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On stage and in the classroom, Mikhl Yashinsky is stoking the flame of the Yiddish revival
(New York Jewish Week) — In the Yiddish classes Mikhl Yashinsky teaches for the YIVO Institute for Jewish Research and the Workers Circle, he begins by asking students to explain why they decided to learn the language.
Often, a student will describe attending a performance of “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene.
This is literally music to the ears of Yashinsky, who not only teaches conversational Yiddish, translates Yiddish literature and writes Yiddish plays and videos, but who also played a beggar and innkeeper in the latest run of “Fiddler” in Yiddish, which closed on Jan. 1.
“Many thousands of people have seen Yiddish ‘Fiddler’ by now and it’s had a real impact on them and how they see the language,” he told the New York Jewish Week. “It makes me happy that one thing feeds into another.”
The 32-year-old Chelsea resident is in some ways the future of Yiddish, at least of the secular, artistic and academic variety that is spoken and studied outside of the haredi Orthodox community, where it is often the first language. While some Yiddishists bristle at the notion that the language of Ashkenazi Eastern Europe is undergoing a “renaissance,” figures like Yashinsky are making sure the language continues to flourish in communities beyond the yeshiva.
”Mikhl has played a very big role in my Yiddish journey,” said Judith Liskin-Gasparro, a retired linguistics professor from the University of Iowa. Liskin-Gasparro had four grandparents who were native Yiddish speakers but who never spoke the language in front of her. She estimates that over the course of her career she’s watched 1,000 people teach a language class. After studying with Yashinsky remotely from Iowa City for five semesters, Liskin-Gasparro said: “I have rarely seen anybody as good as he is.” His YIVO course has been so popular that YIVO had to create a second section.
Liskin-Gasparro now describes herself as obsessed with the language. In November, she made the trek to New York to see Yashinsky perform in “Fiddler.” During her visit she joined about 15 people from Yashinsky’s YIVO class to meet her teacher in person.
Yashinsky, who grew up outside of Detroit, credits his late maternal grandmother, Elizabeth Elkin Weiss, with putting him on the path to becoming a Yiddishist. Weiss and her husband Rube were veterans of Yiddish theater, performing on stage and the radio. His grandmother also performed in English-language radio dramas, and her ability to do accents and characters earned her the nickname “The Woman of 1,000 Voices.” A radio ad in which Weiss imitated the Hungarian Jewish actress Zsa Zsa Gabor convinced customers of an Italian restaurant in the Detroit area that Zsa Zsa herself had done the commercial.
Talent ran in the family, sometimes in unexpected ways: Yashinsky’s uncle, David Weiss, was one-half of Was (Not Was), a major funk-rock band in the 1980s and ’90s. David’s partner, Don Was, is celebrating his 30th year as a record producer for The Rolling Stones.
Yashinsky studied modern European history and literature at Harvard, attended the Vilna Yiddish Language Institute and in 2015-16 worked as a fellow at the Yiddish Book Center in Amherst, Mass. In 2018, Yashinsky performed in the held-over runs of Yiddish “Fiddler “at the Museum of Jewish Heritage in Lower Manhattan, then left New York for a steady gig teaching Yiddish at the University of Michigan in Ann Arbor. He rejoined the musical when it was staged in 2019 at Stage 43, the largest off-Broadway theater in the city.
Joel Grey, the director of Yiddish “Fiddler,” wrote in an email: “Mikhl is one of the most resourceful and delightful actors I’ve ever had the pleasure to work with. He has more ideas for a moment than most actors do in a lifetime.”
Jackie Hoffman, the comedian and Broadway veteran who played Yenta the matchmaker in earlier runs of Yiddish “Fiddler,” said Yashinsky “is a truly Yiddish soul. He’s like someone who could’ve crept out of the 19th century. It’s like Yiddish is in his blood.”
Mikhl Yashinsky, center in gray apron, played Mordkhe the Innkeeper in “Fiddler on the Roof in Yiddish,” the smash hit from the National Yiddish Theatre Folksbiene. (Jeremy Daniel)
Steven Skybell, who played Tevye in in the latest Yiddish “Fiddler,” attended Yashinsky’s classes for a few semesters, which enabled him to converse with Yashinsky in the mamaloshn (mother tongue) backstage.
Yashinsky’s mother in Michigan, who did not grow up speaking Yiddish, has attended all five semesters via Zoom. Debra Yashinsky, who said she can’t begin to count the number of times she’s seen Yiddish “Fiddler,” used her maiden name in the Zoom interface for the first two semesters.
“Mikhl once asked me, ‘Mom, are you taking the class to learn Yiddish or do you just enjoy seeing me teach?’” she recalled. “I didn’t know the right answer. The truth is I love seeing his punim [face] for an hour and a half and kvelling [being proud] while I watch him teach.”
In addition to teaching and acting, translation has been a big part of Yashinsky’s devotion to the language (and need to earn a living).
He has a deadline looming at the end of January for his translation of the memoirs of Ester-Rokhl Kaminska, the Polish-Jewish actress considered the “mother of Yiddish theater.” He’s been working on the project for a few years and could often be found backstage at “Fiddler” translating a couple of sentences at a time between scenes.
Yashinsky has also been translating short stories by the Nobelist Isaac Bashevis Singer for a forthcoming anthology of the author’s early works. He describes them as “little gems” Singer wrote when he was a young writer that have never been translated into English. Yashinsky said he has translated three or four of the short stories so far.
Yashinsky is also a playwright whose Yiddish play, “Vos Flist Durkhn Oder” (“Blessing of the New Moon”), was performed at the Lower East Side Play Festival last summer. One of six plays chosen from more than 100 submissions, it was the only non-English play in the festival. The one-act play, set in a Lower East Side yeshiva in 1912, deals with the tradition of pranks that take place during the month in which Purim falls.
His full-length play “Di Psure Loyt Chaim” (“The Gospel According to Chaim”) will get a public reading this winter at the New Yiddish Rep in Manhattan. The play is based on the true story of Henry Einspruch, a Baltimore Jew who in the 1940s found Jesus and translated the New Testament into Yiddish for the purpose of converting his fellow Jews. Yashinsky said no Yiddish publisher would help Einspruch in his quest.
“I just thought that this was a very curious bit of history,” said the playwright. “It was really insidious in some ways. He was trying to convert Holocaust survivors in some cases. He would preach outside synagogues on Shabbos mornings.”
Yashinsky will be working on a Yiddish musical in 2023, thanks to a LABA Fellowship for Jewish artists. He plans to write the musical in collaboration with Mamaliga, a klezmer band based in Brooklyn and Boston. Yashinsky said he may write something about the underworld of Jewish life in Eastern Europe.
Another bright spot on the horizon: On Jan. 26 he’ll make his Carnegie Hall début, singing in a concert titled “We Are Here: Songs from the Holocaust,” which will feature Broadway stars Harvey Fierstein, Chita Rivera and Shoshana Bean. Yashinsky will perform “Zog nit keynmol” (“Never Say”), the anthem of the Vilna partisans.
And somehow Yashinsky will make time to produce more videos for the Workers Circle #YiddishAlive series on YouTube. Among the 11 videos he’s done so far are a Yiddish rendition of Tom Lehrer’s song “Hanukkah in Santa Monica” and a music video shot in Michigan to celebrate the strawberry harvest. That video featured “Trúskafke-vals” (“Strawberry Waltz”), a Yiddish song he wrote, as well as a strawberry cake baked by his mother.
He also produces humorous Yiddish music videos, including one based on Screamin’ Jay Hawkins’ demented, spooky classic, “I Put A Spell On You.” In his version, Yashinsky performs in drag as Bobe Yakhne, a sorceress he played in Folksbiene’s 2017 revival of the classic Yiddish operetta “The Sorceress.”
“This art form continues,” he said of Yiddish theater. “It’s a tradition that hasn’t evaporated and it’s nice to feel that I’m part of the continuity.”
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Who needs a Reichstag fire when you can just pretend Portland’s burning?
Here in Portland, this supposed city of darkness, happy kids splash around in a fountain next to the sparkling Willamette River, senior citizens practice tai chi in a park, bald eagles and ospreys soar past office building windows, chefs and bakers win national awards, world-class jazz musicians draw locals into clubs, and hiking trails course through the largest urban forest in the country, with glacier-draped Mount Hood as a backdrop.
It’s hardly the hellscape depicted by Donald Trump. What the city is, however, is a primary target in Trump’s scheming to militarize American cities — at least progressive ones like Portland, my home for the past 25 years.
Demonstrations have continued outside an ICE facility in Portland since the summer. The protests have been small, overall peaceful, occasionally tense, but often cheery — such as the time when a group of elderly Portlanders sang “This Land Is Your Land.” But Trump is using the protests as an excuse to launch what local officials and residents fear could be a major military intervention in the city, turning Portland, in essence, into a domestic battleground.
Trump is employing a playbook that’s eerily similar to ones that have been used by despots, including Adolf Hitler, who consolidated his control over Germany by deploying Sturmabteilung shock troops to spread fear across the populace.
Trump has effectively weaponized ICE as his own personal police force, and is using it to bait protestors into clashes and create a pretext for exerting military-style control over cities led by Democrats. From the very beginning of Trump’s second term, federal agents’ pursuit of undocumented immigrants has been marked by the spread of fear and terror. Trump says ICE’s heavy-handed tactics are necessary to fulfill his promise that undocumented immigrants “will not be tolerated.” But the scale and spectacle of ICE actions suggest another motive: to manufacture war-like images that justify crackdowns on leftists, whom Trump routinely portrays as domestic terrorists.
So far, no ICE raid has been more chilling than its assault last week on a five-story apartment building in Chicago. In the dead of night, armed federal agents rappelled from Black Hawk helicopters onto the roof. Others stormed the building from the ground, kicking down doors, throwing flash-bang grenades, and zip-tying screaming children and elderly residents. The target of the raid was a Venezuelan gang. But Illinois Gov. JB Pritzker said many of those who were arrested were U.S. citizens with no criminal record — which has been disputed by the Trump administration.
Two weeks earlier, a pastor praying outside a Chicago ICE processing center was struck in the head by a pepper ball fired from a roof and then sprayed with tear gas as he lay on the ground. He has since sued ICE, alleging violations of religious freedom and free speech.
After weeks of threats, Trump has federalized 300 Illinois National Guard troops and ordered hundreds more to deploy from Texas — using protests against immigrant detention as a pretext for putting soldiers on the streets. The move defies the spirit of the 1878 Posse Comitatus Act, which bars the use of federal military forces to enforce civilian law without explicit congressional authorization.
At a press conference, Pritzker voiced angry defiance toward what he called “Trump’s invasion.”
“The state of Illinois is going to use every lever at our disposal to resist this power grab and get (Homeland Security Secretary Kristi) Noem’s thugs the hell out of Chicago,” Pritzker said.
Portland might well be next.
Over the weekend, a federal judge in Oregon, appointed by Trump in 2019, issued two rulings temporarily blocking his attempts to deploy National Guard troops to Portland. In a blistering decision Saturday, U.S. District Judge Karin Immergut wrote that Trump’s claims of a “war zone” were “simply untethered to the facts.” She added: “This is a nation of Constitutional law, not martial law.”
When Trump tried to circumvent her ruling by ordering California National Guard troops into Oregon, Immergut blocked that maneuver too, writing: “The executive cannot invoke emergency powers based on manufactured chaos.”
Trump responded by claiming that “Portland is on fire,” and threatened to invoke the Insurrection Act, which legal experts note would effectively amount to imposing martial law.
Trump’s description of the situation in Portland is grossly exaggerated, and intentionally so. The protests have occurred in a very small area around the ICE detention center. There have been clashes involving pepper spray, but no ongoing battles. The scene is actually more like an episode of the TV show Portlandia. During Kristi Noem’s visit to the facility on Tuesday she was mocked by activists wearing inflatable animal costumes, including a dinosaur, a raccoon and a chicken. An activist in a giant toad costume has become a social media sensation, especially after an ICE agent shot pepper spray into the air vent on the costume’s back side. Another image making the social media rounds shows protestors using donuts dangling from fishing poles to taunt ICE agents — “ICE fishing,” as they call it.
Portland wears its progressivism on its sleeve, which does not always work in the city’s favor. During the 2020 Black Lives Matter protests downtown, city officials faced accusations of being too lenient on leftist agitators. Riots during those protests, coupled with COVID, led to the closure of numerous downtown stores. Leftists who relish confrontation with right-wing counter-protesters have posed another challenge. During one protest in late August 2020, Trump supporters rode their pickup trucks into downtown Portland and picked a fight with leftist demonstrators. That night, a right-wing counter-protester was shot and killed by a self-described anti-fascist activist, who was later tracked down and fatally shot by federal agents in neighboring Washington state. Before fleeing, the shooter said he was defending himself.
Even before Trump, Portland has had a rocky relationship with federal authority. The city was the site of massive protests against President George W. Bush’s 2003 invasion of Iraq. In 2019, Portland became the second U.S. city — after San Francisco — to withdraw its police officers from the FBI’s Joint Terrorism Task Force, citing concerns over civil liberties and lack of transparency. In the 1990s, staffers for the first President Bush dubbed Portland “Little Beirut” in response to raucous anti-war protests that greeted his visits.
During his visit to Quantico Marine Base, Trump told top military commanders, “We should use some of these dangerous cities as training grounds for our military.” He singled out Chicago, Portland, Seattle, and Washington, D.C. For now, Portland’s resistance may resemble a surreal episode of protest theater—complete with inflatable dinosaurs and the viral “anti-fascist” frog. But there will be no cause for chuckling if the city becomes a proving ground for martial law, with federal troops rehearsing the suppression of dissent.
The post Who needs a Reichstag fire when you can just pretend Portland’s burning? appeared first on The Forward.
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Jewish women struggling with early menopause due to cancer treatment find new help

Beverly was 41, had two children and was contemplating a third when her first mammogram revealed a lump. Diagnosed with breast cancer, Beverly, who lives in Portland, Oregon, opted for chemotherapy, immunotherapy and a double mastectomy.
She knew the chemo would affect her fertility. What she didn’t know was that the type of cancer she had would necessitate hormone suppression drugs that would lead to severe menopausal symptoms.
For Beverly, now 46, that meant hot flashes, vaginal atrophy, zero libido, thick curly hair that turned straight, sparse and wispy, and what she describes as “old lady bones.”
“If I’m lucky enough to live to 95, am I just going to crumble into a pile of chalk?” she said.
Beverly, who asked that her last name be withheld for privacy reasons, is not alone in experiencing severe menopausal symptoms following breast cancer or ovarian cancer treatment or prophylactic surgery, which entails breast and/or ovary removal, sometimes along with removal of the uterine and fallopian tubes.
Risk-reducing surgery is often recommended for women who carry a BRCA1 or BRCA2 gene mutation, which significantly increases the risk of breast and ovarian cancer. These mutations are found in Ashkenazi Jews — in both women and men — at rates about 10 times higher than in the general population.
For women who test positive, surgery can reduce the risk of developing ovarian cancer by over 75%. There may also be reduced risk of breast cancer, though research findings are mixed.
While hormones gradually decline as older women approach menopause, younger women who undergo surgery-induced menopause may experience a sudden and dramatic hormonal crash.
“Natural menopause is gradual; surgical or medically induced menopause is intense,” said Elana Silber, CEO of Sharsheret, a Jewish nonprofit organization that provides support, counseling, patient navigation, financial assistance and education in the United States and Israel for those facing breast cancer and ovarian cancer.
“Doctors focus on immediate cancer treatment plans; Sharsheret helps support and educate women about what comes next,” Silber said. “We highlight these critical issues so that women know to raise them with their healthcare providers, and we make sure they don’t face those questions alone.”
As public discussions about menopause have become more common, Sharsheret has fielded a growing number of inquiries from young women seeking information on the subject and ways to connect with peers. Many are navigating an abrupt and frightening transition for which they never prepared, and they sometimes describe it as even more traumatic than their breast surgeries.
“Menopause brought on by breast cancer surgery or treatment doesn’t follow a normal, natural progression,” said Adina Fleischmann, Sharsheret’s chief services officer.
Sharsheret has responded by connecting women with social workers and genetic counselors to help them understand both the medical and emotional impact of treatment-induced menopause.
Through peer-to-peer connections, survivors are matched with others who have gone through the same surgeries and drug regimens. They get real-world perspectives that many women say they don’t receive from their physicians.
The organization also provides survivorship kits, medical webinars, and tailored educational materials on sexual health, bone strength, fertility preservation, and non-hormonal strategies for coping with hot flashes, sleep disruption, and vaginal dryness.
Beyond the physical symptoms, it’s not uncommon for women undergoing early menopause to experience depression, according to Dr. Gila Leiter, an Ob/Gyn affiliated with New York’s Mount Sinai Hospital and a member of Sharsheret’s medical advisory board.
“Knowing what symptoms to expect — and expect pretty suddenly — is very important,” Leiter said.
Liora Tannenbaum, Sharsheret’s Israel regional director, underwent risk reducing surgeries as a result of being a BRCA carrier. She said she was less fearful of the physical recovery from having her ovaries and uterus removed than when she did her double mastectomy, but she was terrified of the emotional and mental recovery.
“As much as I looked for people to talk to for support who had been through this, I found that so many women were suffering in silence,” Tannenbaum said. “The lowered tones and discomfort around the entire conversation caught me by surprise.”
One woman, M., 44, recalled symptoms “hitting like pile of rocks” after surgery five years ago to remove her ovaries, fallopian tubes and uterus. (She asked to use only an initial to preserve her privacy.)
Just 23 when she lost her mother to ovarian cancer, M. was 28 when she learned she carried the BRCA1 mutation. She spent several years considering her options before ultimately choosing to remove her ovaries and uterus.
“It took me a long time,” M. said. “The biggest concern is you want to have kids, and when you have these surgeries you can’t have kids.”
Most doctors, including M.’s, recommend such surgery by age 40. By 39, after two children, a third miscarriage, and ongoing exams, a suspicious finding — which proved to be nothing — made her doctor insist on risk-reducing surgery if she wanted to live to see her kids’ bar mitzvahs.
“I was already considering surgery, and that scare pushed me to do it,” M. said. “I’m glad I did.’”
But the sudden loss of hormones – not just estrogen, but also progesterone and testosterone – left her with vaginal dryness, loss of muscle mass, dry skin, diminished libido and a return of asthma. M., now a nurse who volunteers for Sharsheret’s peer network, noted that she wasn’t told during her medical appointments what to expect.
“The message was: ‘Don’t worry about it. We’ll give you a low-dose hormonal patch and everything will be fine,’” she recalled.
Menopausal symptoms aren’t severe for all women, and sometime they’re only temporary.
Farrah Zweig was 31 when she was diagnosed with hormone-positive, HER2-negative breast cancer. She had a lumpectomy, radiation and chemotherapy. She also took Lupron, a hormone suppression drug, which put her in menopause.
“My medical team did not discuss menopause with me,” said Zweig, now 42. “My only source of information was from people who had gone through it due to age, not as a result of a medical treatment like mine.”
She experienced the hot flashes and difficulty sleeping, which she expected, and also had a tough time losing weight she’d gained during chemo.
Leiter said physicians often don’t inform patients about treatments that might help their symptoms — even those that don’t involve hormones. She noted that antidepressants can reduce hot flashes and mitigate some of the irritability or emotional fluctuations. Meditation, cognitive behavioral therapy for insomnia, and laser treatments for vaginal dryness also can be effective.
“Knowing what you may feel and how you’re going to handle it, what medications are available, what support systems you’re going to have and maybe lining up your therapist or acupuncturist in advance makes all the difference,” Leiter said.
To speak with a social worker or someone at Sharsheret, visit www.sharsheret.org or call 866.474.2774.
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László Krasznahorkai, grim Hungarian author with hidden Jewish roots, wins literature Nobel

This year’s Nobel Prize for literature was awarded to a Hungarian writer whose work offers bleak visions of existence, and whose father hid his Jewish ancestry from him for much of his childhood.
László Krasznahorkai, the 71-year-old novelist and screenwriter, achieved international acclaim for formally daring books like “Satantango” and “The Melancholy of Resistance,” as well as a series of collaborations with the filmmaker Bela Tarr. He is often compared to master Russian novelists like Dostoyevsky and Gogol.
The Swedish Nobel jury called him “a great epic writer in the Central European tradition that extends through Kafka to Thomas Bernhard, and is characterized by absurdism and grotesque excess.” Another prominent champion of Krasznahorkai’s: the Jewish culture critic Susan Sontag, who praised the infamous 7.5-hour film adaptation of “Satantango” and deemed him a “master of the apocalypse.”
Krasznahorkai was born in 1954 in the small town of Gyula, near the Romanian border. As a child, he has said in interviews, he had no idea his father hailed from a Hungarian Jewish family. In 1931, as antisemitism was on the rise in Hungary but before the passage of formal anti-Jewish laws in the country, the author’s grandfather had changed their family name from Korin to the more native Hungarian-sounding Krasznahorkai.
“Our original name was Korin, a Jewish name. With this name, he would never have survived,” Krasznahorkai told a Greek interviewer in 2018. “My grandfather was very wise.”
When the author turned 11, he learned about his Jewish heritage for the first time. “In the socialist era, it was forbidden to mention it,” Krasznahorkai has said about his Jewish ancestry. “Korin” would later serve as the name of the protagonist, a suicidal Hungarian archivist, in Krasznahorkai’s acclaimed 1999 novel “War and War.”
Many of the author’s books, written in challenging postmodern style, are concerned with the effects of political turmoil and national upheaval on everyday citizens, from provincial farm workers to intellectuals. Some of his novels, including “Hersch 07769” and “Baron Wenckheim’s Homecoming,” have plots that deal directly with neo-Nazis.
In that 2018 interview, the author, an outspoken opponent of Hungary’s authoritarian prime minister Viktor Orban, also addressed his relationship to Judaism in characteristically pessimistic fashion.
“I am half Jewish,” he said, “but if things carry on in Hungary as they seem likely to do, I’ll soon be entirely Jewish.”
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