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How Judy Blume’s ‘Are You There God? It’s Me, Margaret’ broke taboos around interfaith marriage
(JTA) — When Judy Blume’s young adult novel “Are You There God? It’s Me, Margaret” appeared in 1970, intermarried families were a small segment of the American Jewish population. Perhaps 17% of Jews were married to someone who wasn’t Jewish; today, 42% of married Jews have a spouse who is not Jewish, and in the past decade, 61% of Jews married non-Jewish partners.
Through the 1960s, middle-grade and young adult fiction rarely acknowledged the existence of these families, reflecting and reinforcing their outsider status. Today it is routine for authors to address the reality of inter-religious and culturally mixed families, portraying them with insight and compassion. (See “Not Your All-American Girl” by Wendy Wan-Long Shang and Madelyn Rosenberg, “Becoming Brianna” by Terri Libenson and “The Whole Story of Half a Girl” by Veera Hiranandani.)
This change was made possible partly by Blume’s story of sixth-grader Margaret Simon and her one-sided conversations with God.
Blume’s status as a pioneer in young adult literature is usually associated with her honest approach to the emotional, physical and sexual milestones of growing up, with her works still attracting readers and still finding an honored place on lists of banned books. That legacy is being celebrated in April with a new documentary, Amazon Prime Video’s “Judy Blume Forever,” and a theatrical release by Lionsgate of a feature film version of “Are You There God?”
Yet her treatment of contested identity in intermarried families is as revolutionary as her openness about bras, menstruation and sexual feelings. Actors Lena Dunham and Molly Ringwald, comedian Samantha Bee and many authors, including Raina Telgemeier, Tayari Jones and Gary Shteyngart, have cited Blume’s influence on both their lives and their work. Book lists for intermarried families frequently list the novel as a resource.
Margaret Simon is 11 years old at the start of “Are You There God?” Her Jewish dad and Christian mom have pointedly ignored the possibility that their daughter might have questions about her identity. Along with other issues of teen angst, she feels compelled to decide if she is Jewish, Christian or neither. Without any guidance, the last alternative leaves her in a frightening void. As she pointedly asks God, in her ongoing series of questions for Him, “I can’t go on being nothing forever, can I?”
Margaret’s parents, Barbara Hutchins and Herb Simon, fell in love and defied their respective parents by marrying out of their faiths. They assure Margaret that she has no religion, but can choose one when she is older, oblivious to the fact that this solution seems more of a burden than a promise of future freedom. Their avoidance of any serious engagement with either religion or culture renders any possible choice unlikely.
Blume situates Margaret’s search within the specific landscape of post-World War II America. When the Simons decide to leave their Upper West Side home in New York City and move to suburban New Jersey, their decision suggests a coded reference to their religious status. Long Island is “too social,” an implied euphemism for “too Jewish.” Living there might have made it harder for their relatively unusual situation to be discreetly ignored. On the other hand, the more affluent Westchester and Connecticut are “too expensive” and “too inconvenient.” Farbrook, New Jersey has enough Jews for it to feel right for Herb, but not so many as to make their mixed family stand out.
Margaret also suspects that her parents’ are determined to put distance between the Simons and Sylvia, her paternal grandmother, who lives in New York City. This gregarious woman shows up at their new home unannounced and toting deli foods, making it clear that Margaret’s one unambiguous connection to Judaism is not going to disappear. While Barbara’s parents utterly rejected her when she married a Jew, Sylvia has pragmatically decided to accept what she cannot change. In the postwar era, more Jews began to abandon or minimize religious practice, while still maintaining ethnically distinct customs. Like holiday observance or synagogue attendance, ethnic Jewish culture is also absent from the Simon home. Sylvia’s Jewish food, her frequent trips to Florida, even her combination of sarcasm and smothering warmth, provide Margaret with markers of the tradition her parents have eschewed.
Still, when Sylvia repeatedly asks Margaret if her (nonexistent) boyfriends are Jewish, the young girl is baffled. Given her own lack of consciousness of herself as Jewish, why would Margaret care?
Rachel McAdams and Abby Ryder Fortson in the forthcoming film adaptation of “Are You There God? It’s Me, Margaret.” (Dana Hawley/Lionsgate © 2022)
In the larger world of Farbrook, Margaret’s new friends seem to have more secure identities, conveniently defined by membership either in the “Y” (Young Men’s Christian Association) or the Jewish Community Center. Perfunctory attendance at Hebrew school until after one’s bar mitzvah is the furthest extent of her peers’ Jewishness. Margaret explains that her parents are “nothing” and that, prior to their marriage, they were Jewish and Christian, as if those identities could be cast off like an article of clothing. When Mr. Benedict, her enthusiastic young teacher, distributes a questionnaire, Margaret completes the prompt “I hate” with “religious holidays.” He attempts to draw her out about this troubling answer, and she scornfully observes that her teacher acted as if “he had uncovered some deep, dark mystery.”
On one level, he has. Her mother’s blandly universal definition of God as a “nice idea,” who “belongs to everybody,” is clearly a denial of the fractures in her family members’ lives.
Blume also captures the essence of mid-century non-Orthodox Judaism as comfortably accessible, yet also somewhat empty. On a visit to Grandma Sylvia’s elegant temple, the atmosphere is quietly decorous, the sanctuary filled with well-appointed congregants and beautifully arranged flowers. Sylvia’s rabbi greets Margaret with an enthusiastic “Good Yom Tov,” which he translates as “Happy New Year,” although it is actually a generic holiday greeting.
When Margaret later visits Presbyterian and Methodist churches, she notes the remarkable similarity among all three experiences.
The novel’s one incident of specific religious practice involves Margaret’s brief, unfinished confession in a classmate’s Catholic church. Having participated in bullying, Margaret tries to assuage her guilt through a ritual alien to both her father’s Judaism and her mother’s Protestant Christianity. She even momentarily confuses the priest with the silent God of her conversations. Nothing could be further from her parents’ rejection of religion, or from Grandma Sylvia’s loving assurance to Margaret that “I knew you were a Jewish girl at heart.”
When Margaret’s Christian grandparents decide to resume contact, the suppressed anger in the Simon home finally erupts. Herb is furious, and accuses his in-laws of only wanting to meet Margaret “to make sure she doesn’t have horns!” — a caustic reference to a persistent antisemitic myth. Blume had subtly foreshadowed this disruption of the status quo in a parallel event at school. When a Jewish student, backed by his parents, refuses to sing Christmas carols, the implicit agreement of the town’s Jews to quietly conform is broken. A Christian girl, in what seems an act of retaliation, then refuses to sing Hanukkah songs. These acts of resistance reinforce Margaret’s marginal status. Her intermarried family represents neither conformity with postwar norms nor an assertion of Jewish pride.
Blume appears to tip the scales in her portrayal of Mary and Paul Hutchins, Margaret’s maternal grandparents. Entirely unlikeable, simultaneously pushy and cold, they insist that the granddaughter they had never acknowledged is Christian. After their failed visit, Grandma Sylvia returns, along with her sweet and obviously Jewish new boyfriend, Mr. Binamin (“rhymes with cinnamon”). Readers rooting for the triumph of Margaret’s Jewish roots may breathe a sigh of relief here, but hope for a satisfying ending is illusory. Margaret’s search for a stable sense of self is still unfinished, and will not be satisfied by choosing membership in either the Y or the JCC.
For young readers, the novel’s discussion of religious identity proved as life-changing as its honest portrayal of puberty and menstruation. “I related to that kind of conflict of religion,” the comedian Chelsea Handler, who grew up in a mixed Jewish-Mormon home, told Blume in 2020. “At that time, I just found out my mom was Mormon, on top of thinking she was Jewish, and your books were such a reprieve for me and such a joy.”
More than 50 years ago, Judy Blume tackled a difficult subject, about both changing demographics and the search for authenticity in American Jewish life. Margaret’s conclusion that “twelve is very late to learn” about the essence of who you are still poses a challenge, while her persistent search for a meaningful identity offers a degree of optimism.
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Jonah Hill’s cancel culture dramedy makes an antisemitism exception — all about Kanye
Ye, the rapper formerly known as Kanye West, is having an interesting April.
Fans are hailing his new album Bully as a return to form. (Critics are more mixed.) He reportedly made $33 million from two sold-out shows in Los Angeles, but he was also banned from entering the U.K. owing to a pressure campaign by Jewish groups over a scheduled headlining performance at the Wired music festival, even as the artist, who recently attributed his antisemitic behavior to a brain injury and bipolar disorder, offered to have “meet and listen” sessions with the Jewish community.
On top of this mixed reception, add a movie premiere. Ye has a memorable cameo in Jonah Hill’s new AppleTV+ film The Outcome, about an A-list actor’s teshuvah tour. And that moment has something to say about what to do with the artist’s outbursts.
Hill’s character, a crass crisis lawyer named Ira, assembles a dream team to protect his client, Reef Hawk (Keanu Reeves), who is awaiting the release of an incriminating video. The nature of this video is unknown beyond its potential to derail his comeback after a five-year sabbatical to treat a secret heroin addiction. Among Reef’s potential defenders are a Gloria Allred-style lawyer (Laverne Cox), a Black minister legendary for his work on civil rights (Roy Wood Jr.) and an ambassador from the Asian-American community (Atsuko Okatsuka). Ira notes someone missing from the mix, one “Moshe, from the Antisemitism Committee,” perhaps a poorly-named stand-in for the ADL.
“We ran the numbers,” Ira’s assistant says by way of explanation. “It turns out that hating Jews doesn’t negatively affect a person’s career. In fact, it could help.”
And we cut to a black-and-white headshot of Ye, occupying the whole screen.
Hill explained this choice in an interview with TMZ, saying the scene wasn’t just there to score a cheap shot at Ye, who publicly (and compellingly) apologized in an ad in the Wall Street Journal in January.
“In the midst of all this Jew stuff, he did Instagram a picture of me in the 21 Jump Street poster,” Hill recalled. “And he said something along the lines of ‘I don’t hate Jews anymore because I love Jonah Hill.’”
“Me and him got no beef,” Hill continued.” I just put that in there like, ‘Yo, you’re gonna f—ing put the 21 Jump Street poster up there and say you don’t hate Jews anymore. That’s pretty wild. I’m gonna put a picture of you saying that like, hating Jews helps your career.’”
Clearly a sight gag and a bit of an inside joke. But is it true?
Running my own numbers, and not even accounting for this last week of ups and downs, Ye took a major hit to his net worth when he lost his Adidas partnership, backsliding all the way from billionaire to mere multimillionaire. Fans still turn up for Ye, and some even seem to like what I’ll call his Hitler catalogue. That said, it’s hard to imagine him making a full recovery, once again gracing the stage at the Grammys or headlining a major festival or getting a shot at the Super Bowl halftime show.
The difference between Ye’s transgression and that of others is instructive. There’s plenty of arguable antisemitism in the case of celebrities whose pro-Palestinian advocacy has crossed the line into something unsavory. Rappers Bob Vylan of “death, death to the IDF” fame and Kneecap, who chanted “up Hamas, up Hezbollah,” come to mind. They have had their own brushes with cancellation and been denied visas because of their antics — but also strong support from those who believe they are simply speaking up for Palestinians. The ascendancy of Israel conspiracies, echoing age old canards, has recently produced an odd coalition between pundits on the far-left and far-right, and hasn’t put a dent in their audience.
(Hill, though Jewish, was accused of dabbling in Jewish stereotypes his last film, You People, and he will likely get some flack for this movie, both for his character — a kind of grubby fixer who calls his client “Bubbie” — and for a joke where Man’s Search for Meaning is referred to as “the most lit Holocaust book.”)
Even in this environment, Ye is toxic for mainstream consumption, because when he went “death con 3” on the Jews, his words had no agenda beyond delusion-fueled animus about Jewish control of the media. Ye’s awareness of the Middle East was best expressed on the occasion he used a fish tank net and Yoo-hoo bottle to represent the Israeli prime minister. Vylan and Kneecap’s slogans are more subtle and plausibly deniable than one of Ye’s latest tracks, literally called “Heil Hitler.”
There was no hedging it, try as Candace Owens might. It was Jew Hate Classic, the original recipe. And it wasn’t, in the case of Mel Gibson, a pattern that emerged over relatively wide gaps of time with only one incident widely known to the general public. It was an endless, often marathon torrent of invective and odd tangents care of an unmedicated bipolar insomniac. It went on for months. Then died off. Then came back swinging in the form of an album the concept of which could, charitably, be defined as spiritually Hitlerian.
The sheer concentration of vitriol seems like proof that the outburst was the result of a manic episode, which could afford the rapper some grace. Instead, he now lives in a liminal space between relevance and punchline. This strain of antisemitism doesn’t boost careers — yet — but the man behind it can sell out stadiums in spite of it.
All the while, the question of what to do with Ye’s mental health, and how it factors into his cancellation makes him a conundrum, even if it should by rights be a better excuse than Mel Gibson’s squad car in vino veritas. (Gibson is mentioned in the film, in the context of a poppers-related Weekend at Bernie’s scenario, not his own scandal.) Before we render a judgment, we need commitments he won’t repeat his tirades and so continue to influence looksmaxxers, incels and their overlapping Venn Diagram of Nazi revivalists.
Hill’s belief that Ye’s antisemitic streak was good for business is symptomatic of something fundamentally off with the director’s treatment of cancel culture. It feels out-of-touch even — or maybe because — it draws from experience. Hill himself was the victim of cancellation some years ago, when his ex leaked texts in which he weaponized “therapy talk.” Hill’s project, with a cast that includes Reeves, Van Jones, Martin Scorsese, Drew Barrymore and a rare appearance from Cameron Diaz, is itself proof of how not all cancellations are created equal or indefinite.
The Outcome is in tension with itself, part Hill’s version of Don Henley’s “Dirty Laundry” and Seth Rogen’s The Studio, part earnest penance that may or may not be coming from the director-writer himself.
One of the lines, delivered by Reef’s reality star mother (soap opera icon Susan Lucci), as a crew films their rapprochement for Bravo, sums the film up nicely: “Just because it’s performative doesn’t mean it’s not the truth.” We’ll have to take her word for it.
When it comes to Ye, there is some truth that antisemitism alone can’t crater a career — with the exception of lesser talents, it never could. We need not wonder how it has affected Ye’s popularity with Hill, who cited him on TMZ as “probably the greatest artist whoever lived.”
As Ira departs the film, we see his bumper sticker: “Honk if you can separate the art from the artist.” Hill would blow out the horn, and hopes you might too.
Jonah Hill’s The Outcome debits April 10 on AppleTV+.
The post Jonah Hill’s cancel culture dramedy makes an antisemitism exception — all about Kanye appeared first on The Forward.
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Dollar Struggles to Rebound as Fragile US-Iran Ceasefire Keeps Markets Wary
U.S. $100 bills. Photo: Wikimedia Commons.
A fragile calm reigned across currency markets on Thursday as traders kept their eyes fixed on whether the ceasefire between the US and Iran would hold, a day after its announcement sent the dollar tumbling across the board.
The deal appeared to be on thin ice, as Israel bombed more targets in Lebanon, and there was no sign Iran had lifted its blockade of the Strait of Hormuz, which has caused the worst disruption to global energy supplies in history.
Iranian negotiators were expected to set off later on Thursday for Pakistan for the first peace talks of the war, but Tehran said there would be no deal as long as Israel was striking Lebanon.
President Donald Trump said all US ships, aircraft, and military personnel would stay in place in and around Iran until it fully complied with a deal.
The uncertainty left currency markets on edge.
The euro was up 0.17 percent at $1.1683. It had gained 0.6 percent on Wednesday, but retreated late in the day having touched a one-month high of $1.1721 earlier in the session.
Sterling similarly was 0.21 percent higher at $1.342, after gaining 0.77 percent on Wednesday, but retreating from as high as $1.348.
Meanwhile, the Japanese yen lost some ground, with the dollar up 0.3 percent at 159.055 yen, having briefly dropped below 158 on Wednesday.
With the Strait of Hormuz closed, “the entire ceasefire remains tenuous,” said Derek Halpenny, head of research global markets EMEA at MUFG. But, he added, “while the US dollar has rebounded, the moves in general have been modest.”
He said the fact that further talks scheduled in Pakistan were still going ahead was keeping any retracement of Wednesday’s moves in check.
Elsewhere, new personal spending data released on Thursday showed that US inflation increased as expected in February and likely rose further in March amid the war with Iran, a trend that is expected to discourage the Federal Reserve from cutting interest rates for a while.
The personal consumption expenditures price index climbed 0.4% after an unrevised 0.3 gain in January, the Commerce Department’s Bureau of Economic Analysis said on Thursday.
Japan’s consumer confidence worsened in March for the first time in three months, a government survey showed on Thursday, adding to a recent string of data pointing to the potential economic hit from the Middle East war, which would complicate the Bank of Japan’s rate-hike decision. The yen showed little reaction to the data.
Speaking in parliament, BOJ Governor Kazuo Ueda said real interest rates were clearly negative and were keeping the country’s financial conditions accommodative.
Other currencies were also broadly steady. The Australian dollar was 0.15 percent higher at $0.7054, while the New Zealand dollar was 0.46 percent higher at $0.585. In cryptocurrencies, bitcoin was last down 0.97 percent at $70,680.
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Opposition Leader Lapid Calls the Ceasefire with Iran a ‘Political Disaster’
FILE PHOTO: Israeli opposition leader Yair Lapid delivers a statement at the Knesset, Israel’s parliament,, in Jerusalem, February 13, 2023. REUTERS/Amir Cohen/File Photo
i24 News – Israeli opposition leader Yair Lapid on Wednesday launched a sharp attack on the ceasefire agreement reached between the United States and Iran, calling it a “political disaster” and directly blaming Prime Minister Benjamin Netanyahu.
In a post on X, Lapid said the agreement sidelined Israel from critical decisions affecting its national security. “Never in our entire history have we experienced such a diplomatic disaster,” he wrote, adding that “Israel wasn’t even at the table when decisions were made regarding the core of our security.”
Lapid accused Netanyahu of failing to translate military achievements into strategic gains, despite praising the performance of the Israeli military and the resilience of the public during the conflict. “The army has accomplished everything that was asked of it, and the citizens have shown remarkable strength,” he said.
However, he argued that those efforts were not matched by political leadership. “Netanyahu has failed politically, failed strategically, and has not achieved any of the goals he set for himself,” Lapid added.
The opposition leader also warned of long-term consequences stemming from the agreement, saying the fallout could take years to repair. He criticized the government’s handling of the crisis, citing what he described as “arrogance, negligence, and a lack of strategic vision.”