Uncategorized
Jewish Council for Public Affairs names Amy Spitalnick, who sued Charlottesville rally organizers, as its CEO
WASHINGTON (JTA) — The Jewish Council for Public Affairs has tapped Amy Spitalnick, who spearheaded a successful multimillion-dollar lawsuit against neo-Nazis, as its next CEO.
The decision is a sign that the group, called the JCPA, is pursuing a more assertively liberal approach. For nearly 80 years, it was an umbrella for local Jewish community relations groups, and was affiliated with the Jewish Federations of North America, which has historically been driven by consensus across local Jewish communities. But in December, it split from the federation system and rebranded as a more explicitly progressive group.
The statement Monday announcing Spitalnick’s hire highlighted her work at the helm of Integrity First for America, the nonprofit that underwrote a successful lawsuit against the organizers of the deadly neo-Nazi march in Charlottesville, Virginia in 2017. The statement emphasized fighting for democracy against hate as priorities, and called Spitalnick “a powerful national voice on issues of democracy, antisemitism, extremism, and hate.”
Spitalnick, 37, told the Jewish Telegraphic Agency that she would focus on building relationships with other communities that are vulnerable to hatred and erosions in democracy.
“There needs to be an organization that wholeheartedly recognizes how deeply intertwined Jewish safety is with other communities’ safety and how bound up that all is in a broader fight for democracy at this moment, and builds the sorts of coalitions within and across communities that are essential to moving the needle,” she said.
The organization will remain nonpartisan, Spitalnick said, but she made no secret that she especially opposed many of the tropes peddled by Republicans including former President Donald Trump, who is a leading contender for the 2024 Republican nomination.
“We are grappling with a wave of anti democratic extremism that is deeply tied to rising bigotry and hate,” Spitalnick said. “And we see this in many forms — we see this with the attacks on immigrants and how so many of the conspiracy theories that underpin, for example, election lies, happen to utilize anti-immigrant and antisemitic conspiracy theories. We see this with the attacks on the trans community and on drag shows, where for example, neo-Nazis are using those attacks and those flashpoints to actively recruit for their violent antisemitic hate.”
Spitalnick was a communications official at J Street, the liberal Israel lobby, before transitioning into the rough-and-tumble of New York politics as the communications director for Mayor Bill DeBlasio and then in the state attorney general’s office. Last year, she was named director of another progressive Jewish group, Bend the Arc, but ultimately declined the position.
She earned a reputation for giving as good as she would get from her bosses’ critics and rivals. An email exchange she had with Tucker Carlson in 2015 made headlines when Carlson and his colleagues lambasted her with misogynist and vulgar language.
She was characteristically blunt last week after Carlson’s firing from Fox News after a history of using racially charged language. “When reporters write the story of Tucker Carlson, do not gloss over who he is,” she wrote on Twitter . “He is a raging white supremacist, misogynist, and bigot who has done more to normalize violent extremism and hate over the last few years than nearly anyone else.”
Spitalnick’s style is a sharp departure from the tone that the 79-year old organization had taken until December, when it announced an amicable divorce from the Jewish federations structure and its emphasis on consensus. It also means the group will be led by a millennial woman, a rarity among large national Jewish organizations.
“This now makes two millennial women at the helm of legacy Jewish organizations,” said Sheila Katz, CEO of the National Council of Jewish Women. “I’m looking forward to getting in good trouble together as we push Jewish organizations and leaders toward justice.”
Founded in 1944 as the National Jewish Community Relations Advisory Council — it changed its name in 1997 — the storied group was at the forefront of Jewish community advocacy for decades, from rescuing Europe’s Jews and opening up immigration to allow refugees to enter the United States to the Black-Jewish civil rights coalition, pro-Israel advocacy and advocacy for Jews in the Soviet Union. It received funding from dues paid by scores of local Jewish Community Relations Councils and from 16 national Jewish groups.
In recent years, as the American — and American Jewish — populations became more politically polarized, JCPA’s consensus-driven structure made it increasingly difficult for the group to take noteworthy stands on the issues of the day.
A turning point was the group’s decision in 2020 to sign a statement recognizing Black Lives Matter as a leading civil rights body. Officials in the Jewish federations system, which underwrote much of JCPA’s funding at the time, thought it was reckless to endorse a movement despised by most Republicans, and which has been accused of vehement opposition to Israel.
That spurred an effort to roll the JCPA directly into the Jewish Federations of North America, a shift that JCPA defenders said would place Jewish community relations under the purview of major donors, who tend to be more conservative than the grassroots.
Instead, the current chairman, David Bohm, led a split from the Jewish federations that would guarantee JCPA’s independence. Bohm and one of his predecessors, Lois Frank, joined UJA-Federation of New York in providing a substantial cash influx that would allow JCPA to function for three years.
That led to the divorce from the Jewish federations, and the end of dues that had come into the organization from the local and national groups. A JCPA official said Spitalnick would be expected to diversify the funding base, and did not count out a return to the dues-paying format.
Freed of the fear of alienating a multitude of stakeholders, the announcement in December laid out two prongs that located JCPA robustly in the liberal camp: One would focus on “voting rights, election integrity, disinformation, extremism as a threat to democracy, and civics education.” The other would focus on “racial justice, criminal justice reform and gun violence, LGBTQ rights, immigration rights, reproductive rights, and fighting hate violence.”
Bohm, in restructuring JCPA, brought in the heads of two local community relations councils — Jeremy Burton of Boston and Maharat Rori Picker Neiss of St. Louis, who had previously said the old structure — and its inhibitions — made it increasingly irrelevant. The JCPA announcement this week came with quotes from Neiss and Burton lavishing praise on Spitalnick.
“Through her unwavering commitment to social justice and her demonstrated leadership in public policy advocacy, Amy is poised to usher in a new era of progress and impact for the Jewish Council for Public Affairs,” Neiss said.
The release said JCPA would continue “to support a democratic, Jewish, and secure state of Israel” but otherwise did not address the divisions over democracy and the judiciary currently roiling the country and its supporters abroad. It also didn’t address the erosion of support for Israel on the American left in an era when Israel’s governments have trended increasingly to the right.
Asked about differences between the Jewish community and other communities over Israel, Spitalnick said it was important not to cut out other communities. “It means working across those differences where possible, and building those relationships, and sometimes that means staying at the table even if we have fundamental disagreements,” she said.
—
The post Jewish Council for Public Affairs names Amy Spitalnick, who sued Charlottesville rally organizers, as its CEO appeared first on Jewish Telegraphic Agency.
Uncategorized
Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
The post Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature appeared first on The Forward.
Uncategorized
NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’
(JTA) — A New Jersey church says it is “committed to engaging in dialogue, and teaching others about our heritage” after putting on a Christmas pageant that drew criticism for reflecting antisemitic stereotypes.
St. Mary Protectress Ukrainian Orthodox Church’s pageant, known as a vertep, featured an antagonist named Moshko who danced with the devil while wearing faux Hasidic garb like side locks and a black hat. The character was referred to as “zhyd,” a Ukrainian slur for “Jew.”
“We do not have any intention to promote harm or hatred with this pageant,” the church said in a statement issued on Facebook on Friday night. “However, we recognize some outside of our culture may assign elements of the performance to stereotypes when taken out of context which is inclusive of peoples historically present in eastern Europe.”
The church did not respond to a Jewish Telegraphic Agency request for comment prior to an initial report on the vertep earlier this month. It did not respond to an additional request for comment on Monday, following the statement. The church removed photos and video of the pageant from its Facebook page following the JTA report.
The vertep is a centuries-old Slavic Christmas tradition that emerged from puppet theater. In recent years, many Ukrainian Orthodox churches have removed material criticized as offensive. Since the current war between Russia and Ukraine began in 2022, one popular replacement for the Jewish antagonist has been a Russian character.
In its statement, St. Mary Protectress Ukrainian Orthodox Church emphasized that “the event does not target any specific group” but indicated that it could make changes in future pageants.
“The church is reflecting on this matter seriously and is committed to engaging in dialogue, and teaching others about our heritage while ensuring that future events continue to uphold the dignity, respect, and safety of all people,” it said.
The Anti-Defamation League of New Jersey, which said earlier this month that it was reaching out to St. Mary Protectress, told JTA on Monday that it had not been able to communicate with anyone from the church.
The church’s apology rang hollow for Lev Golinkin, a Jewish writer born in Ukraine who has advocated against the antisemitic elements of the traditional vertep.
“It’s not an apology, it’s more of an insult,” Golinkin said. “The problem is not the context. The problem is exactly that. It is in context perfectly.”
He added, “They’re making it seem that the people who are criticizing them … are the ones who have a problem because they don’t understand the culture.”
St. Mary Protectress is not the only Ukrainian church in the United States to import the antisemitic elements of the vertep from the old country. A church in Connecticut erected a backdrop poster for its pageant this year that included a Moshko character standing next to the devil.
The post NJ church deletes video of pageant featuring antisemitic character but says critics took it ‘out of context’ appeared first on The Forward.
Uncategorized
A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths
(JTA) — I’ve never read a Holocaust chronicle quite like Lore Segal’s autobiographical 1964 novel, “Other People’s Houses.” Mordant, unsentimental and sometimes painfully honest, it’s the story of an Austrian girl sent to England on the Kindertransport, as well as a portrait of the artist as a young refugee.
More than one of her legions of admirers have noted that Segal, who died in 2024 at the age of 96, was only one year younger than Anne Frank, and grew up to become the kind of writer Anne too might have become had she not died in Bergen-Belsen.
Segal’s work, which includes decades of stories in The New Yorker as well as a delightful children’s book, “Tell Me a Mitzi,” is also remarkable in its humility. Segal was adamant that memory — especially of traumatic events like the Holocaust — cannot be a perfect repository of truth. It’s not that authors couldn’t be trusted, but that neither the writer nor the reader should take anything for granted.
That challenge is captured in the title of a new exhibit mounted by the Leo Baeck Institute in New York: “And That’s True Too: The Life and Work of Lore Segal.” The title is a quote from “King Lear,” a favorite of Segal’s and a reminder to hold opposing truths in the same sentence, of resisting the false comfort of a single, final version.
“We tried to give you an insight into Laura’s ability to look at the world from many angles,” Karin Hanta, the exhibit’s curator, said at the exhibit’s opening on Thursday, just days before International Holocaust Remembrance Day.
At the event, actress Toni Kalem, who played Angie Bonpensiero on “The Sopranos,” read an excerpt from “Other People’s Houses.” Kalem, who met Segal years ago and discovered that their mothers shared the experience of the Kindertransport, spoke of Segal’s “unbridled curiosity” — a quality that runs through the display of photographs, manuscripts and family keepsakes.
Lore (pronounced “Laura”) Groszmann was born in Vienna in 1928; one month after the Nazi pogrom on Kristallnacht, she was sent to England and raised in a series of foster homes (her refugee parents would eventually arrive and find work as domestics). Later she would join her family in the Dominican Republic, and they eventually found refuge in Washington Heights, the Manhattan redoubt for German-speaking Jews. After she established herself as a writer, she became part of a circle of mostly Jewish writers in New York, including Cynthia Ozick, Vivan Gornick, Grace Paley, Norma Rosen and Gloria Goldreich. Her husband, book editor David Segal, was 40 when he died in 1970.
Hanta had hoped to write a biography of Segal, but when that project stalled, she pivoted. “With all the materials I had gathered,” she recalled at the opening, “why not stage an exhibition?”
The first iteration, mounted in Vienna’s Bezirksmuseum Josefstadt — located in the district where Segal grew up, and, as Hanta later discovered, near the hospital where she was born — drew thousands of visitors. The New York version, expanded and sharpened, shifts the focus westward, tracing Segal’s journey from prewar Vienna to Manhattan, where she lived for decades, taught generations of writers, and, according to the New York Times, came “closer than anyone to writing the Great American Novel.”
That novel, “Her First American,” appeared in 1985 and explored the uneasy intersection of race and Holocaust history through the relationship of a Jewish refugee and a Black intellectual. (LBI has scheduled an online event about Horace Cayton, Segal’s real-life lover and the inspiration for the novel.) “Other People’s Houses,” her first book, earned Segal a Guggenheim Fellowship, and her short-story collection “Shakespeare’s Kitchen” (2007) became a Pulitzer Prize finalist. All three books will be reissued in the spring of 2026 by the New Press, while Melville House is publishing a posthumous collection, “Still Talking.” Introduced by Gornick, it features the linked “Ladies’ Lunch” stories she wrote late in her career, about elderly Manhattan friends dealing frankly and often hilariously with the daily indignities of growing old.
The exhibit at the Center for Jewish History, where LBI catalogues the history and culture of German-speaking Jews, includes notebooks from Bedford College in London, where Segal studied after the war, filled with short stories entered into competitions. There are manuscripts marked and re-marked in a hand that never stopped revising. There are address books kept by her parents — one from England, one from the Dominican Republic — opened to pages that quietly testify to vanished worlds: cousins who hid behind kitchen curtains in France, friends who assumed false identities, children who never made it onto the trains.
One small object carries particular weight: a childhood friendship book, the sort in which relatives and friends inscribe poems and well-intentioned advice. Segal’s includes an entry from her first English foster mother, urging her to cherish friendship — advice that reads differently if you know, as Segal later wrote, that their relationship was fraught. Her father’s contribution, a drawing of a boy hiking in the mountains, echoes a story Segal drafted as a young woman about a prewar hike in the Alps with him. She revised that story at 90 and retitled it “Dandelion.” The New Yorker published it in 2019, 70 years after its first draft.
The exhibition is accompanied by a season of in-person and virtual programs, and Hanta has her own wish list of commemorative projects: She hopes that a park in Vienna where Segal played as a child might be renamed in her honor; that the exhibition might travel; that “Other People’s Houses” might be distributed free in Austria in 2028, the centenary of Segal’s birth and the 90th anniversary of the Kindertransport.
On opening night, before reading from “Other People’s Houses,” Kalem paused to apologize for the necessary cuts she made. “As you know, all her life, Lore was a master of meticulously crafting and scrupulously revising her work,” said Kalem. “So it feels like literary malfeasance on my part to attempt to edit a word of Lore’s story. It feels akin to cutting Shakespeare by shortening Hamlet’s soliloquy…. So Lore, I hope you understand and I hope you will forgive me.”
The exhibition also includes a video produced by Hanta and Segal’s grandson, Benny, which captures Segal late in life, still circling her subjects, still attentive to the elusiveness of truth. At the opening, Segal’s son Jacob spoke of his mother’s ambition and her modesty, her seriousness about art and her refusal to be undone by success or disappointment.
“She always made the world larger,” he said. “It’s smaller now.”
“And That’s True Too: The Life and Work of Lore Segal” runs through April 15 at the Center for Jewish History, 15 W. 16th St., New York, New York.
The post A new exhibit honors writer Lore Segal, a child survivor and lifelong skeptic of easy truths appeared first on The Forward.