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New Yorkers hunt for man dubbed ‘The L Train Nazi’ who was caught drawing hate slogans on the subway
(New York Jewish Week) — While waiting for the L train at Union Square one Sunday earlier this month, a commuter named Liz spotted something — or rather someone — whose doings had bedeviled her and a few other New Yorkers for more than a year: A white man, wearing a leather jacket and a black hoodie, scrawling a neo-Nazi slogan in black marker on a support beam.
Liz snapped the man’s photo but he quickly ran away. Since then, she and other activists in the city have been searching for the man, whom they have dubbed “The L Train Nazi.” His graffiti of choice appears to be the number “1488,” a neo-Nazi code recognized as a hate symbol by the Anti-Defamation League.
“I actually saw someone doodling on the support column,” Liz told the New York Jewish Week. “Sure enough, he was writing ‘1488.’ I was like, ‘get some pictures.’ He looked at me and tried to ignore it [me] and act like nothing happened.”
Liz, like some other activists who spoke to the New York Jewish Week for this article, declined to give her full name or divulge many details about herself, for fear of being harmed by the same white supremacists she has spent the past few years trying to expose. As an anti-far-right activist, Liz said she has attended multiple far-right and neo-Nazi events in cities across the northeast. At these events, she said she has physically confronted rally-goers and has been arrested two times.
BREAKING: ‘L Train Nazi’ Caught in the Act
For years, people have been reporting typographically similar ‘1488’ tags (a Nazi slogan: https://t.co/mlPBKKSDWW) in the subway, most often along the L line.
As a result, the tagger was dubbed ‘the L train Nazi.’ pic.twitter.com/ssNnYaTzDC
— Talia Jane (@taliaotg) February 8, 2023
The recent encounter on the L train platform, Liz said, didn’t escalate into violence. “He didn’t want to get an assault charge, and I didn’t want to get an assault charge,” she said. “He stormed off and I forwarded the pictures.”
The number 1488, in neo-Nazi speak, stands for two separate things: The 14 stands for a 14-word white supremacist creed — “We must secure the existence of our people and a future for white children” — and 88 stands for “Heil Hitler,” as “h” is the eighth letter of the alphabet.
Beginning in November 2021, other Twitter users had taken photos of similar graffiti at subway stations on the L and M lines in downtown Manhattan and Brooklyn. This isn’t the first time hate symbols have plagued the L train: two trains were removed from the line in 2019 after MTA officials discovered anti-Nazi stickers (which nonetheless partially displayed swastikas) on the train.
Talia Jane, a Brooklyn-based freelance reporter of Jewish descent, collated some of the photos into a Twitter thread following Liz’s interactions. The tweets have been shared 1,300 times in the week since she posted them. The photos of the suspected “L Train Nazi” have been viewed nearly 800,000 times.
“People began to notice similar tags of a similar marker and similar handwriting style,” Jane told the New York Jewish Week. “It became assumed that there was one person behind these recurring tags.”
When asked by this reporter about the graffiti, the New York Police Department said “there is nothing on file” about these markings.
MTA spokesperson Kayla Shults told the New York Jewish Week in an emailed statement that “there is no place for acts of hate of any kind, including anti-Semitic vandalism, in the subway system.”
“When observed, offensive materials are rapidly removed,” Shults said. “The MTA continues to be at the forefront of public service campaigns that promote respect and tolerance for all riders.”
Efforts to find the person behind the graffiti have been coalescing offline as well. Elsa Waithe, 34, a comedian from East New York, first spotted the “1488” graffiti in November 2021 at the L train Livonia stop. Waithe covered it with a sticker, but kept seeing similar graffiti nearby. Now, Waithe is putting up flyers at stations across the L line that say “#SubwayNazi” and display the man’s face.
“Be on the lookout,” the flyer reads. “This man was recently caught writing Nazi tags in NYC subways.”
“I personally plan to put these posters up every weekend, at least for a month or two, just so he knows that people know him now,” Waithe told the New York Jewish Week. “My friend asked me what I was doing. I said, ‘Essentially, Nazi-hunting.’”
Waithe said they made it their “mission” to always cover up the “1488” tags with a sticker, but noticed that others began posting pictures of the tag at stations approaching Manhattan — including Myrtle-Wycoff, Grand Street and eventually Union Square.
Just left the Livonia L trains station and it looks like the same asshole from before has left another 1488 on the stairs. I’ll return after work to cover it up but if someone can get to it before me that would be nice. It’s on the Manhattan bound side. pic.twitter.com/bCpWBJTxnE
— Harriet Thugman (@elsajustelsa) November 15, 2021
“He was putting them in very obvious places,” Waithe said. “Livonia is right next to public housing. This is a Black neighborhood. It pissed me off that someone would threaten the community. That’s what this is, a threat.”
Waithe feels that coded numbers such as 1488 and 1352, a racist anti-Black slogan, allow the perpetrator to hide Nazi messaging in plain sight.
“If he had put a swastika, we all know what that is,” Waithe said. “This is just a coded swastika. It’s the same exact thing, it’s just not as widely known, so he can put it and be discreet, or say it means something else. There is some plausible deniability.”
According to the Anti-Defamation League, New York State ranked seventh nationally in the number of white supremacist propaganda incidents in 2021.
“No one wants a Nazi in their neighborhood,” Waithe said. “We all ride this train, we all live in this city. Is there a network [of activists]? No. It’s just concerned citizens.”
Sophie Ellman-Golan, spokesperson for the Jewish progressive group Jews For Racial and Economic Justice, commended the efforts of the people who are keeping “tabs on the subway Nazi.”
“This particular Nazi has spent years trying to make Jews, Black people and all marginalized groups feel uncomfortable and unwelcome on the subway,” Ellman-Golan told the New York Jewish Week. “But it’s Nazis who should feel uncomfortable and unwelcome — on the subway and in our city and state.”
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Warsaw Jewish cemetery director fired amid clash over who controls the preservation of Poland’s Jewish past
The director of Warsaw’s Jewish cemetery has been fired following a dispute over restoration projects on the site, which he said too often excluded local Jews.
Witold Wrzosinski, the Jewish director, said he was pushed out on Dec. 10 after seeking a new contract with the Polish Cultural Heritage Foundation, which controls public funds for works in the cemetery. The cemetery languished in neglect for decades after World War II, only recently becoming the center of efforts to preserve the history of Poland’s Jews.
Wrzosinski manages the cemetery’s operating budget for the local Jewish community board, but many restoration projects there also depend on public funds invested by the Cultural Heritage Foundation.
The foundation is led by Michał Laszczkowski, who has ties to the right-wing Law and Justice party that governed Poland from 2015 to 2023 and backed Poland’s newly elected president, a Holocaust revisionist. The party promotes historical narratives about Polish victimhood and resistance to the Nazis while delegitimizing research on Polish antisemitism.
Wrzosinski alleges that the current contract between the foundation and the Jewish community board is “abusive,” limiting the influence of local Jews over projects in their own cemetery.
“The whole composition of the contract left us with no power to control the priorities of the foundation,” said Wrzosinski. “We think, as the Jewish community that owns the cemetery, we should have a say.”
Some 200,000 Jews are buried at the cemetery on Okopowa Street in the heart of Poland’s capital. Founded in 1806, it is one of Europe’s largest Jewish cemeteries and holds generations of cultural luminaries, rabbis and activists, along with about 50,000 Jews who were killed by the Nazis and consigned to two mass graves. One portion remains active for the small Jewish community still living in Warsaw today.
In a meeting with the foundation, Wrzosinski said he presented a new arrangement that would safeguard the Jewish community’s input in restoration and conservation projects.
But he said Laszczkowski rejected the arrangement and said the “mental wellbeing of the members of the Jewish community is not a factor” to him.
Laszczkowski did not reply to requests for comment from the Jewish Telegraphic Agency.
The Cultural Heritage Foundation has a stated mission to “protect and promote the national heritage of Poland.” Though it is not specifically dedicated to Jewish heritage, restoring some of Poland’s 1,200 Jewish cemeteries has fallen under its purview. In 2017, the Polish government pledged $28 million to renovate Warsaw’s Jewish cemetery and put the Cultural Heritage Foundation in charge of the funds.
At the time, Warsaw’s Jewish community board was happy to sign this agreement, said Wrzosinski.
“Everybody was so excited that so much money was being pumped into the cemetery that they allowed the foundation to have everything,” he said.
After Laszczkowski rejected Wrzosinski’s proposed new contract, Wrzosinski said the Jewish community would end its agreement with the foundation. Laszczkowski in turn threatened to sue and cut off public funds from the cemetery if Wrzosinski stayed at the helm.
Tombstones at the Jewish Cemetery on Okopowa Street in Warsaw, Poland. (Bildagentur-online/Schoening/Universal Images Group via Getty Images)
Then the Jewish board turned on Wrzosinski, with four out of seven members voting to remove him. They also suspended his member rights and blocked him from communal Hanukkah celebrations, though that ban has already been reversed after a backlash. Wrzosinski said his fellow board members were intimidated by Laszczkowski’s legal threats.
Wrzosinski has directed the Jewish cemetery since 2020, becoming a key figure behind its renovations and rising profile. He began working at the largely abandoned cemetery in 2006, when it looked more like a forest, and led an effort to clean, decode and index the tombstones. He and his colleagues are documenting the graves in an online database, allowing descendants around the world to trace where their family members rest. Wrzosinski has found seven of his own relatives among the graves.
Wrzosinski said the Cultural Heritage Foundation could fall vulnerable to outside forces, including nationalist political leaders, since it was not contractually accountable to local Jews.
He pointed to a 2018 project under the Law and Justice government, which directed the foundation to build the Mausoleum of Jewish Fighters for the Independence of Poland — a reconstruction of a structure originally planned in 1939, just before the outbreak of World War II. Many local Jews see the mausoleum as a political design. It features a large Polish eagle and a Star of David, appearing to intertwine Polish nationalism with Jewish memory.
“People didn’t really feel it’s natural, or that it meets any actual need of the community. It just feels artificial and sent from above,” said Wrzosinski.
That same year, the Law and Justice government passed a notorious law that banned accusing Poland or the Polish people of complicity in Nazi crimes.
The mausoleum was built on a part of the cemetery that hosted some of its oldest graves. During construction, the tombstones were removed and stored in a back area. Wrzosinski said the foundation promised to return them, but after years of pressure from the Jewish community, the stones remain out of sight.
“This is wrong according to the halacha, according to the Jewish law,” he said. “If you know where tombstones are coming from, you shouldn’t keep them far away from that place, and you shouldn’t keep them in mud, somewhere in the back, if you took them from the actual area of the cemetery where people are buried.”
Wrzosinski’s dismissal has ignited a fierce outcry among Polish Jewish historians and museum professionals. Barbara Kirshenblatt-Gimblett, the chief curator of Warsaw’s POLIN Museum of the History of Polish Jews, circulated a petition to reinstate him. Within a few days, it has amassed nearly 700 signatures from across the globe.
“The abrupt dismissal is both incomprehensible and deeply troubling,” said the letter. “The preservation of Jewish heritage and memory — especially in a place so profoundly marked by history — requires expertise and knowledgeable leadership. Such leadership should be protected and supported, not discarded.”
This article originally appeared on JTA.org.
The post Warsaw Jewish cemetery director fired amid clash over who controls the preservation of Poland’s Jewish past appeared first on The Forward.
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Lia Koenig describes her life as an actress, from Bucharest to Tel Aviv
צװישן די יאָרן 2018 און 2024 האָט דער ישׂראלדיקער טעאַטער־פֿאָרשער ד״ר יניבֿ שמעון גאָלדבערג פֿונעם בר־אילן אוניװערסיטעט פֿאַרבראַכט לאַנגע שעהען שמועסנדיק מיט דער באַרימטער ייִדישער אַקטריסע ליאַ קעניג. פֿון דעם איז אַרױסגעװאַקסן דאָס בוך די בינע פֿון איר לעבן, װאָס איז פּובליקירט געוואָרן אױף ענגליש דורכן באָסטאָנער פֿאַרלאַג „אַקאַדעמיק סטאָדיז פּרעס“. קעניג, שרײַבט גאָלדבערג אין דער הקדמה, איז אײנע פֿון די לעצטע לעבעדיקע ייִדישע אַקטיאָרן, װאָס האָבן זיך געלערנט זײער קונסט דירעקט אין דער טעאַטער־סבֿיבֿה אין מיזרח־אײראָפּע פֿאַרן חורבן.
דאָס בוך פּרוּװט, װי װײַט עס איז מעגלעך אין דער ענגלישער איבערזעצונג, אָפּצוהיטן דעם נאַטירלעכן טאָן פֿון די שמועסן. גאָלדבערג שטעלט פֿראַגעס און קעניג ענטפֿערט אױף זײ, אָפֿט מאָל מיט לענגערע אָנאַזײַטן, װאָס ציִען נאָך זיך װײַטערדיקע פֿראַגעס.
דער לײטמאָטיװ פֿון קעניגס מאָנאָלאָגן איז די אַנטױשונג, װאָס ייִדיש האָט ניט באַקומען קײן געהעריקע אָפּשאַצונג ניט — דעמאָלט אין אײראָפּע און ניט הײַנט אין ישׂראל. „זײ האָבן ניט קײן דרך־ארץ פֿאַר ייִדישע אַקטיאָרן אין ישׂראל,“ זאָגט זי מיט אַ טאָן פֿון ביטערקייט.
דער שמועס נעמט אַרײַן פֿאַרשײדענע תּקופֿות פֿון קעניגס לעבן. זי איז געבױרן געװאָרן אין לאָדזש אין 1929. אירע עלטערן יוסף קאַמיען (שטײן) און דינה קעניג זײַנען געװען באַרימטע ייִדישע אַקטיאָרן אין פּױלן. לאה איז געװען דרײַ יאָר אַלט װען די עלטערן האָבן זיך צעשיידט און זי איז אַריבער קײן טשערנאָװיץ מיט דער מאַמען, װאָס האָט געשפּילט אינעם דאָרטיקן ייִדישן טעאַטער. דער טאַטע איז פֿאַרבליבן אין לאָדזש און איז אומגעקומען אינעם חורבן.
װען די דײַטשישע חיילות האָבן באַפֿאַלן דעם סאָװעטן־פֿאַרבאַנד אין 1941 זײַנען זײ אַנטלאָפֿן קײן אוזבעקיסטאַן. דאָרט איז די מאַמע שיִער ניט געשטאָרבן פֿון טיפֿוס. דאָס זײַנען געװען די סאַמע שװערסטע יאָרן אין קעניגס לעבן, אָבער אַזױ האָבן זײ זיך געראַטעװעט פֿונעם חורבן.
נאָך דער מלחמה האָבן די מאַמע מיט דער טאָכטער זיך באַזעצט אין בוקאַרעשט, װוּ לאה האָט אָנגעהױבן שפּילן אינעם ייִדישן טעאַטער. אירע אײַנדרוקן פֿון יענע יאָרן אין דער קאָמוניסטישער רומעניע זײַנען געמישטע. זי לױבט דעם ייִדישן טעאַטער װאָס איז געװען גוט אָרגאַניזירט און האָט באַקומען אַ סטאַבילע שטיצע מצד דער רעגירונג. דער בוקאַרעשטער ייִדישער טעאַטער האָט געהאַט אַ פּראָפֿעסיאָנעלע טרופּע און האָט געשמט װי אײנער פֿון די בעסטע טעאַטערס אינעם לאַנד.
אָבער דער קאָמוניסטישער רעזשים האָט ניט דערלױבט קײן פֿרײַהײט ניט אין קונסט און ניט אינעם פּריװאַטן לעבן. דער ייִדישער טעאַטער האָט עקזיסטירט אין אַ מין „געטאָ“ בעת אין דער אַרומיקער געזעלשאַפֿט זײַנען געװען פֿאַרשפּרײט אַנטיסעמיטישע געפֿילן. אינעם יאָר 1961 האָט זײ זיך אײַנגעגעבן עולה צו זײַן קײן מדינת־ישׂראל.
אין ישׂראל איז דער מצבֿ פֿונעם ייִדישן טעאַטער געװען גאָר אַנדערש פֿון רומעניע. אין דער ייִדישער מדינה זײַנען געװען פּריװאַטע טרופּעס, װאָס האָבן אָפֿט געשפּילט „שונד“. די מאַמע האָט שטרענג געהײסן לאהן: „הײב אָן אין העברעיִש און ערשט װען דו׳סט װערן באַקאַנט, קענסטו טאָן װאָס דו װילסט אױף ייִדיש.“
לאה קעניג האָט געשפּילט אױף דער העברעיִשער בינע מיט אַ גרױסן דערפֿאָלג העכער װי פֿופֿציק יאָר. און דאָך זאָגט זי: „איך רעד העברעיִש אָבער מײַן אמת איז אין ייִדיש.“ העברעיִש איז „ניט קײן שפּראַך פֿאַר טעאַטער.“ זי קען ניט שפּילן שלום־עליכם אױף העברעיִש אָדער אױף ענגליש: קײן שום איבערזעצונג „רירט נישט מײַן נשמה“.
ערשט פֿיר יאָר נאָך איר אָנקומען אין ישׂראל האָט זי װידער אָנגעהױבן צו שפּילן אױף ייִדיש, טײלװײַז צוליב פּרנסה. דער פּריװאַטער ייִדישער טעאַטער האָט באַצאָלט בעסער אײדער די מלוכישע „הבימה“. אין די 1960ער און 1970ער יאָרן האָט זי גאַסטראָלירט אין אײראָפּע, דרום־ און צפֿון־אַמעריקע און אין אױסטראַליע. איר מאַן הירשל (צבֿי) שטאָלפּער, דער רעזשיסער פֿון זײער טרופּע, „האָט כּסדר געבױט אַ פּראָגראַם װאָס האָט זיך אָנגעהױבן מיט נאָסטאַלגיע נאָכן נעכטן, און דערנאָך זײַנען מיר אַריבער צו די הײַנטיקע ענינים,“ דערמאָנט זיך קעניג.
די שמועסן קערן זיך װידער און װידער אַ מאָל צו לאהס טאַטע־מאַמע. זײ האָבן געהערט צו דעם דור ייִדישע אַקטיאָרן, װאָס האָבן „אײַנגעפֿלאַנצט די ליבע צום טעאַטער אינעם מיזרח־אײריפּעיִשן עולם“, האָט זי באַטאָנט. אין מדינת־ישׂראַל, להיפּוך, איז די באַציִונג צו ייִדיש אַ ביטולדיקע.
אינעם יאָר 1986 האָט קעניג באַקומען די העכסטע ישׂראלדיקע פּרעמיע „פּרס ישׂראל“ פֿאַר דער הױפּט־ראָלע אין יעקבֿ גאָרדינס דראַמע „מירעלע אפֿרת“. די קלאַסישע ייִדישע דראַמע האָט מען אױפֿגעפֿירט אױף העברעיִש בײַ „הבימה“ אין תּל־אָבֿיבֿ. דאָס איז געװען אַ מאָמענט װען קעניג האָט דערפֿילט אַז זי געהערט טאַקע באמת צו ישׂראל, כאָטש זי האָט ניט קײן מענטאַליטעט פֿון אַ ישׂראלי.
נאָך דעם דאָזיקן דערפֿאָלג האָט „הבימה“ דערלױבט צו שפּילן „מירעלע אפֿרת“ אױף ייִדיש מיט די אײגענע אַקטיאָרן. דאָס איז געװען דאָס אײנציקע מאָל װען דער טעאַטער האָט אַרײַנגענומען אַ ספּעקטאַקל אױף ייִדיש אין איר רעפּערטואַר. אָבער דעם ייִדישן נוסח האָט מען ניט געשפּילט אינעם הױפּט־זאַל, נאָר אױף דער קלענערער בינע „בית־החיל“ („דעם זעלנערס הױז“).
דער גרעסטער טײל פֿון די שמועסן אינעם בוך זײַנען געװידמעט פֿאַרשײדענע טעאַטראַלע עפּיזאָדן און ראָלעס פֿון לאה קעניג אין ישׂראל. עס זײַנען דאָ אַ סך אינטערעסאַנטע עפּיזאָדן, פּערזענלעכע פּרטים און שאַרפֿזיניקע באַמערקונגען. צום סוף פֿונעם בוך געפֿינט מען ניצלעכע צוגאָב־מאַטעריאַלן װעגן לאה קעניגס עלטערן; די רשימה פֿון אירע ראָלעס און אַ היפּשע צאָל פֿאָטאָגראַפֿיעס.
אַלץ איז זײער אַ װערטפֿולער מאַטעריאַל, אָבער צומאָל װערט דער לײענער, בפֿרט אַן ענגליש־רעדנדיקער, פֿאַרפּלאָנטערט אין די פֿילצאָליקע פּרטים װעגן פֿאַרשײדענע אױפֿפֿירונגען אױף דער ישׂראלדיקער בינע. פֿון דעסטוועגן וועט דאָס בוך זײַן ספּעציעל אינטערעסאַנט פֿאַר מומחים פֿונעם ישׂראלדיקן טעאַטער. דער אַלגעמײנער לײענער װעט זיך באַקענען מיט אַ מערקװירדיקער פֿרױ, װאָס האָט געװידמעט איר גאַנץ לעבן דער ייִדישער קונסט און איז טאַקע מצליח געווען, ניט געקוקט אױף די שװערע נסיונות און האַרבע מניעות אױף איר לעבנסגאַנג.
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Bondi gunmen condemned ‘Zionist’ actions prior to attack and threw bombs that failed to detonate, police say
The two gunmen who opened fire on a Hanukkah celebration in Sydney, Australia last week, killing 15, recorded a manifesto video prior to the attack in which they condemned the acts of “Zionists.”
The description of the video, which was included in newly released documents from the Local Court of New South Wales on Monday, comes as one of the attackers, Naveed Akram, 24, currently faces 59 charges, including 15 counts of murder and one count of terror. His father, Sajid Akram, 50, was killed on the scene of the attack.
In the video, which was filmed in October and found on Naveed Akram’s cellphone, the pair sit in front of an Islamic State flag and four long-armed firearms and appear to recite a passage from the Quran. Later, the pair explain their motivation for the attack on Bondi beach, and condemn the acts of “Zionists,” according to the court documents.
“Police allege that the Accused and his father, S. Akram, adhere to a religiously motivated extremist ideology linked to the Islamic State,” the court documents read. “This is demonstrated by their videoed speech and use of Islamic State flags during the attack.”
During the attack, the pair also threw three pipe bombs and a “tennis ball bomb” that failed to detonate, according to the court documents. Another explosive device was also found on the trunk of their car.
The court document also alleges that the father and son had “meticulously planned” the attack for “many months,” detailing that the pair had engaged in: “Making an ISIS inspired video; Making of ISIS flags; Firearms Training; Making of pipe bombs and improvised explosive devices; Booking of accommodation as a staging post; and Transportation of firearms and ammunition for the attack.”
In October, the pair booked a house on Airbnb that was used as a “staging post” for the attacks and were also recorded conducting firearms training in a “countryside location” that police believe was in New South Wales.
On Dec. 12, two days before the attack, the pair were also seen on CCTV footage driving to Bondi beach and walking along the footbridge from where they would later shoot at the Hanukkah event.
Naveed and Sajid Akram allegedly traveled to Bondi Beach on Dec. 12 to plan for the attack on the Hanukkah event days later, according to surveillance video shared by law enforcement. (Local Court of New South Wales)
“Police allege that this is evidence of reconnaissance and planning of a terrorist act,” the court documents said.
On Monday, Naveed Akram was transferred from the hospital where he had been healing from injuries sustained during the attack to the Long Bay Correctional Complex in Malabar, a high-security prison facility.
The parliament of New South Wales was also recalled on Monday to vote on new legislation that would limit gun ownership for non-citizens and reduce the number of firearms a person can legally own to four.
Sajid Akram was an Indian national who had been living in Australia on a resident visa and owned six firearms.
The new legislation would also ban the display of terror symbols and place restrictions on protests, including giving police the power to remove face coverings during protests. The state government has also vowed to ban the popular pro-Palestinian slogan “globalize the intifada.”
“We have got a responsibility to knit together our community that comes from different races and religions and places from all over the world. We can do it in a peaceful way,” New South Wales Premier Chris Minns told reporters outside of Parliament on Monday.
Australian Prime Minister Anthony Albanese was booed at a vigil on Sunday at Bondi beach for the victims of the attack, underscoring growing pressure on the Australian leader to call a Royal Commission, Australia’s highest level of inquiry, into the terror attack.
Albanese has so far dismissed calls for a Royal Commission, arguing that it would take too long, instead announcing a review of federal intelligence and law enforcement agencies.
“Emotions were raw and a lot of people in the community are hurting and angry, and some of that anger was directed towards me, and I understand that,” said Albanese at a press conference on Monday. “As Prime Minister, I feel the weight of responsibility for an atrocity that happened whilst I’m Prime Minister. And I’m sorry for what the Jewish community and our nation as a whole has experienced.”
This article originally appeared on JTA.org.
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