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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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Four Seats or No Seats? Why Israel’s Final Polls Disagree Over Amcha Yisrael
Conflicting projections for Ofer Winter’s party illustrate the uncertainty of measuring public support near an electoral threshold.
A Channel 12 poll gives Ofer Winter’s Amcha Yisrael four parliamentary seats.
An i24NEWS survey reaches the same seat total.
Other final polls find that the party does not qualify for representation.
How can surveys conducted close to the same election produce such different results?
The answer lies partly in the difference between measuring a vote share and converting it into parliamentary seats.
A Statistical Boundary
Israel’s electoral threshold is 3.25 percent.
For a party receiving substantially more than that percentage, modest sampling fluctuations may change its expected number of seats without calling its parliamentary presence into question.
For a party whose support lies near 3.25 percent, the same type of fluctuation may change its projected representation from several seats to zero.
This does not necessarily mean the polls are measuring completely different political realities.
They may be producing estimates close to the same threshold but on opposite sides of it.
Sample Size Is Only One Factor
The i24NEWS survey conducted on October 22 included 5,124 adult respondents and reported a sampling error of plus or minus 1.4 percentage points at the 95 percent confidence level.
That is a substantial sample by conventional political polling standards.
But a larger sample does not eliminate every source of uncertainty.
Different pollsters may employ different recruitment methods, weighting systems and procedures for estimating turnout.
They may also differ in how they handle respondents who are undecided or reluctant to state their preferences.
These choices can matter particularly for smaller parties.
The Problem of Turnout
Opinion polls generally estimate voting preferences before actual voting takes place.
Election results reflect the ballots cast by people who participate.
Differences between intended and actual turnout can affect parties in different ways.
Analysts must therefore consider not only how many respondents express support for a party, but also whether the poll’s turnout model accurately reflects the eventual electorate.
Without transparent, comparable information about the methods used by each polling organization, it is difficult to identify which methodological difference is responsible for a particular disagreement.
Reading the Final Surveys
The appropriate interpretation of Amcha Yisrael’s polling is neither that its parliamentary representation is guaranteed nor that exclusion is certain.
The available surveys demonstrate uncertainty around a legally decisive boundary.
The four-seat projections reported by Channel 12 and i24NEWS are meaningful observations.
So are the below-threshold findings published by Channel 13, Maariv and Zman Yisrael.
Each survey is a measurement of electoral intentions under a particular methodology, not a count of actual votes.
For readers following Israel’s election, this makes Amcha Yisrael an instructive case study in how polling uncertainty interacts with electoral law.
The final result will provide the definitive seat allocation. The polls explain why the outcome was difficult to measure in advance.
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As Trump betrays Ukraine, it’s beginning to feel a lot like Munich
In Munich on Sept. 30, 1938, the leaders of Britain and France signed an agreement with Adolf Hitler that caved to the Nazi leader’s demand that Germany be given a chunk of Czechoslovakia. Five months later, Hitler ordered the German military to forcibly take the remainder of the neighboring country.
On Oct. 9, 2026, Donald Trump and Vladimir Putin struck a deal allowing Russia to sell diesel fuel to global markets, most importantly to the US. Then Trump waived a package of sanctions on Russia that had been passed by Congress. By replenishing Russia’s war coffers, it is likely more Ukrainians will die because of these twin gifts from America’s president to the warmongering Russian autocrat.
Why is Trump doing this? He seems to be hoping the diesel deal will help him avert disaster in the upcoming midterms. Or maybe there’s more to it than that. Perhaps Trump seriously thinks that this will get him the Nobel Peace Prize by ending the war in Ukraine through helping Putin win it. Perhaps it’s one more scheme to further enrich himself and his family. Or maybe Putin really does have something on Trump.
In any event, it feels like Munich all over again.
There are some remarkable parallels between Czechoslovakia’s predicament in 1938 and Ukraine’s nine decades later: separatists in two vulnerable Central European democracies were encouraged and supported by a neighboring authoritarian regime that sought to seize adjacent territory under the pretext of protecting a minority from oppression.
And at the center of both narratives is betrayal: of Czechoslovakia by Britain and France, and Ukraine by Trump.
In the spring and summer of 1938, Konrad Henlein, leader of the Nazi-allied Sudeten German Party in Czechoslovakia, held secret meetings with Hitler and other Nazi officials. They concocted a plan: Cause so much disorder in the Sudetenland that the Czech government would declare martial law, thus creating an excuse for German troops to march in to protect the ethnic German minority.
Tensions that had long existed along the Czech frontier erupted into gunfire and death in the Sudeten town of Habersbirk on the morning of Sept. 13, 1938. A mob of German separatists hung a swastika banner from a church tower, stormed the police station, kidnapped the wife of a cop, and engaged in gunfights with police officers that lasted hours. Four Czech police officers and four insurgents died. Outbreaks of violence, terror and torture raged along the border for days, backed by Freikorps paramilitary troops who crossed from Germany and by SA and SS men who took part in cross-border sabotage and armed attacks.
The uprising had the desired impact. Just 17 days later — on Sept. 30, 1938 — Britain, France, Italy and Nazi Germany signed the Munich Agreement, yielding to Hitler’s demand that the Sudetenland be ceded to him. After landing at an airport outside London, Prime Minister Neville Chamberlain waved a document in his hand and jubilantly proclaimed:
“The settlement of the Czechoslovak problem which has now been achieved is, in my view, only the prelude to a larger settlement in which all Europe may find peace.”
“I believe it is peace for our time,” Chamberlain said later that day.
But it didn’t take long for Hitler to show he could not be trusted. Hitler’s army marched into Czechoslovakia on March 15, 1939. Germany’s invasion of Poland followed less than six months later, and by 1942 German forces controlled territory spanning from the Atlantic Ocean to deep inside the Soviet Union.
Ethnic Germans’ uprising in Czechoslovakia in 1938 found an echo nine decades later in Ukraine’s Donbas region, where unrest that began with pro-Russia protests in 2014 evolved into the war Russia has been waging on its neighbor for nearly five years.
In the spring of 2014, paramilitary units led by Russian intelligence officers stormed government office buildings in several towns and cities in Donbas, seizing weapons and clashing with police. In a scene reminiscent of the Habersbirk siege of 1938, on April 14, 2014, pro-Russian militants seized the police station in Horlivka, beat up the police chief, and murdered a member of the city council, whose body was found in a river. Similar clashes occurred throughout Donbas.
Two Kremlin-backed pseudo-states soon emerged: the Donetsk People’s Republic and the Luhansk People’s Republic. Russia funneled tanks, artillery, air defense systems and fighters into Donbas, fueling a war between separatists and Ukrainian forces that dragged on for years.
Like Hitler in the Sudetenland, Russia’s de facto occupation of Donbas was not enough for Vladimir Putin. His eyes were on all of Ukraine, and he spent years manufacturing pretexts for the full-scale invasion that began on Feb. 24, 2022.
Trump has been buttering up Putin for more than a decade, starting with his 2015 campaign for president, when he effusively praised the ruthless Russian autocrat’s leadership style. Putin is a “strong leader,” is “far more respected than our president,” meaning the immensely popular Barack Obama, and was someone he “would get along with very well,” Trump said back then.
Trump’s admiration for Putin took on ominous tones after becoming president. During a press conference after the two leaders’ 2018 Helsinki summit, Trump questioned intelligence findings on Russian election interference and said he believed Putin’s denial. “I don’t see any reason it would be Russia,” Trump told reporters, with the Russian strongman standing at his side.
After Russia’s invasion of Ukraine in 2022, during Biden’s presidency, Trump called it “a pretty smart move,” praised Putin as a “genius,” and also said it wouldn’t have happened if Trump was still president, remarks that were amplified by Russian state media.
During Trump’s second term, his buddy-buddy relationship with Putin has turned into a virtual strategic alliance, as the American president repeatedly makes moves and statements that seem designed to please the Russian autocrat. There are Trump’s threats to abandon NATO, his humiliation of Ukraine President Volodymyr Zelensky during a February 2025 meeting inside the Oval Office, and most recently Trump’s demand that Ukraine cease its drone attacks on Russian oil refineries, his call for Zelensky’s ouster, and envoy Steve Witkoff thanking Putin for being a “humanitarian.”
Putin has proposed a summit between himself, Trump, and Chinese leader Xi Jinping to discuss ending the war in Ukraine. It’s notable that Ukraine has not been invited. This is also what happened in Munich nine decades ago, when Czech delegates were excluded from the room, and others decided Czechoslovakia’s fate.
Last October, aboard Air Force One, Trump told reporters the Donbas region should be “cut up,” leaving most of it in Russian hands.
“Let it be cut the way it is,” he said. “They can negotiate something later on down the line.”
It seems the fate Trump envisions for Ukraine is similar to the one Hitler envisioned for Czechoslovakia. It would be naïve to think that Putin’s expansionist ambitions would stop there.
The post As Trump betrays Ukraine, it’s beginning to feel a lot like Munich appeared first on The Forward.
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A Chabad Jew was stabbed in NYC. He returned the next day to continue wrapping tefillin.
(JTA) — Less than 24 hours after he was stabbed in midtown Manhattan, Yosef, a Chabad-Lubavitch man from Crown Heights, was back on the same street where he’d been assaulted, popping into Diamond District businesses as usual to help employees wrap tefillin.
Yosef, 26, who did not share his last name to maintain his privacy, told the Jewish Telegraphic Agency that he was back on 47th Street on Thursday afternoon, the day after the stabbing, without missing a beat in his Monday-through-Thursday rounds even as police investigate the incident as a possible hate crime.
A number of the people he visited pieced together that the widely circulated footage of a man being stabbed the previous night was of him.
“They were in shock. They were obviously scared for me,” said Yosef, who has been wrapping tefillin and distributing Shabbat candles to Jewish Diamond District employees for about three years. He started that routine when his father, a Chabad Jew who works in the jewelry business, realized he needed his son’s help to handle the demand for those acts. Yosef told Chabad.org that he was “still shaken” by the attack a day later.
Still, he told JTA, “We can’t allow some hate to stop us.”
Yosef said he felt it was important to communicate that message because “we need more mitzvahs in the world, we need more light in the world.”
Yosef was taken to Bellevue Hospital on Wednesday evening around 6 p.m., where medical staff assessed that he had no internal bleeding and would not need stitches. No arrests have been made, but the assailant has been described as a woman in her 40s.
The attack has renewed concerns about security that have faced Chabad adherents and institutions, which often host public events and maintain a visible street presence. But the threat didn’t diminish their presence in midtown Manhattan on Friday.
Multiple Chabad men stood under a bright yellow tent on the sidewalk wrapping tefillin for a steady stream of workers in the heavily Jewish Diamond District.
“The Rebbe says that the way to defeat darkness is only through the addition of light,” said Shmuel Cohen, who was handing out small photographs of the movement’s late leader, the Lubavitcher Rebbe Menachem Mendel Schneerson.
Cohen told JTA that he had not heard about the attack that took place just down the block two days earlier, though his partner under the sidewalk tent had. Cohen said that the best way to respond is through “the observance of Torah and mitzvot without being ashamed of our Judaism but presenting it to everyone.”
Also on Friday, Chabad officials met with New York Police Department representatives for their annual meeting about security ahead of Chabad’s international conference in Crown Heights, the Brooklyn neighborhood where the movement is headquartered. The conference begins on Nov. 5.
Chabad has been targeted in multiple high-profile attacks in the past year, including the deadly Bondi Beach shooting in Australia in December. The following month, a man rammed a car into the doors of the Chabad-Lubavitch headquarters in Brooklyn, raising further questions over how the movement should balance its commitment to making its events accessible with security.
Meanwhile, Jews have been targeted in more than half of hate crimes committed in New York City in 2026, despite making up about 12% of the city’s population.
“Security is our top priority. Our goal is to provide an environment where every participant feels safe and can fully experience the purpose and spirit of the gathering,” said Rabbi Mendy Kotlarsky, a top organizer of the upcoming conference.
In the wake of the attack, Yosef said he is not concerned about going out in public as a visibly Jewish person and doesn’t plan to change how he approaches the world.
“I was wearing the same clothes on Tuesday and Wednesday and Thursday,” he said. “I didn’t change my routine.”
This article originally appeared on JTA.org.
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