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Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play

(New York Jewish Week) — When Jewish literary power couple Jonathan Safran Foer and Nicole Krauss divorced in 2014 — amid rumors that he was in love with his longtime friend Natalie Portman — it captivated the nation.

Well, maybe not the nation, but certainly the literary and media worlds, as well as the hipster set in brownstone Brooklyn. Safran Foer and Krauss were rare literary megastars, whose “extremely loud and incredibly expensive” Park Slope brownstone was the subject of numerous articles (and a hefty dose of envy) when it hit the market for $14.5 million in 2013.

Portman, of course, was an actual megastar, and when the confessional correspondence between the celebrated actress and the “Everything Is Illuminated” writer was later published in 2016 in the New York Times, it elicited a fresh round of jealousy, speculation and eye-rolls from the masses, as well as numerous journalistic “takes” on the topic.

I was a teenager at the time, and had only a vague idea of why any of this mattered. But apparently it stayed with me for nearly a decade, because when I saw “The Wanderers,” a new Off-Broadway play running at the Roundabout Theatre Company, it didn’t take long for me to make the connection between this fictional production and the very real but mysterious drama that occurred between these famous Jewish writers.

“The Wanderers,” directed by Barry Edelstein, follows two couples in two different timelines. In the present day are Abe and Sophie, secular Jews and writers who live in Brooklyn and have been together since they were teenagers. The other storyline, set in the 1970s, centers around Esther and Schmuli, a Hasidic couple living in Satmar Williamsburg. The latter are introduced to the audience on the eve of their wedding, one of the first times they’ve ever been alone together.

Throughout the play, the couples, seemingly from different worlds, try to balance their careers, personal lives, internal desires and family obligations.

Abe (Eddie Kaye Thomas) is a writer who boasts a Pulitzer Prize and several other literary awards. But he struggles with certain aspects of his life — his frayed relationships, mostly — and is hamstrung by an immense ego that is tempered only by a hefty dose of insecurity. As I watched the play, I began to feel like I knew the man, but I couldn’t quite place him. Was he just a stand-in for every genuinely talented, semi-pretentious, self-important male writer living in Brooklyn?

Abe eventually finds an outlet for his woes by striking up an email correspondence with fictional Hollywood actress Julia Cheever (Katie Holmes, the real Hollywood actress), whom he met when she came to a reading of one of his novels. Eventually, he declares his love for her — a pronouncement that essentially goes ignored by the actress. (In the play, Holmes sports a chic brunette bob not unlike a Jewish actress near and dear to our hearts.)

It became pretty clear who served as the inspiration for this play — and when I asked playwright Anna Ziegler about it, she said I was one of the few she had spoken with who had made the connection.

“In the summer of 2016, when I was writing, Natalie Portman and Jonathan Safran Foer were writing to each other in a correspondence they published in the New York Times,” she said. “She was promoting a new movie of hers, and I guess they had a previous relationship — that sparked the idea for one of the storylines in the play.”

What’s funny, Ziegler said, was that most audience members haven’t made the connection. “We haven’t really been talking about [Safran Foer and Portman] as one of the inspirations, and not many people have raised it,” she said. “I assumed that that resonance would be there for a certain percentage of the audience but, to be honest, I don’t think it’s there for the vast majority of people.”

At one point in the play, after learning his father died, Abe even says the line “Hineni, here I am,” to ground himself and calm his emotions. It’s a phrase in the Torah that usually translates to “I am ready,” which Abraham says to God before being asked to sacrifice his son, Isaac, as well as a prayer of humility chanted on Rosh Hashanah. But it’s also, possibly, a nod to Safran Foer’s 2016 novel “Here I Am.”

Neither Krauss nor Safran Foer responded to requests for comment on the play. “For people in my generation and younger, the recognition might be there, but it was also so many years ago now,” said Zielger, 44. “So I guess the only people who remember it are the people on whom it made an impact.”

Which is fine — “The Wanderers” stands on its own even if you don’t know the backstory. Plus, the themes of the play stretch far beyond infidelity: It also explores loneliness, free will and inherited family trauma.

Originally, Ziegler set out to write something about arranged marriages, specifically within the Jewish community. “I had always been kind of fascinated and beguiled by the idea of arranged marriage — thinking about what it would be like spending that first night together, that notion always kind of haunted me,” she said.

“I had these two different plays [one about Portman and Safran Foer and the other about arranged marriages], and they seemed thematically related,” she added. “At some point, I concluded that they really were two strands at the same play and so I started weaving them together.”

Ziegler chose to write about the Hasidic Jewish community in particular because she was “somewhat familiar with that culture and community,” she told me.

Still, as a secular Jew, it’s a topic she approached delicately. She hired a cultural consultant and an accent coach for the actors who were both from the community. Ziegler herself, who lives in Brooklyn, spent time in Williamsburg, and read memoirs and watched documentaries.

In the play, the Hasidic wife Esther (Lucy Freyer) struggles to be seen by her community and to feel in control of her life. She doesn’t know where to turn and wonders if she’s fulfilled her potential — as a parent, wife, human and Jew. “One of the great joys of being an actor is being able to learn and dive head first into a community that you ordinarily wouldn’t get to know,” Freyer said.

As the story unfolds, it’s revealed that Esther left the community with her infant son, who grows up to be the renowned Jewish author Abe, who marries his childhood friend Sophie (Sarah Cooper, the comic and actress who broke big with videos mocking Donald Trump). The younger couple is almost entirely secular, yet they grapple with the same search for meaning and belonging, the same doubt as to whether they’ve chosen the right path for themselves — or if it had been chosen for them.

“All five characters, not just Schmuli and Esther, are trying to figure out how can you be happy with what you have, with where you stand in your own skin,” said Dave Klasko, who plays Schmuli.

“We say in the play the Hebrew phrase, ‘Ein ba’al hanes makir b’niso,’ which [Ziegler] poetically translates to ‘We are never aware of the miracles, especially when we are inside them,’” Klasko added. “How can I, in my own life, realize the miracle that I’m living in before I’m on the other side of it?”

For Ziegler, these are very Jewish questions — and the questions of the “Xillennial” generation. “We’re left [with] the complex heritage of feeling chosen, but also self-hating,” said Ziegler, whose previous plays include “Photograph 51,” about Rosalind Franklin, the Jewish X-ray crystallographer who helped Watson and Crick crack the DNA model. “I think this is the most Jewish of my plays, and it’s funny because I’m not that religious, but I have found in my career that there seems to be a hunger for plays about Judaism.”

“At some point in my career, I began to be thought of as a ‘Jewish writer’ — for better or for worse,” she added.

Safran Foer, 46, and Krauss, 48, have also wrestled with the “Jewish writer” term, as well as the play’s big questions of identity, self-doubt and complicated family relationships. In fact, as Ziegler and the actors point out, issues of the play are universal, and have nothing to do with how famous you are, how expensive your home may be, or how strictly you adhere to religious law. The celebrity allusion — plus the chance to see an actual celebrity, Holmes — may be a reason to buy a ticket to see “The Wanderers,” but the timeless message is what will keep you in your seat.

“The Wanderers” is playing at the Roundabout Theatre Company (111 West 46th Street) through April 2. Find tickets and more information here


The post Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play appeared first on Jewish Telegraphic Agency.

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Kentucky Gov. Andy Beshear criticizes Gaza ‘genocide’ discourse ‘litmus test’ for Democrats

(JTA) — Kentucky Gov. Andy Beshear declined to label Israel’s actions in Gaza as “genocide” in an interview with Politico published Sunday, instead critiquing the question as a litmus test among Democrats.

“That’s becoming one of those new litmus tests that we said we would never do as a party again,” Beshear told Politico’s Dasha Burns after being asked if he agreed with the label. “It’s trying to throw out a word and, ‘Are you going to raise your hand or are you not going to?’”

Beshear is the Democratic governor of a solidly red state and a potential 2028 presidential contender. His remarks come as Democratic candidates increasingly grapple with their stances on Israel amid record low support for Israel among its base.

While several lawmakers, including Vermont’s Jewish Sen. Bernie Sanders, an independent, have called Israel’s actions in Gaza a “genocide,” the label has not gained mainstream support in the Democratic party. Last October, former Vice President Kamala Harris declined to use the “genocide” label, which Israel had long rejected, but said, “We should all step back and ask this question and be honest about it.”

Some Democrats have embraced the question, with a New York congressional candidate telling the leftist streamer Hasan Piker this week that she is “100%” comfortable with the issue serving as a litmus test in her party.

Others have acted as though the litmus test is already in place. In January, for example, California congressional candidate Scott Wiener announced that he believes Israel’s actions in Gaza constitute a genocide after drawing scrutiny for declining to answer the question during a debate.

While Beshear told Burns that Israel “has the right to exist as a democratic country, as a Jewish country,” he added that he feelings about President Donald Trump and Israeli Prime Minister Benjamin Netanyahu’s conduct during the war in Gaza and ongoing war in Iran were “a different thing.”

“I believe the United States needs a strong Israel, but not one with decisions being made in the way that Netanyahu is making them,” Beshear said.

Beshear also critiqued President Donald Trump’s response to the crisis in Gaza.

“I believe that it could have been done without a lot of the suffering, but I put a lot of that blame also on Donald Trump,” he said. “If he’d said we are coming in and we are bringing food and aid and you are going to make sure that we’re safe, it would’ve happened.”

Last week, a spokesperson for Beshear told Politico that “AIPAC has never contributed to Governor Beshear and they’re never going to — ever,” a response that dovetailed with a host of other potential Democratic presidential candidates, including California Gov. Gavin Newsom, who are increasingly distancing themselves from the pro-Israel lobby.

“I think that’s up to each and every Democrat,” Beshear answered when asked whether he thought his fellow Democrats should take money from AIPAC.

“In the end, I think people need to be clear about their stance on these issues,” Beshear said. “And for me, it’s one where I believe that we need a future with an ally in Israel. But we need decision makers there that are not acting the way that Netanyahu is and we need a president that will push when we are seeing humanitarian crises to actually do something about it.”

This article originally appeared on JTA.org.

The post Kentucky Gov. Andy Beshear criticizes Gaza ‘genocide’ discourse ‘litmus test’ for Democrats appeared first on The Forward.

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Passover’s 4 cups of meaning

What if the answer to the ‘Meaning Crisis’ is sitting right in front of us, around our Passover tables?

The Meaning Crisis is a term coined by philosopher John Vervaeke to discuss the constellation of mental health, political and cultural crises that, in his words, derive from people “feeling very disconnected from themselves, from each other, from the world, and from a viable and foreseeable future.” It is, Vervaeke argues, at the root of such seemingly disparate phenomena as the opioid crisis, the rise of right-wing nationalism, and off-the-charts reports of despair and anxiety, particularly among young people.

There are at least two meanings of ‘Meaning’ in this context.

First, over the last few hundred years — but especially in the last few decades — there has been a rapid erosion of the structures and communities that gave human lives meaning for hundreds, if not thousands, of years. Traditional religious values and structures are far less coherent, attractive or attainable. Familial and communal structures have rapidly shifted. Fewer and fewer of us live in the places where we grew up, surrounded by extended family. The civic bonds many of us once took for granted are frayed as we fundamentally disagree about what American democracy even means. And in the last few decades, the atomizing effects of technology have made us more isolated from one another, with less in-person human contact and even less physical intimacy.

This is also a literal crisis of meaning: who we are, how we understand our world, the concepts by which we organize our lives — all of these are rapidly changing, and with the potential of AI to reshape our economic order and wipe out half of white-collar jobs, it’s possible we ain’t seen nothing yet.

Some of these changes are for the best. To take one personal example, the word ‘marriage’ connoted a very specific form of social arrangement for hundreds of years: a man, a woman, a lifelong union blessed by a religious authority, and the raising of children. The parameters of marriage were never as stable as traditionalists like to claim — just look at our biblical ancestors polygamous marriages, or the deeply unequal access and expectations around extramarital sex stretching through the Mad Men 1950s. But with the progress in women’s rights (e.g. not being considered the property of their husbands, being able to have careers) and LGBTQ equality, obviously the nature and rates of marriage have changed significantly. As someone in a same-sex marriage, I’m very grateful for that.

But it is still a change, and, together with other transformations, it has challenged some traditional notions of masculinity, leading to a resurgence of misogynistic, hyper-conservative models in the so-called ‘manosphere.’  And that’s but one example of many.

In this context — the meaning crisis and the reactionary responses to it — I find the observance of Passover, and the Passover Seder in particular, to be a much-needed antidote to disorientation on one hand, and oppressive traditionalism on the other.

Fittingly, for a holiday obsessed with the number four, I want to explore this in four ways  — if you like, the Four Cups of Meaning that can be part of the Passover Seder.

1) Community

For many people, gathering with families of origin can be extremely stressful in our politically polarized time. It was bad enough when it was just the proverbial ‘racist uncle’ we had to endure at Seders. He might’ve been annoying, but he could also be ignored. Now, however, even well-meaning, sincere and committed Jews passionately disagree over a number of subjects,  especially a certain country (or two) in the Middle East.

Yet there is a profound value gathering as a family — even as a tribe — and feeling a sense of kinship and belonging to it. Despite real and painful differences, Jews congregating together are connecting to a heritage and an ancestry that cannot be taken away by those who seek to put us outside the tent. That is something very old and very rich. You are not an atomized, isolated individual, separate from a history and a people and a tradition — a tradition which specifically includes the value of disagreement, argumentation and wrestling with the divine.

2) Centering our core values

Within the Jewish family, there are radically different iterations of core values. For me, the meaning of the Exodus is that oppression, slavery and injustice are morally wrong in the highest possible sense. As Exodus 23:9 teaches, “Do not oppress the stranger, for you know the heart of a stranger, for you were strangers in the land of Egypt.” From our experience of oppression — real, imagined or historically projected — we extrapolate the emotional and ethical value that it is wrong to oppress those who are different from us.

I know others have different views — for example, that the story of the Exodus is centrally about something that happened to our tribe, and that our group must never allow to happen to us again. But in terms of the meaning crisis, the debate is part of the solution. We are called at the Passover Seder to discuss the meanings of freedom, to reenact in our lived ritual experience the passage from servitude to liberation.

And not only that. We are invited to cultivate gratitude — in the Dayenu song and elsewhere — for all the blessings around us. We are invited, over and over again, to value questioning, curiosity, even challenging the texts of the Haggadah that for many are the very foundation of the Seder. These values are placed at the center of the Passover symposium. And while we disagree about how these questions are to be answered, just asking them is a retort to the emptiness and nihilism of so much of online culture and political cynicism. Values matter.

3) The power of myth

Human beings are creatures of story. Some linguists believe that it is in the telling of stories that human language itself — and thus human consciousness — evolved. Personally, I don’t regard the biblical narrative as a historical document; I see it as a shared myth of national self-creation, one which we can embody in ritual — in what the scholar of religion Clifford Geertz called “deep play.”

Sometimes the play is quite literal. Last year, my friend Shoshana Jedwab, a marvelous Jewish educator, led a bibliodrama performance in which, drawing from Sephardic traditions, we whipped one another with scallions to mock the servitude of Egyptian slavery. It’s fun (and worked really well with my eight-year-old) but it’s also a way of making myth into embodied, living experience. The myths, and their reenactment, bring us into intimacy with the past.

But ritual play may take many forms. Why do we dip our vegetables twice? Why the charoset? Why the orange on the seder plate? Why this? Why that? The inquisitiveness of the Four Questions is modeled by the youngest participant of the seder, but is invited on behalf of all of us. These often inscrutable, embodied, crunchy, weird rituals connect to the myth of the Passover story and make it alive in a way that mere retelling could never do.

As you prepare for your own seders, I invite you to create your own questions based on the themes embedded in the order of the Seder. And to lean into the weird. Which brings me to the final cup of meaning:

4) The non-rational

Passover, like many Jewish holidays, has multiple layers — seasonal, agricultural, mythic — and they all mash together in an often strange, and often charoset-like, mixture.

Particularly this year, the non-rational, emotional, and spiritual content of the Seder feels resonant for me. I cannot sequester the grief I feel at the crumbling of the American experiment in multicultural democracy, or at the ascendant far right in Israel. I feel perhaps a little closer to that pre-redeemed consciousness of my mythic ancestors in the land of Egypt. I am certainly not enslaved, but I do feel the sense of precarity that the Seder invites us to cultivate.

And so I find myself yearning for a miraculous deliverance — maybe not one involving frogs, lice, and boils, but from some unknown, mysterious, sacred source. Perhaps salvation will come from what we do not know. Perhaps there is room for a desperate hope, despite ample reasons not to hope.

As the Hasidic masters noted (and for a wonderful presentation of this, consider downloading the ‘Four Cups of Consciousness’ Haggadah supplement created by the Jewish psychedelic organization, Shefa), the Passover Seder is in large part about consciousness change: using the four cups of wine, the emotional arc of the seder, and the long night of singing, arguing and talking over a festive meal that stretches to midnight to shift our consciousness and open us to the possibility of internal freedom, even when external circumstances are antithetical to it.

This is the freedom of which Viktor Frankl wrote. And while we are a long way from what Frankl endured, I would submit that part of the invitation of the Seder is to imagine the consciousness of freedom even when that freedom is threatened — to be in solidarity with those being oppressed as we gather for our lavish meal, reclining on real or metaphorical cushions and drinking cups of wine, and to hold those two sides together. To know that, as the Haggadah relates, there have always been threats to our physical and spiritual safety. And while our physical freedom can indeed be restricted — and has been — we retain the capacity for ethical and spiritual freedom even in circumstances far worse than our own.

This is the ultimate meaningfulness: that in a time when the structures and language that give our lives meaning are threatened, we can resist the slide to nihilism and despair. And the Seder is a celebration of doing so.

The post Passover’s 4 cups of meaning appeared first on The Forward.

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Tensions flare at Passover Seder over Mamdani’s inclusion

(JTA) — New York City Mayor Zohran Mamdani was briefly interrupted by a heckler during an appearance at a Passover Seder in Manhattan Monday night, marking a tense moment that highlighted ongoing strains between the mayor and segments of the Jewish community.

“The rising tide of antisemitism has caused enormous pain for so many Jewish New Yorkers. Doors are locked that used to be open, routine subway journeys felt fraught, synagogues that once felt like sanctuaries now require armed protection,” Mamdani said before he was interrupted by an individual in the back of the room who stood and shouted, “Every Jewish organization is a target.”

Attendees responded with a blend of shushes and a single voice shouting, “Stop the xenophobia, let him speak.”

“This is New York City, and we love to be here,” Mamdani said as the audience erupted in cheers. “I say it because we know that if there was complete decorum anywhere that we were, then we would have to ask ourselves if we had left the city that we love, and it is important to be here and to acknowledge that this is what it means to love and to lead the place that we call home.”

The episode, which took place at Jewish entrepreneur Michael Dorf’s annual seder at City Winery in the Meatpacking District, comes as Mamdani has faced scrutiny from segments of New York’s Jewish community over his responses to antisemitic incidents and continued alignment with pro-Palestinian activists.

“I have to say I didn’t vote for him,” one male attendee, who asked to remain anonymous for his privacy, said following the seder. “I have certain feelings about him that I think a lot of other people have, but that’s neither here nor there. But that was kind of surprising that a couple of people kind of went out of their way to heckle.”

While the mayor has previously marked Jewish holidays with Jewish leaders and organizations aligned with him on his criticisms of Israel, the event at City Winery involved a lineup of speakers and attendees with differing views.

“Mamdani was here, which is great, yeah, I guess, because he knows at the seder, you lean to the left,” joked comedian Olga Namer later in the evening. “A little bit about me, I’m a Syrian Jew, yes, so that’s good, because I know, at least I’m confident, that Mamdani likes half of me.”

Ahead of the evening, which also featured addresses by former CNN anchor Don Lemon, Israeli musician David Broza and Rabbi Amichai Lau-Lavie of the non-denominational Lab/Shul, observant Jewish comedian Modi Rosenfeld announced that he had cancelled his appearance, claiming that he had been unaware of the mayor’s inclusion.

“We were not told Mamdani was participating in this event until today,” Rosenfeld’s team said in a statement on Instagram following criticism from pro-Israel activist Shai Davidai. “Modi will no longer be participating.”

Davidai, the former Israeli business school professor at Columbia University, took aim at the Israeli participants in the seder, writing in a post on Instagram, “This is why we’re losing.”

“I have nothing against any of these individuals, but I do have a problem with giving Mamdani a kosher stamp of approval while so many of us are out in the streets fighting against is anti-Jewish and anti-Israeli policies, actions, and rhetoric,” Davidai wrote in an updated caption announcing Modi’s cancellation.

City Council Speaker Julie Menin, who has been seen as a counterweight on Mamdani, used part of her remarks to highlight the passage of her “buffer zone” legislation for religious institutions, which were introduced after a pro-Palestinian demonstration outside of Park East Synagogue in November.

“We all should be able to worship or not worship as we see fit,” Menin said. “We all should be able to go into, whether it’s a synagogue, a church, a mosque or any house of worship, freely without intimidation and harassment, so I’m very proud that we were able to pass this bill.”

Mamdani has not confirmed whether he will sign the legislation, with a spokesperson telling the Jewish Telegraphic Agency that he “wants to ensure both the right to prayer and the right to protest are protected here in New York City.”

Former Comptroller Brad Lander, who is currently running for Congress in New York’s 10th Congressional District, joked during his remarks late in the evening that he “did not tell the mayor that we were doing a live reenactment of the four sons during his speech,” making a tongue-in-cheek reference to a core element of the Passover haggadah.

“He gets heckled and, you know, and it kind of goes along with the territory, I thought he dealt with it very gracefully,” Lander told JTA. “As a lot of people said in here tonight, not everyone in that room agrees with each other.”

Indeed, at the conclusion of the seder, several attendees said that they were not aware that the mayor was slated to appear — and questioned his understanding of the holiday’s core narrative.

“If City Winery did not inform people of the politicians in particular, because he’s very polarizing, to have him up there really upset people,” said one attendee, who requested anonymity because she had participated as a private individual. “It feels inauthentic to have him speak about matzah or Judaism, when the whole holiday is about Jews that were enslaved by Pharaoh and then went back to the homeland of Israel.”

This article originally appeared on JTA.org.

The post Tensions flare at Passover Seder over Mamdani’s inclusion appeared first on The Forward.

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