Uncategorized
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.
Uncategorized
Mahmoud Abbas Gave Direct Orders to Name Hall After Palestinian Hitler Ally
The Grand Mufti of Jerusalem, Haj Amin al-Husseini, meets with Adolf Hitler in 1941. Photo: German Federal Archives via Wikimedia Commons.
During World War II, Grand Mufti of Jerusalem Haj Amin Al-Husseini was a Nazi ally and an associate of Hitler, living in Germany from 1941 until the war’s end — and receiving funding from the Nazi government.
The Mufti also led the lethal 1936-1939 Arab Revolt, in which at least 400 Jews were murdered.
Now the Palestinian Authority (PA) has built and named a public hall after Al-Husseini — and none other than PA leader Mahmoud Abbas himself instructed PA officials about the naming, thereby making a public statement about which historical values the PA chooses to uphold.
When laying the building’s cornerstone, PA officials stressed that the naming of the hall is “out of loyalty to the great figures of our people”:
Text on sign: “Under the auspices of His Honor President
Mahmoud Abbas, may Allah protect him
President of the State of Palestine
His Honor Jericho and Jordan Valley District Governor Dr. Hussein Hamayel
And His Honor Jericho Mayor Mr. Abd Al-Karim Sidr
laid the cornerstone for the Mufti Haj Amin Al-Husseini Hall”
Under the auspices of [PA] President Mahmoud Abbas, yesterday, Sunday, [Feb. 15, 2026,] Jericho and Jordan Valley District Governor Hussein Hamayel and Jericho Mayor Abd Al-Karim Sidr laid the cornerstone for the Mufti Haj Amin Al-Husseini Multi-Purpose Hall …District Governor Hamayel emphasized that the laying of the cornerstone was done out of loyalty to the great figures of our people, and according to direct instructions from President [Abbas] regarding the need to commemorate the memory of the leaders and fighters. [emphasis added]
[Official PA daily Al-Hayat Al-Jadida, Feb. 16, 2026]
Deciding to put a specific person’s name on a public building is a deliberate statement of values. By elevating an individual like Nazi ally Al-Husseini, Abbas and the PA aren’t just labeling a hall — they are officially endorsing Al-Husseini as a hero for the entire community.
Haj Amin Al-Husseini was also featured at a PA event held under the auspices of PA Prime Minister Muhammad Mustafa, with numerous PA and Fatah officials in attendance, during the marking of the 150th anniversary of the private, coeducational Catholic school Collège des Frères in Jerusalem.
On a huge screen, organizers displayed an image of Al-Husseini. Al-Husseini was on Yugoslavia’s list of wanted war criminals, and was responsible for a Muslim SS division that murdered thousands of Serbs and Croats. When the Nazis offered to free some Jewish children, Al-Husseini fought against their release, and as a result, 5,000 children were sent to the gas chambers.
The author is a contributor to Palestinian Media Watch, where a version of this story first appeared.
Uncategorized
I First Experienced Antisemitism at Six Years Old; But We Must Never Let Hate Win
An Oxford student is seen chanting hateful slogans at Jews, during a pro-Palestinian march in central London, an incident captured on viral video that has drawn widespread condemnation. Photo: Screenshot
When I was six years old, my father founded Carmel College, and moved the family into the English countryside west of London. My father’s school initially only took pupils of a certain age. So, I was sent to a local Church of England village school with one teacher, located just outside the Carmel estate.
For the first time, I became aware of Christian antagonism when I was surrounded by other pupils, bullied, and told that I had killed Jesus. Even at six-years old, I had a mind of my own, and told off the other children. The teacher was furious, got in touch with my father, and insisted that he remove me from the school. Instead, he arranged for home schooling until I was able to join Carmel College.
Several years later, during school holidays, I would walk the three miles from the school to Wallingford, the nearest town, with enough pocket money to buy a ticket to the local cinema. When I got there, the manager told me that the price had gone up, and I didn’t have enough money to get in. I replied that I thought this was unfair and that as I had walked all this way, perhaps he could make an exception. But he replied that since I was a Jew, I should know all about money, because that’s all that mattered to Jews. It was another incident that reinforced my awareness that we were different and not very popular.
A few years later, when I was old enough to play on the school soccer team, we often went to play against non-Jewish schools. In almost every case, either our opponents or the local spectators would abuse us for being Jewish and often played rough either to test us or to express their antagonism. When I mentioned this to my father his response, surprisingly, was simply to tell us to repay them in kind.
The first debate I participated in at Cambridge University in the Union was on the biased subject of whether the Jews had any right to “take” the state of “Palestine” from the Arabs. I argued our case strongly and we won the vote. In those days, the voices of those who supported Israel’s right to exist were strong enough to win the argument.
I was always aware of anti-Jewish sentiment. But it was mainly low key, and I could hardly say that I suffered. Anyway, I had sufficient confidence in my Jewish identity not to let it get to me.
Later I became a rabbi in London and I accepted Chief Rabbi Jakobovitz’s invitation to become responsible in his cabinet for interfaith relations. For a few years I devoted myself to establishing good relations with the various Christian denominations and with Muslims, who at that stage were still relatively new to England and were grateful for the support and encouragement we gave them.
I enjoyed these interactions and conferences and the friendships, some of which I have to this day. But I soon became aware that the interfaith world comprised a small layer of intelligent, sensitive good men and women of all faiths. Although they got on well with each other, they seemed to have little impact on the vast majority of the members of their different religions who were still mired in prejudice and so I withdrew.
I mentioned all these little things because I am conscious of the fact that these small little things affected my sense of alienation, although I was also aware of how wonderful and rewarding the small acts of friendship and warmth were.
Many of our children will experience much more alienation than we had to. We have to fight more prejudice and one-sided information today, and indeed, there are many Jews who prefer joining our enemies. Despite everything, we must encourage good relations with other human beings — many of whom also fight against prejudice and discrimination. Little things can have a huge impact, both ways.
The author is a writer and rabbi based in New York.
Uncategorized
What Is the BBC Telling Children About Iran’s Nuclear Program?
A satellite image shows un‑buried tunnel entrances at Isfahan nuclear complex, in Isfahan, Iran, Nov. 11, 2024. Photo: Vantor/Handout via REUTERS
On February 28, the BBC published an uncredited report headlined “US and Israel launch attacks on Iran” on its CBBC (Children’s BBC) website’s Newsround page.
Newsround is described as “the home of trusted news for kids and young people,” and is aimed at children between the ages of six and 12.
That report opens as follows: [emphasis added]
The US and Israel have launched attacks on Iran, which is a country in the Middle East.
US President Donald Trump said in a video that the American military has begun “major combat operations” in Iran.
In a statement, Israel’s Prime Minister Benjamin Netanyahu said that his country was working with the US to remove what he called a threat to both countries.
It comes after US talks with Iran to try and stop them from developing a nuclear weapon, something that Iran denies it is doing.
In a later section sub-headed “What are nuclear weapons,” the BBC’s young audiences are told that:
Iran has been long suspected of trying to build a nuclear bomb, which it has always denied.
It says its nuclear research is for peaceful purposes, like making electricity. For many years a United Nations body (called the IAEA) has said that Iran has not been following rules on sharing information about its nuclear programme.
While this is by no means the first time that the BBC has amplified Iran’s denials concerning its nuclear program, it is particularly disappointing to see the younger generation being fed that disinformation, especially given that the BBC has itself reported in the past that:
Nuclear power stations typically need about 3-5% of this enriched uranium to generate a controlled nuclear reaction that releases energy.
But when the aim is to make a nuclear weapon, a much higher proportion of uranium-235 is needed – about 90%.
The BBC knows full well that Iran’s levels of enrichment of uranium-235 have reached at least 60% — a level which has no civilian use and is far higher than needed to “make electricity.”
It also knows that Iran has actively (and in violation of international agreement) prevented the IAEA from inspecting its nuclear facilities, including the storage site for some of its highly enriched uranium.
The BBC is no doubt familiar with the long history of the Iranian regime’s nuclear aspirations, as well as its more recent developments.
The BBC also ought to be able to inform its younger audiences about that regime’s history of using proxies and ballistic missiles to attack Israel — and of its repeated threats to destroy the country. However, this “trusted news” article airbrushes all such important context and instead tells readers that:
Israel and Iran have been enemies for many years, but in recent times the tension between the countries has resulted in military attacks on each other.
If, for reasons best known to itself, the BBC thinks that it is ticking the impartiality box by uncritically amplifying the Iranian regime’s redundant denials concerning its nuclear program, it should at least also provide the background information that would enable its audiences — whether adults or children — to put those denials into their appropriate context.
The failure to do so means that Britain’s national broadcaster simply continues to promote the disinformation put out by a repressive, theocratic regime.
Hadar Sela is the co-editor of CAMERA UK – an affiliate of the Committee for Accuracy in Middle East Reporting and Analysis (CAMERA), where a version of this article first appeared.