Uncategorized
Italy is having a Yiddish moment. An unprecedented I.J. Singer translation is part of the boom.
(JTA) — In September 1932, Israel Joshua Singer boarded a ship bound for New York, where he had been invited to report on the United States for Yiddish-speaking Jews like himself.
“Americans are a difficult people to understand,” the famed novelist wrote in one of his first articles from the U.S. “They have tried at all costs to be, in every aspect, the opposite of Europeans.”
In a series of articles commissioned by Abraham Cahan, the famed editor of the Yiddish Forverts, Singer sought to help his readers understand this mirror world. On the eve of the Nazis’ rise in Europe, he marveled at the landscapes, the Jewish strivers and dreamers and the Christians who lent a sympathetic ear to the challenges facing Jews back home.
Nearly a century later, Singer’s astonished first encounters with America have appeared together in translation for the first time — not in English, but in Italian. “Viaggi in America” (Travels in America), published by the historic Italian Jewish publishing house Giuntina and translated from Yiddish by Enrico Benella, brings together I.J. Singer’s witty American dispatches for the Forverts.
The articles follow Singer from New York’s Jewish heart on the Lower East Side to Coney Island, the Catskill Mountains, the Warner Bros. studios in Hollywood and a General Motors factory in Michigan, among many other stops. Singer returned to Poland after his visit and moved permanently to the United States with his family in 1934, but he continued to observe the country with the distance of a European Jewish outsider. Most of the pieces in the new volume have never been translated, including into English.
The collection arrives amid an Italian revival of Singer and Yiddish literature in general, enabled by newly accessible digital archives, a new generation of translators and readers increasingly interested in Yiddish culture.
“Yiddish is alive and well — even in Italy,” said Shulim Vogelmann, the book’s publisher.
“I think the reason books like ‘The Family Carnovsky’ succeed [in Italy] is that they are books written in blood,” said Anna Linda Callow, who translated that Singer novel into Italian. Yiddish literature, she explained, emerged from a society being “violently confronted with modernity, the collapse of empires, and profound historical questions.”
Born in Poland in 1893, I.J. Singer was the elder brother of the future Nobel laureate Isaac Bashevis Singer. (Their sister Ester Kreytman also became a novelist and short story writer.) Within the Yiddish-speaking literary world, I.J. was once the better-known of the Singer brothers, but his work has long been eclipsed by Isaac Bashevis’.
When the Italian publisher Adelphi published the first Italian edition of his masterpiece “The Family Carnovsky” in 2013, the book became a major success, selling more than 120,000 copies. That was a watershed moment for Yiddish literature — and for I.J. Singer’s popularity — in Italy.
Before “Carnovsky,” Italian publishers had brought out a handful of Yiddish literary works, many of which were translated through English rather than directly from Yiddish (a practice that continues today). Since the success of “Carnovsky,” over 50 new editions of Yiddish books have appeared in Italy, from authors including Kreytman, Sholem Aleichem and Chaim Grade.
Interest in Yiddish culture has not been limited to books — and it does not appear to be closely entwined with surging anti-Israel sentiment in Italy, even as some Yiddishists report renewed interest from those who are embracing diasporic Jewish traditions.
Yiddish began reaching Italian audiences in the late 1980s, when director Mara Cantoni and performer Moni Ovadia staged a Yiddish-themed production at one of Milan’s most established theaters. Their work helped popularize Yiddish culture in the years that followed. (Ovadia later became one of Italy’s most prominent Jewish anti-Zionist public figures.)
But Miriam Camerini, an Italian artist and theater director who specializes in Yiddish culture, said presenting Yiddish material live has become more difficult during the Israel-Hamas war in Gaza. Speaking to JTA from Yiddish Summer Weimar, a festival in Germany that draws Yiddishists from around the world, she said theaters and cultural institutions increasingly told her it was “not the right time” for Jewish programming — even though her work focuses on diasporic and non-Zionist traditions.
“The fact that my work dealt with the history of the Bund,” Camerini said, referring to the Jewish socialist movement founded in the Russian Empire at the end of the 19th century, “did not lead people to say, ‘How interesting — let’s listen to Jews with different, non-Zionist ideas.’ No: anything Jewish was to be excluded.”
Instead, the Yiddish publishing boom can trace its roots in part to a practical matter: The copyrights for Singer’s work expired in Europe in 2015. While Elisabetta Zevi, an executive and Jewish literature editor at Adelphi, insisted on publishing “Carnovsky” just a couple of years before the copyrights expired, the financial barrier has been lifted for new titles.
Adelphi’s status as one of Italy’s most prestigious publishers also gave Singer a visibility in the country that earlier editions lacked and primed the pump for further interest.
“It was a masterful publishing coup,” Callow said, who recently began teaching a Yiddish course at the National Museum of Italian Judaism and the Shoah in Ferrara.
Another factor in the Yiddish boomlet was the emergence of new translators able to work directly from the language, a tiny but significant trend helped along by technology and the commitment of a passionate few.
“There are no university-level Yiddish courses in Italy, so you either have to go abroad to study or learn on your own,” said Enrico Benella, the translator of the new collection, in an interview. “It is therefore hardly surprising that so many major authors have been left behind.”
Within the remarkably narrow circle of Yiddish translators in Italy, Benella is an outlier — first and foremost, because he is not Jewish and did not start his career as a translator or a scholar of Jewish literature. Born near Padua in 1979, he only began learning Yiddish a few years ago, driven by a desire to read I.J. Singer’s work in the original.
Benella began studying through the Oxford School of Rare Jewish Languages, which offers free online courses on 18 Jewish vernacular languages, including various Judeo-Arabic dialects, Ladino and Judeo-Italian. Almost immediately, he began reading and practicing translating Singer’s work.
Digital access, also made possible by U.S. donors and research institutions, created another opening. Large collections of Yiddish books, magazines, and daily newspapers are now available online, including almost a century of the Forverts. The Steven Spielberg Digital Yiddish Library at the Yiddish Book Center in Massachusetts includes more than 11,000 Yiddish titles. YIVO, the Yiddish research center in New York, is digitizing its prewar library and archival collections.
“Yiddish literature will soon become the first modern literature to be completely digitalized,” Benella said.
Benella was inspired to pursue the translation of Singer’s American dispatches while reading “The Homeless Imagination in the Fiction of Israel Joshua Singer” by Anita Norich, one of the most prominent living scholars of I.J. Singer’s work. Benella worked through her bibliography of Singer’s Forverts journalism, much of it published under the pseudonym of G. Kuper. That’s where he first encountered the titles that “sounded American.”
He then approached Vogelmann, Giuntina’s publisher, and pitched the idea for the collection. Benella had already translated two other books from Yiddish for Giuntina. (Giuntina has also published a book by the author of this article.)
Anita Norich still remembers the painstaking work behind that bibliography, which she compiled in the 1980s while working on her first book on I.J. Singer.
“There was no index of the Forverts, and there was no search engine you could use,” she recalled. “I went to the YIVO library in New York, and turned the Forverts microfilm page by page, looking for his name.”
The desire to explain America to Yiddish-speaking American readers reflected a central part of the Forverts’ mission, Norich said.
Singer, who arrived speaking very little English, often looked beyond the stories and places familiar to Yiddish readers, and instead reported from Harlem and Chinatown, compared poverty in New York with poverty in Warsaw, and explored American commerce, culture, and religion.
“There is America to be described, there are American Jews, and then there is Singer, who is neither an American Jew nor an American,” Benella said. “Precisely for that reason, he has an additional point of view. His distance gives him a different perspective on an America that American Jews may be seeing from too close up.”
“You could define ‘Travels in America’ as the encounter between the Jews of Eastern Europe and true modernity in the United States.”
Singer encountered that modernity on his initial voyage. He marveled when the ship’s Christian passengers packed into a talk by a rabbi on the just-completed First Preparatory World Jewish Conference in Switzerland, Hitlerism and antisemitism.
“The large hall immediately filled with crowds of Christians,” Singer wrote. “They sat there listening … and applauded the speaker enthusiastically. It came as a surprise to me. Such a thing is completely incomprehensible to a Jew … and with what interest those genuine Americans listened to a Jewish man speak about Jewish problems!”
The dispatches also move from travelogue to comedy to political witness. One of the collection’s most notable pieces recounts a Nazi rally at Madison Square Garden — an article that Italian reviewers have highlighted in a country with its own Fascist past and wartime alliance with Nazi Germany.
“Whenever Jews were mentioned, the crowd roared like bloodthirsty beasts,” Singer wrote. “That hall reeked of a medieval hatred and bloodlust directed against everything honorable, just and humane.”
Norich said Singer’s journalism and fiction cannot be neatly separated. He reported what he saw, but he also turned the people he met into characters.
Benella described Singer’s humor as understated. “It never makes you burst out laughing; it’s closer to a form of analysis, a kind of sly teasing that shows you reality and laughs at it — but not in order to diminish it or belittle it.”
Norich, who has studied and translated Singer for decades, edited a recent three-volume English-language collection of his work for the Israeli publisher Koren. (The collection does not include the American dispatches.)
“I think readers are responding to something that’s going on now in our own world,” Norich said. “Antisemitism and the condition of Jews in Europe are an ongoing theme of his.”
Readers are responding to Singer’s “honest sense of uncertainty,” she said, about “all of these panaceas, all of these cures, all of these convictions that don’t listen to one another.” His work repeatedly returns to “Jewish arguments, political and religious messianism, and the fractiousness of communal life. As Singer put it, ‘I have the diagnosis, but not the cure.’”
Nearly a century after Singer used his European perspective to interpret America for Yiddish-speaking immigrants, the Italian translation adds another layer of distance: American Jewish life returns to contemporary readers through Yiddish and Italian.
“The sign of a great writer is that he’s steeped in his own world but speaks to other worlds and other times,” Norich said.
This article originally appeared on JTA.org.
The post Italy is having a Yiddish moment. An unprecedented I.J. Singer translation is part of the boom. appeared first on The Forward.
Uncategorized
‘Long overdue’: Henry Ford home to confront his antisemitism
(JTA) — DEARBORN – The bust of Henry Ford looked on sternly as hundreds of Jewish professionals flooded his pool room.
The visiting Jews admired the views of the Rouge River from Ford’s windows and strolled through his immaculately maintained garden. They studied a mock-up for a Navajo rug in his basement woven with a particular pattern — one that appeared to resemble a Nazi swastika.
The staff at Fair Lane, the historic Dearborn home of Henry and his wife Clara, welcomed the Jewish educators, historians and museum staff. Why they did soon became clear during a panel discussion in that pool room. When the home reopens to the public in June 2027, after a 17-year closure for restoration, staff will teach visitors about Ford’s antisemitism.
This facet of the pioneering industrialist’s life was hardly incidental. The onetime richest man in America published venomous conspiracy theories in his newspaper, The Dearborn Independent, for years. Hitler was a professed admirer, and Nazi Germany awarded him a medal.
Leaders of Jewish groups greeted the news that the home would address Ford’s antisemitism with optimism.
“We applaud Fair Lane’s commitment to addressing Henry Ford’s antisemitism publicly,” Catherine Cangany, CEO of the Jewish Historical Society of Michigan, told the Jewish Telegraphic Agency in a statement. “This history happened, it caused harm, and it continues to have consequences we all must confront.”
Cangany, who has research expertise on the Dearborn Independent, sat on the June panel with Fair Lane’s curators but is not involved in the antisemitism initiative itself. Local Jewish groups including hers have been pushing for Ford’s enterprises to acknowledge his antisemitism for years.
“The reckoning is long overdue, and we all will be better for it,” she said.
The curators did not broach specifics of their plan with their Jewish audience in June. For the rest of the summer, as Fair Lane proceeded with its renovations, most of the Detroit area’s Jewish leaders were kept in the dark.
More than two months after the conference, top staffers Austin Eighmey and Hannah McCready sat down with JTA in Ford’s library to outline their educational plans in more detail.
Surrounded by replicas of books on German race science that helped to inform Ford’s attitude toward Jews, they explained that they viewed discussions of antisemitism as core to the revitalized Fair Lane’s statement of purpose. Such information would sit, they said, alongside other unflattering aspects of Ford’s character, such as his union-busting activities.
“Our mission is to illuminate the lives and legacy of Henry and Clara Ford,” Eighmey, senior director of historic resources, said. Part of that legacy, he said, was noting that “he was an ignorant man, fed a lot of poor information that he himself sought out.”
“It’s our job to tell a more full picture and give people a lens with which to view history,” added McCready, the site’s director of interpretation and education.
In the Detroit area, where Ford’s name still looms large nearly 80 years after his death, such a commitment is notable. In 2023 the former president of the Ford Foundation, the family’s charitable arm, acknowledged and condemned its namesake’s antisemitism. Other local institutions devoted to historic purveyors of antisemitism have reckoned with their own legacies in recent years, including the church founded by demagogic “radio priest” Father Charles Coughlin.
But as Ford the man continues to be heavily mythologized today, by new generations of entrepreneurs and gearheads — and white supremacists — the physical museums and educational institutions in the region that bear Ford’s name and have connections to his family largely have not broached his antisemitism.
Those include The Henry Ford, a museum built around his personal collections; Greenfield Village, a historic reenactment village that includes a restoration of the mogul’s childhood home; and the Ford Piquette Avenue Plant, a Detroit heritage site where Ford’s Model Ts were built.
For a long time Fair Lane, too, didn’t touch the subject. After Ford’s widow Clara died in 1950, the property was turned over to the Ford Motor Company, which brokered a deal with the University of Michigan to build a Dearborn satellite campus on the site.
For decades the university offered tours of the grounds on a largely volunteer basis, also using it as an events space. The house has been closed to visitors since 2010, as the team undertook an extensive restoration project with an eye toward reopening for the public.
Eighmey said the plan to teach about antisemitism had been the goal since the restoration’s early days. The staff met with representatives from the Zekelman Holocaust Center, the state’s flagship Holocaust museum, to discuss how such a project would look.
“They were straightforward about Henry Ford’s antisemitism and hope that it will be incorporated into the interpretive narrative where appropriate but, at the same time, they respectfully acknowledged many of Henry Ford’s strengths and expressed a deep regard for Fair Lane’s stories, physical spaces, and current restoration work,” reads one executive summary of the focus group that a consultant shared with JTA.
A spokesperson for the Zekelman declined to comment to JTA for this article.
Local controversies in the interim called such educational commitments into question. In 2019 the city of Dearborn — where the Ford Motor Company is the largest employer — quashed a planned historical magazine that would have discussed Ford’s antisemitism, tied to the 100th anniversary of his acquisition of the Dearborn Independent.
In what Eighmey today refers to as “the whole fiasco here in Dearborn,” the city’s then-mayor, John “Jack” O’Reilly, fired the magazine’s editor, prompting outcry. O’Reilly died last year. His son, Devon O’Reilly, now serves as Fair Lane’s CEO.
Despite this history, the younger O’Reilly is supportive of the plan to teach Ford’s antisemitism on the site, the curators said. “We have not talked about his personal life, really, and his familial connections at all,” Eighmey said of O’Reilly.
The team has developed talking points about Ford’s antisemitism as part of their “non-negotiables,” museum terminology for facets of history that every visitor will encounter. Donna Braden, a museums consultant who formerly worked with The Henry Ford and who is Jewish herself, was hired to give her feedback on the plan and drafted her own proposed “non-negotiables” for the subject.
“Explaining the true story of Henry Ford’s antisemitism to non-Jewish people will help them understand why it is so important to the Jewish community,” Braden told the Fair Lane team in a report on their efforts.
In a summary she shared with JTA, Braden also advised the team to “be aware of many people who are unaware of Henry Ford’s antisemitism, and it will surprise them.”
Braden drew from “The People’s Tycoon: Henry Ford and the American Century,” an acclaimed 2006 biography by Steven Watts. Unlike other Ford biographers before him, Watts tackled his subject’s antisemitism head-on. His approach would later find surprising admirers within the Ford dynasty, leading to him presenting on the subject in 2018 to a room full of The Henry Ford staff and Ford family members.
“It was, I must say, quite an experience, because I spoke pretty frankly about all of this,” Watts, an emeritus history professor at the University of Missouri, recalled to JTA about his 2018 talk. “Most of the staff that talked to me about it actually indicated that they were a little relieved, I think, to have this brought out into the open in a fairly frank way.”
The talk, co-presented with the Jewish Historical Society of Michigan, did not lead to change — at least not at The Henry Ford, which has a separate ownership structure from Fair Lane. Today, no mention of Ford’s antisemitism can be found in The Henry Ford’s physical museum space, despite efforts from Braden and others to add such material. Some pages of its website now include some brief words on the subject.
Amid new efforts to push Ford’s family on the subject, Watts returned to Dearborn in 2024, partially to address Fair Lane at Braden’s invitation.
“I hope that they will move forward to bring Henry Ford’s antisemitism to the public,” he said, of both Fair Lane and The Henry Ford. “I got the idea when I was there that they were thinking strongly about a more frank and open approach to all of this, and I guess I would hope that is the approach that they take, and not the ‘sweep it under the rug’ maneuver.”
He told JTA that Ford’s antisemitism became most pronounced in the 1920s, shortly after the height of his business success.
Watts traces Ford’s antisemitism not to any one specific root cause, but rather to a confluence of factors, including the mogul’s economic populism; his failed efforts to send a “Peace Ship” of dignitaries to Europe during World War I, which he came to blame on a “Jewish financial interest in Europe”; and his embrace of conservative cultural signifiers, including square dancing.
“He basically begins to argue that Jews lay behind the corruption of that old-fashioned kind of rural, WASP cultural virtue, that Jews were behind jazz music, Jews were behind Hollywood movies, and that there was a kind of moral degradation that was at work,” Watts said.
Fair Lane has a separate ownership structure from The Henry Ford and Greenfield Village, both of which are largely built around other subjects Ford was passionate about, such as American innovation, rather than the mogul himself. Fair Lane, its curators say, is the natural place for visitors to learn about the Fords’ personal lives and beliefs.
Ford descendants still weigh heavily on Fair Lane’s board — including chair Edsel Ford II, Henry’s great-grandson, whom Eighmey refers to as “the Deuce.”
The family was onboard for this reappraisal, the curators said. Fair Lane’s models in the museum space include Monticello, Thomas Jefferson’s plantation in Virginia that has taught visitors about his slaveholding; and the Frick museum in Pittsburgh, where industrialist Henry Clay Frick comes under scrutiny for his fierce anti-union stance.
Visitors to Fair Lane, Eighmey promised, will “never leave here thinking, ‘Oh, it wasn’t that big of a deal.’”
The Fair Lane team chose to restore the house to its condition in 1919 — in part because the home was photographed for an architectural magazine that year, allowing the curators to use it as a visual reference.
The date is significant for another reason. 1919 was also the year that Ford acquired the Dearborn Independent, which he would soon use to publish a series of antisemitic conspiracies called “The International Jew” as well as the Russian forgery “The Protocols of the Elders of Zion,” which purported to outline secret Jewish plans for world domination.
Ford would require his dealerships to distribute copies of the paper with every automobile purchase, making the Independent, for a brief time, one of the country’s highest-circulated newspapers. Ford’s role as newspaper publisher was, in Watts’ estimation, the most notorious and seismic way the mogul’s antisemitism manifested in his lifetime.
The choice to reset his home to the year he launched the paper “is further bringing all of this together as a narrative throughline,” McCready said.
After the paper shut down in 1927, owing in part to a libel suit brought against Ford by Jewish attorney and labor activist Aaron Sapiro, Ford — with the help of Jewish community figures — publicly apologized for spreading antisemitism. Around the same time, the celebrated Jewish architect Albert Kahn helped renovate Fair Lane.
The planned 90-minute Fair Lane tour, which is currently being workshopped, touches on the Peace Ship and Ford’s wielding of the Dearborn Independent. McCready described the tour’s intended arc: “He fails with the Peace Ship. He decides that there is a hostile press that’s controlled by financiers that’s against him. He purchases this failing local newspaper and starts getting really obsessed with his image in the media, and we kind of take it from there.”
It does not get into the Sapiro trial, though tour guides will discuss the topic if visitors bring it up. They also don’t plan to discuss the medal Ford received from Nazi Germany in the late 1930s when Hitler publicly expressed admiration for him, noting that it falls nearly two decades after the time period represented by the house’s restoration.
Watts, the Ford historian, told JTA that Ford had suffered two strokes at the time he received the medal, and “was in very bad shape” — possibly impairing his judgment.
“I think Ford’s got a lot to answer for, but I don’t think he was a Nazi,” Watts said. “I think things kind of went off the rails there.” By 1942, Ford was again publicly renouncing antisemitism, calling it “a distinct disservice to our country.”
At the Jewish museums conference, Cangany, the Jewish Historical Society of Michigan CEO, suggested the Fair Lane team should display copies of the Dearborn Independent around the house to demonstrate the effects of Ford’s worldview. That’s not part of the plan, Eighmey said: “It’s not on the site, and it never was.”
But the house does have other eye-catching artifacts. A room in the basement, in keeping with historic specifications, will be outfitted with a Navajo rug stitched with the ancient “whirling logs” symbol, which the Nazis later co-opted as the swastika. Ford had acquired the rug and displayed it in his home beginning in the 1910s, well before the Nazi swastika was popularized.
Maintaining an honest assessment of its founder’s troubling history is a tall order for any museum in modern times. Even Monticello, which Fair Lane held up as a model, has faced right-wing backlash from figures who want the site to minimize discussions of slavery.
Meanwhile, Ford’s legacy continues to shape the modern era as new conservative cultural figures from the business world push similar brands of populism.
In 2022, amid a dispute with the tech mogul Elon Musk over the prevalence of antisemitism on his social network X, the Anti-Defamation League’s CEO, Jonathan Greenblatt, called Musk “the Henry Ford of our time.”
Greenblatt later apologized for the comparison -– but some commentators noted that it was even more apt than he may have meant. “Twitter is to Musk as The Dearborn Independent was to Ford,” the writer Parker Molloy wrote at the time.
Last month in Dearborn, which today has a large Arab/Muslim community, neo-Nazi activists wearing swastika armbands staged an anti-Muslim rally. Their choice of venue carried historical echoes: They organized outside the Henry Ford Centennial Library.
The Fair Lane team is aware of the modern significance of Ford’s antisemitism, they said.
“Populist movements, they always end up using antisemitism as some sort of way to recruit people to their cause,” Eighmey told JTA. “And it’s a reality that I hope, after people leave their experience here, they do reflect on it and see, ‘Wow, wait a minute. Is this happening right now around me?’”
This article originally appeared on JTA.org.
The post ‘Long overdue’: Henry Ford home to confront his antisemitism appeared first on The Forward.
Uncategorized
Jewish artists face a relentless culture war over Israel. Some are building a way around it.
The pop star P!nk went into Rosh Hashanah explaining herself.
After sharing a post calling for rapper Macklemore to be dropped from Ed Sheeran’s tour over his pro-Palestinian performances, the Jewish singer faced a backlash of her own. On Friday, she clarified that she supported Palestinian humanity, opposed silencing artists and wanted room to express Jewish fear without being accused of endorsing Israel’s war.
Macklemore, meanwhile, said his criticism of Israel was not directed at Jews. Their exchange captured how quickly an argument about a performance can become a fight over identity — and who gets to define someone else’s.
Nearly three years after the Oct. 7 Hamas attacks, those fights are becoming part of the ordinary business of culture: promoting a movie, booking a concert, selling a manuscript. And some Jewish artists and executives are responding by building new places to take their work.
Consider Gal Gadot. While promoting her new Prime Video thriller, The Runner, the Israeli actress and former IDF soldier appeared on Jimmy Kimmel Live! last week, where she and Kimmel blew shofars for Rosh Hashanah. “Why platform her?” read a typical comment under the video on social media. Even sharing an episode became a point of contention: A member of MUNA, the musical guest, subsequently said the band’s performance had been prerecorded and that it hadn’t known who else would appear, adding a message supporting Palestinian freedom.
Artists critical of Israel face their own confrontations. Last month, Paramount accused Mark Ruffalo of invoking antisemitic tropes after he attacked the Ellison family’s corporate interests and Oracle’s work with the Israeli military. Ruffalo rejected the accusation, saying he was criticizing executives and government policy. The disputes involve different conduct and different stakes, but they keep returning to the same contested boundary between political criticism and prejudice.
In publishing, the consequences can be harder to see. Jewish and Israeli authors told The Wall Street Journal that agents had dropped them, editors had sought to remove Jewish or Israeli elements from manuscripts, and overseas publishers had become unwilling to buy their work. Some agents explicitly reject submissions from Zionists.
The picture is uneven: Jewish writers across the political spectrum continue to produce bestsellers, and a rejected manuscript alone cannot establish discrimination. But the accounts have helped spur new businesses.
A wave of new publishers has emerged to give Jewish and Israeli writers a home after agents and editors say mainstream houses have quietly frozen them out since Oct. 7: Neil Blair, best known as J.K. Rowling’s literary agent, launched High Line Publishing Studio last week to publish authors he says have been shut out elsewhere; Canary Publishing opened this month with the same mission; and Meg Keene Books, a new fiction imprint, will publish the American edition of Howard Jacobson’s Howl, which struggled to find a U.S. publisher despite its Booker Prize-winning author.
A similar response is taking shape in Hollywood. Former NBC co-chairman Ben Silverman is among the backers of SHOOQ, a new platform connecting Jewish filmmakers with investors and philanthropists. Its founders say talented storytellers need help finding the funding to get their projects made.
These ventures offer something practical to people exhausted by defending their right to participate: a publisher, a financial introduction, a way to keep working. They also raise a question that will outlast the latest celebrity argument: Can new Jewish cultural institutions help artists reach a wider public, or will an increasingly divided industry leave them speaking mainly to their own?
This essay first appeared in our Forwarding the News morning newsletter. Subscribe here.
The post Jewish artists face a relentless culture war over Israel. Some are building a way around it. appeared first on The Forward.
Uncategorized
‘We return changed’: Michigan synagogue reopens for Rosh Hashanah six months after a gunman forced them out
Six months after he was injured protecting his synagogue, Danny Phillips helped carry a Torah back into its sanctuary. The security director was still recovering. So was the congregation.
On Friday evening, the Jews of Temple Israel in West Bloomfield, Michigan, returned to celebrate Rosh Hashanah in the sanctuary they had been forced to leave after a gunman attacked their synagogue in March. The Torah scrolls came home to their ark. Familiar prayers filled the room again. And the High Holidays’ ancient invitation to return took on a meaning no one there could have anticipated a year earlier.
“This room holds more than our services; it holds our memories,” Cantor Neil Michaels said in his welcome, recalling the weddings, coming-of-age ceremonies and farewells that had taken place there.
Throughout the service, clergy and congregational leaders spoke openly about what it meant to enter a sacred space where their sense of safety had been shattered. They described gratitude alongside grief, and the effort of caring for others while still struggling themselves. Returning to the building was one step toward learning to feel at home again.
The congregation’s co-presidents, Debra Gordon and Jodi Neff, gave that work a plainspoken expression: “How do you lead others when you are trying to steady yourself?” Gordon asked.
The answer, in the stories shared from the bimah, was that others helped carry the weight.
The prayer books came from other congregations. Temple Israel’s machzors had been destroyed in the attack, and the edition it used was out of print. Synagogues around the country sent replacements. Rabbi Harold Loss told worshippers that the book he picked up bore another congregation’s initials — a small reminder, held in his hands, of the community that had sustained them.
The children had already made their own return. Earlier that week, students came back to the early childhood center and received teddy bears marking the occasion with the Shehecheyanu, the blessing of gratitude for reaching a significant moment. An educator recalled a parent saying that, after six months in which nothing had felt normal, the first day back finally did.
Their neighbors had helped make the journey possible. On the day of the attack, the Chaldean Christian community’s Shenandoah Country Club across the street sheltered children and teachers. The following evening, it hosted the congregation for Shabbat. At the holiday service, Temple Israel’s leaders again thanked those neighbors, along with the staff, first responders and restoration workers who helped sustain and rebuild their community.
Coming home still required protection. The March 12 attacker drove a truck into the synagogue and exchanged gunfire with security personnel while preschoolers were inside. The reopening included additional security measures. Temple Israel’s Rabbi Josh Bennett has also spoken about the emotional and financial difficulty of making a synagogue secure while preserving its welcome — a challenge facing Jewish congregations far beyond Michigan.
Near the end of their remarks, the co-presidents described teshuvah, the season’s work of return, as something that allowed room for everything the congregation had endured.
“We return changed,” Neff said, “but still rooted.”
This essay first appeared in our Forwarding the News morning newsletter. Subscribe here.
The post ‘We return changed’: Michigan synagogue reopens for Rosh Hashanah six months after a gunman forced them out appeared first on The Forward.
