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As jury launches deliberations in Pittsburgh synagogue massacre, defense concedes shooter’s hatred of Jews
PITTSBURGH (JTA) — After 11 days of graphic and emotionally fraught testimony in the Pittsburgh synagogue shooting trial, and a 90-minute closing argument that included gruesome photos and the replay of harrowing 911 calls, it was time for the defense to speak.
A lawyer for Robert Bowers, accused of being the gunman who murdered 11 worshipers at the Tree of Life synagogue, on Thursday walked across the courtroom to a podium, faced the jury, and spoke for just 19 minutes.
Elisa Long acknowledged the immensity of the crime on Oct. 27, 2018, and offered only half a defense. Bowers did not intend to keep Jews from worshipping, she said, but he did appear to hate Jews.
“There is no question that his posts on Gab.com and his statements that day reflected animosity and hatred toward Jews,” Long said, referring to a social media site that is a virtual redoubt for extremists.
It was a critical concession that 11 of the government’s charges, that Bowers committed capital hate crimes, may be irrefutable.
A prosecutor took another 20 minutes to rebut Long’s barebones defense, and then Judge Robert Colville ordered the jury to begin deliberations. Seven women and five men filed out of the court at 2:30 p.m., and clerks followed them with wheeled carts piled with evidence. They retired Thursday without arriving at a verdict.
The defense, which barely registered as a presence during the guilt phase of the trial, appears to be reserving its arguments for the death penalty phase, which begins a week after the jury returns a verdict, if it determines that Bowers is guilty of any of the 22 capital crimes out of 63 charges in the indictment.
Defense lawyers in March said they would bring up Bowers’ mental health, including evidence that he suffers from epilepsy and schizophrenia. On the first day of the trial, Colville forbade them from doing so during the guilt phase of the trial, but said they may raise mental health during the penalty phase.
In her closing argument, Long devoted most of her time to sowing doubt about 11 of the capital charges, that Bowers “intentionally obstructed by force … the enjoyment of free exercise of religious beliefs,” resulting in 11 deaths.
“It is vitally important not to convict him of crimes he did not commit,” she said.
The free exercise of religious beliefs “does not include the engagement in good works or conduct that may or may not be part of religious belief,” she said.
Then jurors would have to determine whether Bowers was seeking to stop a religious service “or to stop people who were supporting the resettlement of refugees,” she said.
One of the three congregations housed in the Tree of Life synagogue, Dor Hadash, was partnered with HIAS, the Jewish immigration advocacy group. She quoted Bowers’ Gab posts in which he identified Jews with what he believed was a planned genocide of white Americans to be carried out by immigrants.
“HIAS is a huge enabler of refugee invasions,” Bowers posted on Oct. 25, Long pointed out, two days before the massacre. Dor Hadash, she noted, was on that Saturday planning a “Refugee Shabbat.” His responses were “shocking and irrational,” she said, but “after learning about HIAS” and its advocacy, “Mr. Bowers’ sense of urgency increased.”
Long began her closing argument by acknowledging, as lead defense attorney Judy Clarke had done in her opening argument, that Bowers had carried out the massacre.
“There is no dispute that on Oct. 27. 2018, armed with an AR-15, he shot and killed 11 people and seriously injured two others who were in their sacred space,” Long said. The defense on day one of the trial promised “we would not offer justification, and we have not done so,” she said.
Summing up, Long appeared to anticipate the mental health arguments the defense would make during the penalty phase, while being careful not to violate Colville’s order not to explicitly raise the topic.
She described a 46-year old man “living alone in an apartment” where he slept on a mattress on the floor and who was obsessed with computers, coding and guns. “How and why this man who lived a quiet and law abiding life until 2018” committed the crimes may be “inexplicable,” she said.
In the months before the massacre Bowers “spent an immense amount of time on the internet absorbing hate,” she said.
Long did not argue that the government had proved the 11 capital hate crimes. But she also did not argue that it had not, telling the jury, “These are the charges the federal government has brought and these are the decisions you as jurors must make.”
In his rebuttal, Eric Olshan, a U.S. attorney, ridiculed Long’s claim that obstructing worship was not germane to Bowers’ intentions.
Facing the jury, he spun around and pointed to Bowers.
“On Oct. 27, 2018, that man, Robert Bowers, went into Tree of Life, where three congregations, not just Dor Hadash” were getting ready for services. The other two are Tree of Life and New Light. “He didn’t focus on Dor Hadash, he focused on any Jew he could find to kill or try to kill.”
He accused Long of cherrypicking Bowers’ Gab posts, and reminded jurors of evidence that in the months prior to the attack, Towers had “liked” just two posts mentioning HIAS, while “liking” some 400 mentions of “Kike,” an antisemitic epithet, and some 2,300 mentions of “Jew.”
“Did he go to a refugee resettlement meeting? Did he go to the border to stop Jews” from facilitating the entry of immigrants? Olshan asked. “Did he go to the HIAS office in Maryland? He drove about 30 minutes from where he lived to Squirrel Hill, the center of Jewish life in Pittsburgh.”
Again Olshan pointed at Bowers. “That person intended to obstruct them from free exercise of religion,” he said. “This is not rocket science.”
In any case, Olshan, who is Jewish, said HIAS’s work is inextricable from Jewish faith. “Welcoming the stranger” appears 36 times in the Torah, he said, including in the passage the congregations would be reading that morning. “That just proves his guilt,” he said.
Throughout the day, Bowers never looked toward the jury. Clad in a gray sweater with a collared blue shirt, he stared at a computer screen where he monitored evidence and scribbled notes, occasionally whispering to his lawyers.
Bowers’ aunt and a cousin were present in the courtroom, as were survivors of the attack and families of the victims. There was an expectation that a verdict would be quick; the overflow room for families was packed. Maggie Feinstein, who counsels the victims, was in the court room. So was Rabbi Jeffrey Myers, who testified on the first day that he expected to die where he was hiding, and recited the Shema prayer. He wore a white kippah emblazoned with the synagogue’s symbol, a blue tree.
The day began with Colville warning the jury that his instructions to them would be exceptionally long; he took 80 minutes. Then Soo Song, an assistant U.S. attorney, spoke for 90 minutes, reconstructing the day of the massacre, Oct. 27, 2018, detail by gory detail. Of the 11 people killed, she said, six were shot in the head.
She anticipated the argument Long would advance, repeatedly emphasizing the rituals Bowers interrupted with deadly results. Using bloody photos of victims in their place, she focused especially on religious implements.”The defendant committed mass murder in a synagogue,” she said. “He turned that sacred space into a place littered with prayer shawls and prayer books and 11 deceased worshippers.”
She concluded naming the 11 victims: Joyce Fienberg, Richard Gottfried, Rose Mallinger, Jerry Rabinowitz, Cecil Rosenthal, David Rosenthal, Bernice Simon, Sylvan Simon, Daniel Stein, Melvin Wax and Irving Younger.
Olshan ended the day holding two evidence bags, each with half of a bloodstained kippah. “No longer a reminder of God’s presence,” he said. “This is what he did to Irving Younger, leaving this tattered reminder found amid the shocks of Irving younger’s white hair.”
The obstruction of worship was “the natural and probable consequence of his actions,” Olshan said.”The only justice is a verdict of guilty in every charge in this case.”
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Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
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NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’
(JTA) — A New Jersey church says it is “committed to engaging in dialogue, and teaching others about our heritage” after putting on a Christmas pageant that drew criticism for reflecting antisemitic stereotypes.
St. Mary Protectress Ukrainian Orthodox Church’s pageant, known as a vertep, featured an antagonist named Moshko who danced with the devil while wearing faux Hasidic garb like side locks and a black hat. The character was referred to as “zhyd,” a Ukrainian slur for “Jew.”
“We do not have any intention to promote harm or hatred with this pageant,” the church said in a statement issued on Facebook on Friday night. “However, we recognize some outside of our culture may assign elements of the performance to stereotypes when taken out of context which is inclusive of peoples historically present in eastern Europe.”
The church did not respond to a Jewish Telegraphic Agency request for comment prior to an initial report on the vertep earlier this month. It did not respond to an additional request for comment on Monday, following the statement. The church removed photos and video of the pageant from its Facebook page following the JTA report.
The vertep is a centuries-old Slavic Christmas tradition that emerged from puppet theater. In recent years, many Ukrainian Orthodox churches have removed material criticized as offensive. Since the current war between Russia and Ukraine began in 2022, one popular replacement for the Jewish antagonist has been a Russian character.
In its statement, St. Mary Protectress Ukrainian Orthodox Church emphasized that “the event does not target any specific group” but indicated that it could make changes in future pageants.
“The church is reflecting on this matter seriously and is committed to engaging in dialogue, and teaching others about our heritage while ensuring that future events continue to uphold the dignity, respect, and safety of all people,” it said.
The Anti-Defamation League of New Jersey, which said earlier this month that it was reaching out to St. Mary Protectress, told JTA on Monday that it had not been able to communicate with anyone from the church.
The church’s apology rang hollow for Lev Golinkin, a Jewish writer born in Ukraine who has advocated against the antisemitic elements of the traditional vertep.
“It’s not an apology, it’s more of an insult,” Golinkin said. “The problem is not the context. The problem is exactly that. It is in context perfectly.”
He added, “They’re making it seem that the people who are criticizing them … are the ones who have a problem because they don’t understand the culture.”
St. Mary Protectress is not the only Ukrainian church in the United States to import the antisemitic elements of the vertep from the old country. A church in Connecticut erected a backdrop poster for its pageant this year that included a Moshko character standing next to the devil.
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A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths
(JTA) — I’ve never read a Holocaust chronicle quite like Lore Segal’s autobiographical 1964 novel, “Other People’s Houses.” Mordant, unsentimental and sometimes painfully honest, it’s the story of an Austrian girl sent to England on the Kindertransport, as well as a portrait of the artist as a young refugee.
More than one of her legions of admirers have noted that Segal, who died in 2024 at the age of 96, was only one year younger than Anne Frank, and grew up to become the kind of writer Anne too might have become had she not died in Bergen-Belsen.
Segal’s work, which includes decades of stories in The New Yorker as well as a delightful children’s book, “Tell Me a Mitzi,” is also remarkable in its humility. Segal was adamant that memory — especially of traumatic events like the Holocaust — cannot be a perfect repository of truth. It’s not that authors couldn’t be trusted, but that neither the writer nor the reader should take anything for granted.
That challenge is captured in the title of a new exhibit mounted by the Leo Baeck Institute in New York: “And That’s True Too: The Life and Work of Lore Segal.” The title is a quote from “King Lear,” a favorite of Segal’s and a reminder to hold opposing truths in the same sentence, of resisting the false comfort of a single, final version.
“We tried to give you an insight into Laura’s ability to look at the world from many angles,” Karin Hanta, the exhibit’s curator, said at the exhibit’s opening on Thursday, just days before International Holocaust Remembrance Day.
At the event, actress Toni Kalem, who played Angie Bonpensiero on “The Sopranos,” read an excerpt from “Other People’s Houses.” Kalem, who met Segal years ago and discovered that their mothers shared the experience of the Kindertransport, spoke of Segal’s “unbridled curiosity” — a quality that runs through the display of photographs, manuscripts and family keepsakes.
Lore (pronounced “Laura”) Groszmann was born in Vienna in 1928; one month after the Nazi pogrom on Kristallnacht, she was sent to England and raised in a series of foster homes (her refugee parents would eventually arrive and find work as domestics). Later she would join her family in the Dominican Republic, and they eventually found refuge in Washington Heights, the Manhattan redoubt for German-speaking Jews. After she established herself as a writer, she became part of a circle of mostly Jewish writers in New York, including Cynthia Ozick, Vivan Gornick, Grace Paley, Norma Rosen and Gloria Goldreich. Her husband, book editor David Segal, was 40 when he died in 1970.
Hanta had hoped to write a biography of Segal, but when that project stalled, she pivoted. “With all the materials I had gathered,” she recalled at the opening, “why not stage an exhibition?”
The first iteration, mounted in Vienna’s Bezirksmuseum Josefstadt — located in the district where Segal grew up, and, as Hanta later discovered, near the hospital where she was born — drew thousands of visitors. The New York version, expanded and sharpened, shifts the focus westward, tracing Segal’s journey from prewar Vienna to Manhattan, where she lived for decades, taught generations of writers, and, according to the New York Times, came “closer than anyone to writing the Great American Novel.”
That novel, “Her First American,” appeared in 1985 and explored the uneasy intersection of race and Holocaust history through the relationship of a Jewish refugee and a Black intellectual. (LBI has scheduled an online event about Horace Cayton, Segal’s real-life lover and the inspiration for the novel.) “Other People’s Houses,” her first book, earned Segal a Guggenheim Fellowship, and her short-story collection “Shakespeare’s Kitchen” (2007) became a Pulitzer Prize finalist. All three books will be reissued in the spring of 2026 by the New Press, while Melville House is publishing a posthumous collection, “Still Talking.” Introduced by Gornick, it features the linked “Ladies’ Lunch” stories she wrote late in her career, about elderly Manhattan friends dealing frankly and often hilariously with the daily indignities of growing old.
The exhibit at the Center for Jewish History, where LBI catalogues the history and culture of German-speaking Jews, includes notebooks from Bedford College in London, where Segal studied after the war, filled with short stories entered into competitions. There are manuscripts marked and re-marked in a hand that never stopped revising. There are address books kept by her parents — one from England, one from the Dominican Republic — opened to pages that quietly testify to vanished worlds: cousins who hid behind kitchen curtains in France, friends who assumed false identities, children who never made it onto the trains.
One small object carries particular weight: a childhood friendship book, the sort in which relatives and friends inscribe poems and well-intentioned advice. Segal’s includes an entry from her first English foster mother, urging her to cherish friendship — advice that reads differently if you know, as Segal later wrote, that their relationship was fraught. Her father’s contribution, a drawing of a boy hiking in the mountains, echoes a story Segal drafted as a young woman about a prewar hike in the Alps with him. She revised that story at 90 and retitled it “Dandelion.” The New Yorker published it in 2019, 70 years after its first draft.
The exhibition is accompanied by a season of in-person and virtual programs, and Hanta has her own wish list of commemorative projects: She hopes that a park in Vienna where Segal played as a child might be renamed in her honor; that the exhibition might travel; that “Other People’s Houses” might be distributed free in Austria in 2028, the centenary of Segal’s birth and the 90th anniversary of the Kindertransport.
On opening night, before reading from “Other People’s Houses,” Kalem paused to apologize for the necessary cuts she made. “As you know, all her life, Lore was a master of meticulously crafting and scrupulously revising her work,” said Kalem. “So it feels like literary malfeasance on my part to attempt to edit a word of Lore’s story. It feels akin to cutting Shakespeare by shortening Hamlet’s soliloquy…. So Lore, I hope you understand and I hope you will forgive me.”
The exhibition also includes a video produced by Hanta and Segal’s grandson, Benny, which captures Segal late in life, still circling her subjects, still attentive to the elusiveness of truth. At the opening, Segal’s son Jacob spoke of his mother’s ambition and her modesty, her seriousness about art and her refusal to be undone by success or disappointment.
“She always made the world larger,” he said. “It’s smaller now.”
“And That’s True Too: The Life and Work of Lore Segal” runs through April 15 at the Center for Jewish History, 15 W. 16th St., New York, New York.
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