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The Sassoons are having a moment. Here’s why that matters.
(JTA) — The Sassoon family is having a moment. The Baghdadi Jewish dynasty that made its fortune in trade across the Indian subcontinent and East Asia is the subject of the current exhibit at the Jewish Museum in New York, titled “The Sassoons.” Joseph’s Sassoon’s book, “The Global Merchants: The Enterprise and Extravagance of the Sassoon Dynasty,” was published last year. Last month’s highly publicized auction of the Sassoon Codex for over $38 million focused attention on the Sassoon heir who once owned the 1,100-year-old Hebrew Bible. The Sassoon Family Archive at the National Library of Israel has been newly digitized.
The Sassoon dynasty is the epitome of the cosmopolitan transnational Jewish families I retrace in my book “Baghdadi Jewish Networks in the Age of Nationalism”: intrepid merchants who transcended empires, continents and cultures. Starting with David Sassoon (1792-1864), who left Baghdad in 1828, eventually settling in India, the Sassoon empire would, at its height, extend from China to England. The transnational networks they and their contemporaries established, tied together disparate Jewish communities and laid the foundation for present-day philanthropies dedicated to the plight of world Jewry.
The Sassoon family cannot be reduced to a stereotype of wealthy Jewish collectors who assimilated into European culture, nor can they be seen simply as “The Rothschilds of the East” — although they mingled with Rothschilds and held similar riches gained through business. They were their own phenomenon quite apart from the Rothschilds. Too often modern Jewish history is presented from an Ashkenormative (Eurocentric) perspective. Elevating the histories of families like the Sassoons and the communities who benefitted from their philanthropy, highlights the diversity and complexity of the modern Jewish experience.
The Jewish Museum exhibit is laden with dreamy family portraits by Thomas Gainsborough and John Singer Sargent and the 18th-century European art the family acquired. This might give the mistaken impression that the Sassoons abandoned Baghdad, adopted European social and cultural tastes and never looked back to the Middle East. Fortunately, this visual narrative is balanced by the manuscripts, marriage contracts and Judaica that speak to the family’s deep connections to the Middle East and their Jewishness. “The Sassoons” exhibit, with its comfortable and opulent objects, subtly raises awareness of the diversity of Jewish experience.
The late 19th and 20th century world of the Sassoons is, in short, a gateway to understanding the specifically dynamic transnational Jewish networks of modern Middle Eastern Jewish history. The exhibit offers hints of the Baghdadi heritage of the family and the cosmopolitan religious, business and philanthropic networks in which they participated. Examples include the beautiful silver tikim (Torah cases) and a haftarah scroll, both commissioned by Flora (in Arabic, Farha) Sassoon (1859-1936), who was born in India and later emigrated to England. Flora was admired for both her erudition and business acumen, and her commissions are vivid examples of her religiosity and her concomitant global network: The silver for the tikim was smithed in Shanghai and styled in a Middle Eastern motif; the scrolls were written by a sofer, or scribe, in Baghdad, and the whole Torah was assembled in her hometown of Mumbai. During Flora’s lifetime both Shanghai and Mumbai were important nodes in the Sassoon business empire, and as a result had small but flourishing Baghdadi Jewish communities beyond the Sassoon family itself.
Installation view of “The Sassoons” at the Jewish Museum, New York, March 3-Aug. 13, 2023. (Kris Graves)
Similarly, the manuscripts on display in the exhibit, many acquired by David Salomon Sassoon (1880-1942), Flora’s son, illustrate the family’s interests in multilingualism and their Jewish material heritage. David collected over 1,000 manuscripts, and many of the rarest pieces in his collection were acquired during his trips back to Iraq. His close connection to the Jewish community in Baghdad despite his birth in Mumbai and adulthood in Britain, his proficiency in Judeo-Arabic (that is, Arabic written in Hebrew script and inflected with Hebrew and Aramaic loan-words) and his fluency in Judeo-Baghdadi (the spoken dialect of Iraqi Jews) enabled the acquisition of these rare and varied manuscripts. While many of the pieces on display seem to speak to the”Europeanness” of the Sassoons, they also underscore that the Sassoons remained a part of Iraqi society, and that these two societies were not mutually exclusive.
The inclusion of a 1946 photograph (by Arthur Rothstein) of Jewish refugees reading a list of Holocaust survivors in the exhibit points to yet another critical role of the Sassoons as important philanthropists for Jewish transnational causes. By 1939 over 20,000 Jews fleeing Europe had found their way to one of the few locations that did not require a visa, Shanghai. Arriving with little means and few, if any, connections, they were welcomed by a well-established Baghdadi Jewish community for whom the Sassoons had been — throughout the 19th and 20th centuries — the primary contributors to Jewish life, endowing schools, synagogues, and charities there as they did across the Baghdadi diaspora and the Middle East itself.
Philanthropy and communal leadership are essential components of the Sassoon legacy, helping us see a broader community beyond the beautiful and durable objects which are easiest for curators to display and which attract visitors for their inherent qualities.
If you happen to be in New York before Aug. 13, visit the exhibit to luxuriate in the wonders of wealth and prestige which the Sassoon family possessed. While you are there, pay special attention to the dual cosmopolitan and communal approach to Jewish history that is exemplified by many of the pieces on display. View the many artifacts and documents as an invitation to explore the global cultural, economic and philanthropic contributions of Middle Eastern Jewry, an enduring and rich legacy of a remarkable family.
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Trump announces deal with Iran is ‘now complete’
(JTA) — President Donald Trump announced Sunday that a deal to end the war with Iran and reopen the Strait of Hormuz is “now complete.”
“Congratulations to all! I hereby fully authorize the toll free opening of the Strait of Hormuz, and, simultaneously herewith, authorize the immediate removal of the United States Naval blockade,” Trump wrote in a post on Truth Social. “Ships of the World, start your engines. Let the oil flow!”
Pakistani Prime Minister Shehbaz Sharif, who has played a key mediating role in talks between the U.S. and Iran, also announced that a deal had been reached minutes before Trump made his post, adding that an official signing ceremony would take place Friday in Switzerland.
“Both sides have declared the immediate and permanent termination of military operations on all fronts, including in Lebanon,” Sharif wrote in a post on X.
The announcement comes more than three months since Israel and the U.S. launched its joint strikes on Iran in February. While the deal’s details have not yet been publicly announced, it is expected to extend a ceasefire between Iran and the U.S. for 60 days, during which the countries will negotiate a broader agreement addressing Iran’s nuclear program.
Israeli Prime Minister Benjamin “Bibi” Netanyahu did not immediately put out a statement following the announcement, but earlier Sunday he had posted a message on X celebrating Trump’s birthday.
Also earlier Sunday, Israel launched strikes on Hezbollah targets in Beirut, prompting Iran to vow retaliation and drawing a sharp rebuke from Trump, who said the strikes had “delayed the signing by a few hours.”
“Why did Bibi have to do a f–cking attack? I was so pissed off. I let him know. He has no fucking judgement. I let him know that,” Trump told Axios Sunday.
This article originally appeared on JTA.org.
The post Trump announces deal with Iran is ‘now complete’ appeared first on The Forward.
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Jane Yolen, children’s book author whose ‘The Devil’s Arithmetic’ became a Holocaust classic, dies at 87
(JTA) — Jane Yolen was already an award-winning author and illustrator of more than 100 titles for young readers when her editor suggested she write a Jewish children’s book.
At first, she resisted the idea. Sure, she was Jewish. But she didn’t grow up in a religiously observant family, and she insisted she didn’t know enough about Judaism to take on the project.
Finally, she relented. Drawing on a spark of an idea about a Holocaust time-travel fantasy, Yolen turned in the first draft of what would become “The Devil’s Arithmetic,” her 1988 young adult novel. “I thought, ‘OK, I’m going to try this,’” Yolen recalled to the Jewish Telegraphic Agency years later.
The book won immediate acclaim and garnered multiple awards. Today, it’s seen as a classic of the genre — and one that remains caught up in banned-book lists.
For Yolen, who died Thursday at 87 in her home in Western Massachusetts, “The Devil’s Arithmetic” became her signature title. Still in print, the book was also made into an Emmy Award-winning Showtime feature starring Kirsten Dunst. It was the cornerstone of a titanic legacy in children’s literature, her family said in a statement.
“It is with profound sadness that I, along with my brothers, Adam Stemple, and Jason Stemple, share the news of our mother, Jane Yolen’s passing,” her daughter Heidi Stemple wrote on Facebook, adding that Yolen had “passed gently with no pain or stress” and her family by her side, reading one of her books to her.
Yolen was born on Feb. 11, 1939, in New York City. Her father was a journalist and her mother was a psychiatric social worker until Yolen was born.
An alumna of Smith College, where she won poetry and journalism awards, she worked first as an editor in New York City, writing at her breaks and time off. Her first published book, “Pirates in Petticoats,” a nonfiction work about women on the high seas, was published when she was 22.
She soon pivoted to children’s literature, becoming one of the most prolific authors in the genre. She went on to publish 450 children’s books, including more Jewish titles, and was known as “the Hans Christian Andersen of America.” She won the prestigious Caldecott Medal for her 1987 picture book, “Owl Moon,” and her “How Do Dinosaurs …” series is a staple in many preschool classrooms. (It includes one Jewish title: “How Do Dinosaurs Say Happy Chanukah?” Her 450th title was published just this year, her children said.
But it was “The Devil’s Arithmetic,” scholars have said, that cemented her legacy as a leading author for young Jews. The novel was a trailblazer for its blending of time-travel with historical veracity, according to the late Norman H. Finkelstein, a National Jewish Book award winner who was a children’s librarian himself.
“It was a different Holocaust book,” Finkelstein told JTA in 2018, on the occasion of the title’s 30th anniversary. “It was not strictly factual, it was not a memoir. Jane did a superb job in taking the story of the Holocaust down to a level that ordinary American kids could understand. The characters were realistic, not paper cutouts.”
Other titles of hers included “Meet Me at the Well: The Girls and Women of the Bible,” with Barbara Diamond Goldin, and “Jewish Fairy Tale Feasts,” with her daughter Heidi, who developed and illustrated the hands-on recipes.
Yolen relished the collaborations with her daughter. They lived next door to each other, along with Stemple’s family, with two grandchildren who were taste-testers of Stemple’s recipes.
“Jane was a treasure, and it is difficult to think of the world of books — indeed the world itself – without her,” Richard Michelson, an award-winning author of Jewish children’s books and Yolen’s friend and neighbor, wrote on Facebook. Describing her as a cherished mentor of younger writers, he added, “Jane created classics as if it were as easy as breathing.”
While often assigned in schools as part of lessons on the Holocaust, Yolen’s titles are not without controversy. In 2025 a Texas school district, using artificial intelligence, flagged “The Devil’s Arithmetic” for removal as a title containing “DEI,” or diversity, equity and inclusion content. The book became one of several well known Holocaust titles to be pulled from schools in the last few years.
Though she had initially resisted the idea of being a Holocaust author, Yolen would go on to publish a trilogy of unconventional young-adult novels about the subject. She incorporated elements of “Sleeping Beauty” into 1992’s “Briar Rose.” “Mapping the Bones” followed in 2018 as a riff on “Hansel and Gretel.”
“Whenever we think of the Holocaust, we think of remembering,” Yolen told JTA in that same 2018 interview. “We think of never forgetting. Soon all we will have are the stories.”
In addition to her children, Yolen is survived by six grandchildren. Her husband, David Stemple, to whom she was married for 44 years, died in 2006.
This article originally appeared on JTA.org.
The post Jane Yolen, children’s book author whose ‘The Devil’s Arithmetic’ became a Holocaust classic, dies at 87 appeared first on The Forward.
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Hebrew Union College claims Ohio’s charity-law suit violates its First Amendment rights
(JTA) — The Reform movement’s central rabbinical seminary filed a motion to dismiss the state of Ohio’s lawsuit against the school Friday, claiming the suit violates “foundational Jewish religious doctrine.”
It was the latest escalation in a pitched battle between Hebrew Union College and the state attorney general’s office, which has accused HUC of violating nonprofit law by shuttering degree-granting programs on its historic Cincinnati campus.
The suit, HUC argues, “violates the First Amendment by entangling government and religion.”
The suit was originally filed in April by then-Ohio AG Dave Yost — his second against the college related to its controversial plan to wind down its Cincinnati operations in favor of its New York and Los Angeles campuses. Yost claimed HUC’s actions in Cincinnati misled its donors by leaving a city where they were actively fundraising to support operations, and also violated its charter, which states that the school would “permanently maintain” a residence there.
The state seeks to seize HUC’s assets in Ohio and redirect them to a new, yet-to-be-decided nonprofit with a similar mission; an upstart rabbinical school founded by HUC alums says it wants them.
Such a move “is an unconstitutional and illegal governmental assault upon religion,” HUC’s strongly worded motion reads.
It continues, “The Attorney General has no role in dictating the religious affairs of institutions like HUC. The Court should reject his overreach into religious matters and should dismiss the Complaint because it is unconstitutional and unlawful.”
HUC also argues its vote to shutter the Cincinnati campus was done in full compliance with the law, adding that it intends to maintain the campus’s other assets, including the Klau Library, the American Jewish Archives and the Skirball Museum. In addition, citing a passage in the Torah that states “God will come to his people wherever they welcome him,” the school argues that considering “Jewish demographic realities” is part of its religious mission.
“These decisions were made thoughtfully and responsibly to ensure the long-term success of the institution and our ability to continue graduating strong Jewish leaders,” HUC president Andrew Rehfeld said in a statement accompanying the motion. The lawsuit, he added, “improperly seeks to interfere in the decisions of a religious organization, and this cannot be allowed to go unchallenged.”
Yost himself resigned as AG this week to join the Alliance Defending Freedom, a conservative Christian legal group that, in 2022, represented a Tennessee adoption agency that refused to foster a child to a Jewish couple. The suit against HUC continues under the state AG’s office.
This article originally appeared on JTA.org.
The post Hebrew Union College claims Ohio’s charity-law suit violates its First Amendment rights appeared first on The Forward.
