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As ‘The Marvelous Mrs Maisel’ ends, will its Jewish legacy be more than a punchline?
(JTA) — After five seasons, 20 Emmy awards and plenty of Jewish jokes, “The Marvelous Mrs. Maisel” airs its final episode on Friday.
The lauded Amazon Prime show from Amy Sherman-Palladino has enveloped viewers in a shimmering, candy-colored version of New York during the late 1950s and early 1960s — a world in which “humor” has meant Jewish humor and “culture” has meant Jewish culture.
But as it comes to an end, the show’s Jewish legacy is still up for debate: Did its representation of Jews on mainstream TV make it a pioneer of the 2010s? Or did it do more harm than good in the battle for better representation, by reinforcing decades-old comedic tropes about Jews?
The comedy-drama followed the vivacious Midge Maisel (Rachel Brosnahan) on a journey from prim Upper West Side housewife — left in the lurch after her husband has an affair with his secretary — to ambitious, foul-mouthed comic fighting her way through the male-dominated standup comedy industry. Her New York Jewishness colored her jokes, her accent, her mannerisms and much of her daily life.
That’s because the whole landscape of the show was Jewish, from the well-to-do, acculturated intelligentsia (such as Midge’s parents) to the self-made garment factory owners (such as her in-laws). Even the radical Jewish comic Lenny Bruce, a countercultural icon of the midcentury, appeared as a recurring character who propels Midge’s success.
Henry Bial, a professor specializing in performance theory and Jewish popular culture at the University of Kansas, said the emergence of “The Marvelous Mrs. Maisel” in 2017 exemplified a shift to more overt portrayals of Jews on TV — especially on streaming services. Although Jewish characters featured in TV shows throughout the 20th century, such as “The Goldbergs” in the 1950s, “Rhoda” in the 1970s and “Seinfeld” in the 1990s, their Jewishness was often more coded than explicit. Network television, seeking to attract the majority of Americans coveted by advertisers, feared alienating audiences who couldn’t “relate” to ethnic and racial minorities.
“If there are only three things you can put on television at 8 o’clock on Tuesday night, then there’s a lot more incentive for networks and advertisers to stay close to the herd, because you’re competing for the same eyeballs,” said Bial. “But when people can watch whatever they want whenever they want, then it opens up for a much wider range of stories.”
Other shows such as “Transparent,” “Broad City” and “Crazy Ex-Girlfriend,” which debuted in 2014 and 2015, are often cited alongside “Mrs. Maisel” as part of a new wave of Jewish representation.
Riv-Ellen Prell, a professor emerita of American studies at the University of Minnesota, argued that Midge subverts the stereotype of the “Jewish American princess.” At the start of the show, she appears to embrace that image: She is financially dependent on her father and husband and obsessive about her appearance, measuring her body every day to ensure that she doesn’t gain weight. Despite living with her husband for years, she always curls her hair, does her makeup and spritzes herself with perfume before he wakes up.
“She looks for all the world like the fantasy of a Jewish American princess,” said Prell. “And yet she is more ambitious than imaginable, she is a brilliant comic who draws on her own life. You have Amy Sherman-Palladino inventing the anti-Jewish princess.”
Bial said that Midge’s relationship with her Jewishness defies another stereotype: That identity is not a source of neurosis or self-loathing, as it often appears to be in the male archetypes of Woody Allen and Larry David, or in Rachel Bloom’s “Crazy Ex-Girlfriend.” Through the spirited banter, the pointed exclamations of “oy,” the titillation over a rabbi coming for Yom Kippur break fast — Midge’s Jewishness is a source of comforting ritual, joy and celebration.
“She has anxieties and issues, but none of them are because she’s Jewish,” said Bial.
Some critics argue the show’s depiction of Jewish culture relies on shallow tropes. In a 2019 review, TV critic Paul Brownfield said “The Marvelous Mrs. Maisel” repurposed stereotypes to appear “retro chic.” He pointed to a consistent contrast between the Weissmans (the assimilated, cultured Jews of the Upper West Side) and the Maisels (the boorish, money-focused Jews of the Garment District), arguing that these superficial types replace an exploration of what the period was actually like for American Jews.
“However ‘Jewish’ Sherman-Palladino wants the show to be, ‘Maisel’ fails to grapple with the realities of the moment in Jewish American history it portrays,” Brownfield wrote. “Which is ultimately what leaves me queasy about its tone — the shtick, the stereotypes, the comforting self-parody.”
Meanwhile, Andy Samberg took a jab while co-hosting the 2019 Golden Globes with Sandra Oh. “It’s the show that makes audiences sit up and say, ‘Wait, is this antisemitic?’” he joked.
Tony Shalhoub and Marin Hinkle, shown in a synagogue scene, are two of the show’s non-Jewish actors. (Nicole Rivelli/Amazon Studios)
Others have criticized the show’s casting: Its titular heroine, her parents Abe and Rose Weissman (Tony Shalhoub and Marin Hinkle) and Lenny Bruce (Luke Kirby) are all played by non-Jews. A debate over the casting of non-Jewish actors in Jewish roles has heated up in recent years, taking aim not only at Brosnahan as Midge Maisel, but also at Felicity Jones as Ruth Bader Ginsberg in “On The Basis of Sex,” Helen Mirren as Golda Meir in “Golda” and Gaby Hoffmann and Jay Duplass as the Pfefferman siblings in “Transparent.” Comedian Sarah Silverman popularized the term “Jewface” to critique the trend.
“Watching a gentile actor portraying, like, a Jew-y Jew is just — agh — feels, like, embarrassing and cringey,” Silverman said on her podcast in 2021.
Midge’s rise as a comedian is interlocked with her ally and one-time fling, the fictionalized Lenny Bruce. His character has a softened glow in the show, but in reality, Bruce was branded a “sick comic” for his scathing satire that railed against conservatism, racism and moral hypocrisy. Between 1961 and 1964, he was charged with violating obscenity laws in San Francisco, Los Angeles, Chicago and New York, and he was deported from England. At his Los Angeles trial in 1963, Bruce was accused of using the Yiddish word “shmuck,” taken as an obscenity to mean “penis.” He incorporated the charge into his standup, explaining that the colloquial Jewish meaning of “schmuck” was “fool.”
Driven to pennilessness by relentless prosecution, police harassment and blacklisting from most clubs across the country, he died of a morphine overdose in 1966 at 40 years old. The real Lenny Bruce’s tragedy lends a shadow to the fictional Midge Maisel’s triumphs.
The United States that he struggled with until his death also looks comparatively rosy through the lens of “The Marvelous Mrs. Maisel,” whose protagonist battles misogyny but takes little interest in other societal evils — including still-rampant antisemitism. Some critics have noted that she is oblivious to segregated facilities when she tours with Black singer Shy Baldwin, then nearly outs him as gay during her set.
“‘Mrs. Maisel’ takes place in a supersaturated fantasy 1958 New York, one where antisemitism, racism, homophobia and even sexism are barely a whisper,” Rokhl Kafrissen wrote in 2018.
Reflecting on the criticism that had piled up by 2020, Sherman-Palladino and her husband Daniel Palladino, also an executive producer and a lead writer for the show, told the Jewish Telegraphic Agency that trying to appease every Jewish viewer was a futile exercise.
“We knew that if we show a Jewish family at temple — if we show them and talk about Yom Kippur and all those kinds of things — there are going to be people who are going to nitpick at specifics that maybe we didn’t get exactly right,” said Palladino, who is not Jewish. “But a lot of the feedback that we’ve gotten has been ‘Thank you. Thank you for leaning into it and showing Jews being Jewish, as opposed to just name checking them as Jewish.’”
Sherman-Palladino added: “[T]here are many different kinds of Jews! To say, ‘oh, Jewish stereotypes,’ well, what are you talking about? Because we have an educated Jew, we have a woman who was happy to be a mother, we have another woman striking out as a stand up comic, and, you know, Susie Myerson’s [Alex Borstein’s character] a Jew! We’ve got a broad range of Jews in there.”
However “The Marvelous Mrs. Maisel” is assessed in the future, it will remain significant for thrusting a new kind of Jewish heroine into the mainstream consciousness, said Bial.
“Because of its popularity, its longevity and frankly its quality, it’s going to be the example,” Bial said. “In the history of Jews and TV, this is going to be the chapter for the late 2010s and early 2020s — you have to mention ‘Mrs. Maisel.’ It is very clearly a landmark in Jewish representation, particularly for Jewish women.”
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A French Court Acquitted a Nanny Who Poisoned a Jewish Family of Antisemitism. Now Prosecutors Are Appealing.
Procession arrives at Place des Terreaux with a banner reading, “Against Antisemitism, for the Republic,” during the march against antisemitism, in Lyon, France, June 25, 2024. Photo: Romain Costaseca / Hans Lucas via Reuters Connect
Prosecutors in France have appealed a court ruling that convicted a nanny of poisoning the food of the Jewish family for whom she worked but cleared her of antisemitism charges, in the latest flashpoint as French authorities grapple with an ongoing nationwide surge in antisemitism.
On Tuesday, the public prosecutor’s office in Nanterre, just west of Paris, announced it had appealed a criminal court ruling that acquitted the family’s nanny of antisemitism-aggravated charges after she poisoned their food and drinks.
Last week, the 42-year-old Algerian woman was sentenced to two and a half years in prison for “administering a harmful substance that caused incapacitation for more than eight days.”
Residing illegally in France, the nanny had worked as a live-in caregiver for the family and their three children — aged two, five, and seven — since November 2023.
The French court declined to uphold any antisemitism charges against the defendant, noting that her incriminating statements were made several weeks after the incident and recorded by a police officer without a lawyer present
The family’s lawyers described the ruling as “incomprehensible,” insisting that “justice has not been served.”
The nanny, who has been living in France in violation of a deportation order issued in February 2024, was also convicted of using a forged document — a Belgian national identity card — and barred from entering France for five years.
First reported by Le Parisien, the shocking incident occurred in January last year, just two months after the caregiver was hired, when the mother discovered cleaning products in the wine she drank and suffered severe eye pain from using makeup remover contaminated with a toxic substance, prompting her to call the police.
After a series of forensic tests, investigators detected polyethylene glycol — a chemical commonly used in industrial and pharmaceutical products — along with other toxic substances in the food consumed by the family and their three children.
According to court documents, these chemicals were described as “harmful, even corrosive, and capable of causing serious injuries to the digestive tract.”
Even though the nanny initially denied the charges against her, she later confessed to police that she had poured a soapy lotion into the family’s food as a warning because “they were disrespecting her.”
“They have money and power, so I should never have worked for a Jewish woman — it only brought me trouble,” the nanny told the police. “I knew I could hurt them, but not enough to kill them.”
According to her lawyer, the nanny later withdrew her confession, arguing that jealousy and a perceived financial grievance were the main factors behind the attack.
At trial, the defendant described her statements as “hateful” but denied that her actions were driven by racism or antisemitism.
The appeal comes as France continues to face a steep rise in antisemitic incidents in the wake of the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
In a disturbing new case, French authorities have also opened an investigation after a social media video went viral showing a man harassing a young Jewish child at a Paris airport, shouting “free Palestine” and calling him a “pig.”
Widely circulated online, the video shows a young boy playing a video game at Paris’s Charles de Gaulle Airport when a man approaches, grabs his toy, and begins verbally assaulting him.
“Are you gonna free Palestine, bro?” the man, who remains off-camera, yells at the boy.
“If you don’t free them, I’ll snatch your hat off, bro,” the assailant continues, referring to the child’s kippah.
ANTISEMITIC INCIDENT AT PARIS–CDG AIRPORT :
Wednesday, June 25, 2025, at around 7:00 a.m, in the PlayStation Zone
of Terminal 2B at Paris–Charles de Gaulle Airport, a man in his early 30s, speaking with a British accent
, verbally and physically targeted two… pic.twitter.com/8XY3ze0EYb
— SwordOfSalomon (@SwordOfSalomon) December 21, 2025
The man is also heard repeatedly telling the child, “Dance, pig,” while the confused and frightened boy is seen trying to comply
Local police confirmed that an investigation has been launched into the incident, classified as violence based on race, ethnicity, nationality, or religion, as authorities work to identify the individual and bring him to justice.
Paris police chief Patrice Faure expressed his “outrage at these unacceptable and intolerable remarks,” promising that the incident “will not go unpunished.”
Yonathan Arfi, president of the Representative Council of Jewish Institutions of France (CRIF) — the main representative body of French Jews — condemned the incident, calling it “yet another illustration of the climate of antisemitism that has prevailed in Europe” since the Hamas-led atrocities of Oct. 7, 2023.
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Pennsylvania School Board Votes to Fire Principal Over ‘Jew Money’ Comments
Philip Leddy, principal of Lower Gwynedd Elementary School in Pennsylvania, faces termination for allegedly making antisemitic comments. Photo: Screenshot
The Wissahickon School District Board in Pennsylvania has voted to terminate a school principal who confessed to leaving an antisemitic voicemail on the answering machine service of a Jewish parent.
As previously reported by The Algemeiner, Philip Leddy, principal of Lower Gwynedd Elementary School (LGE), spoke of a “Jew camp,” “Jew money,” and argued that Jews “control the banks” in reference to a Jewish parent he had called but did not reach. The remarks were recorded when Leddy forgot to hang up his line after the parent, whom he at one point suggested is most likely an attorney for being Jewish, did not take the call. Having assumed that what he was about to say was private, he then reportedly launched into the tirade before an audience of at least one other district employee also present in the room.
During a meeting on Tuesday, members of the school board voted to fire Leddy, acting on the recommendation of Wissahickon School District superintendent Mwenyewe Dawan — who has herself been accused of promoting and showing bias toward anti-Zionist viewpoints by the North American Values Institute (NAVI). According to local reports, an interim principal, Sue Kanopka, has already been serving in Leddy’s place since Monday.
“Mrs. Kanopka is a familiar and trusted leader in the LGE community and is pleased to provide continuity and stability for students and staff,” Dawan said in a statement shared by a local NBC affiliate.
Dawan also announced a discussion series on antisemitism that will include local Jewish groups.
“We will be partnering with the Jewish Federation of Greater Philadelphia’s Jewish Community Relations Council to facilitate these structured conversations, focused on listening, understanding impact, and moving forward together,” she said. “This session will be designed to listen, learn, and better understand the experiences and concerns of our Jewish community members.”
Leddy’s comments stunned the local community, Jewish and non-Jewish, and on Friday the Jewish Federation of Greater Philadelphia said they betrayed a “mindset” that is indicative of a “broader, systemic issue.”
“The presence of others in the room, the lack of challenge or interruption, and the comfort with which these remarks were spoken raise serious questions about culture, accountability, and oversight within the school environment,” the group said. “We understand the district is also investigating the involvement of others whose voices are audible on the recording, which is a necessary and appropriate step. Words spoken behind closed doors matter. When those words reflect bias, they erode trust and harm entire communities.”
As previously reported by The Algemeiner, the Wissahickon School District has been flagged for previously fostering what some parents described as antisemitic bias.
In June, it was revealed that the district is presenting as fact an anti-Zionist account of the Israeli-Palestinian conflict to its K-12 students by using it as the basis for courses taken by honors students.
Then earlier this month, reports emerged that during a recent demonstration at Wissahickon High School, a Muslim student group festooned signs which said, “Jerusalem is ours,” offered cash prizes related to anti-Israel activism, and swayed school principal Dr. Lynne Blair into being photographed with them, a feat which, according to concerns members of the community, created the impression that anti-Zionism is a viewpoint held by the administration.
Public sector education unions have played a major role in turning K-12 classrooms across the country into theaters of anti-Zionist agitation, thereby alienating Jewish teachers and students, according to a report issued by the Defense of Freedom Institute (DFI) in September.
Titled, “Breaking Solidarity: How Antisemitic Activists Turned Teacher Unions Against Israel”, the report examined several major teachers unions and their escalation of anti-Zionist and anti-Jewish activity following the Hamas-led Oct. 7, 2023, massacre across southern Israel — a series of actions which included attempting to sever ties with the Anti-Defamation League (ADL), staging protests in which teachers led chants of “Death to Israel,” and teaching students that Israel constitutes an “settler-colonial” state which perpetrates ethnic cleansing against Palestinians.
In New York City, report author Paul Zimmerman wrote, the United Federation of Teachers (UFT) has advanced from fostering popular support for anti-Zionism among students to seeking cover from government by placing one or more of its fellow travelers in high office. The UFT endorsed the New York City mayoral candidacy of Zohran Mamdani in July, calling the avowed socialist and Hamas sympathizer a potential “partner.”
“The historical record shows that, whatever their shortcomings, previous generations of teacher-union leaders stood up to antisemitism in K-12 schools on behalf of their Jewish members and promoted strong US support for Israel in the face of existential attacks on that country,” the report said. “Now, antisemitic activists grossly dishonor that legacy by weaponizing teacher unions to spread antisemitism, intimidate Jewish teachers, and recast the classroom as a battlefield against the West.”
Follow Dion J. Pierre @DionJPierre.
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Yehuda Gur-Arye and Shiri Shapira win Rubinlicht Prize for Literature
דער אָנגעזעענער פּאָעט און רעדאַקטאָר יהודה גור־אריה און די טאַלאַנטירטע שרײַבערין שירי שפּירא זענען הײַיאָר געוואָרן די לאַורעאַטן פֿון דעם רובינליכט־פּריז. די אויסטיילונג פֿון די פּריזן איז פֿאָרגעקומען דורך זום דעם 16טן דעצעמבער.
די פּרעמיע ווערט געשטיצט פֿון דער פֿונדאַציע אויפֿן נאָמען פֿון אַנאַ און לייב רובינליכט, וועלכער איז אַליין געווען אַ ייִדישער פּאָעט. די פֿונדאַציע, וואָס איז פֿאַרלייגט געוואָרן אין 1986, טיילט צו יערלעכע פּרעמיעס פֿאַר ליטעראַרישער און קולטורעלער טעטיקייט אויף ייִדיש און לטובֿת ייִדיש.
יהודה גור-אריה איז אַ פּאָעט, איבערזעצער און רעדאַקטאָר אין ייִדיש און אין העברעיִש. אַ געבוירענער אין בעסאַראַביע אין 1934 האָט ער דורכגעמאַכט דרײַ יאָר אין טראַנסניסטריע. ער האָט יונגערהייט עולה געווען און זיך באַזעצט אין אלומות, אין עמק הירדן. צענדליקער ביכער האָט ער איבערגעזעצט פֿון ייִדיש אויף העברעיִש, רומעניש און רוסיש. צו זײַן ליד „כפֿל“ האָט נחום היימאַן קאָמפּאָנירט מוזיק און דאָס ליד האָט געזונגען די באַרימטע זינגערין חוה אַלבערשטיין.
אַ גרויסע צאָל ביכער האָט גור־אריה אַרויסגעגעבן; צווישן זיי — „זערורים“, „לידער אין בלוי“, „מיניאַטורן“ (1966); „שבחי קיץ“, לידער (1978); „תעלולי טלי“, דערציילונגען פֿאַר קינדער (1983); „צבעי פרפר“, לידער און אַ צאָל אַנדערע ווערק.
ער האָט אויף העברעיִש איבערגעזעצט ייִדישע ווערק פֿון עלי שעכטמאַן, לייב ראָכמאַן, יצחק באַשעוויס-זינגער, מרים יהבֿ, יהושע פּערלאַ, יענטע מאַש, ש. ל. שנײַדערמאַן, י. י. טרונק און אַלכּסנדר שפּיגלבלאַט, ווי אויך אַן אַנטאָלאָגיע פֿון ייִדישע אַרבעטער־לידער און יאַפּאַנישע לידער.
דער זשורי, וואָס איז באַשטאַנען פֿון טובֿה רעשטיק-דודזאָן, רוני כּהן און דניאל גלאי יהודה גור-אריה, האָט געמאָלדן אַז יהודה גור-אריהן האָט פֿאַרדינט דעם פּריז צוליב „זײַנע ליטעראַרישע שאַפֿונגען אויף עטלעכע זשאַנערן ווי דיכטונג, פּראָזע און דערציילונגען, זײַנע פֿאַרשידנאַרטיקע איבערזעצונגען פֿון ייִדיש, רומעניש און רוסיש וועלכע האָבן באַרײַכערט אונדזער ליטעראַטור, און זײַן אַלגעמיינעם בײַטראָג במשך יאָרן צום קולטור-לעבן אין ישׂראל.“
שירי שפּירא איז אַ יונגע ייִדיש-פּראָזאַיִקערין וואָס איז געבוירן געוואָרן אין ישׂראל אין 1987 און וווינט הײַנט אין ירושלים. די טעג איז זי אַ דאָקטאָראַנטקע בײַם בן-גוריון אוניווערסיטעט, וווּ זי לערנט אויך ייִדיש-קלאַסן. זי האָט אויף העברעיִש איבערגעזעצט די ראָמאַנען פֿון מאַקסים בילער, מאַרלען האַוסהאָפֿער, רות אָזעקי און ריטשאַרד פאַווערס, און טעקסטן פֿון פֿרידריך העלדערלין, דניאל קעלמאַן, ישׂראל ראַבאָן און דבֿורה פֿאָגעל. זי איז אויך אַ רעדאַקטאָרשע אין „המוסך“, אַ העברעיִשן ליטעראַטור־זשורנאַל. אירע ייִדישע דערציילונגען זענען געדרוקט געוואָרן אין די זשורנאַלן „ייִדישלאַנד“, „אויפֿן שוועל“ און „די גאָלדענע פּאַווע“.
הײַיאָר דערשײַנט אין לייוויק-פֿאַרלאַג איר ערשטלינג „די צוקונפֿט“, אַ באַנד דערציילונגען. אַ טייל פון זיי זענען געדרוקט געוואָרן אין ליטעראַרישע זשורנאַלן און אַנדערע זענען אין גאַנצן נײַע שאַפֿונגען. דאָס בוך איז אַן אויסדרוק פֿון אַ פֿרוי, אַ שרײַבערין, וואָס איז אויסגעוואַקסן אין ישׂראל מיט אַלע אירע טראַוומעס און קאָנפֿליקטן, און אַ טיפֿן גלויבן אין דער צוקונפֿט.
דער זשורי האָט געזאָגט אַז שפּירא האָט פֿאַרדינט דעם פּריז „פֿאַר אירע ליטעראַרישע, אייגנאַרטיקע שאַפֿונגען וועלכע שטיצן זיך אויף טיפֿע קענטענישן פֿון דער ייִדישער שפּראַך און ליטעראַטור, מיט די פֿאַרשידענע קוואַלן פֿון וועלכע זי שעפּט אַ זעלטענע אַטמאָספֿער און אינספּיראַציע.“
אין איר דאַנקרעדע בײַם באַקומען די פּרעמיע האָט שפּירא אָפֿן־האַרציק אויסגעדריקט אירע געדאַנקען:
„איך פֿיל זיך אַ ביסל אומגעלומפּערט באַקומענדיק אַ פּרעמיע, בפֿרט ווי אַ שרײַבערין וואָס פּובליקירט אַ בוך אויף אַ שפּראַך וואָס איז ניט איר מאַמע-לשון. אָבער איך האָב אַ חשד, אַז אַלע דורות ייִדישע שרײַבערס האָבן זיך געפֿילט ניט באַהאַוונט אין עפּעס אַ זאַך. מסתּמא האָבן זיך ס׳רובֿ פֿון זיי גאָר היימיש געפֿילט אויף מאַמע-לשון, אָבער אָפֿט זענען זיי געווען מענטשן וואָס האָבן געדאַרפֿט זיך שאַפֿן אַ נײַע היים, און אַ נײַע אידענטיטעט, אַ מאָדערנע, אַ וועלטלעכע. אַזאַ פּאָזיציע איז בדרך-כּלל אַ טייל פֿונעם זײַן אַ קינסטלער, און אַ שרײַבער בפֿרט. און גיכער – זי איז אַ טייל פֿונעם ווערן אַ קינסטלער. די אומזיכערע צוגעהעריקייט איז אויך אַ מין אומגעלומפּערטקייט, און אויך אַ שעפֿערישע קראַפֿט. איך אַליין פּרוּוו זי אויסצוניצן ווען איך שרײַב אויף אַ שפּראַך אין וועלכער איך בין נאָך אַלץ אַ גאַסט.
„עס איז ניט גענוג צו זײַן אַ גאַסט אין אַ נאָך אומבאַקאַנטער שטוב. אַ נײַער קינסטלער דאַרף זײַן אַן אָנגעלייגטער גאַסט, אָדער בקיצור – מע דאַרף אַן עולם. דער זשורי פֿונעם רובינליכט-פּריז גיט מיר אַזוי אַ מין צוזאָג אויף אַן עולם. דאָס צוטיילן דעם פּריז אויך יהודה גור-אריה, אַ שרײַבער און איבערזעצער פֿונעם עלטערן דור, איז פֿאַר מיר אויך אַ צוזאָג אַז דער עולם וויל נאָך בלײַבן אויף לאַנגע יאָרן. איך וויל דאָ אויסדריקן אַ האַרציקן דאַנק פֿאַר אָט דער פֿאַרבעטונג, און אויך אַ האָפֿענונג אַז ווײַטערע אָנגעלייגטע געסט וועלן נאָך אָנקומען אין דער ייִדישער ליטעראַטור, און אַז זיי וועלן נאָך בלײַבן.“
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