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At a book-lovers’ mecca, a celebration of the Jewish Diaspora
On the left side of the ground-floor gallery at the Upper East Side’s Grolier Club — an institution that bills itself as “America’s oldest and largest society for bibliophiles” — you’ll find elaborately decorated, centuries-old Jewish manuscripts from the likes of Italy, France and the Iberian Peninsula.
On the right, there’s a similar assortment of manuscripts, also organized geographically. These manuscripts are remnants of dynamic Jewish communities that once existed in Muslim lands such as Yemen, North African and Iran/Iraq.
Collectively, these works form “Jewish Worlds Illuminated: A Treasury of Hebrew Manuscripts from The JTS Library,” the first-ever exhibition dedicated to Jewish books and manuscripts at the storied club, which was founded in New York City in 1884.
On view through Dec. 27, the free exhibit is also the largest exhibition to date curated by the library of the Jewish Theological Seminary, which is home to one of the world’s largest collections of Hebrew manuscripts and printed materials. Among the 100 objects on view are documents that date as far back as the 12th century.
The elaborately decorated works on display comprise a wide assortment of texts, such as prayer books, Passover haggadahs and ketubahs or Jewish marriage contracts. Most of them are written in Hebrew. But there are some stark differences between the two sides of the gallery: Human forms are plentiful in the manuscripts from Europe, for example, while works created by Jews in Muslim lands typically reflect the Islamic art style, with elaborate patterns, floral motifs and very few depictions of people.
“Jews adopted and adapted the art of the country in which they lived,” Sharon Lieberman Mintz, curator of Jewish art at the JTS library, explained during a private tour. “When Jews were living in Islamic lands, they eschewed figural arts. There may have been a bird or two here and there, but not humans, with rare exception.”
Examples like these spotlight the ways Jews lived their lives throughout years of diaspora, and how they integrated themselves within their culture of residence.
“If you look at the outstanding works in our collection — manuscripts in particular, but not just manuscripts — [they] reflect the geographical distribution that you see here,” said David Kraemer, the Joseph J. and Dora Abbell librarian and professor of Talmud and Rabbinics at the JTS. “It is notable, but not intentional, that we don’t have material here from the land of Israel.”
Kraemer continued: “What that means is that during the ages that these works were being produced, and from which they survive, this is where Jews lived,” he said. “Very, very few Jews lived in the land of Israel, and there was very little production of this kind of material in the land of Israel.”
Left: Abraham Judah ben Yehiel of Camerino’s “Rothschild Mahzor,” from Florence, Italy in 1490. Right: A page from “Sermons and Collected Teachings,” from 17th-century Salonica, Greece. (Courtesy the Library of the Jewish Theological Seminary).
Instead, the exhibit is filled with treasures from across the centuries and around the globe, including handwritten letters from the physician, rabbi, philosopher and author Moses ben Maimon — aka Maimonides. One such letter, penned in 1170 by Maimonides’ personal secretary, Mevorakh ben Nathan, is signed by the sage himself. It pleads for funds to ransom the Jews who were taken prisoner in November 1168 when the crusader king Amalric I of Jerusalem conquered the Egyptian city of Bilbeis, some 50 miles north of Cairo, which was home to a sizable Jewish community in the Middle Ages.
“So much of what happens, Jewishly, in North America is Ashkenazi-centric, which misrepresents Jewish life and history around the world,” Kraemer said. “When Ashkenaz was barely a blip, the vast majority of the world’s Jews lived in Muslim lands.”
The exhibit makes it plain just how embedded Jews were into the countries in which they lived. In the Italy section, there’s a page displayed from the Rothschild Machzor, a prayer book written by master scribe Abraham Judah ben Yehiel in Florence in 1490. An illustration depicts the children of Israel receiving the Ten Commandments as they’re decked out in the Florentine fashions of the time — with the receding hairline that was all the rage in during the Renaissance.
“When you look at these materials, you can’t just think of Jews as separated and isolated and ghettos and oppressed and all that kind of stuff,” Kraemer said. “That’s not what the story here is.”
Instead, the exhibit spotlights how Jewish communities reflected broader cultural trends, including fashion and art.
Just don’t ask the curators to select their favorites. Kraemer and Liberman Mintz both blanched when asked to choose three or four standout items in the gallery. Instead, we settled on finding particularly unusual works on display.
“The answer changes every five minutes,” Kraemer explained.
As an example, Kraemer points to a 17th-century manuscript from Salonica, Greece that he describes as “absolutely wonderful in its outrageous combination.” The page, from a collection of sermons and teachings, is a scholarly theological discussion — specifically, about how Moses, who was flesh and blood, was able to ascend to the realm of God, who is pure spirit. By contrast, the illustrations on the page — animals, birds and flowers — seem like something from a children’s book.
“Don’t we all somehow have those sensibilities built into us?” Kraemer mused. “We can be very, very sophisticated and very, very simple and childlike at the same time.”
All told, the exhibit, said Kraemer, is meant to challenge misconceptions about how Jews lived their lives during centuries of diaspora life.
“We have a lot of conceptions of what Jewish life was through the ages,” Kraemer said. “When one witnesses these materials — their splendor, their creativity, their embeddedness within the local culture, their languages, the visual language, all of that — it tells us that Jews and their neighbors were part of the same world.”
“In a world which has a very black and white vision of Jewish life and the relationship of Jewish life to the host cultures, this brings color to it,” Kraemer continued. “It wasn’t black and white. I mean both literally and figuratively — this brings color to the fullness of Jewish experience.”
“Jewish Worlds Illuminated: A Treasury of Hebrew Manuscripts from The JTS Library” is on view at The Grolier Club (47 East 60th St.) through Dec. 27. For more information, click here; to book a tour (highly recommended!) click here.
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Looming large over Israel’s 78th Independence Day celebrations: Argentina’s Javier Milei
(JTA) — During his three days in Israel this week, Argentinian President Javier Milei made a strong impression.
There he was, weeping again at the Western Wall. There he was, receiving the Presidential Medal of Honor for his leadership and support for Israel. And there he was, lighting a torch for the Independence Day festivities as the first foreign leader ever to do so.
There Milei was, grabbing a microphone and dancing raucously on stage to the Spanish-language song “Libre” at both the rehearsal for the national ceremony and the live event on Tuesday.
And there he was, ostensibly the reason that the far-right Israeli minister Itamar Ben-Gvir left the ceremony before it began. Ben-Gvir left after being asked to vacate his seat to make way for Milei, in an arrangement that some speculated was meant to prevent Ben-Gvir from being photographed in the same frame as Prime Minister Benjamin Netanyahu.
Milei’s presence in Israel Sunday through Tuesday offering a powerful symbol of his continued support for Israel even as so many other world leaders have distanced themselves. Milei is a longtime philosemite who has said he aims one day to convert to Judaism.
“In life there are partners and there are friends,” Milei said in Spanish during the Independence Day ceremony. “Partners come together for a moment of shared interest. Friends forge unbreakable bonds for life. I am pleased to say that Argentina and Israel are not merely partners, but friendly nations.”
The Independence Day ceremonies projected an image of resilience at a challenging time for Israel, where wars on two fronts are currently in ceasefires announced by U.S. President Donald Trump. Among the others chosen as torch-lighters, seen as one of Israel’s most significant honors, were soldiers who have participated in the years of war that followed Hamas’ Oct. 7, 2023, attack on Israel.
Two of the chosen torch-lighters drew sharp criticism. One was Rabbi Avraham Zarbiv, a rabbinical judge who has drawn scrutiny for publicly praising demolition operations in Gaza. In February, the Ombudsman of the Israeli Judiciary ruled that Zarbiv had violated a code of ethics by expressing his views on controversial issues.
“I light this torch in honor of the bulldozer and excavator operators, the trailblazers, destroyers of the enemy and the dismantlers of terrorist infrastructure who protect the lives of our soldiers,” he said at the ceremony.
A cousin of a woman killed in captivity also also denounced the selection of Gal Hirsch, Israel’s coordinator for hostages and missing persons, who faced calls for his resignation in February after telling Haaretz that demonstrations demanding the release of hostages were aiding Hamas. Gil Dickmann, a cousin of Carmel Gat, wrote in a post on Instagram that his selection was “spitting in the faces of families” of the hostages.
Last year, torchlighters for the ceremony included former Israeli hostage Emily Damari, NBA player Deni Avdija and the American Jewish conservative pundit Ben Shapiro, whose appointment was criticized by some Israeli leaders as inappropriately political.
The day’s official programming will end with a ceremony awarding the Israel Prize, the nation’s top civilian honor. Among those receiving the prize this year are the artist Yaacov Agam and Chantal Belzberg, the CEO of a nonprofit that aids the families of fallen soldiers.
Trump was also invited to receive the prize, getting a public invitation in February following an earlier announcement by Netanyahu. He will not be present.
This article originally appeared on JTA.org.
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Marx Brothers fans rejoice: There’s a recording of Harpo speaking
Harpo Marx’s wife, Susan Fleming, once remarked that, when you got him talking, you couldn’t shut him up.
The proof was there for those who chanced to see him in the 1930s and ‘40s, screening clips of the films he made with his brothers. If a crowd was good, he’d deliver what was known as “Red’s Speech,” a reference to the red wig he wore on stage.
The speech grew more verbose with each recitation, with input by Harpo’s friend, the critic Alexander Woollcott, a fount of $5 dollar words. It got so long, in fact, that Harpo would take it out in the form of a long script that spilled off the stage down the aisle.
“There’s always been this fallacy that Harpo never spoke on stage,” said Marx historian Robert S. Bader, author of Four of the Three Musketeers: The Marx Brothers on Stage and Zeppo: The Reluctant Marx Brother. When he did, he would often make a joke about the mute persona he adopted in 1914, opening his remarks with “as I was about to say in 1915.”
In 1964, Harpo was hitting the speaking circuit. He spoke at events for the United Jewish Appeal, having grown more connected to his Jewishness after a 1963 trip to Israel. On these occasions, Bader said, Harpo “might have looked like a local councilman, just wearing a business suit,” and would sneak in a line from his bar mitzvah speech: “For 13 long years, I have toiled and labored for your happiness.”
Advised to retire from performing after a number of heart attacks, Harpo reasoned that, so long as it was for charity and he didn’t get paid, it couldn’t count as work.
That rationale led to Harpo’s appearance at benefits for a number of symphony orchestras. On March 20, 1964, he gave his final performance at a concert for the Riverside Symphony Orchestra in California, playing a suite of songs about the moon, an original composition and conducting a particularly manic take on Haydn’s “Toy Symphony.”
This time, Harpo not only spoke, giving a lively recitation of Prokofiev’s Peter and the Wolf, he did something unprecedented by allowing himself to be recorded with the understanding the public might someday hear it.
On June 5, 2026 a record of the evening will be released as Harpo Speaks! The Riverside Symphony Concert. It was announced on April 1, but it was no April Fools joke. It’s an outstanding artifact, and it was discovered quite by accident.
John Tefteller, the foremost collector of rare, Marx-related records, was looking for a copy of a 1963 concert with Harpo and comedian-musician Allan Sherman, recorded by Sherman’s son Robert. Looking in the tape box for Pasadena, Sherman instead found the Riverside tape. Oddly enough, Robert Sherman had no memory of recording — or even attending — the Riverside concert.
Bill Marx, Harpo’s son and the arranger of much of his music, says the man on the recording, telling the tale of “Peeduh,” the “boid” and the “huntahs,” is the one he grew up with.
“It was very, very low key,” said Bill Marx, now a celebrated pianist and Juilliard-trained composer, recalling his father’s voice. “I think I would have to say that he was about five or six notes lower than Groucho’s. It was easy to hear him speak. I suppose you could call him soft-spoken. He rarely if ever raised his voice in our house with my two brothers and sisters.”
Instead, he would do something like wake his daughter in the middle of the night to play jacks.
Peter and the Wolf, written for young audiences, was a natural fit for Harpo, and it was his idea to do it. The version of the libretto, co-written by Harpo and Groucho, also features a topical joke for that election year of 1964: “Imagine the triumphant procession. Peeduh at the head, after him the huntahs leading the wolf, then Goldwatuh, Rockefelluh and Nixon.”
That Harpo was a patron of the symphony is no great surprise. He practiced the harp three hours a day and Bill Marx remembers his father’s love of French impressionist composers like Debussy and Ravel and Fauré. When Bill played records in his bedroom, without fail his father would knock on the door, ask what he was listening to, and commit to learning it — which he did.
“He just had a great learning thirst, and I had the privilege of watching this man appear in everybody’s life by doing things that he was compelled to do,” Bill Marx said.
As the narrator of Peter and the Wolf, Harpo is wonderfully expressive, evoking the storytelling of an old-time New York-born Zayde (dressed in his traditional costume at the concert, he donned a new accessory: reading glasses). He sounds quite a lot like Chico, his closest brother in age.
Restoring the tape took major work from audio restorer Joel Tefteller (John’s son) and audio engineer Nick Bergh. At one point, in his closing speech, Harpo walked away from the mic, making the original tape almost inaudible.
“He wasn’t used to looking for a microphone,” said Bader. “He didn’t have a lot of time in front of microphones. I don’t think anybody ever had to say ‘Harpo get closer to the microphone’ ever.”
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UCLA student government condemns campus Hillel for hosting former hostage
A campus event featuring freed Israeli hostage Omer Shem Tov drew the condemnation of UCLA’s student government on Tuesday. In an open letter, the UCLA Students Associated Council said that bringing Tov to speak to students “served to legitimize and normalize” atrocities in Gaza and Lebanon.
Shem Tov, 23, was kidnapped from the Nova music festival in Southern Israel on Oct. 7, 2023, and held hostage in Gaza until his release in a prisoner exchange in February 2025. UCLA hosted him on April 14 for a Yom HaShoah event.
“While we affirm the humanity of all people impacted by violence, we reject the selective platforming of narratives that obscure the broader reality of ongoing state violence,” the student government letter wrote in the letter, which was addressed to the UCLA administration and UCLA Hillel among others. “Israel is currently continuing to carry out what has been widely identified by human rights advocates as a genocide in Gaza, while also expanding its illegal military campaign into Lebanon.
“In this context, elevating a single narrative, absent of critical political and humanitarian framing, serves to legitimize and normalize these ongoing atrocities.”
Rabbi Chaim Seidler-Feller, UCLA Hillel’s director emeritus, called the statement “completely ridiculous.”
“You can’t present the narrative of your experience without it being called ‘one sided,’” Seidler-Feller said. “There has to be a counter-story to persecution. Is there a counter-story to killing people?”
UCLA Hillel executive director Daniel Gold dismissed the criticism in Tuesday’s letter as antisemitic.
“Hillel at UCLA and Students Supporting Israel UCLA would like to apologize…for absolutely nothing,” he wrote in a statement. “Members of UCLA student government have once again shown they are anti-dialogue, anti-learning, anti-truth, anti-student and antisemitic.”
The USAC did not respond to a request for comment.
As college campuses across the country became a hotspot for pro-Palestinian activism following the Oct. 7 attack, UCLA, with an activist history and a large Jewish population, stood out as a major flashpoint. Its student encampment was the site of a riot in April 2024 and eventually cleared by police in riot gear.
The USAC has sided with pro-Palestinian protesters throughout. In a Feb. 2025 letter titled “We Are All SJP,” the USAC, which is democratically elected by the roughly 30,000-member UCLA student body, condemned Chancellor Julio Frenk’s suspension of Students for Justice in Palestine. The letter referred to Israel only as “the Zionist state” or put the country’s name inside quotation marks.
The University of California has since been sued by the Department of Justice, which said that UCLA created a hostile work environment against Jewish and Israeli faculty in violation of Title VII of the Civil Rights Act.
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