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Translating ‘tzedakah’ for Marylanders: Sen. Ben Cardin’s long Jewish goodbye
WASHINGTON (JTA) — Ben Cardin’s love letter to Maryland, the state he has represented in the U.S. Senate since 2007, was also a love letter to his family’s Jewish values.
In a video that Cardin released this week to announce his retirement from the Senate, he reminisced about the 56 years he has spent representing Maryland voters in various capacities. In conversation with his wife Myrna, he also reflected on the ideals that animated his work and his family life.
“We use the expression ‘tikkun olam,’ repairing the world. We use it a lot. It’s in our DNA,” Myrna Cardin says in the video. “I love the way you’ve taken that from our family, to Annapolis, to Washington. It undergirds so much of what you do.”
“It also comes back to the tzedakah part of our tradition as Jews to help those that are less fortunate,” Ben Cardin later tells his wife, as a definition of the Hebrew word floats across the screen. Elsewhere, the video shows Cardin in a kippah at his wedding, then surrounded by children including one wearing a kippah himself.
Cardin, 79, this week announced his plans to retire in 2024 from the Senate seat he first won in 2006, with commanding majorities then and since. He wants people to know: He is as much a Jew as he is a Marylander. In fact, he sees the two identities as inextricable.
“It’s been an incredible opportunity,” Cardin told the Jewish Telegraphic Agency. “The people in Maryland are so understanding. It’s been a wonderful state where I’ve been able to talk about and acknowledge my Jewish faith easily.”
Cardin’s legacy is shaped as much by the still waters of the Chesapeake and the protections he has secured for it, as it is by his Jewish upbringing and the far-reaching human rights law it inspired him to author.
The mention in the five-minute video of tzedakah and its explanation is striking for how casual it is. Cardin told JTA that he wanted to convey, 56 years after he was first elected in 1968 to the Maryland House of Delegates, how much his Jewish identity shaped him.
“My Jewish values are what got me throughout my entire life,” he said. ”I grew up in a very strong Jewish family and a strong Jewish community.”
“Jewish values” can be amorphous when a Jewish politician cites them as fueling his or her actions, but Cardin is able to cite specifics.
He says the involvement of his wife and his cousin, the late Shoshana Cardin, in the Soviet Jewry movement shaped his work in government. “I would come home at night from Congress, and Myrna would ask me, what have I done to help Soviet Jews that day?” he recalled.
Cardin’s close personal ties to the movement propelled him to his years-long involvement with the Helsinki Commission, the network of parliamentary bodies that monitor compliance with the landmark 1975 human rights Helsinki Accords.
It also propelled, decades later, his most significant legislation, the 2012 Magnitsky Act, which sanctions individuals for human rights abuses. Sergei Magnitsky was an accountant who died in a Russian prison in 2009 after exposing massive corruption implicating Russian President Vladimir Putin and his circle.
“You can talk about human rights tragedies, but unless you put a face on it, it’s hard to get corrective action,” he said about why he made sure Magnitsky’s name was attached to the legislation. “So I was determined to put a face on it.”
Naming the act for an individual gave it a face, something he learned from the wristbands he once wore bearing the names of Jewish Prisoners of Zion.
“We put a face on every one of these individuals,” Cardin said of advocates for Soviet Jewry. “And that was the success of the Soviet Jewry movement. Putting a face on the refuseniks, on those that were in prison really helped us a good deal.”
The Magnitsky case underscored how Cardin’s human rights advocacy did not stop with the collapse of the Soviet Union, and the freedom of its Jews. In the three years Cardin was the top Democrat on the Senate Foreign Relations Committee, from 2015 to 2018, he invited reporters to the Capitol for periodic briefings.
The reporters would gather in the stately Foreign Relations Committee room, framed by daunting portraits of its past chairmen,and take seats around its conference table. At each place, they would find a one-page printout of a single person being persecuted by a repressive regime, usually activists unknown outside of their region.
Cardin made clear the blurry photo atop the printout exercised him more than the portraits on the walls. He would open the meeting with a minute or so of explanation about the persecuted person, and then take questions on whatever was on a reporter’s mind, an unusual gambit in the hyper-controlled Senate. He did not expect reporters to necessarily write about the human rights activist, but he wanted them on the media’s radar.
Cardin’s style, soft-spoken and self-effacing, stood out in a body crowded with self-promoters; he is able to attract bipartisan support and navigate far-reaching legislation through the Senate, cleaning up waterways, enhancing retirement plans and providing dental care to impoverished children.
Sen. Ben Cardin, D-Md., speaking at J Street’s conference in Washington D,C., April 16, 2018. (J Street)
There were occasions when his best efforts at finding accommodation stymied him, never more so when he was one of just four Democrats in the Senate in 2015 to oppose President Barack Obama’s signature foreign policy achievement, the Iran nuclear deal that traded sanctions relief for Iran’s rollback of its nuclear enrichment capabilities.
He was getting it from both sides: Obama and the organized Jewish community, which mostly opposed the deal. Obama kept him in a room for more than 90 minutes, seeking to attach to the deal the credibility of the lawmaker most identified with Jewish activism. Meanwhile, the American Israel Public Affairs Committee organized a rally at Cardin’s synagogue, Beth Tfiloh in Pikesville, Maryland.
“Call Senator [Barbara] Mikulski and call Senator Cardin and urge them to oppose the deal,” Howard Kohr, AIPAC’s CEO at the time, said in a rare public appearance outside of AIPAC’s policy conferences.
“It was a tough vote,” Cardin recalled. “I was lobbied very, very heavily by President Obama personally. It lasted probably about an hour and a half, two hours. President Obama was pretty insistent on getting my vote, so it was a tough vote.”
Wait, a reporter asks, 90 minutes alone with the U.S. president, for a single vote?
Cardin grins. “It felt like five hours.”
Cardin does not regret the vote; he said the Obama administration gave up too much too early by going into the talks conceding that Iran would walk away with some level of enrichment. But he made it clear that he thought President Donald Trump’s withdrawal from the deal in 2018 was a disaster, giving Iran a pretext to break its commitments, leading it to near-weaponization levels of enrichment today.
“One of the most tragic foreign policy mistakes of our time was Donald Trump withdrawing from the nuclear agreement while Iran was in compliance, and today we’re in much worse shape than we would have been if we were still in the agreement,” he said.
AIPAC spokesman Marshall Wittman said the pro-Israel lobby would miss Cardin’s reliable support.
“For his entire tenure in Congress, Senator Cardin has been an extraordinary leader in advancing the US-Israel relationship,” Wittman told JTA. “Time after time, he could be counted on to take the initiative to support our alliance with the Jewish state. We will miss his stalwart leadership but his legacy of standing with our ally will long endure.”
Indeed, with Cardin’s departure, the organized Jewish community is losing go-to senator for Jewish and pro-Israel issues — most recently, Cardin joined Texas Republican Sen. Ted Cruz in seeking to honor Israeli Prime Minister Golda Meir with a gold coin.
Not to worry, Cardin said: Every generation of Jews frets as it ages that it will be the last to fully represent on the American stage.
“I love the Jewish community. You can find every flavor imaginable in the Jewish community, and that’s healthy,” he said. “It was that way when I was growing up, it’s that way today. There are a lot of Jews that have very little identification to the traditions of Judaism, and there are a lot of young people who are much more engaged than I was.”
He added, “We’ve lasted these thousands of years — we’re going to continue to have a healthy, young population that understands the values of our religion and are committed to making sure we carry it out.”
Cardin is concerned by the turmoil in Israel in the face of the government’s radical proposals to overhaul the courts, but even there he sees hope.
“What Prime Minister [Benjamin] Netanyahu is doing with the judiciary is wrong, I’m going to speak out against it. I think it weakens their democratic institutions and democracy is their bedrock,” he said. “The Israelis are speaking pretty strongly against what the Netanyahu government is trying to do.”
Cardin described the typical headache of a Jew explaining his faith to others: It doesn’t quite match other faiths’ concepts of identification.
“I keep kosher in my house and we observe the major holidays in the Orthodox traditions, but I’m not an observant Orthodox Jew,” he said. “It’s hard to explain that.”
He recalled the late Sen. Harry Reid calling him, apologetically, to come in on the second day of Rosh Hashanah for a critical vote to fund the government and avoid a shutdown. Reid’s assumption was that Cardin would abjure working for the holiday.
“I said, ‘Look, it’s perfectly OK if you do it in the afternoon, I go to synagogue in the morning — I’ll be there for the vote,” Cardin said.
That’s typical of Cardin’s most tender memories — his non-Jewish colleagues expressing sensitivity to his Jewishness. In 1971, members of the House of Delegates noticing him gathering a minyan to say Kaddish after his mother died, and offering to join in; in 2006 after his election to the Senate, Mikulski telling him that she would handle meet and greets on Friday nights, knowing that he and Myrna routinely have as many as 30 people over for the Shabbat meal.
Asked if he would encourage younger Jews to get into politics, he doesn’t hesitate.
“This is a great country,” he said. About being Jewish, he added, “It has certainly not interfered with my political career.”
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The visionary Jewish poet who survived the Holocaust but not its aftermath
Paul Celan: A Life
By Anna Arno
Translated by Soren Gauger
Belknap Press/Harvard University Press, 416 pages, $35
During a 1969 poetry reading in Israel, Paul Celan’s audience requested “Deathfugue,” his most famous poem. With its hypnotic images of death as “a master from Deutschland,” prisoners drinking the “black milk of dawn” and smoke rising to “a grave in the clouds,” it remains one of the most powerful artifacts of the Holocaust.
But like a rock star weary of endlessly repeating his greatest hits, Celan declined. Instead, he offered other poems, scorned by some commentators as “hermetic, esoteric, divorced from reality.”
So we learn from Anna Arno’s intelligent, intricate biography, Paul Celan: A Life, ably translated from the Polish by Soren Gauger. Interweaving literary criticism with Celan’s life story, Arno quotes liberally from Pierre Joris’ English translations. Even so, she can’t quite do the work justice. In translation and wrenched from their poetic context, Celan’s innovative verses, credited with a radical remaking of the German language, come across as cryptic and impenetrable.
Arno covers Celan’s schooling, wartime experiences, work history, travels, friendships, psychiatric ordeals and overlapping romantic interests, at times departing from strict chronology. Though defensible, the narrative strategy renders the book somewhat convoluted.
One thread is Celan’s intermittent, decadeslong involvement with the accomplished Austrian poet and novelist Ingeborg Bachmann. That relationship, more passionate and enduring for Bachmann, preceded his mostly happy marriage to the French artist Gisèle Lestrange and continued during it. In an odd twist, Bachmann and Lestrange, bonded by both their love for Celan and their anxiety about his well-being, developed “a kind of impossible sisterly friendship.”
Despite Celan’s devotion to his wife, “other women,” Arno writes, “were always drifting through his life.” A chapter toward the end of the biography details some of Celan’s most important romantic relationships. Other chapters focus on his inventiveness as a translator and his worsening mental illness.
Celan was born Paul Antschel in 1920 in Czernowitz, Romania (officially Cernăuți, and now Chernivtsi, Ukraine) on the fringes of the recently defunct Austro-Hungarian Empire. The French-sounding Celan is a pen name, an anagram of Ancel, a Romanian version of Antschel.
Celan’s parents were German-speaking Jews, and German was Celan’s native language. But he was a polyglot, a talent that shaped his poetry and enabled his career as a translator. Along with Romanian, in which he wrote some early poems, and French, the language of his postwar life in Paris, he learned Russian (under Soviet occupation) and English. He had at least “a passive knowledge of Yiddish,” picked up enough Hebrew for his Bar Mitzvah and studied Italian, Latin and Greek. “His intellectual ease gave him a sense of superiority,” Arno writes.
World War II interrupted Celan’s medical studies in France, and back home he enrolled in Romance language courses. The Soviet occupation was brutal but, for Jews, the Romanian fascist regime that succeeded it was worse. Celan’s parents were deported and died in a Nazi labor camp. Celan, separated from them, survived forced labor, but remained “wracked with grief” over his parents’ fate. He would describe “Deathfugue,” written in 1945, as his mother’s epitaph and grave. The poem may have influenced Theodor Adorno, who famously described poetry after Auschwitz as “barbaric,” to modify his views.
After leaving a ruined Czernowitz for Bucharest, where Celan translated, wrote poetry, flirted with Surrealism and “bounced from one relationship to the next,” he traveled to Vienna. “Young, dashing, full of charm,” he eventually settled in Paris and became a naturalized French citizen. But he chose German as his poetic language, despite the emotional dissonance that entailed.
Over the years, he traveled to Germany to read his work and accept prizes. In the process, he developed relationships with leading postwar German writers, including Heinrich Böll, Hans Magnus Enzensberger and Günter Grass. But the 1950s were a tricky time. “He could have crossed paths with a murderer at every step,” Arno writes.
Celan recoiled viscerally at what he saw as persistent antisemitic currents in German culture, which hadn’t yet reckoned with the magnitude of Nazi crimes. He interpreted bad reviews as instances of antisemitism, and Arno suggests that he wasn’t always wrong.
Even more traumatic were accusations of plagiarism leveled against him by Claire Goll, the widow of Yvan Goll, whose poetry he had translated. Arno describes the charges as both malicious and baseless, and “probably an act of revenge for her spurned advances.”
They nevertheless affected Celan’s reputation and threatened his health. “Claire Goll’s smear campaign was to become the main cause of the poet’s mental breakdown,” Arno asserts. It’s a strong statement. Certainly, he had endured other losses: the murder of his parents, the death of his day-old infant son, François, after a botched delivery.
On the cusp of middle age, Arno reports, Celan experienced bursts of paranoia. “He could not always separate justified precautions from obsessive mistrust, vigilance from a fit of persecution mania,” she writes. “His deeply buried despair, moral severity, and tempestuous personality all caused sudden and violent fits.”
In 1962, he had what Arno calls “his first bout of psychosis,” which included hallucinations and violent episodes. He was hospitalized and medicated and underwent psychotherapy. Insulin injections, a since-discredited treatment, damaged his motor skills. Even during his hospitalizations, he continued to write poetry. (His productivity in the throes of mental health crises calls to mind Sylvia Plath.)
Arno, noting that Celan’s medical records remain sealed and his journals unavailable, doesn’t offer a diagnosis. The hallucinations and paranoia suggest schizophrenia, but Arno also mentions mania and depression, along with numerous suicide attempts. He tried his best to stay connected to his only child, Eric. But his instability cost him many friendships and ultimately his marriage.
In 1970, the 49-year-old poet drowned himself in the Seine, joining a sad company of writers who survived the Holocaust but not its emotional aftermath. What exactly triggered Celan’s suicide is impossible to know. Arno says only: “He was no longer capable of supporting the weight of the past as it flushed to the surface.”
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‘The Naked Woman’ asks — what would Jewish Chekhov look like?
Earlier this year, a lauded revival of Anton Chekhov’s overlooked opus Ivanov occasioned the question: What if Chekhov, that great chronicler of overeducated depressives, was a bit more Jewish?
That show has a substantial Jewish subplot, with the title character’s wife subjected to antisemitic smears.
For Jewish Russians, Chekhov, like his great interpreter Stanislavsky, is a part of the culture they still claim. For that reason expat companies, like Igor Golyak’s Arlekin Players, have long been in the business of reinterpreting him. Novelist Gary Shteyngart, in his pandemic novel, Our Country Friends, took things a step further, transmuting Chekhov’s dachas into the Belleville bungalow colony where he, and many ex-Soviet Jews, would summer.
Allie Avital and Alia Azamat Ashkenazi’s The Naked Woman, now in a limited run at 154 Theater, returns this proposition to the stage with some usual markers of the Russian master: characters brought low by their own inertia, a love triangle, frustrated ambitions and failures to launch. Into the mix they add the following staples of first generation Jews: immigrant parents’ expectations and the tension between the generation that recalls the weight of repression and the rising one that has only ever known American freedom. There are obligatory references to rabbis; the word “mensch” is dropped, but this is not a Shabbat-observing crew. If you know this specific demographic, there’s no doubting the affiliation.
Misha (Ilia Volok and Roman Freud alternate the role — Freud played him my evening), a successful architect, who moved to the U.S. decades before for a better life. For the New Year, and his birthday, he has made camp at his upstate country home. Some creaky exposition — on Pili Weeber’s set of floating timber, the Empire State’s answer to birch trees — sets up the interpersonal tensions that will go off in later acts like Chekhov’s proverbial gun.
Misha’s 35-year-old daughter Dasha (MaryKate Glenn) tells him his last check for her grad school tuition bounced. She’s there with her all-American boyfriend and is secretly pregnant. His bohemian older brother Grisha (Dima Koan), ever-clad in funky sweaters and kerchiefs by costume designer Kostya Goncharuk, resents Misha for their parents’ decision to only pay for his higher education and for being dependent on him for income. Rina (Natasha Goubskaya), Misha’s long-suffering wife is quietly working to save the family from financial ruin.
With these pieces set in place, the holiday is interrupted by, as advertised, a naked woman, screaming for help. Dismissing her as a “druggie in the woods,” Misha does nothing, a choice that brings questions of insularity and assimilation to the fore.
Dasha can’t get over her father’s inaction.
Rina explains it: “This American obsession with caring about strangers It’s all words and ideas. It’s THEATER. It doesn’t mean anything.”
The play is based on a short film by Avital, an accomplished director of visually-striking music videos for the Yeah Yeah Yeahs, Olivia Rodrigo and Moses Sumney. In that more abridged version, with mostly Russian dialogue, the Naked Woman stands in for the forces of mortality.
As one character in that film notes, in Russian, the word for death is “in the feminine, and therefore death is a woman. When death doesn’t hide, doesn’t wear a disguise, then it’s naked.”
Here the character is a more elusive metaphor: an avatar for Misha’s selfishness, the rift between his and Dasha’s concern for others or maybe her perception of herself as vulnerable and in need of saving. She could also be Rina’s aching feeling of neglect.
Avital and Ashkenazi’s background in film — Ashkenazi has a long resumé as a script supervisor and directed the short Esther’s Choice — is evident in the drama’s pacing. The piece doesn’t have the patience of Chekhov, who lets the action settle around the samovar and steep in subtext. This makes the show more dynamic, but more superficial in its psychology.
“I’ve always wondered why no one can truly love me, why they always leave me,” Dasha tells her father, coming off a monologue that hits the ear like a stilted translation of The Seagull’s yearning actress Nina or Vanya’s tragically dutiful Sonya. “But now I understand why. Because I’m just like you.”
It’s a tidy thesis, from creatives whose film work lives on the power of suggestion, with cinematography and movement being the major narrative force. Though Avital’s staging is capable, the script is crying out for an injection of subtlety that perhaps only a closeup can deliver.
This play is something of a proof of concept for a forthcoming feature film to be directed by Avital. If the short is any indication, its words and ideas may translate better taking a step away from the theater.
It may not be the natural medium for Chekhov, but it’s well-suited to his heirs.
Allie Avital and Alia Azamat Ashkenazi’s The Naked Woman is playing through June 14 at Theatre 154 in Manhattan. Tickets and more information can be found here.
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Iran says it has finished striking Israel, after Trump says both countries ‘must immediately stop’
(JTA) — Iran says it has completed its attack on Israel after its missile barrage on Sunday night launched the first direct exchange of hostilities since April.
Iran’s military command said the barrage, which did not do any major damage in Israel, represented its “painful response” to an Israeli attack on a Hezbollah installation in Lebanon. The statement was published in English on Iranian state media, which attributed the halt to pressure from U.S. President Donald Trump.
Trump had denounced the Iranian strike and publicly urged Israel not to respond. On Monday morning, after it did, he posted on his Truth Social account: “Israel and Iran must immediately stop ‘shooting.’”
Israel responded to the initial barrage with a large-scale airstrike against Iranian defense systems on Monday morning local time.
The Israeli military announced that the strike targeted Iran’s strategic defense systems and hit several targets in Iran’s petrochemical complex in Mahshahr in southwestern Iran. The military said the systems had been “degraded” during the February “Operation Roaring Lion” war and that “the strike led to the destruction of these systems.”
Shortly after the Israeli strike, Iran launched a second round of missiles into Israel, sending families into shelters. Schools were already canceled for Monday following Sunday night’s attacks.
According to local Israeli media, explosions were heard in Isfahan and Kermanshah, and Iranian Foreign Minister Esmaeil Baghaei blamed the United States for Israel’s response.
The Israeli response came after Trump told Axios Sunday night that he would tell Prime Minister Benjamin Netanyahu to not respond to the attacks. “I am going to call Bibi right now,” Trump told the news site, “and tell him not to retaliate.”
He added that both countries had “had their fun. Israel had its strike, and Iran had its strike. We don’t need another one.”
In a second Truth Social post on Monday, Trump wrote that “ignorance and stupidity” were hampering the already fragile Iran-Israel ceasefire negotiations. “The Blockade will remain in place, and in full force and effect, until a “Final Deal” is reached,” he wrote.
The U.S. Navy imposed a blockade of Iranian ports on ships traveling to and from Iran on April 13. Trump made the decision after the collapse of talks aimed at permanently ending the five-week war the U.S. launched against Iran on Feb. 28 and Iran closed the Strait of Hormuz on March 2.
Meanwhile, on Monday morning the Iran-backed Houthi terror group in Yemen launched a single missile into Israel. No injuries were reported. Later, the Iranian-backed group said it would impose a complete naval blockade on Israeli ships in the Red Sea.
This article originally appeared on JTA.org.
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