverse communities,” Altadena Station Captain Ethan Marquez said in a statement. “Crimes motivated by bias impact far more than a single victim, they harm the sense of safety and unity of our entire community. The Los Angeles County Sheriff’s Department takes all hate-motivated incidents seriously and is committed to thoroughly investigating these acts and holding individuals accountable. The community of Altadena has endured significant hardship over the past year and acts of hateful vandalism will not be tolerated.”
Detectives with the department’s Major Crimes Bureau will be taking over the investigation, the Altadena station said in a statement.
During the fire recovery process, PJTC, a century-old congregation, welcomed a new senior rabbi, Joshua Ratner, a former lawyer who became the synagogue’s permanent religious leader in August.
A representative from the synagogue did not respond to a request for comment. But in an email to congregants, Ratner described the vandalism as “hateful and antisemitic.”
“It was devastating in many ways,” Ratner said about the graffiti to The New York Times. He also told the newspaper that in his prayer for the dead over the weekend’s services, he had included Renee Good’s name.
Local political figures joined in condemning the vandalism.
“I am horrified by the vandalism of the Pasadena Jewish Temple and Center, especially coming just days after we marked the one-year anniversary of the Eaton Fire that tragically destroyed its entire campus,” Rep. Judy Chu, a Democrat who represents the district in Congress, shared on X. “For over a century, the Pasadena Jewish Temple and Center has been a beloved community institution and safe haven for our Jewish neighbors and loved ones. I stand with the congregation and the Jewish community as we await the results of the Los Angeles County Sheriff’s Department’s investigation. Hate has no place in the San Gabriel Valley.”
The Jan. 5 commemoration was the first time most congregants had been back to their synagogue building since last the fire. For the past year, services have been held in a neighboring church; Hebrew school services have also been held offsite. PJTC is home to about 450 member families, mostly from Pasadena and neighboring Altadena.
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Australian writers’ festival collapses — and apologizes — after boycott over disinvited Palestinian activist
(JTA) — The organizers of an Australian literary festival pulled the plug on this year’s event on Tuesday, after nearly 200 authors said they would boycott over the disinvitation of a Palestinian-Australian author and activist who has justified “armed struggle.”
The board of the Adelaide Writers’ Week announced last week that they had disinvited Randa Abdel-Fattah, saying they felt her presence “would not be culturally sensitive” in the wake of the Bondi massacre, where 15 people were killed by two gunmen at a Hanukkah event.
Following the board’s announcement, roughly 180 of 240 writers slated to appear at the festival announced they were boycotting it over the decision, including British author Zadie Smith and former New Zealand Prime Minister Jacinda Ardern.
On Tuesday, the festival’s board put out another statement, apologizing to Abdel-Fattah, announcing that all but one of its members had resigned and canceling the writers’ week altogether.
“We also apologise to Dr Randa Abdel-Fattah for how the decision was represented and reiterate this is not about identity or dissent but rather a continuing rapid shift in the national discourse around the breadth of freedom of expression in our nation following Australia’s worst terror attack in history,” the statement said.
Abdel-Fattah rejected the apology in a statement on X.
“I refuse and reject the Board’s apology. It is disingenuous. It adds insult to injury,” she said. “The Board again reiterates the link to a terror attack I had nothing to do with, nor did any Palestinian. The Bondi shooting does not mean I or anyone else has to stop advocating for an end to the illegal occupation and systemic extermination of my people — that is an obscene and absurd demand.”
While the board did not cite specific statements by Abdel-Fattah in its initial decision, Australian Jewish groups have called for her exclusion from public appearances in the past, citing a March 2024 post on X where she wrote that “armed struggle is a moral and legal right of the colonised and brutalised.”
Jewish Community Council of South Australia public and government liaison Norman Schueler, who called for Abdel-Fattah’s removal in a letter to the festival’s organizers, condemned those that boycotted the festival.
“I think for everyone who has dropped out that it’s rather pathetic because that means they agree with what Dr Fattah is on about… Namely, that Israel should not exist,” Schueler told The Adelaide Advertiser.
The dustup comes as Australia’s parliament prepares to consider harsher speech laws devised in the wake of the Bondi massacre.
Louis Adler, a Jewish Australian and the director of Adelaide Writers’ Week, announced her resignation in an op-ed in The Guardian where she said the disinvitation of Abdel-Fattah “weakens freedom of speech and is the harbinger of a less free nation.”
“I cannot be party to silencing writers so, with a heavy heart, I am resigning from my role as the director of the AWW. Writers and writing matters, even when they are presenting ideas that discomfort and challenge us,” wrote Adler.
Another Jewish board member, Tony Berg, had announced his resignation in October, appearing to cite Abdel-Fattah’s invitation.
“I cannot serve on a board which employs a Director of Adelaide Writers’ Week who continues to deal with the board inappropriately and who programs writers who have a vendetta against Israel and Zionism,” wrote Berg, according to the Australian outlet InDaily.
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