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As Qatar Emir Visits Canada, Just What is Doha Up To?
By HENRY SREBRNIK (Sept. 19/24) Qatar…home of Hamas leaders, Al-Jazeera, host of soccer’s 2022 World Cup, and wealth beyond measure. And everyone’s favourite centre for “negotiations” to end the war Hamas unleashed on Israel a year ago. It’s become everyone’s go-to country, a veritable “light unto the nations.”
However, as the 1946 song “Put the Blame on Mame” has it, in a different context, of course, “That’s the story that went around, but here’s the real lowdown” … about this duplicitous Persian Gulf emirate.
Even before the Gaza war began, there was an upswing of commentary celebrating a shift in the policies and behavior of Qatar: away from promoting and subsidizing radical Islamist groups, and towards “deconfliction” and moderation.
Sheikh Tamim bin Hamad Al Thani, the country’s emir, has been basking in the glow of international approval, depicting the country as a global influencer and peacemaker. The Qataris want to make themselves indispensable.
It plays into Doha’s ongoing attempts to create an illusion of rebranding as a moderating actor in the Middle East and beyond, pushed by various propagandists in the West on Qatar’s payroll, including more than a few American university centres and departments awash in Qatari money.
The emir and other officials spent two days in Canada Sept. 17-19, meeting with Prime Minister Justin Trudeau and cabinet ministers. The Gaza war was on the agenda, of course. Indeed, Jewish-Canadian leaders urged Trudeau to criticize him over his patronage of Hamas. But being able to tap into Qatar’s wealth via business and trade was more likely on Trudeau’s mind.
Qatar has one of the highest per capita incomes in the world, at $110,000 a year. And while its total population is some 2.7 million, most of these are guest workers, including European lawyers and consultants at the top of the scale, and at the bottom South Asian labourers. Only some 313,000 are native Qataris, the ones who benefit from the riches it derives from the sale of oil and gas.
The Peninsula, an English language daily newspaper published in Doha, ran an article on the occasion of the emir’s visit by noting the expanding trade and investment cooperation between Canada and Qatar, especially with the signing of a Memorandum of Understanding (MoU) in June between the Qatar Financial Center and the Canada Arab Business Council, a non-profit organization that aims to enhance trade and investment relations between Canada and the Arab world.
The MoU “aims to establish an integrated framework for cooperation and coordination in specific sectors through joint initiatives and the exchange of information and expertise, with a focus on stimulating growth and promoting innovation in areas such as financial services and professional business services.” Ahmed Hussen, Minister of International Development participated in a signing ceremony with Lolwah bint Rashid Al-Khater, Qatar’s Minister of State for International Cooperation.
More than 9,000 Canadian expatriates live in Qatar, working in Canadian and Qatari companies and institutions. From January to July, Canada exported goods valued at $103.45 million to Qatar, while Qatar’s exports to Canada amounted to $90.27 million.
There is also a partnership in academic programs, as the University of Calgary has been in Doha since 2006, offering a Bachelor of Nursing program, along with the College of the North Atlantic, which transformed into the University of Doha for Science and Technology. Furthermore, there are several Doha-based schools that offer Canadian curricula.
In their meeting, Sheikh Tamim expressed his aspiration to work with Trudeau to advance their bilateral cooperation across multiple sectors in order to “contribute to enhancing regional and global peace and stability.” Bilateral relations between the two countries were discussed, especially in the fields of investment, economy and international cooperation, “in addition to developments and situations in the Gaza Strip and the occupied Palestinian territories.”
Qatar has been very successful in its efforts to shape public opinion in Canada, as well as in the far more important United States. The amount of money that Qatar has poured into universities, schools, educational organizations, think tanks, and media across America, and the number of initiatives that Qatar uses to influence American opinion, is overwhelming.
According to a 2022 study from the National Association of Scholars, Qatar is the largest foreign donor to American universities. It found that between 2001 and 2021, the petrostate donated a whopping $4.7 billion to U.S. colleges. The largest recipients are some of America’s most prestigious institutions of higher learning. They include Carnegie Mellon University, Ivy League Cornell University, Georgetown University in Washington, Virginia Commonwealth University, and Texas A & M. These schools have partnered with the regime to build campuses in Doha’s “education city,” a special district of the capital that hosts satellite colleges for American universities. (Texas A&M decided earlier this year to shutter its branch campus in Qatar.)
Georgetown University in Qatar, for instance, was hosting the “Reimagining Palestine” conference Sept. 20-22. The event engages scholars, experts, and the public “in timely and relevant dialogues on globally significant issues,” according to a description of the gathering. One of the speakers, Wadah Khanfar, “was active in the Hamas movement and was one of its most prominent leaders in the movement’s office in Sudan,” the Raya Media Network, a Palestinian outlet, tells us. In the months following Oct. 7, the campus has hosted a variety of seemingly anti-Israel events.
Since 2008, Qatar has donated nearly $602 million to Northwestern University, whose journalism school is ranked as one of the best in the world, to establish a school of journalism in Qatar. The Northwestern University campus in Qatar and Qatari broadcaster Al-Jazeera in 2013 signed a Memorandum of Understanding to “further facilitate collaboration and knowledge transfer between two of Qatar’s foremost media organizations.” Are Northwestern’s interests really aligned with Qatar?
Qatari state-financed entities also often fund individual scholars or programs in the United States without official disclosure or being directly traceable to a government source, thus avoiding public scrutiny. For example, Ivy League Yale University disclosed only $284,668 in funding from Qatar between 2010 and 2022. Researchers at the Institute for the Study of Global Antisemitism and Policy (ISGAP) in a report released in June, though, found that this amount reflected only a small fraction of the money and services the university and its scholars had in fact received over that period. The most common channel for hard-to-track Qatari support for Yale came from individual research grants originating from the Qatar National Research Fund, and their report found 11 Yale-linked QNRF grants which came to at least $15,925,711.
Recent research from the Network Contagion Research Institute indicated that at least 200 American universities illegally withheld information about approximately $13 billion in Qatari contributions. Also, according to the report, from 2015 to 2020 institutions that accepted money from Middle Eastern donors had on average, 300 percent more antisemitic incidents than those institutions that did not.
Overall, the report found that “a massive influx of foreign, concealed donations to American institutions of higher learning, much of it from authoritarian regimes with notable support from Middle Eastern sources, reflects or supports heightened levels of intolerance towards Jews, open inquiry and free expression.”
Much of Doha’s engagement with the world is run out of the Qatar Meeting, Incentive, Conference and Exhibition (MICE) Development Institute (QMDI), which promotes Qatar as a good place for business. The annual Doha Forum gathers major policymakers from around the world.
Qatar’s influence-buying strategies are a textbook example of how to transform cash into “soft” power. The relationship between one of Washington, D.C.’s top think tanks and Qatar, for example, began in 2002, when the emirate underwrote a Doha conference featuring then Qatari Foreign Minister Hamad bin Jassem Al Thani and former U.S. Ambassador to Israel Martin Indyk, at the time the director of the Saban Center for Middle East Policy at Brookings. (Hamad oversaw Qatar’s $230 billion sovereign wealth fund until 2013.) In 2007, Brookings followed up by opening a centre on Doha. It didn’t end well. In 2021 the institute ended its relationship with Qatar amidst an ongoing FBI investigation.
Still, Washington treads carefully when it comes to criticizing Qatar. It’s not just about money. After all, the Al-Udaid Air Base is home to the U.S. military’s Central Command (CENTCOM), and the country is just across the Persian Gulf from Iran. In fact, Washington’s relationship with Qatar is so close that in 2022 the White House officially designated the emirate a “major non-NATO ally.” The Qataris, realizing that their very existence would be threatened were the U.S. to relocate its CENTCOM operations to the UAE or Saudi Arabia, in January hastened to nail down the agreement for another decade.
Yoni Ben-Menachem, a senior researcher at the Jerusalem Center for Security and Foreign Affairs, told the Jewish News Service (JNS) that the Gulf country is more dangerous than Hamas or Hezbollah since it is extraordinarily wealthy and thus in a position to influence U.S. administrations.
Qatar has for many years been involved in financing the campaigns of the Democratic Party, he claimed, “especially Hillary Clinton’s campaign” in 2016. He added that former U.S. President Bill Clinton is known to have flown to Qatar to bring back suitcases full of cash.
According to Jonathan Ruhe, director of foreign policy at the Jewish Institute for National Security of America (JINSA), Qatar has portrayed itself as “indispensable to U.S. interests in the Middle East, including negotiations with the Taliban, reconstruction aid for past Gaza conflicts, and building the massive Al-Udeid base for U.S. forces.”
Yet although it hosts the Pentagon’s regional command, Qatar has long supported terrorism. For decades, it has opened its doors to Islamist terrorists, Taliban warlords and African insurgents. Doha housed the Taliban’s political office before that group returned to power in Afghanistan in 2021.
Beginning in 2012, the Israeli government allowed Qatar to deliver cash to Gaza. Over the next nine years, Qatar provided $1.5 billion. Prior to the outbreak of the present conflict, Doha subsidized Hamas to the tune of $360 million to $480 million a year. With one third of that money, Qatar bought Egyptian fuel that Cairo then shipped into Gaza, where Hamas sold it and pocketed its revenue. Another third went to impoverished Gazan families, while the last third paid the salaries of the Hamas bureaucracy.
The leaders of Hamas, including Khaled Mashaal and the late Ismail Haniyeh, who was chairman of the Hamas Political Bureau until assassinated by Israel in July, have been regular guests in Doha, living in luxury. (The emir sat in the front row with mourners during Haniyeh’s funeral in Doha.) Qatar has defended Hamas’s presence in the country.
“This was started to be used as a way of communicating and bringing peace and calm into the region, not to instigate any war,” Prime Minister Mohammed bin Abdulrahman Al Thani told U.S. Secretary of State Antony Blinken last October. “And this is the purpose of that office.” Blinken seemed to buy this. At a press conference in Doha in February, he asserted that “we’re very fortunate to have Qatar as a partner.”
As far back as 2007, when Hamas seized control of Gaza, Qatar recognized that “adopting” the group would be a worthwhile opportunity: connections with Hamas in Gaza grants Qatar influence and status in the Middle East and beyond. In addition, they bolster the popular Arab perception of Doha as working for the Palestinian cause. In 2012, the emir became the first head of state to visit Gaza, pledging $400 million to Hamas. At the same time, the Qataris became the exclusive mediators between Israel and Hamas.
The U.S. has accused the Qataris of harboring members of Iran’s Islamic Revolutionary Guards Corp (IRGC). But at the same time the Qataris are an important intermediary between America and Iran. Doha has enjoyed good relations with the Biden administration, which it helped in the American hasty withdrawal from Afghanistan three years ago.
While organized as a private company, the Al-Jazeera television network is the voice of Qatar’s regime. Founded in 1996 and financed by the then-emir of Qatar, it has described terrorist attacks that killed Israeli non-combatants as martyrdom operations and even posted articles describing Israel as “the Zionist entity.” For years, Al-Jazeera aired all of Osama bin Laden’s speeches. The late Muslim Brotherhood spiritual leader Yusuf Al-Qaradawi was based in Doha and for years hosted a prime-time program on the network. The war on Israel was declared on Al-Jazeera by Hamas military commander Muhammad Deif last October 7. Its operations in Israel were finally terminated by Jerusalem in May.
Qatar has been using the immense wealth it has accumulated to turn Al-Jazeera into an international media conglomerate, spreading Muslim Brotherhood propaganda, Hamas’ original sponsor, on a global scale. The Muslim Brotherhood was founded in Egypt in 1928 by the cleric Hassan al-Banna as a reaction to his perception that the Muslim world had become week in relation to the West. The royal family of Qatar has since been using the Muslim Brotherhood to minimize political opposition against them. In exchange for allowing the Brotherhood to use the country as a base for its international operations, the Brotherhood makes sure that there is no political threat based on organized religion against the Qatari monarchy.
A major shock to Qatar’s economy occurred when some Gulf Cooperation Council members — Bahrain, Saudi Arabia, and the United Arab Emirates — imposed an embargo on Qatar from 2017 to 2021. The reason for the embargo was Qatar’s support for the Brotherhood.
Qatar owns other news media that are equally awful. The London-based daily newspaper Al-Quds Al-Arabi in June published an article entitled “War Criminal Blinken Wages Diplomatic Campaign to Eliminate Palestinian Resistance and Buy Time for Israeli War in Gaza.”
Qatar is not a neutral agent, despite its attempts to portray itself as such. Time and again, it has supported the region’s most radical nations and paramilitaries, all to the detriment of American and Western interests. Its malign influence activities the United States reflect the broader issue of foreign manipulation in America’s political landscape.
“Qatar has been playing a dual role since the beginning of the Gaza war. On the one hand, it is a well-known supporter of Hamas, and even finances it with a lot of money, and on the other hand, it is trying to help in the deal for the release of the Israeli hostages,” remarked Dr. Udi Levy, a former senior official of Israel’s Mossad spy agency in April. But the U.S. relationship with Qatar will continue as long as the American government finds it useful in the on-again off-again negotiations to have Hamas release the remaining Israeli hostages.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
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The visionary Jewish poet who survived the Holocaust but not its aftermath
Paul Celan: A Life
By Anna Arno
Translated by Soren Gauger
Belknap Press/Harvard University Press, 416 pages, $35
During a 1969 poetry reading in Israel, Paul Celan’s audience requested “Deathfugue,” his most famous poem. With its hypnotic images of death as “a master from Deutschland,” prisoners drinking the “black milk of dawn” and smoke rising to “a grave in the clouds,” it remains one of the most powerful artifacts of the Holocaust.
But like a rock star weary of endlessly repeating his greatest hits, Celan declined. Instead, he offered other poems, scorned by some commentators as “hermetic, esoteric, divorced from reality.”
So we learn from Anna Arno’s intelligent, intricate biography, Paul Celan: A Life, ably translated from the Polish by Soren Gauger. Interweaving literary criticism with Celan’s life story, Arno quotes liberally from Pierre Joris’ English translations. Even so, she can’t quite do the work justice. In translation and wrenched from their poetic context, Celan’s innovative verses, credited with a radical remaking of the German language, come across as cryptic and impenetrable.
Arno covers Celan’s schooling, wartime experiences, work history, travels, friendships, psychiatric ordeals and overlapping romantic interests, at times departing from strict chronology. Though defensible, the narrative strategy renders the book somewhat convoluted.
One thread is Celan’s intermittent, decadeslong involvement with the accomplished Austrian poet and novelist Ingeborg Bachmann. That relationship, more passionate and enduring for Bachmann, preceded his mostly happy marriage to the French artist Gisèle Lestrange and continued during it. In an odd twist, Bachmann and Lestrange, bonded by both their love for Celan and their anxiety about his well-being, developed “a kind of impossible sisterly friendship.”
Despite Celan’s devotion to his wife, “other women,” Arno writes, “were always drifting through his life.” A chapter toward the end of the biography details some of Celan’s most important romantic relationships. Other chapters focus on his inventiveness as a translator and his worsening mental illness.
Celan was born Paul Antschel in 1920 in Czernowitz, Romania (officially Cernăuți, and now Chernivtsi, Ukraine) on the fringes of the recently defunct Austro-Hungarian Empire. The French-sounding Celan is a pen name, an anagram of Ancel, a Romanian version of Antschel.
Celan’s parents were German-speaking Jews, and German was Celan’s native language. But he was a polyglot, a talent that shaped his poetry and enabled his career as a translator. Along with Romanian, in which he wrote some early poems, and French, the language of his postwar life in Paris, he learned Russian (under Soviet occupation) and English. He had at least “a passive knowledge of Yiddish,” picked up enough Hebrew for his Bar Mitzvah and studied Italian, Latin and Greek. “His intellectual ease gave him a sense of superiority,” Arno writes.
World War II interrupted Celan’s medical studies in France, and back home he enrolled in Romance language courses. The Soviet occupation was brutal but, for Jews, the Romanian fascist regime that succeeded it was worse. Celan’s parents were deported and died in a Nazi labor camp. Celan, separated from them, survived forced labor, but remained “wracked with grief” over his parents’ fate. He would describe “Deathfugue,” written in 1945, as his mother’s epitaph and grave. The poem may have influenced Theodor Adorno, who famously described poetry after Auschwitz as “barbaric,” to modify his views.
After leaving a ruined Czernowitz for Bucharest, where Celan translated, wrote poetry, flirted with Surrealism and “bounced from one relationship to the next,” he traveled to Vienna. “Young, dashing, full of charm,” he eventually settled in Paris and became a naturalized French citizen. But he chose German as his poetic language, despite the emotional dissonance that entailed.
Over the years, he traveled to Germany to read his work and accept prizes. In the process, he developed relationships with leading postwar German writers, including Heinrich Böll, Hans Magnus Enzensberger and Günter Grass. But the 1950s were a tricky time. “He could have crossed paths with a murderer at every step,” Arno writes.
Celan recoiled viscerally at what he saw as persistent antisemitic currents in German culture, which hadn’t yet reckoned with the magnitude of Nazi crimes. He interpreted bad reviews as instances of antisemitism, and Arno suggests that he wasn’t always wrong.
Even more traumatic were accusations of plagiarism leveled against him by Claire Goll, the widow of Yvan Goll, whose poetry he had translated. Arno describes the charges as both malicious and baseless, and “probably an act of revenge for her spurned advances.”
They nevertheless affected Celan’s reputation and threatened his health. “Claire Goll’s smear campaign was to become the main cause of the poet’s mental breakdown,” Arno asserts. It’s a strong statement. Certainly, he had endured other losses: the murder of his parents, the death of his day-old infant son, François, after a botched delivery.
On the cusp of middle age, Arno reports, Celan experienced bursts of paranoia. “He could not always separate justified precautions from obsessive mistrust, vigilance from a fit of persecution mania,” she writes. “His deeply buried despair, moral severity, and tempestuous personality all caused sudden and violent fits.”
In 1962, he had what Arno calls “his first bout of psychosis,” which included hallucinations and violent episodes. He was hospitalized and medicated and underwent psychotherapy. Insulin injections, a since-discredited treatment, damaged his motor skills. Even during his hospitalizations, he continued to write poetry. (His productivity in the throes of mental health crises calls to mind Sylvia Plath.)
Arno, noting that Celan’s medical records remain sealed and his journals unavailable, doesn’t offer a diagnosis. The hallucinations and paranoia suggest schizophrenia, but Arno also mentions mania and depression, along with numerous suicide attempts. He tried his best to stay connected to his only child, Eric. But his instability cost him many friendships and ultimately his marriage.
In 1970, the 49-year-old poet drowned himself in the Seine, joining a sad company of writers who survived the Holocaust but not its emotional aftermath. What exactly triggered Celan’s suicide is impossible to know. Arno says only: “He was no longer capable of supporting the weight of the past as it flushed to the surface.”
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‘The Naked Woman’ asks — what would Jewish Chekhov look like?
Earlier this year, a lauded revival of Anton Chekhov’s overlooked opus Ivanov occasioned the question: What if Chekhov, that great chronicler of overeducated depressives, was a bit more Jewish?
That show has a substantial Jewish subplot, with the title character’s wife subjected to antisemitic smears.
For Jewish Russians, Chekhov, like his great interpreter Stanislavsky, is a part of the culture they still claim. For that reason expat companies, like Igor Golyak’s Arlekin Players, have long been in the business of reinterpreting him. Novelist Gary Shteyngart, in his pandemic novel, Our Country Friends, took things a step further, transmuting Chekhov’s dachas into the Belleville bungalow colony where he, and many ex-Soviet Jews, would summer.
Allie Avital and Alia Azamat Ashkenazi’s The Naked Woman, now in a limited run at 154 Theater, returns this proposition to the stage with some usual markers of the Russian master: characters brought low by their own inertia, a love triangle, frustrated ambitions and failures to launch. Into the mix they add the following staples of first generation Jews: immigrant parents’ expectations and the tension between the generation that recalls the weight of repression and the rising one that has only ever known American freedom. There are obligatory references to rabbis; the word “mensch” is dropped, but this is not a Shabbat-observing crew. If you know this specific demographic, there’s no doubting the affiliation.
Misha (Ilia Volok and Roman Freud alternate the role — Freud played him my evening), a successful architect, who moved to the U.S. decades before for a better life. For the New Year, and his birthday, he has made camp at his upstate country home. Some creaky exposition — on Pili Weeber’s set of floating timber, the Empire State’s answer to birch trees — sets up the interpersonal tensions that will go off in later acts like Chekhov’s proverbial gun.
Misha’s 35-year-old daughter Dasha (MaryKate Glenn) tells him his last check for her grad school tuition bounced. She’s there with her all-American boyfriend and is secretly pregnant. His bohemian older brother Grisha (Dima Koan), ever-clad in funky sweaters and kerchiefs by costume designer Kostya Goncharuk, resents Misha for their parents’ decision to only pay for his higher education and for being dependent on him for income. Rina (Natasha Goubskaya), Misha’s long-suffering wife is quietly working to save the family from financial ruin.
With these pieces set in place, the holiday is interrupted by, as advertised, a naked woman, screaming for help. Dismissing her as a “druggie in the woods,” Misha does nothing, a choice that brings questions of insularity and assimilation to the fore.
Dasha can’t get over her father’s inaction.
Rina explains it: “This American obsession with caring about strangers It’s all words and ideas. It’s THEATER. It doesn’t mean anything.”
The play is based on a short film by Avital, an accomplished director of visually-striking music videos for the Yeah Yeah Yeahs, Olivia Rodrigo and Moses Sumney. In that more abridged version, with mostly Russian dialogue, the Naked Woman stands in for the forces of mortality.
As one character in that film notes, in Russian, the word for death is “in the feminine, and therefore death is a woman. When death doesn’t hide, doesn’t wear a disguise, then it’s naked.”
Here the character is a more elusive metaphor: an avatar for Misha’s selfishness, the rift between his and Dasha’s concern for others or maybe her perception of herself as vulnerable and in need of saving. She could also be Rina’s aching feeling of neglect.
Avital and Ashkenazi’s background in film — Ashkenazi has a long resumé as a script supervisor and directed the short Esther’s Choice — is evident in the drama’s pacing. The piece doesn’t have the patience of Chekhov, who lets the action settle around the samovar and steep in subtext. This makes the show more dynamic, but more superficial in its psychology.
“I’ve always wondered why no one can truly love me, why they always leave me,” Dasha tells her father, coming off a monologue that hits the ear like a stilted translation of The Seagull’s yearning actress Nina or Vanya’s tragically dutiful Sonya. “But now I understand why. Because I’m just like you.”
It’s a tidy thesis, from creatives whose film work lives on the power of suggestion, with cinematography and movement being the major narrative force. Though Avital’s staging is capable, the script is crying out for an injection of subtlety that perhaps only a closeup can deliver.
This play is something of a proof of concept for a forthcoming feature film to be directed by Avital. If the short is any indication, its words and ideas may translate better taking a step away from the theater.
It may not be the natural medium for Chekhov, but it’s well-suited to his heirs.
Allie Avital and Alia Azamat Ashkenazi’s The Naked Woman is playing through June 14 at Theatre 154 in Manhattan. Tickets and more information can be found here.
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Iran says it has finished striking Israel, after Trump says both countries ‘must immediately stop’
(JTA) — Iran says it has completed its attack on Israel after its missile barrage on Sunday night launched the first direct exchange of hostilities since April.
Iran’s military command said the barrage, which did not do any major damage in Israel, represented its “painful response” to an Israeli attack on a Hezbollah installation in Lebanon. The statement was published in English on Iranian state media, which attributed the halt to pressure from U.S. President Donald Trump.
Trump had denounced the Iranian strike and publicly urged Israel not to respond. On Monday morning, after it did, he posted on his Truth Social account: “Israel and Iran must immediately stop ‘shooting.’”
Israel responded to the initial barrage with a large-scale airstrike against Iranian defense systems on Monday morning local time.
The Israeli military announced that the strike targeted Iran’s strategic defense systems and hit several targets in Iran’s petrochemical complex in Mahshahr in southwestern Iran. The military said the systems had been “degraded” during the February “Operation Roaring Lion” war and that “the strike led to the destruction of these systems.”
Shortly after the Israeli strike, Iran launched a second round of missiles into Israel, sending families into shelters. Schools were already canceled for Monday following Sunday night’s attacks.
According to local Israeli media, explosions were heard in Isfahan and Kermanshah, and Iranian Foreign Minister Esmaeil Baghaei blamed the United States for Israel’s response.
The Israeli response came after Trump told Axios Sunday night that he would tell Prime Minister Benjamin Netanyahu to not respond to the attacks. “I am going to call Bibi right now,” Trump told the news site, “and tell him not to retaliate.”
He added that both countries had “had their fun. Israel had its strike, and Iran had its strike. We don’t need another one.”
In a second Truth Social post on Monday, Trump wrote that “ignorance and stupidity” were hampering the already fragile Iran-Israel ceasefire negotiations. “The Blockade will remain in place, and in full force and effect, until a “Final Deal” is reached,” he wrote.
The U.S. Navy imposed a blockade of Iranian ports on ships traveling to and from Iran on April 13. Trump made the decision after the collapse of talks aimed at permanently ending the five-week war the U.S. launched against Iran on Feb. 28 and Iran closed the Strait of Hormuz on March 2.
Meanwhile, on Monday morning the Iran-backed Houthi terror group in Yemen launched a single missile into Israel. No injuries were reported. Later, the Iranian-backed group said it would impose a complete naval blockade on Israeli ships in the Red Sea.
This article originally appeared on JTA.org.
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