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Commemorating Philip Roth means confronting his limitations head on
(JTA) — Next Sunday marks the 90th anniversary of Philip Roth’s birth. In celebration of the famed novelist’s work, a scholarly conference titled “Roth@90,” sponsored by the Philip Roth Society, will be held starting Wednesday at the Newark Public Library. That will be followed by a weekend of high-profile events — staged readings, panel discussions, a bus tour of Roth’s old Newark neighborhood — co-presented by the library and the New Jersey Performing Arts Center.
Exactly 10 years ago, we commemorated his 80th birthday in a similar fashion. Dozens of Roth scholars made learned presentations about his work, of which Roth attended exactly zero. Later that week, the author read aloud from his novel “Sabbath’s Theater” in front of hundreds of fans, friends and well wishers. The proceedings were televised on C-Span.
Roth was being acclaimed for having just wound down an exemplary career. With the exception of the Nobel Prize, what garland evaded him? Was there a high-culture literary platform where his name wasn’t a virtual watermark? Could he publish any novel without hundreds of reviews being written in newspapers across the world? Was there a serious fiction writer out there with greater renown?
So much has changed in the decade between the two conferences. To begin with, Roth died in 2018. In that same span, the country witnessed the election of Donald Trump and the fissure it exposed in society in general and the Jewish community in particular. America endured one convulsive racial reckoning after another. Finally, in October of 2017, the #MeToo movement gained massive public salience.
All of those events, along with digital media’s indomitable ascent, have combined to affect and reshape Roth’s literary legacy. That legacy is far less assured than all the (justified) praise and lionizing that will occur this week might suggest.
Let’s start with Jews. The Trump era yielded two seemingly irreconcilable data points. On the one hand, Jewish-Americans endured the Charlottesville riot, the Tree of Life synagogue attack and a stunning rise in antisemitic incidents. On the other, there was staunch support for Trump among Orthodox Jews and supporters of Israel’s right wing.
Leaving that conundrum for others to parse, I simply note that Orthodox Jews and right-wing Zionists are almost completely absent in Roth’s fiction. A young Roth wrote a sensitive portrait of Holocaust survivors who want to start a suburban yeshiva in “Eli the Fanatic.” He also sketched a militant religious-nationalist Zionist in “The Counterlife,” Mordecai Lippman, who, according to Roth biographer Blake Bailey (about whom more below), was based on Elyakim Haetzni, one of the so-called founding fathers of the settlement movement. In the same novel, a version of the narrator’s brother falls under the settlement leader’s sway.
And that’s it, across a half century of writing. For traditionalist Jewish readers, whose political and social influence in the United States and Israel is substantial and growing, Roth’s fiction is not a mirror, nor a signpost, nor a scroll upon which is inscribed some essential truth.
The Jews who populated his stories, the Jews he best understood, were of Ashkenazi descent, white, liberal, assimilated and secular. His courage was to valorize them over and against other Jews who viewed them as defective, lost or even as apostates. Thus Anne Frank in “The Ghost Writer” was portrayed as a patron saint of secular Judaism. Elsewhere, his stories abound in proud, professionally accomplished diaspora Jews. They rarely think about God. Synagogue attendance is reserved strictly for lifecycle events and High Holy Days, if that.
A novelist, of course, is not a political clairvoyant. However, the immediate future of Judaism is being greatly shaped by Jews whose population and influence are growing and whom Roth rarely portrayed. In this manner, another stellar writer like Cynthia Ozick — herself Orthodox and quite attuned to the mindset of her co-religionists — might fare better commercially and emerge as more relevant than her friend in the coming decades.
Roth didn’t just write about Jews. In my book “The Philip Roth We Don’t Know: Sex, Race and Autobiography,” I pointed out that depicting non-Jewish Black people was an unrecognized “obsessional theme” across his 28 novels and 25 short stories. Much to my dismay, I found Roth’s multi-decade treatment of his African and African-American characters often to be crude, thoughtless and sometimes racist.
Familiarize yourself with the degrading portraiture we receive of Black people in “The Great American Novel” (1973), or a short story like “On the Air” (1970), and you might reconsider what Roth was after in “The Human Stain,” in which an academic who is accused of racism turns out to be an African American who had been “passing” as white and Jewish. The book, the 2001 Pen/Faulkner Award winner, is often seen as a sensitive treatment of racial issues in America, and perhaps as the author’s attempt to extend the hand of friendship to another oppressed minority.
In fact, my best guess is that, as with many Jewish writers post-1967, Roth was shaken by the deterioration of the Black-Jewish alliance. His frustrations were reflected in prose that often referenced Black communities in his hometown of Newark but showed little curiosity about their lives or sympathy for their plight.
Obviously, this type of literary rendering of African Americans — or any minority group — is disturbing and dated. Insensitive racial representation inspires calls for publishers to drop authors. They disappear from high-school or college syllabi. This bodes ominously for the afterlives of the titans of post-World War II American fiction, including John Updike, Saul Bellow Bellow and Norman Mailer, all three of whom have been accused of being racially insensitive and worse.
Roth’s marketability also seems to be sailing into a squall regarding gender. As women began demanding an accounting of sexual abuse and misogyny within the media, entertainment and other industries, numerous think-pieces wondered how the author of “Portnoy’s Complaint” — whose libidinous narrator identifies most of the women in his life by debasing nicknames — would fare in such an environment. Would he — should he — be “canceled”?
The question is more complex than his admirers and detractors make it out to be. No doubt, many of Roth’s male characters mistreated women. Accusations of Roth himself doing the same exist, but they are fairly rare, unsubstantiated and contested. The dilemma for researchers is that Roth was a deeply auto-fictional writer. You sense his presence in his stories — especially when protagonists share much of his biography, including Nathan Zuckerman and Peter Tarnopol, and when characters are named “Philip Roth.”
It’s hard not to speculate about the relation between the author and the many misogynistic fellows who cut an erotic swath through his pages. There will, of course, be readers who give him the benefit of the doubt. They might observe that Roth’s toxic males provide evidence of women’s experiences that needs to be explored, not censored.
Not helping him cleanse his reputation were the numerous allegations of sexual misconduct leveled against his hand-picked biographer, Blake Bailey. The ructions engulfing Bailey came to dominate the discourse about Roth, leading to a peculiar cancellation by proxy.
The episode also revealed that Roth had instructed his estate to eventually destroy a massive trove of personal papers he entrusted to Bailey. This led Aimee Pozorski (co-editor of Philip Roth Studies), myself and 20 other Roth scholars to issue a statement reminding his executors that “scholarship can only be advanced when qualified researchers engage freely with essential sources.”
As if all these concerns weren’t enough, his grim prophecies about the demise of an audience for serious literature seem to be coming true. “The book,” Roth worried, “can’t compete with the screen.” Meanwhile, the English major is in a very bad way, and the institution of tenure is under siege. Professors (insufferable as we might be) teach the next generation who to read and how to read. Writers might not like them, but they need them.
Roth is also getting the scrutiny that he was at pains to avoid in his lifetime. His disregard for scholars who might be critical of him always struck me, one such scholar, as misguided. Instead, he surrounded himself with friends — friends who had preternatural access to major media platforms. These friends built upon his own interpretations of his own work. It doesn’t mean they lacked wisdom. It just means that when they talked about Roth, they talked about what Roth wanted them to talk about. To wit: Jewish Newark, his sundry interpretations of his life, his pesky ex-wives and lovers, the close-mindedness of his critics, and so forth.
I think, in this cultural moment, it’s prudent to confront Roth’s limitations head on and chart one’s own path through his fiction. I pitch him to my students as a writer with some racial, religious and sexual hang-ups — who among us is innocent of those charges? I also present him as a bearer of unique and meaningful insights. Let scholars (while they still exist) parade those insights into sunlight.
I’ve tried to illuminate that his fiction was preoccupied, for 50 years, by how individual and collective bodies (like the Jews) change. Transformation, metamorphosis, metempsychosis — his obsession with those themes, I’ve noticed in my classrooms, is shared by Gen Z. If the span between Roth@80 and Roth@90 has taught us anything, it is that Roth was right: Life is about radical, unpredictable flux. Now his own legacy is in flux. I wonder who will read Roth@100.
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Israeli tourists could soon be required to show 5 years of social media history to enter the US
(JTA) — Israelis seeking to visit the United States could soon be required to submit five years of social media history, according to draft regulations published by the U.S. Department of Homeland Security this week.
The regulations would apply to tourists from 42 countries, all allies of the United States, that are enrolled in the government’s Visa Waiver Program that allows passport holders to visit for up to 90 days without a visa.
Israel was first designated into the Visa Waiver Program by DHS in September 2023. The same year, Israeli tourism to the United States reached 376,439, followed by 417,077 in 2024, according to Statista.
The proposed regulations come as the Trump administration seeks to tighten borders. In April, the U.S. Citizenship and Immigration Services announced that it would scrutinize the social media accounts of people applying to immigrate and international students for “antisemitic activity.” But the regulations mark a shift toward examining the records of people who are trying to visit, not move to, the United States.
In response to a question from a reporter Wednesday about whether the new requirement would cause a “decline in tourism,” President Donald Trump demurred.
“No. We’re doing so well,” Trump said. “We just want people to come over here, and safe. We want safety. We want security. We want to make sure we’re not letting the wrong people come enter our country.”
The new regulations would overhaul the Electronic System for Travel Authorization, or ESTA, an online application that tourists included in the Visa Waiver Program have recently been required to submit before entering the country.
It was not immediately clear how tourists would submit their social media history under the proposed regulations, or even what such a request could constitute in an era when people maintain many social media accounts and post prolifically on them.
The DHS notice began a 60-day period for public comment on the regulations this week. A spokesperson from Customs and Border Protection told the Jewish Telegraphic Agency in a statement that the notice was preliminary.
“Nothing has changed on this front for those coming to the United States. This is not a final rule, it is simply the first step in starting a discussion to have new policy options to keep the American people safe,” the statement read. “The Department is constantly looking at how we vet those coming into the country, especially after the terrorist attack in Washington DC against our National Guard right before Thanksgiving.”
The Nov. 26 shooting of two National Guard members by a suspect who is an Afghan national triggered several restrictions on immigration by the Trump administration. The suspect entered the country legally and has not been publicly alleged to have had a social media track record that might have elicited alarm.
The potential regulation comes as Israeli soldiers have faced scrutiny for their posts on social media during the war in Gaza, with some soldiers fleeing countries they have visited that are less friendly than the United States to Israel over the threat of potential war crime inquiries.
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6 hostages murdered in Gaza lit Hanukkah candles in captivity, newly released footage shows
(JTA) — Two months after they were taken hostage, and eight months before they would be murdered, the Israelis who would later be known as the “Beautiful Six” were herded into a new section of the Hamas tunnel where they had been held.
There, their captors took hours of video of the young adults as they lit a makeshift menorah, sang traditional Hanukkah songs and, after being prompted, offered holiday greetings to the camera.
“Where are the sufganiyot?” asked Eden Yerushalmi.
“We’re waiting for Roladin in the land [of Israel],” joked Hersh Goldberg-Polin, referring to one of the most prominent purveyors of Hanukkah donuts in Israel.
The other hostages — Ori Danino, Almog Sarusi, Alex Lubanov and Carmel Gat — sit with their fellow captives. Sarusi appears visibly distressed as he makes the blessing over the candles, and the cameraman captures wrenching comments as the six young adults sing the song “Maoz Tzur.”
Goldberg-Polin explains that there are six verses in the song, “one for each time they tried to kill us and failed.” Yerushalmi responds, “We need to add another verse.”
In another video, Lubanov is instructed to shave the heads of his fellow male hostages. While shaving Danino, he recalls the movie “The Pianist,” set during the Holocaust, and says he is like a barber in that setting.
“This situation is not that far from the Holocaust,” Danino replies, looking at a mirror that a third person, possibly from Hamas, is holding up.
Some of the footage appeared intended to fuel the kind of hostage videos that Hamas released intermittently during the war, but Hamas never put it out. Instead, the footage was recovered by the IDF about three months ago during a raid on a hospital in Khan Younis and was delivered to the families of the hostages about six weeks ago, according to YNet News. It was released publicly on Thursday.
The video adds to accounts that many of the hostages sought to maintain Jewish practices and traditions while in captivity, though it is the first to suggest that such practices might at times have been facilitated or coerced by their captors.
“Lighting Hanukkah candles in that dark place captures the essence of the Jewish spirit: light prevailing over darkness,” the hostages’ families said in a statement released by the Hostages and Missing Families Forum.
“Hamas filmed these videos as propaganda, but the humanity of the beautiful six shines through this footage. It is stronger than any terrorist organization. These videos bear witness to evil and failure. The entire world must see our loved ones in these moments, their unity, strength, and humanity even in the darkest times. They were taken alive, they survived in captivity, and they should have come home alive,” the statement continues. “Nothing will bring our loved ones back to life. Only bringing the truth to light, only genuine accountability at the national level, can bring justice and healing to all our hearts.”
We will never forgive and we will never forget how our hostages were treated by Hamas in Gaza.
Despite the horrific torture and humiliation, our brave and courageous hostages never lost hope, and even continued to light Hanukkah candles to bring light into a world of darkness. pic.twitter.com/wv3PSnbQZk
— Danny Danon 🇮🇱 דני דנון (@dannydanon) December 11, 2025
The release of the footage has renewed grief over the murder of the hostages, which closely followed the collapse of ceasefire negotiations in July 2024. Some of the hostages, including Goldberg-Polin, who lost an arm on Oct. 7, had been on the list for release had a deal come together. Since then, Israeli officials have counted the hostages, whose bodies were retrieved soon after they were killed, among those rescued by the Israeli military.
“What heroes,” Goldberg-Polin’s mother, Rachel Goldberg-Polin, told Channel 12, according to the Times of Israel. “Six young luminous people who did everything right and they stayed alive and they did their part, and for us to claim we brought them back, in bags, bags of children to their parents, please don’t count Hersh among the people you saved.”
News of their deaths triggered mass protests in Israel opposing Israeli Prime Minister Benjamin Netanyahu’s failure to reach a deal the month before. In September 2024, Netanyahu issued an apology to the hostages’ families.
The video comes as the body of the last remaining hostage in Gaza, Ran Gvili, has yet to be returned to Israel, two months after a U.S.-brokered ceasefire deal between Israel and Hamas that required the release of all of the remaining hostages. Twenty living hostages and 27 deceased hostages, most but not all killed on Oct. 7, have since been returned.
The video appeared to be taken months before the group of six were killed in Hamas captivity in Rafah on August 29, 2024, shortly after the collapse of ceasefire negotiations with Hamas that could have led to the release of some of them.
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How Montana teachers use a Hanukkah kit to teach students who’ve never met a Jew
In Montana, students across the state — from Hutterite colonies to Native American reservations — are learning about Hanukkah in school: playing dreidel, lighting candles, and reading a picture book that tells the true story of Billings residents who united against antisemitism.
That’s thanks to the Montana Jewish Project, which is in its third year of distributing 50 “Hanukkah curriculum boxes” to public school teachers around the state, many in rural areas with few to no Jewish students in their classrooms. Teachers who sign up for the box receive it free of charge.
“A teacher at a school with a large Mennonite population went out of her way to email us and say, Thank you so much. This resonated so much with my students,” said Rebecca Stanfel, executive director of the Montana Jewish Project. “It makes a lot of sense, because the lesson plan is really about accepting everyone in your classroom, whatever their faith tradition.”
Montana, home to the most hate groups of any state and a Jewish population of a few thousand, tends to be the subject of alarming headlines: “Neo-Nazis urge armed march to harass Montana Jews” and “Jewish man attacked in Montana by self-proclaimed Nazi on Oct. 7,” most recently.
But the state has also been a national model for how to effectively push back against hate. In 1993 in Billings, neo-Nazis threw a brick through a 6-year-old Jewish boy’s bedroom window, which was displaying a menorah. In response, the Billings Gazette printed a full-page picture of a menorah for readers to cut out and tape to their windows. Thousands posted the menorahs to show solidarity.
So when it came to teaching Montana’s students about Hanukkah, Stanfel knew she wanted to go beyond the Maccabees and include that local story — one that counters common stereotypes about Montana as a white Christian nationalist safe haven. Each Hanukkah box includes a copy of The Christmas Menorahs: How a Town Fought Hate, which recounts the Billings story, along with suggested discussion questions.
One prompt asks students: “What would you have done if you were in Billings at the time? Would you have encouraged your family to display a menorah? Why or why not?”
Heather McCartney-Duty, a fifth grade teacher at an elementary school in the city of Choteau, population 1,700, knows of three Jewish students at her school — and they’re all siblings. That made it all the more important to teach about Hanukkah, she said, both to educate non-Jews and help her Jewish students feel included.
With the help of Montana Jewish Project’s box, she read her students the picture book, taught them to play dreidel, lit candles, decorated the classroom in blue and white, and even displayed a “mensch on the bench.”
“The news stories that hit out of Montana are, Oh, the Unabomber. Oh, the Freemen. What crazy thing has Montana done today?” McCartney-Duty said. “So to have this massive effort towards pushing back against hate and pushing back against bullies, it’s very significant to kids that it happened in Montana.”
Another teacher using the Hanukkah box, Courtney Hamblin, is adapting the lesson for her older students at a high school in Billings. She’s coupling the story with watching the PBS documentary Not in Our Town and reading newspaper archives about the display of solidarity.
That lesson will prepare her students to read Night by Elie Wiesel in the coming months, she said, helping them become more familiar with Jewish references in the book.
To her, the Billings story shows students “that something local can become national,” Hamblin said. “I’m trying to teach them that little acts of kindness can balloon into these big things.”
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