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Jewish orphans evacuated from Odessa to Berlin at Ukraine war’s start are headed home again
ODESSA, Ukraine (JTA) – A year after Rabbi Mendy Wolff spirited 120 children and staff away from the Mishpacha Orphanage in this war-torn country to the safety of Berlin, he is preparing to bring them home.
That’s not because the war is over — far from it. One year after Russian tanks first rolled into Ukraine, fighting grinds on and much of Ukraine has been plunged into austerity conditions.
Instead, the children of Mishpacha are headed back to Odessa because of the high cost of keeping them fed, housed and educated in Germany. Chaya Wolff, Mendy’s mother and the wife of Odessa’s chief rabbi, Avraham Wolff, said the price tag was 750,000 euros — close to $800,000 — a month. They’ll join other Ukrainians who have returned to their homeland as it became clear that the war would not end quickly.
“We could have bought seven buildings for the [Jewish] community in Odessa with that money,” she said from Odessa, where she stayed along with her husband after the Russian invasion to care for remaining Jews in the city, where the Wolff family operates Chabad of Odessa. “But now the money is finished and it’s time to bring our children home.”
Mendy Wolff said that when he first headed to Berlin several days after Russia’s Feb. 24, 2022, invasion, he expected to return home in a matter of days. He had become the orphanage’s director overnight, when his parents tasked him with getting the children out of Ukraine. He and his wife, Mushky, had instructed their charges to pack two of each item of clothing.
German President Frank-Walter Steinmeier talks with refugee children from the Jewish community in Odessa at a Chabad center in Berlin two days after their arrival as refugees, March 7, 2022. (Clemens Bilan – Pool/Getty Images)
“As I was packing, I remember spotting my Megillat Esther on the shelf and thinking I won’t be needing that because Purim is two weeks from now and we’ll be back by then,” Wolff told the Jewish Telegraphic Agency, referring to the biblical book traditionally read on Purim.
The journey to Berlin took 53 hours and traversed five international borders, but Wolff and his wife tried to make the atmosphere as fun as possible for the children.
“We sang songs all the way and even though most of the children knew what was happening, we made it feel like summer camp — only in the winter,” Wolff said.
Getting the children out of Ukraine meant pulling strings of all kinds, since most did not have passports or even original birth certificates. Most of the children in the orphanage have parents who are unable to care for them; Wolff got the parents’ permission to take the children out of the country, a challenging task in the chaos after the invasion. “That is why we didn’t escape on the first day of the war,” he told JTA from Berlin at the time.
For 40 children for whom no living relatives could be found, Rabbi Avraham Wolff and his wife, Chaya, signed on as legal guardians. The Chabad emissaries in Berlin managed to secure VIP status for the young refugees to bring them across EU borders as personal guests of German President Frank-Walter Steinmeier, who greeted them on their arrival in the German capital.
The Wolff family operates Chabad of Odessa. Rabbi Avraham and Chaya Wolff are sitting. Rabbi Mendy Wolff, who has overseen the children relocated from the group’s orphange to Berlin, is at the center in the back row. (Courtesy Chabad Odessa)
The children and orphanage staff were joined by other Odessians: university students, single mothers and their own offspring. Their flight and warm welcome in Berlin captured international headlines.
“Everyone knew there was an orphanage coming,” Mendy Wolff told JTA in Berlin shortly after the group’s arrival. “It was an unbelievable hug. It made us feel good in our hearts.”
But even then, the high cost of caring for the children in Berlin was weighing on the volunteers who leapt to help them. “We’ve received an outpouring of support from the community and beyond, lots of clothes and other supplies, but what we really need now are financial donations — only the food for all the children costs about 5,000 euros every day,” one told the Associated Press at the time.
Over the course of the next 11 months, the Hotel Müggelsee, on the banks of Berlin’s largest lake of the same name, would become home to some 300 Jewish refugees. In that time, the group celebrated not just Purim but a full year of Jewish holidays, as well as the gamut of Jewish lifecycle events, from bar mitzvahs to births and brisses. The group recently celebrated the first birthday of the youngest child to make the trek from Odessa, Tuvia, who was just 5 weeks old when he arrived in Berlin.
Jewish children from Odessa in war-torn Ukraine celebrate Purim 2022 with members of the Chabad Berlin Jewish community, March 17, 2022. (Omer Messinger/Getty Images)
For Wolff, the hardest part was grappling with the unknown. “It was very similar to what people experienced at the beginning of the coronavirus pandemic. You don’t know who it will infect or how many people will die or how long you’ll need to live like this.”
Like many others, Wolff was certain that Russian President Vladimir Putin’s army would crush Ukraine in a matter of days. “With each passing day we saw that the Ukrainians were far more resilient than we had given them credit for and that the Russians weren’t as much as superheroes as we thought.”
The irony that Germany, and not Israel, became the host country for Jewish refugees from Eastern Europe is not lost on the Wolffs. While Mendy is reluctant to express political opinions of any kind, his mother, Chaya, is more forthright, saying that Israel had refused them entry.
Mark Dovev, the regional director of Nativ, the Israeli government office that facilitates immigration to Israel from the former Soviet Union, later told JTA that taking in a minor from another country is “tantamount to kidnapping.” Brushing off Dovev’s objections, Chaya Wolff said, “Just as Germany turned a blind eye, Israel could have also taken them in temporarily as refugees.”
The children and staff of Mishpacha Orphanage in Odessa pose outside the Hotel Mugglesee in Berlin, their home for nearly a year since fleeing war in Ukraine. (Courtesy Chabad Odessa)
Since German law bans homeschooling, the children were required to enroll in a local school as well as to learn German. German authorities allowed the student body to largely adhere to the Ukrainian curriculum, however, and they were taught by a handful of the women refugees who happened to be teachers. The hotel, which functioned as a dormitory, doubled as a branch of the local Chabad school — replete with classrooms and a schoolyard.
But keeping the refugees in Berlin came at a steep price, footed by various donors such as the International Fellowship for Christians and Jews as well as private donations. An online fundraiser netted $685,500 in small gifts from more than 5,000 donors — a significant tally, but far short of its $1 million goal. So it was mostly out of economic considerations, then, that the Wolffs decided to close up shop in Berlin and bring the refugees home later this month.
While some Ukrainians who fled the country say they have no intention of returning while the war rages, the Wolffs and their charges are hardly the first Ukrainians to make their way back home. Many of them have cited the high cost of life abroad, along with separation from family and guilt about abandoning their country, for coming back to a warzone. So many Ukrainians were returning last fall that the country’s leaders urged them to wait until this spring to return, lest they tax fragile infrastructure.
Ukrainians queue at the railway station in Przemysl, Poland, to depart for Ukraine, amid a reversal in migration patterns as the Ukraine war ground on, Dec. 20, 2022. (Dominika Zarzycka/NurPhoto via Getty Images)
According to Mendy Wolff, his group would be staying in Berlin were it not for budgetary concerns. Still, he said, there were many positive aspects about the decision to return home.
“Psychologically, it’s not easy being here. You’re not living like a human. It’s like living on borrowed time and in a refugee camp, albeit a luxury refugee camp,” he said. “I’m very excited to be in my own bed and my own blankets.”
For both mother and son, the responsibility of bringing the refugees back to a country that is still very much at war weighs heavily. Odessa is faring better than many other southern Ukrainian cities like Mykolaiv and Kherson to the east, which have suffered daily shelling. Still, air raid sirens sound multiple times a day and there is no electricity for 20+ hours. But as long as residents have access to bomb shelters and generators — including the kind made from car batteries that Avraham Wolff recently held a fundraiser to buy — Chaya Wolff describes it as “livable.”
“It’s not an easy decision and we hope it’s the right one,” Chaya Wolff said. “At the end of it all, we’re ‘believers, the children of believers,’” she added, quoting the Talmud.
Toby Axelrod contributed reporting from Berlin.
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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.
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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.
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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.
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