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Jewish marriage rites are robust. Now a rabbi is innovating rituals for Jews who divorce.
(J. The Jewish News of Northern California via JTA) — For Lyssa Jaye, throwing the wood chips into the Tuolumne River felt in many ways familiar to the tashlich ritual performed on Rosh Hashanah. But rather than casting off her sins, she was tossing away feelings: shame, resentment, anger.
They were the emotions that had taken residence inside Jaye since her divorce eight years ago, along with a sense of failure. And she had come to a Jewish retreat to rid herself of them.
“I’ve been carrying around these feelings for years now,” Jaye said. “I have a completely different life now, and I needed to let them go.”
Jaye was taking part in Divorce & Discovery: A Jewish Healing Retreat, the first-ever gathering in a series conceived by Rabbi Deborah Newbrun as part of her training, held this month at Camp Tawonga in the Bay Area.
One of the requirements at the Pluralistic Rabbinical Seminary, where Newbrun was ordained last year in the first graduating class, “was that each of us had to do an innovation, or something that didn’t exist before,” she said.
Newbrun, who directed Camp Tawonga for more than two decades, has been recognized for innovative programming for such achievements as initiating Tawonga’s LGBT family camp and founding its wilderness department. She even won a prestigious 2018 Covenant Award for Jewish educators. But as she started thinking about how to fulfill the seminary requirement, her first thought was, “I don’t have any ideas left in me.”
Then she began reflecting back on her divorce years earlier. She remembered how she had approached numerous rabbis and colleagues in search of Jewish support around the grief she felt. And how they all came up empty-handed.
That’s when she realized: “I can put together something meaningful and helpful for people going through divorce.”
From the moment participants arrived at Camp Tawonga near Yosemite, they knew this would be no ordinary Jewish retreat. At the opening event, all of the facilitators, several clergy members and a therapist shared their own divorce stories, “to set the standard and normalize vulnerability, transparent sharing and establish that we all know what it’s like to have a marriage end,” Newbrun said.
Most participants were from the Bay Area, with a handful from farther afield. They were in different life stages, from those in their 30s dealing with custody battles over young children, to empty nesters in their 60s. Some had separated from their partners years ago, while others had gone their separate ways more recently. Some split amicably; a good many did not. But all had come up against a lack of Jewish resources or support when navigating this major life passage.
Rabbi Deborah Newbrun, the founder of Divorce and Discovery at the recent weekend. (Photo/Margot Yecies)
Jaye said she left no stone unturned in seeking out support, an experience Newbrun said she heard echoed by many participants. Jaye attended a retreat at a local meditation center. She read self-help books. She joined a support group for divorcees. She went to therapy.
And while they all helped in different ways, none was specifically Jewish.
“I knew I needed some kind of spiritual way forward,” she said. “I needed to do this in my own language, with my own people.”
Even though the retreat came nearly a decade years after Jaye’s divorce, “it was profound. It felt like coming home, and that this is what I needed all along. This model could be extremely powerful. The rituals we did could be taught in rabbinical schools or to Jewish educators so it’s not just ‘sign this get and goodbye,’” she said, referring to the Jewish divorce document.
Rather than create new rituals, Newbrun and her facilitators took familiar Jewish rituals and retooled them.
The tashlich ritual, led by Newbrun and Maggid Jhos Singer, had a call-and-response portion, and participants also could call out what they personally wanted to cast off. “One person ‘tashliched’ their wedding ring into the river and felt it was such a perfect place to let it go!” said Newbrun.
An optional immersion in the Tuolumne River followed. Jaye, who years ago went to the mikvah alone, with only the attendant there for support, said there was no comparison with how much more healing it felt performing the ritual in community.
A session on sitting shiva for one’s marriage, led by Rabbi Sue Reinhold, allowed participants to share and mourn the loss of what they missed most about being married. That resonated for Robyn Lieberman, who does not attend synagogue services but went to every session at the retreat on innovating Jewish rituals.
“I did need to mourn what I’m losing,” said Lieberman, who had been married to an Israeli. “We had a very public, open house around Jewish religion, and a constant Israeli identity, which fulfilled my Jewish needs.”
Rabbi Jennie Chabon of Congregation B’nai Tikvah in Walnut Creek reflected on how much time she has spent with couples preparing for their wedding day, both in premarital counseling and in planning the event, and on how many marriage-related topics are covered in rabbinical school.
“And when it comes to divorce? Nothing,” Chabon said. “We’re all out here on our own trying to figure out how to wander through it.”
She was tasked with creating a havdalah ceremony with a divorce theme, in which she reimagined the wine, spices and flame typically used to mark a division between Shabbat and the rest of the week.
“There’s a fire that burns within each of us, and that flame doesn’t go out,” said Chabon, 47. “When you’re married for a long time, your identity, energy and spirit is so woven into that of another.” Her ritual was meant to affirm that “you are on fire just as you are, and you’re a blessing as an individual in the world. You don’t need a partnership or family to be whole.”
Even the Shabbat Torah service was on theme.
Rabbi Jennie Chabon reads from the Torah during a service at the Divorce and Discovery retreat. (Photo/Margot Yecies)
Rather than focusing on Noah’s emergence from the ark after the flood, Chabon spoke about a lesser-known section of the week’s Torah portion, in which Noah builds a fire and offers a sacrifice to God. But if the entire earth was drenched from the flood, Chabon asked, what did he burn?
“The answer is he must have burned the ark,” Chabon said in recalling her talk at the retreat. “What does that mean for people going through this incredibly painful and tender time in their lives, when what was once a safe container and secure and protected them, they have to burn it down in order to start life anew?
“This is a perfect rebirth metaphor. But what’s being birthed is a new self and a new identity in the world as a single person,” Chabon said. “You have to release and let go of what was to make room for the blessing for who you’re going to become.”
At a ritual “hackathon” workshop presented by Newbrun, participants suggested standing during Kaddish at synagogue to mourn their marriages, and offering their children a Friday night blessing that they are whole whether they are at either parent’s home.
Not all of the sessions centered on Jewish ritual. In a session on the Japanese art of kintsugi, or mending broken pottery, attendees made vessels whose cracks they fixed with putty, symbolizing that beauty can be found in imperfection. Many danced in a Saturday-night silent disco.
Everyone was assigned to a small group, or havurah, that they met with daily, so they could establish deeper connections within the larger cohort.
“To have gone through some of these practices was very meaningful to me,” said Lieberman. “It’s not like I put a seal on my marriage and wrapped it up in a bow and put it behind me, but it was a nice catharsis for completing a transition that I’ve been very thoughtful about.”
Newbrun aims to recreate the retreat in communities around the country. Both Jaye and Lieberman said they found value in being in community with people “who get it,” without the judgment they often face.
“I was a little skeptical that all I’d have in common with people was that we were Jewish and divorced, and that that wouldn’t be enough for me to form a relationship,” said Lieberman. “But having the willingness to talk about it and explore it did open up a lot of very vulnerable conversations. The expert facilitation really made us think about the fact that divorce is not about your paper [certificate], it’s about reexamining the direction of your life and who you want to be.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post Jewish marriage rites are robust. Now a rabbi is innovating rituals for Jews who divorce. appeared first on Jewish Telegraphic Agency.
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How Netflix’s ‘East of Eden’ handled its ‘Timshel’ problem for Hebrew speakers
The crux of John Steinbeck’s East of Eden, now a splashy Netflix miniseries, is a Hebrew word that doesn’t exist.
At one point in Steinbeck’s 600-page tome, as rife with biblical allegory as the Salinas Valley is with natural beauty, the character Lee offers a midrash on Genesis 4, and the moment God rejects Cain’s offering.
Speaking with Samuel Hamilton, the neighbor of the Trask family at the center of the generational drama, Lee said he was bothered by a passage where God says, in the King James Bible, “If thou doest well, shalt thou not be accepted? And if thou doest not well, sin lieth at the door. And unto thee shall be his desire, and thou shalt rule over him.”
Lee says he compared translations and finally returned to the source: Hebrew, by way of some learned Chinese elders who consulted a rabbi.
In the Hebrew, they found the word “timshel,” which they translate as “thou mayest. Thou mayest rule over sin.” (The word, the last one of Steinbeck’s book, is the title of the final episode of the Netflix series.)
“The American Standard translation orders men to triumph over sin, and you can call sin ignorance,” Lee tells Samuel, scholar to scholar. “The King James translation makes a promise in ‘Thou shalt,’ meaning that men will surely triumph over sin. But the Hebrew word, the word timshel — ‘Thou mayest’ — that gives a choice. It might be the most important word in the world. That says the way is open. That throws it right back on a man. For if ‘Thou mayest’ — it is also true that ‘Thou mayest not.’”
This interpretation, in a book about how sin may be transmitted from one set of Cain and Abel-like brothers to the next, is the core of Steinbeck’s philosophy. So central is it that he carved the word onto a wooden box containing the manuscript.
But as I am hardly the first to note, “timshel” is a corruption of “timshol,” תמשל, and it doesn’t mean “thou mayest.” It means something like “you will rule” — future tense, second person, a more complete thought.
That said, the sages did debate whether the word was truly determinative or implied a sense of choice. (Ramban and Rashi are among the ones to suggest free will factored into the equation.)
While quoting the whole phrase in English, Steinbeck evidently thought the word “timshol” only indicated how one might rule, and did not encompass the piece about the ruling. As our language columnist Aviya Kushner has written, Steinbeck’s explanation “reveals an ignorance of the basic fact that Hebrew is more concise than English.”
Steinbeck was writing for an English-speaking audience. Zoe Kazan released her miniseries on Netflix and to a global audience that includes around 9 to 10 million Hebrew speakers. How did they adapt the passage for the Hebrew subtitles?
In the show, the scene plays out much the same way. Lee (Hon Lee) and Samuel (Ciarán Hinds) are at the kitchen table of the Trask homestead in the valley.
The King James has God tell Cain “thou shalt” rule over sin. It sounds, as Lee says, like “a promise.” The American Standard Bible translates it as “do thou.” “More of an order” from the Almighty, says Samuel.
Lee said Jewish scholars in San Francisco found the original in “timshel,” which, as in the book, is translated as “thou mayest.”
In the Hebrew subtitles, the word is correctly rendered as timshol, תמשול. Netflix translated his reading as “thou mayest” as, literally, “a choice is in your hand,” which, while not actually what the word means in Hebrew, suggests it’s something a bit more layered than “thou mayest.”
(Netflix did not respond to a request for comment about how the Hebrew translations were decided on.)
Perhaps the spirit of it — if not the letter — is what matters. And indeed, the rejection of evil as an inborn element of human nature has more in common with Jewish tradition than the Episcopalian concept of original sin and agency linked to God that Steinbeck grew up with.
Lee reasons that “timshel,” a Steinbeckian invention, may be the most important word there is.
“It offers a choice,” he says. “Our future isn’t determined by God or by our past. Even Cain in his weakness and his filth at the murder of his brother can still choose his course. Because timshel. Thou mayest.”
It’s a worthwhile message that of course resonates. But, of course, thou mayest also consult Hebrew speakers.
Mira Fox contributed research and translation.
The post How Netflix’s ‘East of Eden’ handled its ‘Timshel’ problem for Hebrew speakers appeared first on The Forward.
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Even Adam and Eve weren’t satisfied
האָסטו אַמאָל געטראַכט: „ווען איך וואָלט נאָר געהאַט דאָס אָדער יענץ, אָדער ווען מײַן מצבֿ וואָלט נאָר געווען אַנדערש, וואָלט איך געווען גליקלעך…“?
עס איז זייער אַנטמוטיקנדיק צו גלייבן אַז עס פֿעלט אונדז דאָס וואָס מיר דאַרפֿן כּדי צו דערגרייכן אונדזערע צילן און צו זײַן גליקלעך. און נאָך מער: ווען מען קומט צו אַזאַ מסקנה, פֿילט מען זיך ווי אַ קרבן פֿון די אומשטענדן, אוממעכטיק צו בײַטן די מציאות צום גוטן.
אָבער איז עס טאַקע אַזוי?
אין טיפֿן איז דאָס אַ פֿאַלשער חשבון. פֿרייד איז ניט אָפּהענגיק פֿון דעם וואָס מיר האָבן אָדער האָבן ניט, נאָר פֿון דעם ווי מיר קוקן אויף וואָס מיר האָבן און אויף וואָס עס פֿעלט אונדז.
אין דער וואָכעדיקער סדרה, בראשית, לייענען מיר וועגן בריאת־העולם און איר שפּיץ — די באַשאַפֿונג פֿון אָדם און חוה.
וואָס קען זײַן אַ בעסערער בײַשפּיל, אַז גליק איז ניט אָפּהענגיק פֿון אויסערלעכע אומשטענדן, ווי אָדם און חוה אין גן־עדן?
האָט זיי עפּעס געפֿעלט? ניין.
און דאָך האָבן זיי אַליין באַוויזן צו פֿאַרפּלאָנטערן דעם מצבֿ.
עס איז געווען בלויז איין בוים, פֿון וועמענס פֿרוכטן ג־ט האָט זיי פֿאַרווערט צו עסן, און זיי האָבן זיך ניט געקענט אײַנהאַלטן פֿון עסן דווקא פֿון יענעם בוים!
און נאָך מער: לויט דעם תּנא רבי מאיר איז דער בוים געווען אַ ווײַנשטאָק. זיי האָבן זיך געדאַרפֿט אָפּהאַלטן פֿון זײַנע פֿרוכטן בלויז עטלעכע שעה, ביז שבת וואָלט זיך אָנגעהויבן; דאַן וואָלטן זיי געקענט מאַכן קידוש אויפֿן ווײַן און אַזוי אײַנפֿירן אַן אייביקן שבת.
פֿאַר וואָס האָבן זיי ניט געקענט זיך אײַנהאַלטן?
עס איז אַ טייל פֿון אונדזער נאַטור צו וועלן דווקא דאָס וואָס מיר קענען ניט האָבן, און ניט אָפּצושאַצן ווי געהעריג דאָס וואָס מיר האָבן יאָ.
עס קלינגט כּמעט אומגלייבלעך — כאָטש דאָס געשעט צו אָפֿט — אָבער ווען ג־ט קומט צו אָדם און פֿאָדערט בײַ אים אַן ענטפֿער פֿאַר וואָס ער האָט געגעסן פֿון בוים, באַשולדיקט ער „די פֿרוי וואָס דו האָסט מיר געגעבן צו זײַן מיט מיר“, ווײַל זי האָט אים געגעבן צו עסן פֿון בוים.
וואָס פֿאַר אַן אומדאַנקבאַרקייט!
ג־ט האָט אים געגעבן אַ פֿרוי, ווײַל ער האָט געזען ווי שטאַרק אָדם לײַדט פֿון זײַן איינזאַמקייט. און אַנשטאָט אָפּצושאַצן דעם אוצר וואָס ער האָט באַקומען, קריטיקירט ער זי און באַשולדיקט זי.
אין אַ בריוו צו איינעם וואָס פֿלעגט זיך אָפֿט באַקלאָגן וועגן זײַן לעבן, שרײַבט דער ליובאַוויטשער רבי — זכותו יגן עלינו:
„אין דער וועלט אין וועלכער מיר לעבן, געפֿינט זיך אין אַלע זאַכן אַ געמיש פֿון גוטס און שלעכטס. דער מענטש דאַרף אויסקלײַבן אויף וועלכן פֿון די צוויי צדדים ער וויל לייגן דעם טראָפּ, אויף וועלכן ער וויל טראַכטן, און וועלכן ער וויל נאָכגיין…
„ווי באַלערנדיק איז דאָס וואָס אונדזערע חכמים זאָגן וועגן דעם וואָס אָדם איז געווען אַן אומדאַנקבאַרער: נאָך איידער ער איז פֿאַרטריבן געוואָרן פֿון גן־עדן — ווען ער האָט זיך נאָך געפֿונען אין אַ ממשותדיקן גן־עדן — האָט ער זיך שוין באַקלאָגט וועגן זײַן מצבֿ.
„פֿון דער אַנדערער זײַט זענען געווען ייִדן, מענער און פֿרויען, וואָס האָבן געדאַנקט און געבענטשט דעם באַשעפֿער, און געזאָגט די ברכות השחר יעדן אינדערפֿרי, בשעת זיי האָבן געלעבט אונטער די שרעקלעכסטע באַדינגונגען אין די דײַטשישע קאָנצענטראַציע־לאַגערן.
„אין דער ווירקלעכקייט וועט דער מצבֿ פֿון יעדן מענטש זיך געפֿינען ערגעץ צווישן די צוויי עקסטרעמען.
„מײַן כּוונה איז ניט אײַך צו מוסרן, נאָר אונטערצושטרײַכן אַ מציאות: וואָס פֿאַר אַ לעבן מיר לעבן — אַ לעבן פֿול מיט צופֿרידנקייט און באַדײַט, אָדער פֿאַרקערט — איז אין אַ גרויסער מאָס אָפּהענגיק פֿון אונדזער ווילנסקראַפֿט, וואָס באַשטימט צי מיר וועלן לייגן דעם טראָפּ אויף דעם פּאָזיטיוון אָדער אויף דעם נעגאַטיוון.“
מיר זײַנען מסוגל זיך צו באַקלאָגן אויף די באַדינגונגען אין גן־עדן און צו פֿילן הכּרת־הטובֿ, דאַנקשאַפֿט, אַפֿילו אין די אוממענטשלעכסטע באַדינגונגען פֿון אַ קאָנצענטראַציע־לאַגער.
איינער פֿון די פּערזענלעכע געהילפֿן בײַם רבין, הרבֿ בערל ע״ה יוניק, האָט דערציילט, אַז דער רבי האָט אים אַמאָל פּריוואַט געזאָגט:
„איך האָב געאַרבעט אויף זיך צו זען שטענדיק די זאַכן אין אַ פּאָזיטיוון ליכט; ווען ניט, וואָלט איך ניט געקענט איבערלעבן.“
ווען מען ווייסט וויפֿל פּערזענלעכע ליידן פֿון פֿאַרשידענע מינים דער רבי האָט אַליין דורכגעמאַכט, אין צוגאָב צו דעם ווייטיק פֿון די המונים מענטשן וואָס האָבן מיט אים געטיילט זייערע פּערזענלעכע צרות, קען מען פֿאַרשטיין, אַז אַזאַ בליק אויפֿן לעבן איז גאָר ניט קיין קליינע דערגרייכונג.
דערפֿאַר איז די „ווערקצײַג“ פֿון דער וואָך צו טראַכטן וועגן די פֿאָלגנדיקע פֿראַגעס:
זענען די אומשטענדן פֿון דײַן לעבן גוט אָדער שלעכט אומאָפּהענגיק פֿון דעם ווי דו קוקסט אויף זיי — אָדער ווערן זיי פֿאַר דיר גוט אָדער שלעכט דווקא צוליב דעם ווי דו קוקסט אויף זיי?
ס׳איז דאָ אַ וואָרט וואָס מען האָט געהערט אין נאָמען פֿון דעם דריטן חב״ד רבי, דעם צמח צדק זצ״ל: „אַזוי ווי מען שטעלט זיך אַוועק שבת בראשית, אַזוי גייט אַוועק אויף דעם גאַנצן יאָר“. דריק איך אויס די האָפֿענונג אַז מיר זאָלן אין דעם אַלע מצליח זײַן און האָבן אַ גוט געבענטשט יאָר.
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ADL makes a play for the arts with new reports suggesting anti-Jewish bias in culture spaces
(JTA) — The Anti-Defamation League is alleging “systemic exclusion of Jewish and Israeli artists” in a trio of reports released Thursday focusing on the publishing, museums and entertainment spaces.
The reports, which the ADL calls its “State of the Arts” initiative, were shared with the Jewish Telegraphic Agency in advance of their publication and come as Jews have expressed alarm about their treatment in a post-Oct. 7 cultural landscape. They include:
- Grades for 40 museums on Jewish and Israeli representation that the ADL says “reveal a pattern of erasure by omission,” including comparatively few recognitions of Jewish American Heritage Month.
- A “trend report” based on interviews with more than 30 Jewish authors and publishing professionals alleging boycotts and exclusions from the publishing industry based on their identities.
- A survey of 65 incidents of “Jewish, Israeli and openly Zionist artists fac[ing] growing scrutiny, protest, disruption and cancellation” from performance venues or pressure from pro-Palestinian groups since the Oct. 7, 2023, Hamas attacks in Israel.
- ADL-approved guidelines for how venues should host and engage with Jewish artists.
The reports will be accompanied by a launch event Thursday evening at the Jewish Museum in New York, to be attended by ADL CEO Jonathan Greenblatt as well as Jewish entertainers including actor Selma Blair and author and influencer Alyssa Rosenheck.
“We started to hear from patrons of the arts and artists and other people connected to museums that there was a real problem,” Shira Goodman, the ADL’s vice president of public affairs and special initiatives, told JTA in an interview about the genesis of the project.
As a result, the ADL started tracking Jewish and Israeli artists who had been targeted by protests. The group also heard from Jewish authors about the publishing industry, leading to an expansion of the project. Goodman said the team was motivated by the chance to leverage “boards of trustees and boards of directors, and donors, who might be able to have influence.”
“By shining a light on some of this, we might be able to have an effect and an impact,” she said.
The project follows the ADL’s campus antisemitism report cards, which launched in 2024 and assign letter grades to dozens of universities based on how well the group feels they have combated anti-Jewish sentiments. Criticized by many in higher education, and by some major Jewish groups including Hillel International, the report cards have nonetheless prompted several campuses to change or update their policies around Jewish issues.
That success led to the formation of a new ADL unit focused on ratings and assessments. Now, the watchdog’s attention is turning to the art world — at a moment when many eyes are trained on Jews and Israelis in those spaces.
Over the summer, a report from the literary free-speech group PEN America reached similar conclusions to the ADL on the exclusion felt by some Jewish and Israeli authors. The report led to deep internal divisions within PEN and the resignation of its president, who argued that the organization was not standing up for the free-speech rights of boycotters. New Jewish publishing initiatives aim to counteract what they say is the exclusion of Jewish voices in mainstream publishing.
Since Oct. 7, several pro-Israel Jewish artists, ranging from Jerry Seinfeld and Mayim Bialik to Matisyahu, have seen their events targeted by pro-Palestinian protesters. The ADL’s report catalogs all these incidents and more, including demonstrations staged by neo-Nazis against Jewish-themed theatrical shows, which the ADL’s staff said they see as equivalent to pro-Palestinian protests.
“They’re equally disruptive and exclusionary of Jewish voices,” Luda Isakharov, associate director of the ADL’s Ratings and Assessments Institute, told JTA. “We treat them the same in our grading.”
In recent weeks, two Israel-related arts controversies have further complicated the picture of how Jews in the cultural landscape orient themselves around the issue. Jewish mogul Robert Kraft pressured Ed Sheeran to drop Macklemore from his tour over the latter’s onstage rhetoric about Israel. And the Israeli documentary “NAZA” is being targeted by right-wing Israelis over the film’s detailing of the conduct of war in Gaza.
ADL researchers had no involvement in PEN’s publishing report, Goodman said; their own report argues that PEN didn’t go far enough. And while Greenblatt himself posted approvingly of Kraft’s role in the Macklemore dust-up, Goodman said the ADL has not yet thought through how it would record incidents like the Kraft controversy or the “NAZA” disputes, in which Jews or Israelis are the ones leading the protesting.
“We’re encouraging people to let speech go forward, to let concerts go forward,” she said. “Typically we have not been supportive of boycotts.” The report’s incident catalog, the ADL said, instead focuses on Jewish or Israeli artists targeted on the basis of their identities.
Goodman added, “We do speak out because we want celebrities to know how painful their language is, and the examples that they can set and what the impacts are.”
Both the Kraft and “NAZA” incidents occurred after the ADL had finalized its report. An earlier example of attempted cancellation directed at the “NAZA” filmmakers, when the mayor of Miami Beach briefly threatened to evict a theater showing the directors’ previous movie in 2025, failed to make the ADL’s catalog, although the directors are Jewish and Israeli.
One conclusion to draw from entertainment spaces’ relationship to Jews and Israelis, the ADL told JTA, is that many often cite heightened security concerns as a reason not to engage with the topic.
The museum report, similar to the campus report cards, assigns ratings to each of the 40 surveyed institutions, including major museums such as the Museum of Modern Art and the Guggenheim. Grades range from “Gold Standard,” which the ADL assigned only to the Berkeley Art Museum, to “Critically Deficient,” which it gave to 12 museums, including the Whitney and the Los Angeles County Museum of Art.
The criteria include the number of Jewish and Israeli artists in each museum’s collection and whether or not they are presented with “Jewish framing.” Among those approvingly cited as representative of Jewish or Israeli art are left-wing Jewish artists such as Nan Goldin, as well as Arab-Israelis whose “art was very critical of Israel,” according to Isakharov. Goldin’s name does not appear in the early copy of the report shared by JTA, though other Israel-critical Jewish artists do.
The ADL also recorded whether a museum had been the site of a pro-Palestinian protest, and whether it had a process in place for identifying art that had been stolen by the Nazis from Jewish families.
Museum ratings also factor in an institution’s policies around anti-discrimination for Jews and Jewish programming — including for Jewish American Heritage Month, which ADL researchers said only one of the surveyed museums currently observes. Meanwhile, according to the ADL, 60% of the same museums observe other ethnic heritage months.
Some museums have already reached out to the ADL to say they would be sharing more of their policies related to anti-Jewish discrimination, Isakharov said.
Meanwhile, the ADL’s publishing report, similar to PEN’s, relies largely on anecdotal evidence about Jewish authors and subjects reportedly being passed over by agents, publishers or literary venues after Oct. 7.
“Much of what’s going on is happening below the surface,” Isakharov told JTA. “It’s oftentimes a last-minute drop, a gut feeling that authors have, and that makes it so hard to prove.”
One of the authors the ADL plans to spotlight prominently is Rosenheck, a photographer, influencer and author of the memoir “White. Blond. Jew.” She will be speaking at the ADL’s launch event Thursday. Rosenheck has a previous relationship with the ADL, having appeared at its “Never Is Now” summit last year, and has also spoken at the Republican Jewish Coalition.
Rosenheck’s book launch event in Nashville was cancelled by an independent bookseller earlier this year citing security concerns, an incident condemned by the local federation.
“This is what literary antisemitism looks like,” Rosenheck is quoted as saying in the ADL report, referring to her experience with the bookstore as well as negative posts about her book online.
Some Jewish scholars of publishing trends are critical of reports that suggest Jewish authors and subjects are facing discrimination. Such conclusions, they say, fail to make the case that Jews have been treated unfairly outside of industry norms.
Wellesley College professor Josh Lambert and Emory University professor Dan Sinykin, in a joint report also published Thursday, accuse the ADL’s study of being promoted by “political motivations.”
“The ADL’s report features quotes by a handful of right-wing activists (without acknowledging them as such), conflates Jews and Zionists, and opposes boycotts — all familiar strategies to suppress leftist Jewish and pro-Palestinian expression,” Lambert and Sinykin write in the left-wing magazine Jewish Currents.
The two present their own data suggesting that Jewish- and Israeli-themed fiction, after declining in 2024, actually entered an upswing in 2025. They also challenge some of the claims made by the PEN report’s key interview subjects, including the number of Jewish books one Jewish agent claimed to have signed since Oct. 7. Their story has prompted a correction on the PEN report.
This article originally appeared on JTA.org.
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