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With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds

(JTA) — Running a not-so-Zagat-rated deli, dropping into a Chinese restaurant for Christmas Eve dinner and acting out a bat mitzvah that involves a vampire — for contemporary board game fans, those can be all in an evening’s play.

That’s because a crop of new games aims to merge Jewish ideas and experiences with the aesthetics and language of games such as Dungeons & Dragons. Dream Apart places players in a fantastical reimagining of a 19th-century shtetl, for example, while J.R. Goldberg’s God of Vengeance draws inspiration from the Yiddish play of the same name. In the games in Doikayt, a collection released in 2020, players can literally wrestle with God.

Known as tabletop role-playing games because they ask players to take on a character, these games and their creators imagine exciting new worlds, subvert classic tropes in fun and irreverent ways, and reinterpret Jewish history and identity.

Tabletop role-playing games like Dungeons & Dragons and Call of Cthulhu have exploded in popularity over the past several years, with many — including at least one group of rabbis — picking up the Zoom-friendly hobby during the height of the COVID-19 pandemic. But the new Jewish games aim to do more than just provide a diversion or even an escape.

“Depending on your family, depending on your synagogue, depending on your community, you may have gotten more or fewer options of what Jewishness could mean in your imagination,” said Lucian Kahn, who created a trilogy of humorous Jewish role-playing games. 

“What some of these games are doing is opening that up and pointing to alternate possibilities of imagining Jewishness, not as a way of converting anyone to anything else, but just as a way of showing the tradition is enormous,” he added.

Kahn is the creator of If I Were a Lich, Man, a trilogy of humorous games whose name is a mashup between a “Fiddler on the Roof” song and an undead character, the lich, that frequently appears in fantasy fiction and games. In the title game, players are Jewish liches — spellcasters whose souls, in the lore of Dungeons & Dragons, are stored in phylacteries, the Greek word for tefillin used by Jews in prayer. Representing the four children of the Passover seder, they debate how their community should address the threat of encroaching holy knights.

In some cases, the association of Jews with monsters has given rise to charges of antisemitism — the goblins of “Harry Potter” offer a prime example. But Kahn said he sees Jewish-coded monsters, and queer-coded villains, as figures of resistance.

“There’s a long tradition of looking at the monster and seeing that the reason why these are monsters is because the people who have oppressive power have decided that these are going to be the enemies of the ‘good’ oppressive powers,” Kahn explained. “But if you don’t agree with their ideology, if you’re seeing yourself as being a member of a marginalized community and being in opposition to these oppressive powers, then you can look at the qualities assigned to these monsters and some of them are qualities that are good.”

For Kahn, Jewish-coded monster characters also provide more of an inspiration than the archetypes of more traditional games.

“Maybe somebody thinks they’re insulting me or insulting Jews,” he said. “My response is: I like vampires and liches and trolls and goblins and think they’re much more interesting than bland white muscular humans running through the fields with a cross on their chest hacking at the same things with a sword over and over again.”

Kahn’s outlook has resonated in the tabletop role-playing game community. In February, he and Hit Point Press launched a Kickstarter to fund production of If I Were a Lich, Man. The campaign smashed its $5,000 goal, raising $84,590, enough to hit one of the campaign’s stretch goals of funding a grant to support independent zines about tabletop role-playing games.

The successful campaign means that Kahn’s three games will go into production. In addition to the game about liches, the trilogy includes Same Bat Time, Same Bat Mitzvah, in which players act out a bat mitzvah where one guest has been turned into a vampire, and Grandma’s Drinking Song, inspired by how Kahn’s Jewish great-great grandmother and her children survived in 1920s New York City by working as bootleggers during Prohibition. 

In Grandma’s Drinking Song, players write a drinking song together as they act out scenes. Kahn, the former singer/songwriter and guitarist for Brooklyn Jewish queercore folk-punk band Schmekel, wanted to carry over elements of music into this game.

A throughline in all three games is the power of creative resistance to authority — a narrative that Kahn said strikes him as particularly Jewish.

“There are all these stories in Jewish folklore that are really overtly about finding trickster-y or creative ways of fighting back against oppressive and unjust governmental regimes, evil kings, bad advisors,” Kahn said. “One of the first stories I ever heard in my life was the Purim story, so it’s very embedded in my mind as a part of Jewish consciousness, when evil rulers come to power and try to kill us all, we’re supposed to find these outside-the-box ways of preventing that from happening.”

For some Jewish creators, Jewish holidays are an explicit inspiration. Like many Jewish kids of the ‘80s and ‘90s, Max Fefer, a civil engineer by day and game designer by night, grew up loving the picture book “Herschel and the Hanukkah Goblins,” which remains a popular festive text. But as Fefer notes, goblins are often associated with antisemitic stereotypes. Fefer’s first Jewish game, Hanukkah Goblins, turns the story on its head — players interact as the jovial goblins, who are here not to destroy but to spread the spirit of Hanukkah to their goblin neighbors.

Last year, Fefer launched a successful Kickstarter for another Jewish holiday-inspired tabletop role-playing game, Esther and the Queens, where players assume the roles of Esther and her handmaidens from the Purim story, who join together to defeat Haman by infiltrating a masquerade party as queens from a far-off land.

Esther and the Queens channels Fefer’s Purim memories and includes carnival activities, including Skee-Ball; a calm, relaxing Mishloach Manot basket-making; and a fast-paced racing game. 

“All of our holidays, they’re opportunities for us to gather as a community in different ways,” Fefer said. “Watching this satirical, comedic retelling of the story of Purim and the Esther Megillah and coming together into a theater, in a synagogue, to watch these spiels and laugh together and spin the graggers when we hear Haman’s name — all of those things help us build identity and community, and I think games in particular surrounding identity, that’s a great way for a Jewish person themselves to feel seen in a game and reinforce their identity, and share their background with friends.” 

Another pair of Jewish game creators, Gabrielle Rabinowitz and her cousin, Ben Bisogno, were inspired by Passover. 

“The seder is kind of like an RPG in that it’s a structured storytelling experience where everyone takes turns reading and telling, and there’s rituals and things you do at a certain time,” Rabinowitz said. “It’s halfway to an RPG.”

The game became a pandemic project for the two of them, and alongside artist Katrin Dirim and a host of other collaborators, they created Ma Nishtana: Why Is This Night Different? — a story game modeled on their family’s seder. The game follows the main beats of the Exodus story, and in every game, there will be a call to action from God, a moment of resistance, a departure and a final barrier — but different characters and moments resonate depending on the players’ choices. 

As an educator at the Museum of Natural History, Rabinowitz said she is often thinking about how to foster participation and confidence, and she wanted to create a game-play mechanic to encourage players to be “as brazen as her family is.” The result was an in-game action called “Wait! Wait! Wait!” — if players wish to ask a question, make a suggestion, disagree with a course of action or share a new perspective, they can call out “Wait! Wait! Wait!” to do so.

The game also includes a series of scenes that are actively roleplayed or narrated, and each includes a ritual — one that can be done in-person or an alternate remote-friendly version. For example, at one point each player must come up with a plague inspired by the new story they’re telling together, and in the remote version, players go camera-off after reciting theirs. 

“The fact that it was created during the pandemic and a way for us to connect and other people to connect with each other is really the soul of the game,” Rabinowitz said. “After each person tells a plague, by the end, all the cameras are off and everyone stays silent for another minute. It’s a hugely impactful moment when you’re playing remotely. The design is interwoven in the game itself.”

Rabinowitz said by playing a story of a family undergoing these trials, the themes of family and identity deepen every time she plays the game. 

“A lot of people say, ‘Wow, I’ve never felt more connected to this story,’” she said. “Embodying these characters gave me a feeling of relevance and that makes it feel important as a Jewish precept.”  

For other creators, that deep connection comes in more lighthearted scenarios. Nora Katz, a theatremaker, game designer and public historian working at the Goldring/Woldenberg Institute of Southern Jewish Life (ISJL) by day, created the Jewish deli-centered game Lunch Rush, which was included in the Doikayt anthology.

“There’s also types of institutions that come up a lot in [tabletop role-playing games], especially sort of high fantasy,” she said. “Everyone meets in a tavern, there’s an inn, things like that. So the idea of a deli as a central gathering place in a world like that felt fun to me.”

An important element of Lunch Rush is that players must be eating while playing, so for Katz’s first round with friends, they got together with chocolate chip ice cream and dill pickle potato chips. She said the deli is a shared language, and her fellow players were all bringing in their own favorite things about delis they loved into the fictional place they were building together. 

Tabletop role-playing games “at their core are about collaboration and relationships and storytelling and community, and for me, all of those things are also what Jewishness is about, to me they totally go hand in hand,” Katz said.

The games are not meant to be for Jewish players only. Rabinowitz said the guidebook for Ma Nishtana includes essays to encourage people to further engage with the narrative. 

“Jewish players, non-Jewish players, priests, non-religious people, all different people have played it and almost all of them have told us it’s given them a new way of thinking of how they relate to religious tradition, and I didn’t really set out to do that,” Rabinowitz said. “I feel really privileged to have helped create that space.”

Rabinowitz and Bisogno also commissioned other creators to build alternate backdrops for their game, so it can be repurposed to telling the story of another oppressed people’s fight for freedom. Players can interact as embattled yaoguai, spirits from Chinese mythology; explore a Janelle Monáe-inspired Afrofuturist world; play as Indigenous land defenders; or unionize as exploited workers at “E-Shypt.”

Fefer, who has been amplifying the work of other Jewish creators in the tabletop role-playing game space, said the harm of stereotyping and reinforcing negative tropes is still present in the industry, and not just for Jewish people. For example, fans recently criticized Dungeons & Dragons publishers Wizards of the Coast for reinforcing anti-Black stereotypes in the descriptions of a fantasy race, the Hadozee. 

“I think it’s a process of talking to people who are from these groups and bringing them onto your teams and making sure you’re incorporating their perspectives into, in the example of Dungeons & Dragons, a hundred-million-dollar industry, being intentional about that design and looking at things from lots of different angles,” Fefer said. “How could our branding, our games be reinforcing something we’re not even aware of?”

Fefer hopes people who play Hanukkah Goblins and Esther and the Queens feel seen and have moments of shared joy, and also that they learn something from these games — about the antisemitic tropes in fantasy, or about underrepresented groups within the Jewish community. With Esther and the Queens, Fefer collaborated with a writer and artist, Noraa Kaplan, to retell the Purim story from a queer and feminist lens, drawing on Jewish texts that the pair said shows the long presence of queer and trans people in Jewish tradition.

“We have a lot of richness within Judaism to share our culture and share our upbringing but also just be representation,” Fefer added. “We’re living in a time of heightened antisemitism and the world being a gross place to be at times, and we can really bring the beauty of Judaism into game design and create experiences for people that are both representative of Judaism and also just very Jewish experiences.”

But for all the important conversations and learning experiences that can come from Jewish tabletop role-playing games, Katz said the goofiness and joy is important, too.

“We live in such a horrendous society that is of our own making,” she said. “If you can, for a little while, enjoy an anticapitalist fictional deli that you and your friends live in, I think that’s great.”


The post With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds appeared first on Jewish Telegraphic Agency.

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How a monument to a Jewish Confederate ended up in a storage unit, next to a vacuum cleaner

Behind an orange roll-up door at a self-storage facility in New Orleans, sits a vacuum cleaner, some lighting gear and a cardboard box.

Inside the box is a Confederate monument, one of the strangest Jewish heirlooms in America.

It is granite, four and a half feet tall, 1,600 pounds and shaped like a thick tombstone. It lies on its side on a crushed wooden pallet because it can no longer stand up. A third of it once sat underground, and when Charlotte, North Carolina, chipped it out of a sidewalk in the summer of 2020, the buried end came out ragged. It carries a few gouges where a protester swung a hammer. Until the city scrubbed it, it also carried three letters in black spray paint: BLM.

“There it sits to this day,” said Kenneth Hoffman, executive director of the Museum of the Southern Jewish Experience, half a mile away in New Orleans, “and possibly will sit forever.”

The stone is one of the last left standing — or, more precisely, lying down — from a century-long campaign in which American Jews built monuments across the South to Judah P. Benjamin, the Confederacy’s Jewish secretary of state, because, for a time, he represented their own acceptance in the South. The monument’s fall tells the story of what changed — not just about Benjamin, but about the Jews who once celebrated him.

Its journey from a Charlotte sidewalk to a New Orleans storage unit involves a Yiddish-speaking ex-convict, the United Daughters of the Confederacy, an antisemitic banker, two Polish-born rabbis, a dollar bill pulled from a stranger’s wallet, and a retired lawyer whose wife descends from the man who once hid Benjamin from the Union Army.

What nobody has figured out is what to do with it.

The brains of the Confederacy

Benjamin was a New Orleans lawyer, a sugar planter who owned 140 enslaved people, and a U.S. senator from Louisiana. When the South seceded, Confederate President Jefferson Davis made Benjamin attorney general, then secretary of war, then secretary of state. The two men worked side by side as much as 10 hours a day. Benjamin’s face was engraved on the Confederate $2 bill, likely the only paper money issued in America to feature a Jewish person.

He was known as “the brains of the Confederacy” — a phrase that started as an insult, the old canard of the Jewish puppet master, a way of pinning the Civil War’s loss on the one Jew in the cabinet. He married a Catholic woman, never joined a synagogue and was not a practicing Jew, but none of that mattered. A senator from Ohio sneered that Benjamin was an “Israelite with Egyptian principles.”

When the Confederacy collapsed, Benjamin ran. He disguised himself as a Frenchman who spoke no English, hid in a Florida swamp and slipped out to sea. He made it to London, reinvented himself as a barrister, and died wealthy and free in Paris in 1884, never having answered for any of his past.

That flight is why there are so few monuments to him. Davis went to prison. The generals surrendered and lived out their lives in the South. Benjamin escaped and never came back.

“Some considered Judah Benjamin a kind of traitor,” said Jonathan Sarna, the noted Brandeis University historian of American Jewry.

So the Lost Cause never fully claimed him. Southern Jews claimed him instead.

‘Judah P. Benjamin Nite’

The commemoration campaign that followed has been reconstructed largely by David Weinfeld, an assistant professor at Rowan University who is working on a book called Southern Jews and the Lost Cause. It was indifferent to geography.

Jewish war veterans presented a Benjamin portrait to Atlanta Mayor William Hartsfield in 1954 for the city’s collection of “Confederate Heroes and Statesmen.” Weinfeld found that Alabama’s B’nai B’rith opened its 1962 state convention with a dinner-dance called “Judah P. Benjamin Nite,” and offered to fund a monument at the state capitol honoring him as “a son of the Jewish people.”

Alabama didn’t have a strong connection to Benjamin, which was precisely the appeal there. He “provided a means for southern Jews to prove their southernness regardless of what former Confederate state they resided in,” writes Weinfeld.

David Weinfeld, an assistant professor at Rowan University, is writing a book called "Southern Jews and the Lost Cause."
David Weinfeld, an assistant professor at Rowan University, is writing a book called “Southern Jews and the Lost Cause.” Photo by Benyamin Cohen

Sarna puts the calculation more starkly. Jewish safety in the South depended on being counted as white, and Southern Jews understood the alternative.

“Why did they want to be white?” he asked. “Because the alternative was to be Black.”

The stakes weren’t abstract. In the years around those celebrations, synagogues across the South were bombed and set on fire, and rabbis who backed integration were punished for it. “There were people whose response was, ‘If we want to continue to be here in the South, this is the price we have to pay,’” Sarna said.

It was a bargain, mostly unspoken: stay loyal to the white South and you will be well treated. Many Southern Jews upheld their end of it. Plenty, Sarna said, “had prejudices not different from those of their non-Jewish counterparts.”

The United Daughters of the Confederacy embraced Benjamin right back. “They understood that celebrating a Jew made the Confederacy look tolerant,” Weinfeld told a room of scholars at the American Jewish Historical Society’s conference this June in Cleveland.

The Daughters chartered a Judah P. Benjamin chapter in Bradenton, Florida, in 1914, and after World War I began sponsoring Benjamin markers across the South.

In 1924, the Daughters bought Belle Chasse, Benjamin’s old Louisiana plantation, and a New Orleans rabbi spoke at the dedication, consecrating the house to “the impulse of patriotism.” The next year they bought the Gamble Plantation in Ellenton, Florida, where Benjamin is said to have hidden from Union troops, and gave it to the state. It remains a state park officially named the Judah P. Benjamin Confederate Memorial. With B’nai B’rith’s support, the UDC raised a monument in Sarasota in 1942 — pink Georgia marble, crowned with a bronze sundial — and another in Fayetteville in 1944.

The Sarasota dedication came six weeks after Pearl Harbor, and the Birmingham News found in it a wartime moral. Honoring Benjamin was fitting “especially so right now, when the United States is at war with totalitarian forces whose ringleader, Nazi Germany, proclaims and practices racial and religious intolerance,” the paper wrote. The monument was “in a way a part of the answer of the South, the land of the Confederacy, to Adolf Hitler’s assault upon those freedoms which Southerners and all Americans hold dear.”

It was a memorial to a slaveholding Confederate, offered as the South’s rebuttal to Hitler.

The Charlotte fiasco

In Charlotte, the arrangement broke down in public.

According to Weinfeld’s extensive research, the local UDC chapter was preparing to host the 1948 state convention and wanted a marker for the spot where Benjamin sheltered for a week in April 1865, in the home of a Jewish merchant named Abraham Weill. The chapter’s historian, Josephine Yarbrough, needed money. She wrote to Harry Golden.

Weinfeld has traced what happened next through Golden’s own account and contemporaneous records.

Golden was about the least Confederate man in North Carolina. Born in what is now Ukraine, raised on the Lower East Side, he had served federal prison time for mail fraud before reinventing himself in Charlotte as publisher of the one-man newspaper the Carolina Israelite.

Harry Golden reading a copy of his newspaper, the Carolina Israelite, in 1968.
Harry Golden reading a copy of his newspaper, the Carolina Israelite, in 1968. Photo by Bettmann/Getty Images

Golden would go on to become a best-selling humorist and an ally of Martin Luther King Jr. during the civil rights movement. But in 1948, he called Benjamin “one of the greatest Jews America has ever produced.” He signed up the city’s two synagogues, Temple Israel and Temple Beth El, which agreed to buy the granite and present it to the Daughters as a gift.

Then came the letter.

A non-Jewish New York banker with Charlotte in-laws warned UDC members across the state that the Daughters were being used for Jewish propaganda. Charlotte’s so-called good Jews, he wrote, were “good only because they are as yet unrevealed.”

That was all it took. The local Daughters voted to yank their name off the stone, then went to the city council to stop the marker from being erected. They argued it would block passengers boarding city buses. The state and national organizations overruled them, and both synagogues voted to press on.

On Oct. 1, 1948, police blocked off South Tryon Street for the unveiling. The mayor came. A Presbyterian minister delivered the keynote. And the Jewish blessings came from two rabbis — Aaron Tofield of Temple Israel and Philip Frankel of Temple Beth El — both born in Poland. Three years after the Holocaust ended, two immigrant rabbis from the old country stood on a Southern sidewalk and consecrated a monument to the Confederacy.

Hidden in plain sight

The stone did what stones do. It stood there.

Charlotte changed around it — the streetcars, then the skyscrapers, then the FedEx store it eventually fronted. The inscription was right there for anyone who bothered to crouch down and read it. You could ship a package, grab a coffee and walk right past a monument to the Confederate secretary of state.

Charlotte’s Jewish community never forgot, exactly. During her years in Beth El’s pulpit, which ran from 1998 to 2016, Rabbi Judith Schindler used the marker to teach the congregation’s teenagers about Jews in the Confederacy.

In August 2017, white supremacists marched in Charlottesville, Virginia, to protest the planned removal of a statue of Confederate General Robert E. Lee, and a counterprotester was killed. Soon after, Beth El’s board voted unanimously to push Charlotte to move the marker somewhere else — or find some other use for it. The answer was the same every time: North Carolina law barred removing Confederate monuments unless they were relocated somewhere equally prominent.

Then, in June 2020, artists painted a “Black Lives Matter” street mural along South Tryon, directly in front of the stone. The monument looked out over the M in “Matter.”

Days later, somebody spray-painted “BLM” across most of the granite and went at it with a hammer. The granite mostly won. “They probably whacked at it several times,” Hoffman said, “and it really only took out a few chips.”

On June 17 of that year, Temple Israel and Temple Beth El — the same two congregations that had paid for the stone in 1948 — wrote to Charlotte’s mayor, city council and city manager. This time, they demanded the monument be removed.

“We should neither celebrate the Confederacy nor honor the legacy of white supremacy,” they wrote. “The monument does not belong in a place of prominence within our city, just like German cities do not memorialize or erect statues to Nazis.”

A week later, Schindler and Mike Wirth, an artist in her congregation, placed a vinyl wraparound banner over the monument. On it was a quote from Emma Lazarus: “Until we are all free, we are none of us free.”

A rabbi and her congregant placed a vinyl wraparound banner over the monument shortly before it was removed in June 2020.
A rabbi and her congregant placed a vinyl wraparound banner over the monument shortly before it was removed in June 2020. Photo by Mike Wirth

City workers then pried the monument out of the sidewalk, “sort of to the relief of everyone,” Hoffman said. The city scrubbed off the spray paint, declared the marker damaged and put it in municipal storage.

Then, hundreds of miles away and north of the Mason-Dixon line, a retired lawyer read a book.

The dollar

Barrett Freedlander was reading a biography of Judah Benjamin when he hit a half-page passage about a monument in Charlotte. He was shocked. He was also, he realized, related to the story.

Freedlander, 84, is a retired Baltimore attorney. His wife, Laura, is the great-great-granddaughter of Abraham Weill — the merchant who sheltered Benjamin, and whose name is misspelled “Abram Weil” on the stone.

“The only reason I cared about it,” he said, “is because of the family connection.”

That connection runs deeper than Benjamin. Richmond was days from falling. Confederate President Davis, worried about the “disorganized bands of troops roving about the country,” put his wife and their four children on a southbound train — and handed her a pistol and “showed me how to load, aim and fire it,” Varina Davis wrote.

When they arrived in Charlotte, the rented house was packed up and nobody in town would help a family everyone assumed would be arrested.

Except one man.

“The agent, Mr. A. Weill, an Israelite, came to meet us there and gave us every assistance in his power,” Varina wrote in her memoir, “and when he found there were no conveniences for cooking, he sent our meals from his own house for several days, refusing, with many cordial words, any offer to reimburse him.”

Freedlander thinks he knows why the Confederate first lady reached for the word “Israelite,” and why a Jewish merchant was the only person in Charlotte willing to take in a family the rest of the city was shunning. “Only the persecuted would appreciate her issues,” he said.

The Weills prospered. Weill helped found the synagogue in Wilmington, North Carolina, where relatives still belong. His granddaughter Laura married Julius Cone, a Greensboro textile tycoon. The family fortune allowed sisters Claribel and Etta Cone to buy the Matisses and Picassos that are the crown of the Baltimore Museum of Art.

So when Freedlander learned the marker had disappeared into municipal storage, he started making calls. A staffer in the mayor’s office said the city had no use for it and was willing to let it go. But the manager of the warehouse where it sat called Freedlander back with a complication: the city couldn’t simply hand over public property. He was obligated to charge for it.

“How much?” Freedlander asked. One dollar. Freedlander offered to send a check. The man said not to bother and paid it himself, out of his own wallet.

Freedlander’s original idea was to put the monument in his own backyard. “My wife didn’t want it,” he said.

A friend mentioned the new Museum of the Southern Jewish Experience in New Orleans. Another friend of Freedlander’s, a Baltimore executive whose company hauls computer equipment around the country, priced out the job, got into four figures, then called back and said he’d do it for free. It was history, he said.

Monument vs. museum

The stone arrived in New Orleans via truck in November 2022. It was lowered onto the pavement outside the Museum of the Southern Jewish Experience’s offsite storage with a jack lift, and has not moved since.

Charlotte municipal workers cleaned graffiti off a monument to Judah P. Benjamin and then removed the entire stone from the ground.
Charlotte municipal workers cleaned graffiti off a monument to Judah P. Benjamin and then removed the entire stone from the ground. Courtesy of Museum of the Southern Jewish Experience

Hoffman’s first instinct had been to display it. The stone, he realized, tells three tales at once: the Civil War, when Benjamin rose to the Confederate cabinet; 1948, when the two Charlotte synagogues paid for a monument to him; and 2020, when it was defaced during the summer of Black Lives Matter protests.

Last October, when the Southern Jewish Historical Society held its conference in New Orleans, Hoffman and Weinfeld convened a roundtable of historians to figure out what to do with the monument. One idea floated that seemed to gain consensus was to display the marker alongside a light projection restoring the graffiti.

For now, the monument remains in storage. Hoffman said that if and when it goes up, it will be “with its full context. Not like it’s a historical marker.”

Samantha Baskind, an art historian at Cleveland State University, thinks the museum should not wait to display it.

“Yes, originally the statue commemorates Benjamin as a distinguished Jewish American and Confederate statesman,” she said. “But the fact that it was defaced during Black Lives Matter protests makes it acquire a second history. The graffiti isn’t merely vandalism in a conventional sense. It documents a moment when Americans were publicly reevaluating Confederate symbols.”

Which means the object now holds a double meaning: why Benjamin was honored in the 20th century, and why so many people rejected that honor in the 21st.

Baskind knows firsthand the cost of institutional flinching. In 2022, she curated an exhibition of 19th-century Jewish American artists for a gallery at Princeton, including work by Moses Jacob Ezekiel, a Jewish sculptor who spent part of his career producing Confederate monuments. Baskind, who wrote a book about Ezekiel, had written labels confronting Ezekiel’s Lost Cause loyalties head-on. Late in the process, the venue that was planning on showing the exhibition canceled it.

“It was almost devaluing what your students are capable of thinking about,” Baskind said. “And isn’t that what we do in an educational environment?”

Samantha Baskind is an art history professor at Cleveland State University.
Samantha Baskind is an art history professor at Cleveland State University. Photo by Benyamin Cohen

Her verdict on the Charlotte stone is unambiguous. The city should never have cleaned it. “I wouldn’t see it as damage. It’s part of the object’s history.” The graffiti “deserves interpretation and not concealment.”

And the question a museum ought to ask, she said, isn’t whether Benjamin was good or bad. “The more interesting question is: Why did different generations understand him so differently?”

Early in the 20th century, American Jews saw a success story. Today most see a man who helped run a slaveholding rebellion that waged war on other states. “Neither perspective should replace the other,” Baskind said. “A museum explains how and when those shifts occurred.”

Then she offered the distinction she believes the argument comes down to. “A monument exists to honor,” she said. “A museum or gallery exists to explain.”

Visitors to the Museum of the Southern Jewish Experience can still find Judah Benjamin there. He’s in a display case in an exhibit about Jews, slavery and the Civil War: two Confederate $2 bills bearing his portrait, one from 1862, one from 1864. Both are blank on the back.

The two Confederate $2 bills, featuring the portrait of Judah P. Benjamin, on display at the Museum of the Southern Jewish Experience in New Orleans.
The two Confederate $2 bills, featuring the portrait of Judah P. Benjamin, on display at the Museum of the Southern Jewish Experience in New Orleans. Courtesy of Museum of the Southern Jewish Experience

“Which tells you something about the financial solvency of the Confederacy,” Hoffman said. “Save money. Just print it on one side.”

Half a mile away, one of the last monuments American Jews built to the highest-ranking Jew in the Confederacy, and to the standing he seemed to promise them, lies in a cardboard box in the dark, its graffiti scrubbed, its chips intact, waiting for somebody to decide what it means.

Freedlander hopes to take a trip to Wilmington later this month with some of his grandchildren to visit family graves — including that of Abraham Weill, the man who helped a fleeing family when nobody else in town would, and got a monument he never asked for.

“I’m a bystander to all this,” Freedlander said. “I’m just the messenger. But I did want to preserve it.”

The post How a monument to a Jewish Confederate ended up in a storage unit, next to a vacuum cleaner appeared first on The Forward.

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Iran appoints AMIA bombing suspect to National Security Council

(JTA) —

For the second time this year, Iran has named a wanted suspect in the 1994 bombing of the AMIA Jewish community center in Buenos Aires to a top security role.

A spokesman for the Islamic Republic’s president, Masoud Pezeshkian, said Monday that Mohsen Rezaei had resigned as an adviser to the supreme leader, Ayatollah Mojtaba Khamenei, and would assume the role of secretary of Iran’s powerful Supreme National Security Council. Rezaei is a former commander of the Islamic Revolutionary Guards Corps.

Rezaei is wanted by Argentina and is subject to an Interpol Red Notice issued at Argentina’s request over his alleged role in the 1994 attack, which killed 85 people and remains the deadliest terrorist attack in Argentina’s history.

Earlier this year, Ahmad Vahidi, another suspect in the AMIA case and also the subject of an Interpol Red Notice, was appointed IRGC commander.

In a landmark ruling in 2024, an Argentine court held Iran and its proxy in Lebanon, Hezbollah, responsible for the bombing, setting the stage for international legal action.

In June 2025, Argentina’s federal judiciary ordered that 10 Iranian and Lebanese suspects accused in connection with the deadly 1994 AMIA bombing be tried in absentia. Rezaei and Vahidi are among them.

The eight other suspects accused by the late AMIA special prosecutor, Alberto Nisman, are: former Iranian Intelligence Minister Ali Fallahijan, former Iranian foreign minister Ali Akbar Velayati, former Iranian ambassador Hadi Soleimanpour, former Iranian cultural attache in Buenos Aires Mohsen Rabbani and former Iranian diplomat Ahmad Reza Asghari, as well as suspected Hezbollah operatives Salman Raouf Salman, Abdallah Salman and Hussein Mounir Mouzannar.

The post Iran appoints AMIA bombing suspect to National Security Council appeared first on The Forward.

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Israel and AIPAC on the ballot in the Minnesota Senate and U.S. House races

(JTA) — A pair of Democratic primaries in Minnesota on Tuesday are among a string of high-profile battles between progressive and moderate candidates, where Israel and the pro-Israel lobby serve as key wedge issues.

The state’s highest-profile race is the U.S. Senate primary between Rep. Angie Craig, who has been endorsed by the pro-Israel lobbying group AIPAC, and Lieutenant Gov. Peggy Flanagan, who says she would reject AIPAC’s money and accuses Israel of committing a genocide.

The most recent data gathered in late July through early August has Craig with a 2-percentage point lead, within the 5.3% margin of error. Another poll, conducted in late July by a group supporting Flanagan, shows her with a 14-point lead. The Democratic nominee, whether it be Flanagan or Craig, is expected to win the general election in November.

The race, and the candidates’ sparring over AIPAC, comes as the lobby and Israel under the leadership of Prime Minister Benjamin Netanyahu have become increasingly unpopular among Democratic voters. Israel is also an issue in the Democratic gubernatorial primary in neighboring Wisconsin taking place on Tuesday. 

Flanagan has referred to Craig as “AIPAC’s candidate” in the Senate race, which prompted Craig to distance herself from the group’s spending during a TV debate in June.

“AIPAC has not contributed at all, the PAC, to my Senate campaign,” said Craig, whose wife, Cheryl Greene, is Jewish. “Not one penny.”

Flanagan countered that, while AIPAC itself has not donated to Craig’s campaign, it has held fundraisers for the four-term congresswoman. AIPAC did not respond to a request for comment.

Just last week in Michigan’s Democratic Senate primary, progressive Abdul El-Sayed defeated the moderate Rep. Haley Stevens, whose AIPAC endorsement was the frequent target of opposition attacks.

Flanagan has drawn the support of American Priorities, a pro-Palestinian super PAC that aims to counter AIPAC. The group spent about $54,000 on ads boosting her candidacy, according to FEC filings.

Flanagan’s platform includes blocking offensive weapons sales to Israel — a position that all but seven Senate Democrats voted for in April — and advancing a two-state solution that “allows for a secure Israel and Palestinian self-determination.”

Craig, who also backs a two-state outcome, voted against the recent amendment proposed by Kentucky Rep. Thomas Massie that would have halted $3.3 billion in military aid to Israel.

In a statement explaining her vote, Craig panned Netanyahu and the war in Iran, but wrote that the amendment would endanger Israelis and American troops and allies in the region. After the vote, Flanagan wrote, “A vote to send $3.3 billion of taxpayer money to fund additional weapons of war to Benjamin Netanyahu is unconscionable. Enough.”

Craig has the endorsement of a number of Democrats in Congress and the Senate, including House Minority Leader Hakeem Jeffries. She is also endorsed by lobbying group Democratic Majority for Israel, former Democratic presidential contender Pete Buttigieg, and Minneapolis’ Jewish mayor, Jacob Frey, who rose to national prominence for his response to the deadly results of the deployment of immigrant enforcement officials in his city.

Flanagan has drawn endorsements from a swath of major progressive figures including Vermont Sen. Bernie Sanders, Massachusetts Sen. Elizabeth Warren, and outspoken pro-Palestinian Reps. Ro Khanna of California and Ilhan Omar of Minnesota. Flanagan is also endorsed by the state’s Democratic Party affiliate, the Democratic Farmer Labor Party.

On Sunday Sanders posted on X,”There is a reason why the super PACs and billionaires are flooding Minnesota with $20 million to defeat Peggy Flanagan. Same thing as Michigan. They do not want somebody in the Senate who will stand up for the working class.”

Spending by political action committees affiliated with AIPAC has also come to the fore in the Democratic primary race for the House seat that Craig is vacating.

The most moderate of the three leading candidates is State Sen. Matt Klein, who has expressed support for the U.S.-Israel relationship and is endorsed by DMFI. Last-minute spending by outside groups has sparked accusations that AIPAC is indirectly involved.

“AIPAC is coming after me,” said former Lakeville mayor Matt Little, one of Klein’s opponents, in a video.

Klein’s two opponents — Little and state Rep. Kaela Berg — both accuse Israel of committing a genocide, and have both speculated that AIPAC is behind some of the Klein spending.

Berg supports placing conditions on U.S. aid to Israel and halting weapons sales, and Little says the U.S. must end all military aid and weapons sales to the country. On the policy page of his campaign website, Little refers to Hamas’ Oct. 7 attack as “an act of wanton slaughter against innocent civilians” and says that people should condemn “the anti-Semitism that followed.”

Berg is listed as “primary approved” by the liberal Jewish Middle East advocacy group J Street, while Little has been boosted by American Priorities, which has spent about $64,000 in his favor. He is also endorsed by the DFL and Congressional Progressive Caucus leader Rep. Pramila Jayapal.

The latest polling in the district — conducted at the end of May by a group that favors Klein — found Little leading Klein with a 7-percentage point lead, and Berg trailing by another 3 points. 39 percent of voters were undecided, and Little and Klein were about even after voters received more information about the three candidates.

Craig has declined to endorse any of the candidates to replace her.

The post Israel and AIPAC on the ballot in the Minnesota Senate and U.S. House races appeared first on The Forward.

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