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This Jewish farmer is harvesting corn — and planting a synagogue — in the Illinois prairie
STERLING, ILLINOIS — Nik Jakobs crouched down and scooped a handful of dirt. A third-generation cattle farmer and grandson of Holocaust survivors, he rubbed the soil between his fingers, testing its weight the way his father and grandfather once did.
But this time, he wasn’t thinking about crops. He was thinking about a synagogue.
Jakobs, 40, plans to build one right here: a 3,000-square-foot sanctuary and museum near land his family has worked for decades. It will house an ark, a bimah, a Torah, and twelve stained glass windows — all rescued by Nik from a shuttered Pennsylvania synagogue, fragments of light and lineage hauled halfway across the country.
The heirlooms sit in storage for now — not as relics, but as seeds waiting to be planted. Come spring, the Jakobs family plans to break ground.
Across the American heartland, sanctuaries that once anchored small-town Jewish life are closing faster than they can be saved. Some have become yoga studios or condos or Airbnbs; others have simply fallen silent. But in Sterling, Illinois, a family of farmers is trying something radical in its simplicity: to plant one again.

For Nik, that act is as familiar as it is audacious. The question isn’t just whether these sacred objects will find a home, but whether a tradition built on movement and memory can keep reinventing itself. Even among family and friends, there are doubts — about the cost, the scale, the odds of filling pews again. But Nik shrugs them off the way he does bad weather: “You plant anyway.”
It’s a lesson passed down from his grandfather, who started the farm after the war and taught his children that survival was only the first step. You work the soil, you care for it, you hand it off. That’s how things last — not through miracles, but through maintenance.
In the meantime, this fall, as crops ripened and combines roared to life, the family pitched a tent for Rosh Hashanah services. Nearly 50 people came to pray. An offering not of corn or soy, but of continuity, sown for the generations that might come after.
In Sterling, the Jakobses braid family, farm, and faith together.
Of corn and continuity
Jakobs Bros. Farms began with a refugee and a field.
After surviving the Holocaust, Norbert Jakobs arrived in Illinois in 1949, bought some land, and began again: raising cattle, planting corn and soybeans, and teaching his sons that survival was a kind of gratitude. Over the decades, the family grew the operation, a testament to their roots in this soil.

Dave Jakobs — Norbert’s son, Nik’s father, and the keeper of those fields — sat high in the cab of his combine, slicing through a sea of corn his father originally planted. He wore a cap adorned with the farm’s logo and a blue short-sleeve shirt that matched the afternoon sky. Outside, the air shimmered with dust; inside, the cab vibrated with the engine’s low thunder.
“I pitch, he catches,” Dave said, nodding to the tractor hauling a grain cart beside us. “Teamwork. That’s how the harvest gets done.”
For two hours, as he cut through the fields, Dave’s AirPods stayed in and his mounted iPhone on the dash blinked while he fielded calls from family and farmhands. Markets, moisture, machinery. The unseen math of keeping a farm alive. But before long, the talk turned to the synagogue.
“You don’t build the baseball diamond for them to come,” he said. “You build it because you love baseball.”
The line sounded like something out of Field of Dreams, and in a way, the Jakobs’ vision isn’t so different: faith built in the middle of a cornfield, for whoever still believes enough to show up.

He knows Sterling may never attract new Jewish families. The Jakobs family isn’t naïve about that. But the project was never only for them. The building will include a museum to tell the story of Jewish life in the region — and of families like theirs who rebuilt after the Holocaust. It’s a place for their children, yes, but also for their neighbors: a living record of what endurance looks like in the Midwest.
“Being a farmer, we’re at the mercy of God,” Dave said. “You take care of the land, and it takes care of you.”
If the harvest of corn measured what they could reap, this other harvest — the synagogue they were planting now — would measure what they could hand down.
A feast and a future
Back at the house, the roar of the combine gave way to a gentler rhythm — knives scraping, oven doors clicking, the percussive sounds of another kind of harvest.
Margo Jakobs, Nik’s mom, called out from the kitchen, her voice rising above the clatter of pots and the hum of an old house. She stood barefoot on the wood floor, auburn hair brushing her shoulders, a heather-gray T-shirt with “Peaches” across the front. On the counter sat a sous-vide cooler holding the evening’s main course: prime rib for Rosh Hashanah.
She moved with the calm and choreography of someone who had done this many times before, stirring and chopping, calling out to her husband and sisters-in-law as they passed through. Every motion felt purposeful, like another line in a prayer.

Her grandfather was taken to Dachau on Kristallnacht, lined up before a Nazi guard who pointed a gun and pulled the trigger on an empty chamber. He was able to escape with a few other men, thanks to a commandant he served under in World War I. The family fled on one of the last ships from Rotterdam. “The ship before theirs was bombed,” Margo said.
They rebuilt their lives in Wisconsin: her grandparents in a paper factory and department store; her parents later opening a bakery. Now, in rural Illinois, Margo keeps those stories alive — kneading resilience into every meal she prepares.
By the time she married Dave Jakobs in 1983 and moved to Sterling, two hours west of Chicago, the town’s Jewish community was already shrinking. Temple Sholom had once thrived, its sanctuary filled by families drawn to the promise of a postwar Midwest. But when the Northwestern Steel and Wire plant closed, so did the shops and synagogue it sustained.
“It made Sterling so vibrant in the 1940s and ’50s,” Margo said. “But as the mill closed, people moved away. It’s just sad.”
When she joined the congregation, she and Dave were among the few young Jewish couples left. “We had picnics and potlucks,” she said, smiling.
Earlier this year, Temple Sholom sold its building to a church. Members packed away the Torahs and yahrzeit plaques and began meeting in a tent on the Jakobs’ farm. When word spread that they planned to build again, on a two-and-a-half-acre cornfield in the middle of town, something unexpected happened: other synagogues that were closing began sending their remnants. Prayer books and pews, windows and wine goblets, all to be replanted here.
“We’re humbled,” Margo said. “People are entrusting us with what’s precious, with their stories.”
She wanted to be clear, though, that the project isn’t just about her family. It’s about Temple Sholom and all the congregants who have kept it going. “It takes a village,” she said, wiping her hands on a towel.
In that village is Scott Selmon, the congregation’s treasurer, who has quietly kept Temple Sholom alive for decades — paying the bills, leading services when no rabbi could make it, and making sure the lights stayed on long enough for the Jakobs’ dream to take hold.
He doesn’t see it as their project alone. “It’s all of ours,” he told me. “We just happen to have good people willing to lead the way.”
Selmon spoke of Nik’s grandfather, who became a pillar of the Jewish community in Sterling. “Norbert taught us what it meant to belong somewhere,” Scott said. “To show up for each other, to make this town home.”
People carried in casseroles for Rosh Hashanah and a neighbor dropped off a basket of apples from her orchard. Selmon watched quietly. “That’s what this is,” he said. “Community. You tend it, you keep it alive.”
Standing next to Selmon was Bill Sotelo, 79, who spent three decades as a machinist at the mill. He grew up in Mexico, was raised Roman Catholic, but had always felt a pull toward Judaism. In the 1980s, he started attending Temple Sholom and volunteered whenever something needed fixing. “I helped run the water line to the bathrooms and the kitchen,” he recalled.
Sotelo and his wife, Teresa, eventually converted. Bill celebrated his bar mitzvah at the shul when he was 68. “I did a DNA test recently,” he told me with a grin, “and it turns out I’m 8% East European Jew.”
Once, this village had been vast. Downtown Sterling bustled — clothing shops, newsstands, scrap yards, law offices — many owned by Jewish families who helped build the town’s economy. The steel mill by the river powered the synagogues and storefronts across the Sauk Valley — in Sterling, Rock Falls, Dixon, Morrison, even tiny Mount Carroll and Milledgeville.
Now the mill sits quiet, but Sterling is trying to grow again: a redevelopment project, a new hotel, a sports park, green trails along the river. “Sterling’s been reinventing itself ever since the mill closed,” former Mayor Skip Lee told me. “What the Jakobs are doing — taking something old and giving it new life — fits right into that story.”

The Jews scattered across the Sauk Valley are rooting for Sterling — for this family, this field, this synagogue — to succeed.
Margo opened the oven to check dessert: a peach crisp warming beside an apple-bourbon cake. The smell of cinnamon and butter filled the kitchen, a small sweetness before the holiday began.
A tent that became a temple
The September light was fading, the fields turning the color of old straw. Out on the lawn beside the house, Nik and his brothers, Alex and Ricky, worked in rhythm, raising a canvas tent where the Rosh Hashanah service would be held. Metal poles lay scattered in the grass like the ribs of something waiting to take shape.
“It’d be easier if we had a temple,” someone joked.
In the distance, a combine droned through the corn, a harvest of another kind unfolding just beyond the prayer site. Nik carried folding chairs from the basement. Alex unspooled an extension cord from the garage to power the lamps and string lights. When they tamped the final stakes into the soil, the tent stood ready — not planted, exactly, but rooted for a day.

By morning, the field had turned into a sanctuary. Nearly 50 people gathered beneath the sloped roof, the air still and expectant after weeks without rain. Some women wore sundresses and cowboy boots; others went barefoot, their toes brushing the grass. They faced east, toward Jerusalem, toward renewal.
At the front, three Torahs rested on a table covered with a white cloth embroidered decades ago by Nik’s grandmother, Edith, while she hid from the Nazis — her childhood handiwork carried through war, exile, and soil.
Cantor Lori Schwaber, who has helped lead High Holiday services in Sterling for three decades, stood beside Hannah, Nik’s cousin, her prayer shawl pale pink in the morning sun. Their melodies carried across the field.

When it came time for the haftarah, Hannah chanted from the Book of Samuel, the story of another Hannah who prayed for a child and was answered with life. The promise echoed here: Even in barren soil, something new can take root. This was a harvest whose yield measured not in bushels, but in belonging.
Then Taylor, Nik’s eldest, stepped forward to read the same passage in English. It was a rehearsal for the bat mitzvah her family plans to hold in the new synagogue. The rabbi from Pennsylvania, whose congregation donated its stained glass and ark, has already promised to officiate a service that weekend.
As the service ended, Nik’s four daughters called out the shofar blasts: Tekiah. Shevarim. Teruah. Tekiah Gedolah. Each shout met by their father’s ram’s horn, its note low and unbroken, bending through the air until it joined the wind.

The synagogue and the soil
In a storage area tucked away on the farm sit the rescued pieces from Temple B’nai Israel — the century-old synagogue in White Oak, Pennsylvania, whose sacred objects Nik salvaged.
The space was quiet, almost reverent — a warehouse of waiting. Along one wall, stained-glass windows lay boxed and labeled, their blues and ambers dulled by dust, their light waiting to be released. A pair of rabbi’s chairs stood sentinel beside the bimah, their arms worn smooth by generations. At the far end, Nik lifted a heavy blanket to reveal the ark — twin lions perched on top, their wooden paws folded in patience.

“This is what we’re saving,” Nik said softly. For a man who measures life in acres and seasons, this was another kind of harvest.
Around the objects sat more fragments of American Jewry: twelve stone tablets engraved with the tribes of Israel, salvaged from another synagogue — Beth Israel in Washington, Pennsylvania — beside the yahrzeit plaques from Sterling’s own Temple Sholom. Legacy upon legacy, boxed but not buried. A reliquary of Jewish endurance.
He was done storing the past like seed. It was time to see what would grow.
In the center of town, there’s the cornfield where the new synagogue will rise, beside New Life Lutheran Church. A farmer from the congregation had sold them the land: steeple on one side, shul on the other. The name felt like a promise.
On the hood of his truck, Nik spread the blueprints, the paper snapping in the wind. A sanctuary lined with stained glass from White Oak. Beside it, a museum to tell the story of Jewish life in small-town America — and the people who refused to let that story end.
One area will honor the Jewish merchants and families who once filled the Sauk Valley towns. Another will recreate the room where a Christian family hid Nik’s grandmother and her relatives during the Holocaust — her childhood spent in whispers, her prayers muffled beneath a pillow.
He paused, tracing calloused fingers along the edge of the paper. “It won’t be dark,” he said. “People will walk through and understand what it means to come out of hiding.”

Since the Forward first published Nik’s story about the synagogue in a cornfield, envelopes have arrived at the farm, postmarked from towns Nik had never heard of — some with checks for $18, others with offers of sacred objects from shuttered shuls across the country. One rabbi wrote to donate his congregation’s bimah chairs; Nik plans to use them as seating in the museum, each marked with a small plaque naming where it came from.
Margo told me she still dreams of Torah crowns, the silver rimonim that once shimmered atop scrolls in sanctuaries now gone. Each new package feels like a quiet affirmation, a widening circle of faith.
The Jakobs family and the small but mighty Sterling Jewish community are not trying to save Judaism. They’re proving it can still take root here, in open country.
Hope, here, isn’t an idea. It’s a practice, the daily work of planting what you may never see bloom.
Stretching before us, the field was bare, the soil raked smooth and waiting. Nik stood in silence, listening for the faintest stir of something beginning, the sound of a harvest yet to come.
The post This Jewish farmer is harvesting corn — and planting a synagogue — in the Illinois prairie appeared first on The Forward.
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Brooklyn’s new ‘lard bagel’ is not kosher. But it is delicious.
Bagels have long been a staple of the Jewish diet, even if they’re not exactly health food. But the latest addition to New York’s bagel scene achieves the impressive feat of inviting both your doctor and your rabbi’s scorn: the “lard bagel,” made with rendered pork fat.
The decidedly unkosher offering is on the menu at Caputo Bagels, which opened Monday in Brooklyn’s Park Slope neighborhood. The bagel shop is the successor to the once-popular Caputo Bakery in Carroll Gardens, which closed in April after five generations of operation.

At the now-shuttered Caputo Bakery, “lard bread” was a bestseller. Caputo Bagels seeks to recreate the lard bread experience, but in bagel form. Lard, salami, provolone cheese, salt and pepper are all folded into sourdough, hand-rolled, then boiled and baked at 425 degrees. The Italian-Jewish mash-up is the product of a partnership between James Caputo and Rafi Hasid, who also runs the Israeli restaurant Miriam next door.
Eager to try this bagel novelty, I stocked up on Lactaid pills and trekked to Park Slope early Friday morning. There, I met Caputo himself, who said the lard bread was a family recipe and an Italian-American specialty. Lard, he explained, was “a couple levels above adding butter to your bread.”
“A lot of people who went to the bakery are now rushing here to try the lard bagel,” Caputo said, adding that he did “feel bad” that kosher customers wouldn’t be able to eat the signature item.
I reassured Caputo that I did not keep kosher and was eager to taste the lard bagel myself.
But before digging in, I wanted to know what to expect. The first customer I spoke with had ordered an everything bagel, explaining that she hadn’t known the lard bagel “existed.” The second, visiting New York City from Spain, had opted for banana bread.
I asked her if she had considered ordering the lard bagel. “At this hour in the morning?” she asked.
I was starting to get worried. If nobody orders the lard bagel, does it make a sound?
Fortunately, I soon met Kristin Stoller, a local who used to frequent Caputo Bakery. She had ordered both a lard bagel and a plain one, with a side of scallion cream cheese, to bring home for herself and her boyfriend.
“He’s anxious about the lard bagel,” she told me, but she was hoping to convert him.
I asked if she would do a taste test. “Just like the bread!” she said after taking a bite. “This is perfection.”
Her enthusiasm seemed to be contagious. The first customer I’d spoken with came up to me, this time with a lard bagel in hand. I’d piqued her curiosity. “It’s a savory explosion,” she said.
Outside, I found a customer named Kendra Koch sitting on a bench with her dog, Pom Pom. She, too, had ordered the lard bagel, topped with olive cream cheese.
“It tastes like pizza,” she said as Pom Pom angled toward the bagel, seemingly longing for a bite.

I summoned my courage and ordered one sans toppings, figuring it had enough going on flavor-wise to stand on its own. One bite revealed a cheesy, peppery richness. I wasn’t sure I tasted the lard, but I also wasn’t sure if I was supposed to. My official verdict: delicious.
It was just too bad that my kosher friends couldn’t try it. I’m holding out hope that the schmaltz bagel will catch on next.
The post Brooklyn’s new ‘lard bagel’ is not kosher. But it is delicious. appeared first on The Forward.
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Yiddish Modernism and the political tumult in the 1930s
אין די 1920ער און 1930ער יאָרן האָט דער זשורנאַל „אין זיך“ געדינט װי אַ טריבונע פֿאַר מאָדערניסטישע עקספּערימענטן אין דער אַמעריקאַנער ייִדיש־ליטעראַטור. צו די „אינזיכיסטן“ האָבן געהערט יעקבֿ גלאַטשטײן, אַהרן גלאַנץ־לעיעלעס, ה. לײװיק, שלמה שװאַרץ, יהודה לײב טעלער און אַנדערע.
װי מען קען טרעפֿן פֿונעם זשורנאַלס נאָמען, זײַנען די דאָזיקע ליטעראַטן געװען פֿאַרטאָן אין שעפֿערישע חקירות אַרום דעם אײגענעם „זיך“. און טאַקע, אין די 1920 יאָרן האָט „אין זיך“ ניט געהאַט קײן אינטערעס צו די פּאָליטישע דאגות־היום.
אָבער דאָס האָט זיך געביטן נאָך 1934, װען גלאַטשטײן איז געװאָרן דער רעדאַקטאָר פֿונעם זשורנאַל. דער דאָזיקער תּקופֿה איז געװידמעט דאָס נײַע בוך פֿון איתי זוטרא (אוניװערסיטעט פֿון מאַניטאָבאַ, קאַנאַדע) „אינזיכיזם: ייִדיש־דיכטונג און די ייִדישע אידענטיטעט אין אַמעריקע אין די 1930ער יאָרן“.
גלאַטשטײן האָט פֿאַרטײדיקט די שעפֿערישע אױטאָנאָמיע פֿונעם דיכטער קעגן די אַנגאַזשירטע קאָמוניסטישע קריטיקער װי אַלכּסנדר פּאָמעראַנץ, װאָס האָבן געפֿאָדערט, אַז ליטעראַטור זאָל דינען די אינטערעסן פֿון די פּראָלעטאַרישע מאַסן.
אַזױ איז גלאַטשטײנס אײגענע פּאָעטישע שאַפֿונג געװאָרן אַ מין פּאָליטישע פּאָזיציע. די דאָזיקע פּאָליטיק, האַלט זוטרא, האָט משפּיע געװען אויף זײַן ליטעראַרישן סטיל און דעם סטיל פֿון אַנדערע מחברים פֿון „אין זיך“.
גלאַטשטײן האָט געעפֿנט די זײַטן פֿון „אין זיך“ פֿאַר פּאָליטישע װיכּוחים. ער אַלײן איז אַרױס מיט אַ פֿאָרשלאָג צו שאַפֿן אַ פּאַרטײ, װאָס זאָל זײַן אי פּאָליטיש ראַדיקאַל אי ייִדישיסטיש, הגם קײן פּראַקטישע פּראָגראַם האָט ער ניט פֿאָרגעלײגט.
להיפּוך צו אַנדערע ראַדיקאַלע פּאַרטײען, קודם־כּל דער קאָמוניסטישער, איז דער הױפּטציל פֿון גלאַטשטײנס פּאַרטײ געװען צו פֿאַרטײדיקן ייִדישע נאַציאָנאַלע אינטערעסן. דאָס איז געװען ספּעציעל װיכטיק אין דער צײַט װען דער אַנטיסעמיטיזם האָט געהאַלטן אין אײן װאַקסן אין אײראָפּע.
גלאַטשטײן האָט פֿאַרבעטן ייִדישע ליטעראַטן אַרומצורעדן זײַן פּראָיעקט אױף די זײַטן פֿונעם זשורנאַל. לרובֿ זײַנען זײ ניט געװען אײַנשטימיק מיט גלאַטשטײן. דער עיקר זײַנען זײ געװען קעגן דער אידײ, אַז די אינטעלעקטואַלן דאַרפֿן װערן פּאָליטישע אָנפֿירער פֿון די מאַסן.
חוץ דעם, װי עס האָט באַמערקט חיים זשיטלאָװסקי, זײַנען שױן דאָ געװען גענוג פּאָליטישע פּאַרטײען אין װעלכע ייִדן האָבן זיך אַקטיװ באַטײליקט. צו שאַפֿן נאָך אַ פּאַרטײ װאָלט ניט געהאָלפֿן צו פֿאַרבעסערן דעם מצבֿ פֿון ייִדן.
דער אינזיכיזם, האַלט זוטרא, איז בטבֿע געװען עקלעקטיש סײַ פּאָעטיש און סײַ פּאָליטיש. מען האָט ניט געהאַלטן פֿון טראַדיציאָנעלע זשאַנערס און סטילן. אָפֿט מאָל האָט מען עקספּערימענטירט מיט מישן פּראָזע און פֿערזן.
אין די 1930ער יאָרן האָבן די ליטעראַרישע עקספּערימענטן באַקומען אַ פּאָליטישן אַקצענט. סײַ אין דער קונסט און סײַ אין דער פּאָליטיק האָבן די אינזיכיסטן געזוכט אַן ענטפֿער אױף דער עיקר־פֿראַגע: װאָס איז דער עצם פֿונעם ייִדישן „זיך“ אין אַמעריקע אין דער מאָדערנער תּקופֿה?
דער אינזיכיזם איז געװאָרן אַ נײַער מין ייִדישיזם: אַ קולטורעלע און פּאָליטישע אידעאָלאָגיע, װאָסער ציל איז געװען צו פֿאַראײניקן פֿאַרשײדענע פּאָליטישע שטרעמונגען אױפֿן סמך פֿון דער ייִדישער שפּראַך און דער מאָדערנער װעלטלעכער ייִדיש־קולטור.
גלאַטשטײן האָט געגלױבט, אַז װערטער דאַרפֿן טראָגן דעם װירקלעכן אמת, בפֿרט אין די צײַטן, װען כּלערלײ טאָטאַליטאַרישע רעזשימען האָבן פֿאַרשפּרײט ליגנס פֿאַר די צװעקן פֿון זײער מערדערישער פּראָפּאַגאַנדע.
אינעם בוך לידער „ייִדישטײַטשן“, װאָס איז אַרױס אין װאַרשע אין 1937, האָט גלאַטשטײן געפּרוּװט דערגרײכן די טיפֿסטע פֿאָנעטישע און לעקסישע װאָרצלען פֿון דער ייִדישער שפּראַך.
אין די שורות „אַלטער בױם, פֿעלדז און שטאַם / כ׳קום צו דיר מיט ברױט און גראַם“ דריקט גלאַטשטײן אױס זײַן פּאָזיציע לגבי דער ייִדישער קולטור־ירושה. ער קומט מיט זײַן אַמעריקאַנער „ברױט און גראַם“ צו דעם „אַלטן בױם“ פֿון ייִדיש כּדי צו שעפּן שפּראַכלעסע יניקה פֿאַר זײַן פּאָעזיע.
זוטרא אַנטפּלעקט אין „ייִדישטײַטשן“ סאַטירישע אונטערטענער, װאָס מאַכן חוזק סײַ פֿון די פֿאַשיסטן און קאָמוניסטן און סײַ פֿון די אַמעריקאַנער אַסימילאַטאָרן.
די צװײטע צענטראַלע פֿיגור אינעם אינזיכיזם איז געװען דער דיכטער, קריטיקער און זשורנאַליסט אַהרן גלאַנץ־לעיעלעס. אין 1937, אײנצײַטיק מיט גלאַטשײטנס „ייִדישטײַטשן“, איז אַרױס גלאַנץ־לעיעלעס בוך לידער „פֿאַביוס לינד“.
אין הסכּם מיט די עסטעטישע פּרינציפּן פֿונעם אינזיכיזם איז דאָס דאָזיקע בוך אַ מישמאַש פֿון סטילן, זשאַנערס און שטאַנדפּונקטן, װאָס זײַנען פֿאַרקניפּט דורך דער פֿיגור פֿונעם הױפּטהעלד. דאָס איז אַ פּאָעטישער סך־הכּל פֿונעם איניזכיסטישן פּעריאָד אין לעיעלעסעס שאַפֿונג, האַלט זוטרא.
„פֿאַביוס לינד“ האָט באַקומען התלהבֿותדיקע אָפּרופֿן מצד די קריטיקער. גלאַטשטײן האָט געהאַלטן דאָס בוך פֿאַר דער „ערשטער גרױסשװוּנגיקער און גרױסשטאָטישער פּאָעמע אין דער ייִדישער פּאָעזיע“, און ה. לײװיק האָט עס געלױבט פֿאַר זײַן „אָרגאַנישער גאַנצקײט“.
די פֿיגור פֿון פֿאַביוס לינד איז ניט קײן אױטאָביאָגראַפֿישע. זוטרא מאַכט אַ פּרוּװ צו אַנטפּלעקן די פֿאַרפּלאָנטערטע באַציִונגען צװישן דעם מחבר אַהרן גלאַנץ־לעיעלעס, זײַן פּאָעטישער פּערזאָן אַ. לעיעלעס, און זײַן אױסגעטראַכטן „אַלטער עגאָ“ — פֿאַביוס לינד.
לינד פֿיגורירט אינעם בוך װי אַ צעשפּאָלטענע פּערזענלעכקײט: „פֿאַביוס לינד פֿיל לעבנס פֿירט ער“. ער איז סײַ אַ פּראָדוקט און סײַ אַ קרבן פֿון זײַן תּקופֿה.
לינד האָט ספֿקות װעגן כּלערלײ פּראָיעקטן צו לײזן די „ייִדישע פֿראַגע“, אינעם סאָװעטישן ביראָבידזשאַן אָדער אינעם העברעיִש־רעדנדיקן ייִשובֿ אין ארץ־ישׂראל.
חוץ לידער האָט גלאַנץ געשריבן פּאָליטישע קאָמענטאַרן אין דער ליבעראַלער צײַטונג „דער טאָג“. להיפּוך צו גלאַטשטײן האָט ער ניט פֿאַרטראַכט קײן אײגענע פּאָליטישע פּראָיעקטן. זײַן פּאָליטישער שטאַנד איז געװען אין הסכּם מיטן פּראָגרעסיװן הױפּטשטראָם פֿון פֿראַנקלין רוזװעלטס „ניו דיל“.
דער לעצטער נומער פֿון „אין זיך“ איז אַרױס אין 1940, װען אײראָפּע איז שױן געשטאַנען אױפֿן שװעל פֿונעם חורבן. דער קאָנפֿליקט צװישן אַלװעלטלעכקײט און ייִדישקײט, װאָס איז געװען די צענטראַלע טעמע פֿון די אינזיכיסטישע חקירות, איז געלײזט געװאָרן לטובֿת ייִדישקײט.
גלאַטשטײן האָט פּראָקלאַמירט: „אַ גוטע נאַכט, ברײטע װעלט. […] אױף מײַן אײגענעם געבאָט גיי איך צוריק אין געטאָ“. דאָס איז געװען דער סוף פֿונעם ייִדישן מאָדערניזם, פֿאַרסך־הכּלט זוטרא.
די פּאָעטישע קולטור־ירושה פֿון די אינזיכיסטן איז פֿאָרגעשטעלט געװאָרן פֿאַרן ענגליש־שפּראַכיקן עולם אין דער פּרעכטיקער צװײ־שפּראַכיקער אַנטאָלאָגיע „אַמעריקאַנער ייִדישע פּאָעזיע“, װאָס איז אַרױס אין 1986 אונטער דער רעדאַקציע פֿון בנימין און באַרבאַראַ האַרשאַװ.
אין דער הקדמה האָט בנימין האַרשאַװ פּרטימדיק אַנאַליזירט די פֿאָרמעלע און סטיליסטישע חידושים, װאָס די אינזיכיסטן האָבן אַרײַנגעבראַכט אין דער ייִדישער פּאָעזיע אין די 1920ער יאָרן, אָבער ער האָט קױם באַרירט זײער פּאָליטיק.
זוטראס בוך באַטראַכט די אינזיכיסטישע שעפֿערישקײט אונטער אַן אַנדערן קוקװינקל. אין די 1930ער יאָרן זײַנען פּאָליטיק און פּאָעזיע געװאָרן נאָענט צונויפֿגעפֿלאָכטן אין די װערק פֿונעם לעצטן דור אַמעריקאַנער ייִדישעמאָדערניסטן.
The post Yiddish Modernism and the political tumult in the 1930s appeared first on The Forward.
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I never saw myself in Barbie. Would ‘Hanukkah Barbie’ have changed that?
I wasn’t really a Barbie kid. While I occasionally played with my sister’s hand-me-down Barbies, I preferred American Girl dolls. They were Barbie’s chunkier, cherubic counterparts, each representing a girl from a different period in history and accompanied by a series of historical-fiction books about her life. I devoured those books, including the story of Rebecca Rubin, a 9-year-old Russian-Jewish immigrant living on the Lower East Side in the early 1900s.
So when Mattel released its first Hanukkah Barbie last week — officially marketed as the “Barbie Holiday Sweater Doll” — I wondered whether she would have appealed to me when I was growing up. Would her Jewishness have made her feel more relatable than that blonde-haired, blue-eyed, impossibly proportioned bombshell?
As it turns out, I wasn’t the only one thinking about what it means for Barbie to look Jewish. Shortly after her release, Hanukkah Barbie set off a spirited debate over her appearance. Her nose seemed slightly more prominent than the default Barbie button nose, raising questions about whether Hanukkah Barbie’s face reinforced Jewish stereotypes, or if her distinctive nose reflected a good-faith effort to give the doll recognizably Jewish features.
It was at least clear that Mattel did its homework about the Festival of Lights. The hanukkiah on Barbie’s sweater has the correct number of candleholders, and the dreidels bear accurate Hebrew lettering — which is more than can be said about a lot of Hanukkah merchandise. If sales are any indication, Hanukkah Barbie is resonating. The doll, which originally retailed for about $30, is sold out, with third-party sellers now asking for as much as $345.
There have previously been Barbies modeled after Jewish celebrities, including Olympic gymnast Aly Raisman, Israeli Olympic surfer Anat Lelior and fashion designer Diane von Furstenberg. But Hanukkah Barbie is the first Barbie whose identity is simply Jewish — which means she will have the impossible task of representing Jews of all kinds. Sephardic and Ashkenazi Jews, religious and secular Jews all have to somehow find themselves in the same doll.
Complicating matters, the original blonde Barbie has arguably been Jewish all along. Ruth Handler, the daughter of Polish-Jewish immigrants, invented Barbie in 1959, naming “Barbie” after her daughter, Barbara, and “Ken” after her son, Kenneth. “Barbie is a matrilineal Jew? Love it!” one Reddit user joked last month.
But Barbie was always a little too Aryan-coded to feel Jewish to me. Her origins go back to the postwar German ideal of blonde, white femininity. Handler drew inspiration for Barbie’s look from a German toy named Bild Lilli, marketed toward men as a gag gift and sold in bars and tobacco shops. That doll, in turn, was based on the comic-strip character Lilli, characterized by Barbie’s unofficial biographer M.G. Lord as “a golddigger, exhibitionist, and floozy” who worked as a secretary while looking for a wealthy husband. Bild Lilli was manufactured by O.M. Hausser, a toy company that had produced Adolf Hitler figurines during the 1930s.
No wonder stereotypically Ashkenazi-looking Jews like me, not to mention everyone else who also didn’t fit the Barbie mold, felt left out of Barbie-land. (Which is literally everyone, given that scaled up to human size, a traditional Barbie doll’s proportions would make her unable to survive; there’d be no room for her organs in her tiny waist, and she’d have no choice other than to walk on all fours.)
Over the years, Barbie has become far more inclusive. After the debut of the “Colored Francie” doll in 1967, Barbie expanded to include dolls of different races, body types and abilities, including dolls with prosthetic limbs and wheelchairs and, in 2016, the long-awaited introduction of “curvy,” “petite” and “tall” Barbies. Mattel introduced career-themed dolls in the 1960s, evolving from fashion designer, nurse, and flight attendant to a presidential candidate Barbie in 1992.
The American Girl doll, which Mattel acquired in 1998, was part of a similar response to the limitations of the traditional fashion doll. Created by teacher Pleasant Rowland in 1986, American Girl was designed to help girls see themselves in their dolls while making history feel personal and engaging.

Of course, little kids aren’t thinking so much about the sociological implications of their toy choices. For my part, my mom bought me an American Girl look-alike doll with my brunette hair and choppy bangs, hoping that seeing myself reflected in a doll would help build my self-esteem. But I also gravitated toward a blonde-haired, blue-eyed American Girl doll that looked more Barbie-esque, which I begged my mom to buy.
Looking back, I wonder how much of the Barbie beauty standard I had subconsciously absorbed, even with an array of representative dolls at my disposal. Hanukkah Barbie may more closely resemble women like me. But changing the default cultural image of Barbie will take more than a doll with a light-up Hanukkah sweater.
The post I never saw myself in Barbie. Would ‘Hanukkah Barbie’ have changed that? appeared first on The Forward.

