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Several Holocaust books, including ‘Maus,’ have been yanked from some Missouri schools amid state law
(JTA) – Art Spiegelman’s “Maus,” along with six books about the Holocaust geared toward young readers, are among the hundreds of books that a handful of school districts in Missouri have reportedly removed from their shelves since the start of this school year.
The list of books pulled from shelves was published Wednesday by the literary free-expression advocacy group PEN America, along with a letter of protest signed by Spiegelman and other authors.
“This is what happens when we are operating in a climate of fear,” Jonathan Friedman, PEN America’s director of free expression and education programs, told reporters in a virtual press conference Wednesday sharing the findings.
The books were pulled owing to an amendment to a new Missouri state law, largely dealing with child trafficking and sexual abuse, that also establishes a criminal penalty for providing “explicit sexual material” to students. The law orders possible jail time for any educators found to be in violation.
Politically motivated school book bans are on the rise nationally, often prompted by right-wing parent groups and school board members, with the majority of such bans targeting books with racial and LGBTQ themes. They have attracted increased attention from Jewish groups as books about Judaism and the Holocaust have been caught up in the purges. A Tennessee school district’s removal of “Maus” from its Holocaust curriculum and a Texas school district’s brief removal of a graphic novel adaptation of Anne Frank’s diary were both heavily opposed by Jewish groups earlier this year.
This time, Spiegelman’s “Maus” was banned from two different school districts: Wentzville School District and Ritenour School District, both in the St. Louis area. The Wentzville ban is categorized by PEN America as “banned pending investigation,” while Ritenour’s is categorized as “banned from libraries.”
The vast majority of the affected books originated from one school district: Wentzville, a St. Louis exurb that the St. Louis Post-Dispatch reported had ordered its librarians to pull more than 200 books off its shelves at the start of the semester and place them under review.
Included in the Wentzville purge was “Maus” and several Holocaust history books published for young readers by ReferencePoint Press: “Holocaust Camps and Killing Centers,” “Holocaust Rescue and Liberation” and “Holocaust Resistance” by Craig Blohm; “Hitler’s Final Solution” by John Allen; and “LIfe in a Nazi Concentration Camp” by Don Nardo. A Time-Life history book on the Holocaust, “Apparatus of Death — The Third Reich” by Thomas Flaherty, was also banned.
Further books banned by Wentzville included “Good Talk: A Memoir in Conversations” by Mira Jacob, which relays discussions with the author’s Jewish husband and biracial son about Jews and politics, and several books about photographers and artists with Jewish heritage, including André Kertész, Alfred Stieglitz, Man Ray, Irving Penn, Marc Chagall and Amedeo Modigliani.
In addition, Lindbergh Schools in St. Louis banned “A Dangerous Woman,” a graphic biography of Jewish socialist radical Emma Goldman by Jewish writer and artist Sharon Rudahl. And Kirkwood School District in a St. Louis suburb banned “Women,” a photography book by Jewish photographer Annie Leibovitz with text by famed Jewish writer Susan Sontag, as well as another book by Leibovitz; and “Gender Outlaws: The Next Generation,” an essay collection edited by LGBTQ Jewish writers Kate Bornstein and S. Bear Bergman.
The text of the noteworthy amendment to Missouri S.B. 775 reads: “A person commits the offense of providing explicit sexual material to a student if such person is affiliated with a public or private elementary or secondary school in an official capacity and, knowing of its content and character, such person provides, assigns, supplies, distributes, loans, or coerces acceptance of or the approval of the providing of explicit sexual material to a student or possesses with the purpose of providing, assigning, supplying, distributing, loaning, or coercing acceptance of or the approval of the providing of explicit sexual material to a student.”
Because of the law’s wording, Friedman said, Missouri school districts — particularly Wentzville — were on guard for graphic novels and illustrated books that might contain objectionable images. The Holocaust books were earmarked by either parents or educators as “sexually explicit” for containing disturbing historical images, according to PEN America’s analysis.
“It’s those pictures, essentially, that we’re being told here are the reasons for these books not being on the shelves,” Friedman said.
The Wentzville, Ritenour and Kirkwood school districts did not return requests for comment from the Jewish Telegraphic Agency. A Kirkwood representative previously told the Post-Dispatch, “The unfortunate reality of Senate Bill 775 is that, now in effect, it includes criminal penalties for individual educators. We are not willing to risk those potential consequences and will err on the side of caution on behalf of the individuals who serve our students.”
A spokesperson for Lindbergh Schools told JTA in a statement, “Lindbergh has taken necessary steps to ensure compliance with state law by carefully reviewing library and classroom resources, and removing items from student access if they contain visual images that meet the requirements set forth in SB 775.”
A group of students and the American Civil Liberties Union sued the Wentzville district this past spring over a different group of book bans, including Toni Morrison’s “The Bluest Eye”; some of those books were restored to shelves after the lawsuit was filed.
If the books were indeed removed for pictures that were classified as sexually explicit, the Missouri bans would follow a similar pattern to that of the Tennessee and Texas school districts that removed “Maus” and the Anne Frank adaptation earlier this year. Parties in both districts had also objected to illustrated images in the books they said were sexually explicit.
The bans of the Jewish and Holocaust-themed books occurred alongside scores of other books that were not Jewish-themed, including a graphic novel adaptation of “1984”; Alan Moore’s “Watchmen”; the Children’s Bible; graphic novel adaptations of Shakespeare’s “Macbeth,” Margaret Atwood’s “The Handmaid’s Tale” and Lois Lowry’s “The Giver”; and how-to books about oil painting and watercolors.
Missouri’s governor signed a statewide Holocaust education mandate into law earlier this year.
“We’re grateful that Missouri as a state has made clear that it prioritizes Holocaust education,” Rori Picker Neiss, executive director at the Jewish Community Relations Council of St. Louis, told JTA. But, she added, “it does feel like banning these books does go against, while not the letter of the law, the spirit of the law.”
“Such overzealous book banning is going to do more harm than good. Book bans limit opportunities for students to see themselves in literature and to build empathy for experiences different from their own,” reads an open letter opposing the bans signed by Spiegelman and other authors including Lowry and Laurie Halse Anderson.
“Students in Missouri are having these educational opportunities denied.”
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At a national Jewish conference, a speaker said Muslims should ‘get the f— out’ of America. Its organizers won’t condemn him.
Islamophobic remarks made by a speaker during a national Jewish conference in Los Angeles have drawn condemnation from the city’s mayor. But national and local Jewish groups who organized and funded the program have largely remained silent.
Mosab Hassan Yousef, a former Israeli intelligence asset whose father is a Hamas co-founder, made the inflammatory comments Aug. 30 at the Jewish American Summit, an annual event organized by Aish LA, an Orthodox Jewish organization, and co-sponsored by more than a dozen other Jewish groups, including the local federation and the Anti-Defamation League.
Appearing onstage during the program for a live taping of the “Being Jewish” podcast alongside its host, Jonah Platt, Yousef — who converted from Islam to Christianity — went on a rant against his religion of birth.
“I don’t want Muslims in America,” Yousef said. “Get the f— out of the United States. Go back to the s—holes where you came from and reform your own countries.”
He also called Muhammad, the 7th-century founder of Islam, a “pedophile prophet.”
The jibes elicited a mix of laughter and applause from the crowd, according to video posted to social media — and then a wave of backlash after the clip spread on social media.
“Islamophobia has no place in Los Angeles,” Los Angeles Mayor Karen Bass wrote Sept. 4 on X. “I am horrified by the appalling rhetoric from Mosab Hassan Yousef at an event in Los Angeles this past weekend. The City of Los Angeles stands firmly with its Muslim community and fully condemns these vile remarks.”
Senator Adam Schiff, LA City Councilwoman Katy Yaroslavsky and County Supervisor Lindsey Horvath also disavowed the remarks, as did the Council of American-Islamic Relations. So did the liberal group Jewish Partnership for Los Angeles, whose director called on the conference’s sponsor groups “to make clear that they oppose anti-Muslim hate speech and commit to rejecting anyone who demeans and dehumanizes others from their platforms.”
But more than a week after the conference, neither Aish LA’s executive director, Rabbi Aryeh Markman, nor event co-founder Mike Drath, nor the parent Aish organization, an international Jewish outreach group headquartered in Jerusalem, has commented on the remarks. (None responded to inquiries.)
Meanwhile, the Jewish American Summit’s Instagram account has posted several clips from Yousef’s talk, though none of them contain the remarks related above.
Only two of the conference’s roughly 15 sponsors — many of which sent speakers to the event — disavowed Yousef’s remarks in response to the Forward’s inquiries. The Anti-Defamation League’s Los Angeles regional office called them “vile and unacceptable” in a statement.
And the Los Angeles Jewish federation said the rant was “hateful, indefensible, and contrary to everything the Jewish Federation stands for.” Like the ADL, it said it had no part in selecting the speakers. (Neither group has published its statement on its own channels.)
Platt said in an email that he was saving his response for the podcast episode containing their interview, which he said would be released later this month. Yousef did not respond to a request for comment.
Two of the sponsoring groups that did not respond to inquiries, like pro-Israel advocacy groups StopAntisemitism.org and StandWithUs, include fighting antisemitism in their mission.
Billed as a “national gathering for Jewish American strength, unity, and action,” the Jewish American Summit drew more than 1,000 people, according to one outlet in attendance. Its other speakers included U.S. Ambassador to Israel Mike Huckabee, Israeli Ambassador to the U.S. Yechiel Leiter and Steve Hilton, the Republican nominee for governor of California; a slew of pro-Israel influencers also appeared, including Zack Sage Fox and Rabbi Yossi Farro.
Yousef initially positioned himself as a moderate who wanted to draw attention to the suffering of Palestinians when he first forayed into writing and public speaking. He became a fixture on the Jewish speaking circuit for his harrowing life story — turning against his father to save Israeli lives — and his unsparing critique of Hamas.
Since Oct. 7, 2023, however, Yousef has adopted an increasingly radical stance on the region. During a 2025 event in Tel Aviv he said that “identifying as a Palestinian is identifying with something much more dangerous than a Nazi.”
In his talk with Platt, he shared his experience growing up as the son of Hamas co-founder Sheikh Hassan Yousef. Clips of his talk posted on the Jewish American Summit Instagram page show him discussing his father’s desire to kill Jews. He also blamed Egypt for refusing to open its border to Palestinian refugees after Oct. 7.
Conference sponsors paid between $5,000 and $100,000 to have their organization’s logos appear on promotional materials, according to the conference website.
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He photographed the defining image of 9/11 – and Jewish history for 50 years
Robert Cumins stood on his ninth-floor balcony in Verona, New Jersey, camera in hand, when he saw a plane heading toward Lower Manhattan. He figured it was just another flight out of Newark. He snapped two quick frames anyway — a plane against a skyline, nothing more — and kept watching.
Then came the fireball.
He had no idea, in that instant, that he had already taken the photograph that would define his career — that he was, in fact, photographing the last seconds of the 65 people aboard United Airlines Flight 175, en route from Boston to Los Angeles. He wouldn’t even remember the plane was in the frame until he saw the developed film an hour later. For that hour, he believed he only photographed the explosion, not the moments before.
Twenty-five years on, Cumins, now 78, still lives in that apartment. He still faces the same skyline — a skyline he has spent 25 years learning not to search for two towers that are no longer part of it.
That photograph made Cumins famous. It is one entry — the most-viewed one, certainly — in a career now entering its sixth decade, a career that has put him, again and again, at the edge of history he did not make.
He straightened Israeli Prime Minister Yitzhak Rabin’s bow tie backstage, 10 days before the prime minister was assassinated, then flew to Israel to photograph his funeral. He spent 10 days documenting Israeli Prime Minister Yitzhak Shamir. He stood close enough to photograph the signing of the Oslo Accords, the Camp David Accords, the Israel-Jordan peace treaty — three of the defining diplomatic moments of the modern Middle East.
Call him the Forrest Gump of Jewish history.
‘Turn around, kid’
Cumins’ workday on the morning of September 11, 2001, started with a red light.
He was driving down the hill from his apartment, headed out for coffee, when he stopped at the bottom and, out of habit, flipped on the radio. A WCBS helicopter reporter was already mid-report, something about a tower. By the time the light turned green, an anchor had cut in with the words: the World Trade Center.
Cumins turned the car around. He drove back up the hill. The elevator was sitting there, waiting. He rode up to the ninth floor. Before he was all the way inside his apartment, he could already see smoke pouring off the North Tower, 15 miles across the water. He ran for his camera, loading film and changing lenses as he crossed the living room toward the balcony.
He got there at 9:03 a.m. — four and a half minutes after the stoplight turned green. He’s gone over that stretch of time so often he can repeat it without thinking. A slower elevator, and he never gets the shot.
Cumins believes it was his mother, who died about a month before 9/11, who led the way. “Sometimes I say it was a spiritual thing,” he said. “She was watching over me at that red light. ‘Turn around, kid. This is big.’”
A convertible and a Kinko’s
By the time Cumins got his film to the photo lab in New Milford, he had already forgotten about the plane entirely. The fireball, he remembered — that part was impossible to forget. The plane itself, the thing he’d actually pointed his camera at, was gone from his mind completely.
Cumins stood over the technician’s shoulder as the scanner worked backward through the roll of Kodak film — 19 frames total — hunting for the explosion. They found it. Then he asked to see the beginning of the roll.
The first frame showed the plane against the skyline, smoke already rising from the first tower. In the next, a red dot flared just above the plane’s tail. Then came the explosion. The moment took three frames of film. Getting the picture to an editor took the rest of the day.
Cumins called his agent, who reached an editor at People — the magazine wanted the image immediately, as large as he could send it. Cumins had an AOL account with a 16-megabyte limit. Every file he tried to send bounced back, too big.
He hopped in his Audi TT convertible, top up, and sped to a Kinko’s on Route 3 in Clifton, and spent the day with a store clerk, the two of them trying to coax something too large through a connection too small. Confirmation came at 9 p.m., just ahead of deadline. The photo ran on People’s cover as a double-page foldout.
The top of his car stayed closed for weeks after that. “I could not bring myself to put down the roof,” Cumins said, “to enjoy the simple pleasures of light and fresh air during such a dark time.”
Documenting modern Jewish history
Cumins built a career on trust. At 14, he sent a telegram to President John F. Kennedy’s press secretary asking to visit Washington. The press secretary said yes. It wouldn’t be the last time a powerful person said yes to him.
It was almost by accident that his persuasiveness led him into Jewish photography at all. In 1970, a colleague asked him to shoot a Jewish Federation breakfast in Miami. His first Jewish communal assignment — a parlor meeting in a private home in Elizabeth, New Jersey — followed a few months later. It was the first of hundreds. Over the next five decades, he photographed scores of events and made roughly 250 trips to Israel, building trust as he went.
In 1988, that trust bought him 10 days inside Yitzhak Shamir’s daily life — meetings and meals, including moments when no one else was in the room. “He was very kind to me,” Cumins recalled. The photographs ran in The New York Times Magazine, in Life and in newspapers across the globe.
In October 1995, Cumins was backstage at a black-tie reception in Washington when he noticed Yitzhak Rabin’s borrowed bow tie had come loose from his collar. Cumins walked over and fixed it. “I had spent a lot of time previously with Rabin,” he said. “Otherwise, I would never have gotten near his neck.”
Ten days later, Rabin was assassinated. Cumins flew to Israel and back in a single day to photograph the funeral — soldiers saluting the casket, an aide reading from the blood-stained speech recovered from Rabin’s jacket. Two weeks before, at that reception in Washington, he’d photographed President Bill Clinton and Leah Rabin laughing together. Now he photographed Clinton consoling her as a widow — two photos, worlds apart, taken by the same man.
Even after 9/11 made him famous, Cumins kept doing what he had always done. He signed on as one of Hillary Clinton’s photographers during her first Senate campaign. After she won, he asked to come along, at his own expense, when she made her first trip to Israel as senator. He wanted total access. He got it, as he generally did.
On that trip in 2002, in Prime Minister Ariel Sharon’s office, Clinton introduced Cumins to those gathered: “Mr. Cumins, he took the great picture of 9/11,” she said. Later that trip, at a dinner in Tel Aviv, Cumins caught a quiet moment between Clinton and Shimon Peres, one of his more striking portraits.
‘Split second of innocence’
Somewhere along the way, the work of chronicling history gave way to the work of storing it.
What’s left of his archive now sits in a couple of private storage units in New Jersey — roughly 600 square feet of file cabinets and boxes, labeled by project, holding a record of Jewish and Middle East history that exists nowhere else. It has cost what Cumins describes as “a fortune” over the years. He’s hoping a philanthropist will buy the collection and gift it to an institution built to care for things longer than any one person can. He hasn’t found one yet.
In the meantime, he’s still in the same ninth-floor apartment in Verona, still facing the same Manhattan skyline. He photographs it constantly — beautiful sunrises and sunsets, weather rolling in over the water — and he says there’s almost always a plane somewhere in the frame, whether he’s trying to catch one or not.
Cumins has a phrase for what he photographed 25 years ago: “the final split second of innocence” this country ever had. Between the first plane and the second, there were 17 minutes in which the country still believed, or wanted to believe, that this might be an accident.
Then reality hit. The U.S. was under attack. Life would never be the same, especially for the man who captured that moment in history.
Some photographs you take. Others, it turns out, take you — and don’t ever quite let go.
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Portuguese artists pull out of Jerry Seinfeld-headlined festival
(JTA) — Several Portuguese artists have dropped out of a comedy festival in Lisbon headlined by Jerry Seinfeld, citing their support for Palestinians and implying opposition to Seinfeld’s support for Israel.
At least six acts over recent days have canceled their appearances at the MEO Commedia a La Carte Fest, a new international comedy festival in the Portuguese capital. The event from Oct. 29 to Nov. 1 has advertised that it will host Seinfeld’s first live appearance in Portugal.
Though none of the artists who withdrew mentioned Seinfeld by name, some hinted at a boycott against his pro-Israel views. The Jewish comedian has become one of Hollywood’s most prominent advocates for Israel since October 2023.
Actress and comedian Inês Aires Pereira announced on Instagram on Saturday that “one of the names” featured at the festival “persistently defends ideas and acts that I consider indefensible,” adding, “We cannot relativize or normalize a genocide.”
The comedy duo Cebola Mol posted a graphic of themselves with a watermelon, widely recognized as a symbol of solidarity with Palestinians. “We will celebrate justice, freedom and joy with you on another occasion,” they said on Instagram.
The festival announced on Friday that performances by the groups Tributo Pop and Conjunto Cuca Monga were also canceled, but did not provide reasons. Two other acts, comedian Pedro Tochas and visual artist Vhils, shared their cancellations on Instagram without further details.
Seinfeld has aligned himself with Israel during its current conflict in Gaza, following decades of largely avoiding commenting on political issues. He visited Israel in December 2023 to meet with the families of hostages seized by Hamas on Oct. 7 of that year. Since then, he has attracted attention for a series of dismissive remarks toward pro-Palestinian advocates.
During an appearance last year at Duke University, Seinfeld compared pro-Palestinian activists with the Ku Klux Klan, saying, “The Klan is actually a little better here because they can come right out and say, ‘We don’t like Blacks, we don’t like Jews.’ OK, that’s honest.”
Representatives of Seinfeld and producers of the MEO Commedia a La Carte Fest did not immediately respond to requests for comment.
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