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In rare move, haredi magazine publishes photo of a woman — a forgotten donor to European yeshivas
(JTA) — When readers of Mishpacha magazine opened up the Passover issue, they found two surprises. The first was the unsung, mysterious story of a prolific American philanthropist, Jennie Miller Faggen, who supported dozens of European yeshivas before World War II.
The second was a rarity in the world of haredi Orthodox publications: Miller’s photograph.
Mishpacha and other haredi magazines have long refrained from publishing photos of women, though some exceptions have been made. The publications’ editors cite traditional haredi mores regarding modesty and shielding women’s appearances. Feminist groups in the Orthodox world and elsewhere, however, say such policies demean women and aid in their erasure from the public sphere.
Mishpacha did not respond to requests for comment as to why and how it decided to include the picture of Miller, who donated tens of thousands of dollars to Orthodox educational institutions in the 1920s. Nor did Dovi Safier, who authored the article as well as a book about Miller called “Mother of all Yeshivos.”
But Orthodox feminists took notice of the photo, which depicts Miller wearing a hat and is shaded in blue. The cover of Safier’s book features the same image and design. The print version of the article also included a photograph with the face of another woman — Rebbetzin Temi Kamenetsky, the late wife of Rabbi Shmuel Kamenetsky, a prominent Lithuanian haredi rabbi who lives in Philadelphia.
“How wonderful to hear and see that @themishpacha included these images in this week’s edition,” Chochmat Nashim, an organization that fights extremism and sexism in the Orthodox community, posted on social media last week. “We CAN come back from the trend of erasing women and include the entire Jewish family & community in our visual depictions. Ken Yirbu [the more the better].”
Historian Rivka Press Schwartz tweeted, “I’m one of those Orthodox feminist nudniks who doesn’t buy your publication because of no pictures of women. Bought your Pesach issue because of @safier’s article about Jenny Miller Faggen–and because I saw you included pictures of her. Incredible.”
Safier uncovered Miller’s philanthropic pursuits through a three-year-long reporting effort that took him through archives, letters and a Rolodex of prominent rabbis. Miller Faggen, who was born in New York but spent much of her life in the Philadelphia area, funded dozens of yeshivas across Europe and the United States, and hosted prominent rabbis at her 18-room home in the Strawberry Mansion neighborhood of Philadelphia. Widowed twice, she inherited the bulk of her wealth from her first husband’s business in the city’s booming textile and real estate industries. Many of her contributions were forgotten when the yeshivas she supported were destroyed during the Holocaust.
This is not the first time Mishpacha has published photos of women. Articles in 2021 about a turn-of-the-20th century Jewish nursing home in New York City, and about the Holocaust in Telz, Lithuania, each contained prewar photos of women. Responding to a tweet about the photo of Miller in his latest article, Safier wrote, “Far from the first time. But I guess because the story is about a women [sic] it’s getting more attention.”
Mishpacha attracted particular attention in November 2016, ahead of that year’s election, when its cover image included profile views of Donald Trump and Hillary Clinton facing each other, both in negative exposure and both covered in collages of their campaign symbols. After the issue was published, an editorial from Hamodia, an Israeli haredi paper, denounced the decision, arguing that a “true” haredi publication would never show an image of a woman.
“There are no – there haven’t been, and there won’t be – any pictures of women in the true haredi press, not of those who have reached high positions of sovereignty and power in their countries, and also not pictures of women in Jewish life,” the editorial read. “These are our ways of life, these are the fences that surround them, and they don’t change, and aren’t connected to political circumstances.”
A contributing editor for Mishpacha, Sruli Besser, responded at the time that the magazine engaged in “hours of conversation and deliberation with real rabbanim,” or rabbis, before arriving at the decision to print a version of Clinton’s picture.
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”