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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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Trump Plans to Appoint US General to Lead Gaza Security Force: Report
A drone view shows Palestinians walking past the rubble, following Israeli forces’ withdrawal from the area, amid a ceasefire between Israel and Hamas in Gaza, in Gaza City, Oct. 11, 2025. Photo: REUTERS/Dawoud Abu Alkas
The Trump administration is planning to appoint an American two-star general to command the International Stabilization Force in Gaza, Axios reported on Thursday, citing two US officials and two Israeli officials.
Reuters could not immediately confirm the report.
A United Nations Security Council resolution, adopted on Nov. 17, authorized a Board of Peace and countries working with it to establish a temporary International Stabilization Force in Gaza.
US Ambassador to the United Nations Mike Waltz, who visited Israel this week, told Prime Minister Benjamin Netanyahu and other officials that the Trump administration is going to lead the ISF and appoint a two-star general as its commander, Axios said.
The White House and the Pentagon did not immediately respond to Reuters’ requests for comment.
President Donald Trump told reporters on Wednesday that an announcement about which world leaders will serve on the Gaza Board of Peace should be made early next year.
The resolution, drafted by the US, described the Board of Peace as a transitional administration “that will set the framework, and coordinate funding for the redevelopment of Gaza” in line with Trump’s 20-point peace plan to end the war with terrorist group Hamas.
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Al Jazeera’s Academic Arm Denies Hamas Sexual Violence and Other Crimes
The Al Jazeera Media Network logo is seen on its headquarters building in Doha, Qatar, June 8, 2017. Photo: REUTERS/Naseem Zeitoon
Al Jazeera Centre for Studies — the research arm of Qatar’s state-backed media giant — co-hosted an academic conference last week in Qatar’s Education City that whitewashed Hamas’s October 7, 2023, massacre, and dismissed UN-verified sexual violence and other terrorist acts as Israeli fabrications.
Al Jazeera partnered with Hamad Bin Khalifa University to host the November 29-30 gathering, titled “International Media and the War on Gaza: Modalities of Discourse and the Clash of Narratives,” which drew academics to “deconstruct Western narratives” and the alleged role of Western media outlets in producing “propaganda manipulating international public opinion.”
In a seven-page concept note describing the goals of the conference, Al Jazeera’s organizers charged the Western media with justifying “Israel’s right to self-defense” and spreading “propaganda” about terrorist groups like Hamas, which they refer to as a “Palestinian resistance faction.” The organizers also attacked media outlets for writing about what it refers to as “false reports” about Hamas terrorists “raping Israeli women.”
During Hamas’ assault on Israel, terrorists systematically employed sexual violence as a weapon of war, including rape against women and girls. A New York Times investigation detailed at least seven locations where Hamas terrorists committed such acts, including gang rape and genital mutilation. In December 2023, then-US Secretary of State Antony Blinken condemned Hamas’ use of sexual violence and described it as “beyond anything I’ve seen.”
According to the Dina Project, an Israeli group of legal and gender experts, Hamas used sexual violence in its massacre “as part of a genocidal scheme” meant to “dehumanize Israeli society.”
The organizers’ concept note and the conference’s program made no reference to Hamas’ genocidal charter, its embedding of military assets in civilian areas, or the terrorist group’s responsibility for prolonging the conflict. The conference instead provided a platform for Al Jazeera journalists and academics to explain away Hamas terrorism and denigrate Israel.
While it operates under strict Qatari media laws that limit free speech and freedom of expression, making criticism of the Emir and his policies punishable by law, Al Jazeera’s Centre for Studies refers to itself as an “independent research institution that aims to present a balanced understanding of the geopolitics of the MENA region and the Arab world in particular.” While it seeks to appeal to an audience with Western sensibilities, the center is far from the public-facing independent institution that it presents itself to be.
The center was established in 2006 to “provide research support to the editorial teams, correspondents and departments of Al Jazeera’s news channels.”
Al Jazeera Organizers and Speakers Push Hamas’s Agenda
Arafat Madi Shoukri, who works as a senior researcher for the Centre for Studies, organized the conference. In 2013, Shoukri was designated as a Hamas operative by Israel for his work with the Hamas-aligned Council for European Palestinian Relations (CEPR).
Shoukri has been photographed with Ismail Haniyeh, one of the architects of the October 7 massacre. He also directed the London-based Palestinian Return Centre (PRC), an organization with extensive ties to the Muslim Brotherhood, which has national branches that promote violent jihad and Hamas. In 2010, then-Israeli Defense Minister Ehud Barak declared the PRC an “illegal association,” referring to it as a “Hamas affiliated organization” that engages in “terror affiliated activities.”
The conference featured as its keynote speaker Wadah Khanfar, a former director general of Al Jazeera, who has been linked to Hamas fundraising efforts, with evidence suggesting he helped coordinate Hamas paramilitary activity in South Africa. According to the Raya Media Network, a Palestinian outlet, Khanfar was “active in the Hamas movement” and a “leader in the movement’s office in Sudan.”
In May 2024, Khanfar praised Hamas’ October 7 terrorist attack, proclaiming it “came at the perfect moment for a radical and real shift in the path of struggle and liberation.” Khanfar had a close relationship to the late Yusuf al-Qaradawi, the spiritual head of the Muslim Brotherhood, who leveraged Al Jazeera’s global reach to endorse terrorism against Jews, Israelis, and Americans and spread antisemitic narratives. Khanfar eulogized him at his funeral.
“There is a betrayal of the values of justice through capitalist savagery,” Khanfar said during his lecture, titled “The Grand Narratives of Western Media in Covering the War on Gaza: Manifestations of Political and Ideological Domination.” His lecture attacked Israel for “hastening the fall” of Western civilization, while ignoring Israel’s strategic role as a democratic anchor for the West in a mostly volatile and authoritarian region of the world.
Campus Reform reports that professor Ibrahim Abusharif, who spoke at the conference, co-founded and served as treasurer of the Quranic Literacy Institute, which was “later found by a federal jury to have laundered more than $1 million to Hamas” in a terrorism financing case. The publication reported that Abusharif taught the mandatory “Doha Seminar” for all American exchange students at Northwestern’s Qatar campus.
Mutaz al-Khatib, director of the Master’s Programme in Applied Islamic Ethics at Hamad Bin Khalifa University’s College of Islamic Studies, spoke at the conference on “professional ethics” in war coverage. On the day of Hamas’ October 7 massacre, al-Khatib posted on Facebook that, “What happened was merely a rehearsal that shows that liberating Jerusalem is possible.”
Fatima Alsmadi, a researcher at the Al Jazeera Centre for Studies, moderated a session and presented on Hamas spokesperson Abu Obaida’s “impact on international public opinion.” Abu Obaida, who was killed in an IDF strike in August 2025, reportedly employed “psychological warfare games against Israel” and attempted to make Westerners more “sympathetic” to Hamas.
Alsmadi claimed in her lecture that Israel has somehow “benefited” from Nazism. She praised Hamas propaganda efforts employed by Abu Obaida that weaponize Nazi imagery against Israel, seemingly endorsing a media strategy that perversely brands Israel as a Nazi state to legitimize Hamas terrorism and invert historical truth.
In the same session, Manal Mazahreh, an associate professor of mass communication at the University of Petra, in Jordan, claimed that, “The Jews are largely controlling the media in the world,” repeating an antisemitic trope used to justify hostility toward Jews.
In one session, Eman Barakat, an associate professor at the University of Science and Technology in Yemen, described the Israeli government’s social media presence as “digital warfare” and claimed it has manipulated public perceptions by labeling Hamas as “pure evil” and an “illegitimate group.”
Barakat focused her presentation on Israel Speaks Arabic, a Facebook page with more than three million followers. She assessed that the page described Hamas as “morally degraded,” “lowly,” and “cowardly,” and highlighted the group’s involvement in criminal and murderous activity. She warned her audience that such language “makes you imagine things” and might lead users to believe that “maybe what they are saying is true.” Barakat dismissed Hamas’ history of brutality and terrorism not only against Israel but against Palestinians and others.
Freedom House evaluates Qatar as “Not Free” in its annual Freedom of the World report.
Al Jazeera sells its content to major wire services like the Associated Press and Reuters. Al Jazeera has resource-sharing agreements
Until Doha stops using its universities and state media to whitewash terrorism, American institutions and companies need to reconsider their relationship with all platforms in Al Jazeera’s vast ecosystem. Continued partnerships and collaboration from Western organizations only emboldens the next denial and further justification for violence.
Toby Dershowitz is a senior advisor at the Foundation for Defense of Democracies, where Asher Boiskin is an intern. Follow them on X @TobyDersh and @asherboiskin
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US House Backs Massive Defense Policy Bill, Senate Next
A US soldier keeps watch at an Afghan National Army base in Logar province, Afghanistan August 5, 2018. Photo: REUTERS/Omar Sobhani/File Photo
The US House of Representatives passed a massive defense policy bill on Wednesday authorizing a record $901 billion in annual military spending, paving the way for the must-pass measure to become law for a 65th straight year.
The tally was 312-112 in favor of the National Defense Authorization Act, or NDAA, sending it for consideration by the US Senate, which is expected to pass it next week.
The $901 billion in defense spending is $8 billion more than President Donald Trump’s request earlier this year.
The NDAA also provides $400 million in military assistance to Ukraine in each of the next two years and includes other measures reinforcing the US commitment to Europe’s defense, reflecting most lawmakers’ continuing strong support for Kyiv as it fights Russian invaders.
The sweeping 3,086-page bill unveiled on Sunday includes measures to make life better for the troops, including a 4% pay raise and improvements in base housing. But it does not include insurance coverage for military families to get fertility treatments, including embryo transfers for in vitro fertilization, something opposed by Republican House Speaker Mike Johnson of Louisiana, a social conservative.
The legislation is a compromise between versions of the NDAA passed earlier this year by the Senate and House, both controlled by Trump’s Republicans. Members of both parties urged lawmakers to support it even if they objected to individual provisions.
“I do support this bill. This does not mean that I do not have concerns. I do,” said Representative Adam Smith of Washington, the top Democrat on the House Armed Services Committee, in a speech before the vote.
SPENDING LEVELS
Trump in May asked Congress for a national defense budget of $892.6 billion for fiscal year 2026, flat compared with 2025. The House bill set spending at that level, but the Senate had authorized $925 billion.
The NDAA authorizes Pentagon programs, but does not fund them. Congress must separately pass funding in a spending bill for the fiscal year ending in September 2026.
In addition to the typical NDAA provisions on defense acquisitions and competition with rivals like China and Russia, this year’s bill focuses on cutting programs reviled by Trump, such as diversity, equity, and inclusion training.
The NDAA is one of a few major pieces of legislation to make it through Congress every year and lawmakers take pride in having passed it annually since 1961.
This year’s process was a bit rockier than usual.
The rule paving the way for the House vote passed earlier on Wednesday by only 215 to 211 after a long delay in which a few Republicans changed their votes from “no” to “yes.”
Trump has said he will sign the NDAA into law once it reaches the White House.