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Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it.

NEW YORK (JTA) — Sidney Brustein, Jewish Hamlet? 

Anne Kauffman thinks so. She made the comparison in a phone interview about the play she’s directing — a buzzy production of Lorraine Hansberry’s “The Sign in Sidney Brustein’s Window” that opened on Monday at the Brooklyn Academy of Music starring Oscar Isaac and Rachel Brosnahan.

“One artistic director who was thinking of doing this [play] was like, ‘You know, it’s not like he’s Hamlet, but…’ And I thought, well, no, actually I think he is like Hamlet!” she said.

She added another take: “I feel like he’s Cary Grant meets Zero Mostel.”

Hansberry saw just two of her works produced on Broadway before her death from cancer at 34 in January 1965. Her first, “A Raisin in the Sun,” which follows a Black family dealing with housing discrimination in Chicago, is widely considered one of the most significant plays of the 20th century. The other, “The Sign in Sidney Brustein’s Window,” ran for a few months in the fall of 1964 until Hansberry’s death and has only been revived a handful of times since, all outside of New York. 

Now, the star power of Isaac and Brosnahan is driving renewed interest in the play, which deals with weighty questions about political activism, self-fulfillment in a capitalist world, and racial and ethnic identity — including mid-century Jewish American identity. 

The Brustein character, as Kauffman alluded to, is many things. A resident of Greenwich Village deeply embedded in that historic neighborhood’s 1960s activist and artistic circles, he is somewhat of a creative renaissance man. At the start of the play, his club of sorts (“it was not a nightclub” is a running joke) called “Walden Pond” has just shuttered and he has taken over an alternative newspaper. As the script reads, Brustein is an intellectual “in the truest sense of the word” but “does not wear glasses” — the latter description being a possible jab at his macho tendencies. Formerly an ardent leftist activist, he is now weary of the worth of activism and a bit of a nihilist. He’s in his late 30s and is a musician who often picks up a banjo.

Brustein is also a secular Jew, a fact that he telegraphs at certain key emotional and comedic moments. Others, from friends to his casually antisemitic sister-in-law, frequently reference his identity, too.

At the end of the play’s first half, for example, Brustein brings up the heroes of the Hanukkah story in talking about his existential angst — and his stomach ulcer. He has become belligerent to his wife Iris and to a local politician who wants Brustein’s paper’s endorsement.

“How does one confront the thousand nameless faceless vapors that are the evil of our time? Can a sword pierce it?” Sidney says. “One does not smite evil anymore: one holds one’s gut, thus — and takes a pill. Oh, but to take up the sword of the Maccabees again!”

Hansberry’s decision to center a white Jewish character surprised critics and fans alike in 1964 because many of them expected her to follow “A Raisin in the Sun” with further exploration of issues facing Black Americans, said Joi Gresham, the director of the Lorraine Hansberry Literary Trust.

“The major attack, both critically and on a popular basis, in regards to the play and to its central character was that Lorraine was out of her lane,” Gresham said. “That not only did she not know what she’s talking about, but that she had the nerve to even examine that subject matter.”

Hansberry’s closest collaborator was her former husband Robert Nemiroff, a Jewish New Yorker whom she had divorced in 1962 but maintained an artistic partnership with. Nemiroff was a bit Brustein-like in his pursuits: he edited books, produced and promoted Hansberry’s work, and even wrote songs (one of which made the couple enough money to allow Hansberry to focus on writing “A Raisin in the Sun”). But Gresham — who is Nemiroff’s stepdaughter through his second marriage, to professor Jewell Handy Gresham-Nemiroff — emphasized that his personality was nothing like Brustein’s. While Brustein is brash and mean to Iris, Nemiroff was undyingly supportive of Hansberry and her work, said Gresham, who lived with him and her mother at Nemiroff’s Croton-on-Hudson home — the one he had formerly shared for a time with Hansberry — from age 10 onward.

Instead, Gresham argued, the Brustein character was the result of Hansberry’s deep engagement with Jewish intellectual thought, in part influenced by her relationship with Nemiroff. The pair met at a protest and would bond over their passion for fighting for social justice, which included combating antisemitism. The night before their wedding, they protested the execution of Julius and Ethel Rosenberg, and they would remain highly involved in the wave of activism that blossomed into the Black-Jewish civil rights alliance.

“Bob and Lorraine met and built a life together at a place where there was a very strong Black-Jewish nexus. There was a very strong interplay and interaction,” Gresham said. “I think Lorraine was very influenced by Bob’s family, the Nemiroffs, who were very radical in their politics. And so there was a way in which she was introduced to the base of Jewish intellectualism and Jewish progressive politics, that she took to heart and she was very passionate about.” 

Robert Nemiroff and Lorraine Hansberry were married from 1953-62. They are shown here in 1959. (Ben Martin/Getty Images)

Hansberry didn’t hesitate to criticize Jewish writers who said controversial things about Black Americans, either. When Norman Podhoretz wrote “My Negro Problem — And Ours,” an explosive 1963 article in Commentary magazine now widely seen as racist, Hansberry responded with a scathing rebuke. She also sparred with Norman Mailer, who once wrote an essay titled “The White Negro: Superficial Reflections on the Hipster.”

Gresham said Brustein’s nihilism represents what Hansberry saw in a range of Jewish and non-Jewish white writers, whom she hoped could be kickstarted back into activism. But Hansberry also nodded to the reasons why someone like Brustein could feel defeated in the early 1960s, a decade and a half after World War II.

“You mean diddle around with the little things since we can’t do anything about the big ones? Forget about the Holocaust and worry about — reforms in the traffic court or something?” Brustein says at one point in the play to a local politician running as a reformer.

Daniel Pollack-Pelzner, a Jewish scholar of literature who has written on Hansberry, said the resulting Brustein character is a very accurate depiction of a secular Jew at the time — both keenly attuned to prejudice in society and also lacking some understanding of the experience of being Black.

“I was just intoxicated that Hansberry could conjure that world, both so affectionately, but also so clear-sidedly that it seems like she can see the limitations of all of the characters’ perspectives,” he said. “But she also represents them with sympathy and humor.”

Kauffman, who also helmed a revival of the play in Chicago in 2016, is impressed with how “fully fledged” the Brustein character is.

“Who are the cultural icons who have sort of articulated the Jew in our culture in the last 50 years or 60 years, you know?” she said. “Brustein is not a caricature of a Woody Allen character, he’s not even ‘Curb your Enthusiasm’ or a Jerry Seinfeld character. He’s a fully drawn character.”

Isaac, who is of mainly Guatemalan and Cuban heritage, has played Jewish characters before, including a formerly Orthodox man in an Israeli director’s remake of the classic film “Scenes From a Marriage.” In the lead-up to this play, he has largely avoided getting caught in headlines focused on the “Jewface” debate, over whether non-Jewish actors should be allowed to play Jewish characters on stage and screen. 

But when asked about the responsibility of playing a Jewish character in a New York Times interview, Isaac referenced the fact that he has some Jewish heritage on his father’s side.

“We could play that game: How Jewish are you?” he said to interviewer Alexis Soloski, who is Jewish. “It is part of my family, part of my life. I feel the responsibility to not feel like a phony. That’s the responsibility, to feel like I can say these things, do these things and feel like I’m doing it honestly and truthfully.”

When Kauffman directed a version of the play at the Goodman Theater in Chicago in 2016, her lead actor had “not a single drop of Jewish heritage…in his blood,” and she said she had to convey “what anger looks like” coming from a Jewish perspective. Working with Isaac has been different — instead of starting at a base of no knowledge, she has been pushing for more of an Ashkenazi sensibility than a Sephardic one.

“I believe that his heritage leans, I’m guessing, more towards Sephardic. And mine is pure Ashkenazi,” she said. “We sort of joke: ‘[The part] is a little bit more Ashkenazi than that, you know what I mean?’ Like, ‘the violence is actually turned towards yourself!’”

—
The post Lorraine Hansberry’s second play had a white Jewish protagonist. Oscar Isaac and Rachel Brosnahan are reviving it. appeared first on Jewish Telegraphic Agency.

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The new U.S. passport design is fueling a Star of David conspiracy theory. Here’s what’s really there.

When Secretary of State Marco Rubio unveiled a new U.S. passport design last week, online sleuths zeroed in on a curious detail: “Is that the star of david???” one TikTok user commented on a video of Rubio showing off the document’s revamped look.

“Why do we rock the Star of David on American passports?” asked an X user in a post that garnered 1.6 million views.

The symbol was not, in fact, the Star of David, but rather 13 stars arranged in a hexagram, representing the original 13 colonies. The design is part of the official Great Seal of the United States, approved by the Continental Congress in 1782 as the official symbol for the newly sovereign country.

The hexagram shape wasn’t a new addition to the passport, either. The Great Seal has long been a fixture of the U.S. passport cover; the new design just enlarges it. The seal — including the cluster of 13 stars in a hexagram — appears on all sorts of government materials, including military uniforms, official presidential documents, and the dollar bill.

The shape’s resemblance to the Magen David, however, has long fueled conspiracy theories about secret Jewish or Israeli influence over the U.S. government. To some online commentators, the redesigned passport was fresh confirmation of that belief.

“It’s a colony of israel (sic) so it makes sense to pay homage to their owners,” a TikToker commented about the new design.

The seal’s history

Shortly after they adopted the Declaration of Independence, the Founding Fathers had another important matter to attend to: appointing a committee to design a seal for the United States.

Benjamin Franklin, Thomas Jefferson and John Adams made up the all-star team. Franklin suggested an image of Moses parting the Red Sea. Jefferson wanted “the children of Israel in the wilderness, led by a cloud by day and a pillar of fire by night.” Adams preferred an image of Hercules, the Greek hero known for his strength.

Evidently, none of them had a great eye for graphic design. Congress tabled their proposals.

Two more committees took up the project. In 1782, Secretary of the Continental Congress Charles Thomson integrated the various committees’ ideas into a new design, which featured a bald eagle, a shield, an olive branch and arrows, and a constellation of 13 stars. Congress approved the seal that year.

Thomson described the design as featuring “thirteen stars forming a constellation”; he did not specify a hexagram or six-pointed star. Original sketches, in fact, show the stars in a seemingly random arrangement.

Charles Thomson’s design for the Great Seal of the United States, 1782. Courtesy of National Archives Catalog

Robert Scot, the chief engraver of the United States Mint, is credited with arranging the 13 stars into the six-pointed geometric star.

According to legend, George Washington ordered the 13 stars arranged as a Star of David as a tribute to Haym Salomon, a Jewish financier who aided the Revolutionary cause. But there’s no historical evidence of that, nor that Washington or Salomon had any role at all in designing the seal.

One plausible theory is that Scot may have simply been emulating the arrangement of stars on the American flag at the time, rearranging the 13 stars to fit symmetrically inside a circular field.

Even so, the myth of the Star of David intentionally appearing on the seal has reached as far as former presidential candidate Ben Carson, who in 2015 suggested that “Salomon gave all his funds to save the U.S. Army and, some say, no one knows for sure, that’s the reason there’s a Star of David on the back of the one dollar bill.”

Historians were quick to correct the record.

“If you squint, you can say there’s some resemblance but that certainly was not the intention of the designers, that we’re aware,” Wayne Homren of the Numismatic Bibliomania Society, which studies currency, told ABC News.

The theory behind the theory

Kent Harber, a professor of psychology at Rutgers University who studies conspiracy theories, said the passport claim fits within the emerging zeitgeist, in which “conspiracy beliefs about Jews and Israel are getting an increasing amount of currency.”

In this case, gaps in the historical record surrounding the hexagram’s design may have helped the theory take hold.

“We can’t take ‘no reason’ for an answer,” Harber said. “We have to have an explanation, and we will fill in that blank with other explanations, even bogus, sometimes sort of seemingly silly ones.”

Harber’s research has found a strong relationship between conspiracy theories, antisemitic attitudes, and hostility toward Israel.

Conspiracy theories are like “epistemological junk food,” he said. “They satisfy this craving by giving you exactly what you want, even though it’s not particularly good for you or for society.”

The post The new U.S. passport design is fueling a Star of David conspiracy theory. Here’s what’s really there. appeared first on The Forward.

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Swastikas, racist slurs painted on a playground and a golf course outside Philadelphia

The police were still there when neighbors arrived to clean up the Philadelphia playground where vandals had struck.

They had come to a playground in Abington Township, just outside Philadelphia, on Saturday morning with cleaning supplies. Officers had been called and were still collecting evidence from the swastikas that someone had spray-painted on the playground equipment and the blacktop, and from the N-word painted on the playground’s sign. So the volunteers waited. Then dozens of them, along with volunteer firefighters and school district staff, went to work.

Abington Township police have several investigative leads, Deputy Chief Ed Quinn told the Forward. “I’m confident we’re making an arrest and holding those responsible accountable for their actions,” he said, adding that it is too early to say whether charges would include a hate crime.

A week earlier, about 25 miles away, someone carved swastikas and a racial slur into the greens at Yardley Country Club, a private golf course. The similar incidents occurred at both the start and the close of the festival of Sukkot.

No arrests have been announced in either case. Neither police department knew about the other’s case until the Forward called. Quinn said he had never heard of the golf course, and Yardley’s police chief, William Golden, said the same of the playground. Golden declined to discuss leads or whether the vandalism would be charged as a hate crime.

Golden said he had also learned of a golf course about five miles away in Morrisville that was vandalized a week before Yardley’s. The course, he believed, did not report it to police and repaired the damage on their own. Golden said there were no swastikas in that vandalism, but that it included a racist slur.

The Yardley Country Club is adjacent to the Abrams Hebrew Academy, a Jewish elementary school with close to 200 students. Rabbi Ira Budow has run the school for more than four decades. His car is parked beside the hole that was hit, he said, and golf balls sometimes sail onto the school grounds.

“I really think it was probably a prank,” he said, noting that he can’t recall any other local antisemitic incident in his time there. “This is a good town.” Yardley, where Budow lives, is also home to three synagogues. The local police work with the school on security, and he is scheduled to speak to the Borough Council on Tuesday night.

The school already receives state security money. Applications ask whether a school feels threatened and requires them to provide an example – which gave Budow a message for whoever did this.

“This person should know that because of him, the school will be able to get more security grants,” he said. “They did the job for me.”

Why Shapiro is watching

Abington Township is also home to Gov. Josh Shapiro’s private residence.

“Gov. Shapiro has always been clear: antisemitism and hate have no place in Pennsylvania,” Rosie Lapowsky, a spokesperson for Shapiro, told the Forward. “These acts are intended to intimidate our neighbors and we condemn them unequivocally. Every Pennsylvanian deserves to feel safe in their community.”

For Shapiro, it is close to home in more than one way. His wife, Lori, went to elementary school at Abrams, in the building beside the golf course. Shapiro was Pennsylvania’s attorney general on Oct. 27, 2018, when a gunman killed 11 worshippers at the Tree of Life synagogue in Pittsburgh. That anniversary is three weeks away. He was sworn in as governor on three Bibles, one of them rescued from the synagogue.

His own brush with violence opens his memoir, Where We Keep the Light. In April 2025, hours after the Shapiro family hosted a Passover seder, a man firebombed the governor’s residence in Harrisburg while the family and guests slept inside. Shapiro writes that it sharpened his sense that antisemitic violence is a lived reality, even for a governor with a police detail. “The bubble burst that morning,” he writes.

Shapiro is up for reelection next month. He is also widely seen as a possible Democratic candidate for president in 2028, which would make him the nation’s first Jewish president if he won.

Two communities, one response

Jason Holtzman, who runs the Jewish Community Relations Council at the Jewish Federation of Greater Philadelphia, has been watching the headlines pile up. The region’s Jewish community, which he puts at between 250,000 and 300,000 people, now responds to incidents “far more often than we were a few years ago,” he said.

In August, the Weitzman National Museum of American Jewish History in Philadelphia was vandalized, the third attack on it in one year. “These headlines are regular to us,” he said.

What worries Holtzman this week is the setting. “It’s really concerning that it’s also moving into everyday spaces,” he said, like a playground and a golf course. The one in Yardley, beside a Jewish school, “definitely affects children and it definitely affects people in our community.”

He also sees an opening. Antisemitism and anti-Black racism, Holtzman said, “grow from the same root,” and local churches, synagogues and elected officials have rallied together. “While this is a horrible thing, we’re hoping that this is an opportunity to actually bring people together in both communities.”

The Salem Baptist Church of Abington said much the same in a statement. The church called the N-word “the nuclear weapon in the English language” and the swastika “the symbolic equivalent.” Ignorance, it said, “has shown its vile face. At a park. The symbol of civic unity.” It called the vandalism “yet another opportunity for Blacks and Jews to be reminded that our enemies are two sides of the same coin. Unity. Not polarity. Not isolation.”

On Thursday, the town is set to hold a vigil at the park. The idea, the invitation says, is to “reclaim a shared community space from hate.”

The post Swastikas, racist slurs painted on a playground and a golf course outside Philadelphia appeared first on The Forward.

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What do Germans talk about when they talk about antisemitism?

In today’s Germany, an accusation of antisemitism can end careers, shutter institutions and put political alliances beyond consideration. That gravity is understandable in the country responsible for the Holocaust. What has become less clear, particularly since the Hamas-led attacks on southern Israel on Oct. 7, 2023, and the ensuing war in Gaza, is what Germans mean when they use the word “antisemitism.”

Days before Berliners went to the polls on Sept. 20, Germany’s chancellor Friedrich Merz provided a particularly awkward illustration. At a campaign event for his party, the CDU, Merz called antisemitism “the most perfidious form of xenophobia.” German Jews were quick to point out a glaring problem; they were not foreigners. The contentious IHRA framework officially embraced by Germany stresses that antisemitism and hostility toward foreigners are separate phenomena.

The confusion has become politically consequential since Berlin voted. Die Linke, a democratic socialist party, won 25.7%, more than doubling its 2023 share and finishing nearly seven points ahead of the CDU, which came in at 18.8%. The far-right AfD came third with 16.3%, itself an extraordinary gain of 7.2 points. Yet, since the election, the question consuming German politics has been whether Die Linke is too antisemitic to govern.

Israel’s ambassador, Ron Prosor, described antisemitism within Die Linke as systemic. The Central Council of Jews warned the SPD and Greens against joining a Linke-led coalition. Bavaria’s premier, Markus Söder, called Die Linke “deeply antisemitic.”

Philipp Peyman Engel, editor in chief of the Jüdische Allgemeine, the weekly newspaper of the Central Council of Jews in Germany, distilled the case against Die Linke in Britain’s Jewish Chronicle. The party, he wrote, was “riddled with people who hate Jews and Israel” and represented “the elimination of Israel.” Even voters drawn by rents and social policy had tolerated its hatred of Israel; SPD and Green politicians would forfeit any claim to moral seriousness by governing with it. “No non-Jewish democrat should simply accept this election result either,” he wrote.

That is an extraordinary indictment of a party that just received more votes than any other in the German capital. It is also hard to reconcile with the party that actually exists.

Die Linke does carry unusual historical baggage. It was formed in 2007 from a movement of trade unionists and Social Democrats alienated by Gerhard Schröder’s welfare reforms and the PDS, successor to East Germany’s ruling communist party. The GDR pursued an anti-Zionist foreign policy, strands of which survived reunification; the modern party also absorbed a western anti-imperialist tradition in which hostility toward Israel has at times shaded into antisemitism.

A 2011 analysis published by Germany’s Federal Agency for Civic Education found serious hostility toward Israel in parts of Die Linke but rejected describing the party itself as antisemitic. A year later, Die Linke nominated Beate Klarsfeld — the Nazi hunter who spent decades pursuing German war criminals and famously slapped former Chancellor Kurt Georg Kiesinger over his Nazi past — for the German presidency. She received 126 votes in the Federal Assembly.

Die Linke party’s co-leader Ines Schwerdtner, deputy parliamentary group leader Soeren Pellmann, MP Pascal Meiser, new Bundestag Vice-President Bodo Ramelow, MP Ferat Kocak, and parliamentary group leader Heidi Reichinnek. Photo by JENS SCHLUETER/AFP via Getty Images

Die Linke’s current official position is markedly different from Engel’s characterization in the Jewish Chronicle. At its federal congress in June, Die Linke explicitly affirmed Israeli and Palestinian self-determination and the right of both Israel and Palestine to exist. It passed a separate resolution condemning antisemitism and describing its sharp rise since Oct. 7. While one may regard those positions as inadequate, contradictory or politically naïve, they do not amount to a program for eliminating Israel.

The party that won Berlin last month has changed in other ways as well. Its candidate for mayor, Elif Eralp, a trained lawyer, was born in Munich to Turkish socialist trade unionists who fled the 1980 military coup. Her campaign centered on housing, rent controls and migrant rights, and borrowed consciously from Zohran Mamdani’s campaign in New York; Linke activists even traveled there to meet his advisers.

That helps explain why this election has rattled Germany’s political center. Die Linke is no longer easily dismissed as the residual party of eastern German communism. In Berlin, it has assembled a young, urban and increasingly diverse electorate around an issue — the cost of housing — that the governing parties have conspicuously failed to solve. Unlike the AfD, it also has potential coalition partners. A Linke-SPD-Green government could remove the CDU from power and seek to implement the result of a 2021 referendum, approved by 57.6% of voters, calling for the socialization of large housing companies.

There are nonetheless questions about parts of its Berlin organization, especially in Neukölln. A rapper at a campaign event sang “Yalla Yalla Intifada” and “Death to the IDF.” Ferat Koçak, the district’s Linke Bundestag member, was photographed on election night with Ibrahim Ibrahim, described by Democ, an anti-extremist monitoring group, as a longtime activist with the Popular Front for the Liberation of Palestine, which the EU lists as a terrorist organization. Ibrahim has also been reported to have praised Hamas leader Yahya Sinwar as a “steadfast leader” and “martyr hero.”

Beyond Berlin, a June investigation by Bayerischer Rundfunk into internal forums and chats of Linksjugend, the party’s youth organization, found messages by a spokesman for Die Linke’s youth organization in Rhineland-Palatinate referring to Israeli “concentration camps” and a “genocide in the name of Judaism” and telling Israel to “drop dead!”

Wolfgang Benz, who directed the Center for Research on Antisemitism at Berlin’s Technical University for more than two decades and edited an eight-volume handbook on antisemitism, told the Tagesspiegel that the term Antisemitismus is undergoing an Ausverkauf — an inflationary depletion of its meaning.

“Die Linke is not antisemitic,” he said. Anti-Israel slogans can be crude, denunciatory, even “misanthropic,” without thereby becoming Jew-hatred. His answer when asked whether the chant “Death to the IDF” was antisemitic was no.

In the same interview, Benz also argued that Die Linke’s leadership should deal loudly and decisively with genuinely unacceptable conduct and singled out Bodo Ramelow, who became Linke’s first minister-president in 2014, and Petra Pau, a veteran Linke politician and former Bundestag vice president, as politicians with strong records against antisemitism. Benz’s successor, Stefanie Schüler-Springorum, has likewise called the debate around Die Linke “overblown” and warned that antisemitism is being used to influence coalition formation.

The consequences of collapsing antisemitism and anti-Zionism have extended beyond electoral politics. In Verfassungsblog, an open-access forum on constitutional law and politics, scholars Dörthe Engelcke and Ilyas Saliba documented Palestinian-related events at German universities losing rooms or being canceled, while antisemitism commissioners intervened in debates over terms such as “genocide,” “apartheid” and “settler colonialism.” Berlin’s Jews, meanwhile, are hardly unanimous. An open letter signed by 150 Jewish Berliners, including Susan Neiman, Deborah Feldman and Eva Menasse, accused parts of the media and Jewish community of instrumentalizing antisemitism against Die Linke while the far right advances.

The signatories also point out some obvious facts that, I imagine, tend to get overlooked: that Jews in Berlin pay rent, send children to schools, use hospitals and, like their neighbors, worry about economic insecurity.

Britain’s Labour Party under Jeremy Corbyn offers a cautionary precedent. As genuine failures over antisemitism became entangled with factional warfare, parts of Corbyn’s camp focused so heavily on the political motives behind the accusations that they appeared to minimize the underlying problem. The result was to strengthen the very attacks they regarded as politically motivated. Die Linke would be unwise to repeat that mistake.

Right now, far more than Die Linke’s reputation is on the line. The far-right AfD party won 43.8% in Saxony-Anhalt last month, an increase of 23 percentage points. On the same day Berlin voted, it won 38.2% in Mecklenburg-Western Pomerania, according to preliminary official results, while the CDU fell to 4.9% and disappeared from the state parliament. In Berlin, the AfD rose from 9.1 to 16.3% and finished third.

Those results should provide some perspective on the attempt to establish whether Die Linke’s 25.7% represents an antisemitic rupture in German democracy. Die Linke’s leadership will have to demonstrate that its stated opposition to antisemitism has real-world consequences. But the claim that Jew-hatred is baked into the party itself is unsupported by its program, its history or the records of many of its leading politicians.

What the controversy more clearly reveals is the alarm produced when a party long treated as marginal suddenly wins and becomes capable of leading its government. Antisemitism, the most devastating accusation available in German political language, offers Die Linke’s opponents a means of turning questions about the behavior of certain activists into a referendum on the party’s legitimacy.

Yet while Berlin argues over whether Die Linke is fit to govern, a far-right party with openly ethnonationalist positions and powerful antidemocratic currents, is winning close to 40% in parts of the former East. What’s shocking is that Germany’s political center is devoting its fiercest moral language to the left precisely when the far right is remaking the country’s electoral map.

 

The post What do Germans talk about when they talk about antisemitism? appeared first on The Forward.

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