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YIVO digitizes writer Chaim Grade’s archive, a Yiddish treasure with a soap opera backstory
(JTA) — Years ago, when I worked at the Forward, I had a cameo in a real-life Yiddish drama.
A cub reporter named Max Gross sat just outside my office, where he answered the phones. A frequent caller was Inna Grade, the widow of the Yiddish writer Chaim Grade and a fierce guardian of his literary legacy. Mrs. Grade would badger poor Max in dozens of phone calls, especially when a Forward story referred kindly to the Nobel laureate Isaac Bashevis Singer. Grade’s widow described Singer as a “blasphemous buffoon” whose fame and reputation, she was convinced, came at the expense of her husband’s.
As Max explains in his 2008 memoir, “From Schlub to Stud,” Mrs. Grade “became a bit of a joke around the paper.” And yet in Yiddish literary circles, her protectiveness of one of the 20th century’s most important Yiddish writers was serious business: Because Inna Grade kept such a tight hold on her late husband’s papers — Chaim Grade (pronounced “Grah-deh”) died in 1982 — a generation of scholars was thwarted in taking his true measure.
Inna Grade died in 2010, leaving no signed will or survivors, and the contents of her cluttered Bronx apartment became the property of the borough’s public administrator. In 2013, Chaim Grade’s personal papers, 20,000-volume library, literary manuscripts and publication rights were awarded to the YIVO Institute for Jewish Research and the National Library of Israel. They are now stored in YIVO headquarters on Manhattan’s W. 16th Street.
This week YIVO and the NLI will announce the completion of the digitization of “The Papers of Chaim Grade and Inna Hecker Grade,” making the entire archive publicly accessible online. When the folks at YIVO invited me to come and look at the Grade collection, I knew I had to invite Max, not just because of his connection to Inna Grade but because he has become a critically acclaimed novelist in his own right: His 2020 novel “The Lost Shtetl,” which imagines a Jewish village in Poland that has somehow escaped the Holocaust, is in many ways an homage to the Yiddish literary tradition.
We met on Thursday with the YIVO staff, who were tickled by the T-shirt Max was wearing, which had a picture of Chaim Grade and the phrase “Grade is my homeboy.” (Max said his wife bought it for him, although neither could imagine the market for such a shirt.)
Stefanie Halpern, director of the YIVO archives, and novelist Max Gross discuss a thick file containing news clippings relating to the late Yiddish novelist Chaim Grade at YIVO’s Manhattan offices, Feb. 2, 2023. (New York Jewish Week)
The Grade papers — manuscripts, photographs, correspondence, lectures, speeches, essays — are stored in folders in gray boxes, whose neatness belies the years of effort that went into putting them in order. Jonathan Brent, executive director and CEO of YIVO, described for us the Grades’ apartment, which he visited shortly after Inna’s death.
“It was like a combination of my grandmother’s apartment and a writer’s home,” he said. “Everything was books, books to the ceiling. You open a drawer in the kitchen where you think there’ll be knives and forks, there are books, there are manuscripts. You open the cabinet in the bathroom, there are more manuscripts and books and books…. But the thing I remember most is that at the top of a shelf there was that much dust.” He held his fingers about two inches apart.
Inna Grade was Chaim Grade’s second wife. The writer was born in Vilna (now in Lithuania) in 1910. He was able to flee east during the Nazi occupation, leaving behind his mother and his first wife under the assumption that the Germans would only target adult men. It was a tragic miscalculation, and their deaths would haunt Grade the rest of his life. Inna Hecker was born in Ukraine in 1925, and met Grade in Moscow during the war. Married in 1945, they immigrated to the United States in 1948.
Chaim Grade had already established a reputation as a poet, playwright and prose stylist before the war; English translations of his novels “The Agunah” and “The Yeshiva” and serial publication of his novels in the Yiddish press brought him recognition in America for what the Yiddish scholar Ruth Wisse calls a “Dostoyevskian talent to animate in fiction the destroyed Talmudic civilization of Europe.” Columbia University professor Jeremy Dauber, in a YIVO release, says that Grade was possessed “by the spirit of the yeshiva world he’d left behind; then possessed by the spirits and memories of those who’d been murdered by the Nazis.”
Stefanie Halpern, director of the YIVO archives, showed us the physical evidence of that possession: Grade’s notebooks, in which he wrote down ideas and inspiration in a careful Yiddish script; manuscripts for at least two unpublished dramatic works, “The Dead Can’t Rise Up” and “Hurban” (“Sacrifice”); a photograph of Grade standing amidst the ruins of Vilna during his only visit after the war; pictures of the Bronx apartment taken when the couple was still alive, book-filled but still tidy.
Halpern also showed us the Yiddish typewriter recovered from the apartment, with what is believed to be the last page he worked on still rolled in its platen.
Chaim Grade’s typewriter, preserved in the condition it was found when the Yiddish author died in 1982, contains what are apparently the last lines he ever wrote. (New York Jewish Week)
The archivists are also careful to give Inna her due. After arriving in America she studied literature and received a master’s degree from Columbia, and often translated her husband’s work. Thanks to her, hundreds of clippings of Grade’s work and articles about him have survived.
Her correspondence reflects the lengths she went to protect her husband’s legacy during and after his lifetime, including a bizarre and lengthy letter to the Vatican complaining about Singer. “She was a brilliant and creative person, devoted in a way only a widow can be,” said Brent. “And perhaps devoted to a maddening extent.”
If all that sounds like the stuff of Jewish fiction, it is: In 1969, Cynthia Ozick wrote a novella called “Envy; or, Yiddish in America,” about Yiddish writers very much like Grade consumed with envy for a writer very much like Singer. “They hated him for the amazing thing that had happened to him — his fame — but this they never referred to,” wrote Ozick. “Instead they discussed his style: his Yiddish was impure, his sentences lacked grace and sweep, his paragraph transitions were amateur, vile.”
Halpern showed us a mailgram from Inna to the Forward that makes it clear that she and her husband read and hated the story. In it she describes Ozick as “no less grotesque than evil.”
For all of the gothic Yiddish aspects of its retrieval, “this is probably the single most important literary acquisition in YIVO’s postwar history,” Brent said of the archive. He described publishing projects already underway with Schocken Books and other publishers that will draw on the material.
Max and I discussed what it felt like to see what had become “a bit of a joke” around the Forward office placed at the center of an epic exercise in literary preservation. Max was struck by the way Inna’s personality came through in the papers. “This was her,” he said. “Her obsession, her struggle, all these things. It was definitely remarkable to see that.”
I recalled overhearing his conversations with Inna, and how her behavior could seem funny and exasperating, but also admirable and more than a little sad — in that her devotion to her husband’s reputation may also have prevented scholars from doing the work that would have made him better known.
“Exactly, but that’s one of the reasons why you get into Yiddish literature, because all of these things are true at the same time,” said Max. “Those kinds of scores, rivalries, feuds within Yiddish literature is what is so great about it. It is great to see that somebody really cared and that literature was taken so seriously. And the pettiness was something you couldn’t quite divest from the rest of it.”
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A guide to the Corpus interviews with European native Yiddish speakers
דאָס איז איינער פֿון אַ סעריע קורצע אַרטיקלען אָנגעשריבן אױף אַ רעלאַטיװ גרינגן ייִדיש און געצילעװעט אױף סטודענטן. די מחברטע איז אַלײן אַ ייִדיש־סטודענטקע. דאָ קען מען לײענען די פֿריִערדיקע אַרטיקלען אין דער סעריע.
אַ דאַנק דעם נײַעם „קאָרפּוס פֿון דער ייִדישער שמועסשפּראַך אין אײראָפּע“ (קיש״אָ) קענען ייִדיש־סטודענטן אינטעראַקטיװ פֿאָרשן װידעאָ־אינטערװיוען מיט כּמעט 200 געבױרענע ייִדיש־רעדערס װאָס האָבן איבערגעלעבט דעם חורבן.
פֿאַרשטײט זיך, אַז אַזאַ עדות־זאָגן פֿון לעבן געבליבענע איז רײַך מיט היסטאָרישער אינפֿאָרמאַציע װעגן דעם ייִדישן לעבן פֿאַר, בעת און נאָכן חורבן. ווי עס שרײַבט דזשעפֿרי שאַנדלער אין דעם אַרטיקל, קאָנצענטרירט זיך דער קאָרפּוס אָבער, דער עיקר, אױף שפּראַך־ענינים — אױף װי אַזױ די שמועסשפּראַך װאַרפֿט אַ שײַן אױפֿן אַמאָליקן טאָגטעגלעך ייִדיש איבער מיזרח־אײראָפּע. אַזאַ טראָפּ לײגט זיך אױפֿן שׂכל, װײַל דער פּראָיעקט איז געװען די המצאה פֿון אײַזיק בלימאַן, אַ פּראָפֿעסאָר פֿון לינגװיסטיק אין בערקלי אוניװערסיטעט.
די װידעאָ־אינטערװיוען אינעם קאָרפּוס שטאַמען פֿונעם אַרכיװ פֿון דער װיזועלער געשיכטע, װאָס איז אַ טײל פֿון דער שואה־פֿונדאַציע בײַם דרום־קאַליפֿאָרניער אוניװערסיטעט. ס׳רובֿ פֿון די ווידעאָס האָט מען רעקאָרדירט אין די 1990ער יאָרן, װען אַ גרױסע צאָל פֿון דער שארית־הפּליטה האָט נאָך געלעבט. דער פֿונדאַציע־אַרכיװ באַשטײט פֿון טױזנטער אינטערװיוען אױף פֿאַרשײדענע שפּראַכן; דערווײַל באַטרעפֿט דער קאָרפּוס 172 פֿון די ייִדיש־שפּראַכיקע אינטערװיוען. אַרום די דאָזיקע ווידעאָס האָט בלימאַן געשאַפֿן דיגיטאַלישע מכשירים, װאָס ייִדיש־סטודענטן קענען ספּעציעל געניסן דערפֿון.
דאָ האָט מען צוטריט צו די אינטערװיוען פֿונעם קאָרפּוס. זײ זענען אַלפֿאַבעטיש אױסגעסדרט לױטן משפּחה־נאָמען פֿונעם רעדער. אין דער רשימה נעמען זעט מען אַ בילד פֿון יעדן מענטש צוזאַמען מיט זײַן געבױרן־אָרט אױף ייִדיש און ענגליש, זײַן מין און זײַן עלטער בעת דעם אינטערװיו. אַ „קאָד“ װײַזט אָן װאָסער ייִדיש־דיאַלעקט זײ רעדן׃ צפֿון־מיזרח־ייִדיש (NEY), צענטראַל־ייִדיש (CY), אָדער דרום־מיזרח־ייִדיש (SEY). מען קען אױך אַ זוך טאָן לױטן רעדערס נאָמען, געבױרן־אָרט, מין אָדער דיאַלעקט.
װען מען גיט אַ קוועטש אױפֿן קנעפּל פֿון אַן אינטערװיו באַקומט מען װײַטערדיקע אינפֿאָרמאַציע װעגן דעם רעדער, אַרײַננעמנדיק מאַפּעס מיט זײער געבױרן־אָרט און אינטערװיו־אָרט. יעדער אינטערװיו ווערט באַגלייט מיט ייִדישע אונטערקעפּלעך. די דאָזיקע אונטערקעפּלעך זענען ניט געשאַפֿן געװאָרן פֿון אײ־אײַ, אָבער פֿון אַ קלײנער גרופּע מומחים. פֿאַרשטײט זיך אַז אַזאַ פֿאַרלאָזלעכער אָנשפּאַר איז גאָר נוצלעך פֿאַר סטודענטן. איך אַליין האָב זיך צוגעהערט צו אַ פּאָר אינטערװיוען אָן די ייִדישע אונטערקעפּלעך (כ׳האָב פֿאַרמאַכט די אױגן, אָבער מע קען אױך „באַהאַלטן“ די אונטערקעפּלעך דורכן קוועטשן אַ קנעפּל) און אַ צווייט מאָל — מיט זײ. אָן אַ ספֿק האָב איך פֿאַרשטאַנען אַ סך מער מיט זײ. די אונטערקעפּלעך זענען אַגבֿ ניט איבערגעזעצט אױף ענגליש — מען קען זײ לײענען בלויז אױף ייִדיש.
אונטער יעדן װידעאָ געפֿינט זיך אַ טאַבעלע מיט די טראַנסקריפּציעס, אױף אַ בלױען הינטערגרונט. יעדע פֿראַזע איז אַ פֿאַרבינדונג אױף די דאָזיקע װערטער אינעם װידעאָ. דערווײַל זענען די טראַנסקריפּציעס אין דער טאַבעלע מערסטנס אױף לאַטײַנישע אותיות, כאָטש אין עטלעכע פֿאַלן קען מען אױך אױסקלײַבן ייִדישע אותיות. מיט דער צײַט װעט מען אָפֿטער האָבן אַ ברירה.
װײַטער אונטן קען מען אַראָפּלאָדן אַן אױדיאָ־טעקע פֿונעם אינטערװיו, און אַ דאָקומענט מיטן גאַנצן טראַנסקריבירטן טעקסט. פֿאַרשטײט זיך אַז אױף דערװײַל זענען די טראַנסקריפּציעס, װי די אונטערקעפּלעך, מערסטנס אױף לאַטײַנישע אותיות.
נאָך אַ קאָרפּוס־מכשיר, װאָס הײסט די „װערטער מאַפּעס“, װעט ספּעציעל צוציִען סטודענטן װאָס פֿאַראינטערעסירן זיך אין דיאַלעקטן. איך אַליין װײס גאָרניט װעגן דעם, בין איך טאַקע פֿאַרכאַפּט געװאָרן דערפֿון. מען קען דאָרטן זוכן אַ ייִדיש װאָרט כּדי צו זען אין װעלכע אינטערװיוען דאָס װאָרט באַװײַזט זיך. דאָס געבױרן־אָרט פֿון די רעדערס װאָס ניצן דאָס װאָרט װײַזן זיך אַרױס אױף אַ מאַפּע. אַזױ באַקומט מען אַ רושם פֿון די געאָגראַפֿישע ראַיאָנען װוּ דאָס װאָרט איז געװען פֿאַרשפּרײט.
מען קען אױך פֿאַרגלײַכן צװײ װערטער אָדער נוסחאָות פֿון אַ װאָרט. איך האָב למשל פֿאַרגלײַכט „געבראַכט“ און „געברענגט“, װאָס זענען בײדע פֿאַרגאַנגענע פּאַרטיציפּן פֿון „ברענגען“. אױף דער מאַפּע האָב איך געזען אַז „געבראַכט“ באַװײַזט זיך זײער אָפֿט אין צפֿון־מיזרח־ייִדיש, און „געברענגט“ ניצט מען דער עיקר אױף צענטראַל־ייִדיש. דאָס זוכן װערטער פּאָרנװײַז איז טאַקע אַ ביסל אַדיקטיװ! ס’איז אָבער װיכטיק איבערצולײענען די אינסטרוקציעס כּדי צו פֿאַרשטײן די רעזולטאַטן.
דער קאָרפּוס שטעלט אױך צו אַן אינטעראַקטיװע היסטאָרישע מאַפּע. אױף דער מאַפּע געפֿינען זיך די געבױרן־ערטער פֿון די רעדערס: װען מען גיט אַ קוועטש אױף אַן אָרט זעט מען אַ פּינטל פֿאַר יעדן רעדער װאָס איז דאָרטן געבױרן געװאָרן — די פּינטלעך זענען דיגיטאַלישע פֿאַרבינדונגען צו די דאָזיקע אינטערװיוען. מען קען אױך זוכן דעם נאָמען פֿון אַ רעדער אָדער פֿון אַן אָרט אין אַ זוך־קעסטל.
דערצו געפֿינט זיך אונטער דער מאַפּע אַ קנעפּל װאָס מען קען רוקן כּדי צו זען װי אַזױ די פּאָליטישע גרענעצן האָבן זיך געענדערט מיט דער צײַט. מען קען אױסזומירן (zoom out, בלע״ז) כּדי צו זען גאַנץ אײראָפּע אָדער אײַנזומירן אױף אַ ספּעציפֿישן ראַיאָן. מען קען אױך אױסקלײַבן עטלעכע „שיכטן“ װאָס באַװײַזן זיך אױף דער מאַפּע, למשל די גרענעצן צװישן ייִדיש־דיאַלעקטן. נאָך אַ מאָל איז עס װיכטיק איבערצולײענען די „נאָטיצן“, װאָס דערקלערן די פֿאַרשײדענע ברירות.
אינעם אָפּטײל װאָס הײסט „גלאָסעס“ קען מען לײענען אַרטיקלען פֿון בלימאַן און די קאָרפּוס־טראַנסקריבירערס װעגן דער ייִדיש־פּעדאַגאָגיק, און װעגן דער שפּראַך אין די אינטערװיוען. כאָטש די אַרטיקלען זענען מסתּמא געצילעװעט אױף פֿאָרשערס און לערערס קענען זײ אױך פֿאַראינטערעסירן סטודענטן.
מיט דער צײַט װעט זיך דער קאָרפּוס פֿאַרגרעסערן און צושטעלן נאָך װײַטערדיקע אינטערװיוען און מכשירים. פֿאַרשטײט זיך אַז ער איז שױן אַ װיכטיקער רעסורס פֿאַר ייִדיש־סטודענטן. פֿאָרשט דאָס װעבזײַטל אַלײן — איר װעט זיך אַ סך דערוויסן.
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Some named names, some didn’t, but it’s not just a story of good guys and bad guys
It was written in 1972 and takes place between 1947 and 1959. It consists of testimony given before the infamous House Committee on Un-American Activities, which damaged or destroyed the lives of many people in the entertainment world during the Communist scare and the blacklisting of the 1940s and 50s. But for its Tony-winning director, Anna D. Shapiro, Are You Now, Or Have You Ever Been, a docudrama that is being revived at New York City Center, is relevant today — in more ways than one.
“I think that everybody will enter this play from a different perspective, because it’s in conversation with things that we’re dealing with as a country right now,” Shapiro told me over the phone. “For instance, my producer, Jeffrey Richards, who is of a certain generation, for him, it’s just deeply about freedom of expression. He has spent his whole life making art, championing artists, and the idea that he feels like we’re moving towards, which we clearly are, is a more fascist behavior around freedom of expression. He wants to remind people how dangerous some of these moves from the current administration are.”
“But I’m just a little bit younger than Jeffrey,” Shapiro, 60, continued. “I did the play when I was in college. So I was probably 22, 23, actually, just finishing college. And it was very clear then, right? It was about good guys and bad guys, and it was very easy to demonize the people who named names and champion the people who were brave enough not to name names. And now, as I’m older, I realize there’s a lot more complexity when the entire system is coming after you in a way that makes you feel like your entire livelihood is threatened. So on one level, it’s one thing for Arthur Miller not to name names. It was Arthur Miller. They weren’t going to be able to destroy Arthur Miller. But it’s another thing for an actor whose career is fading and who doesn’t have any control over his destiny to be kind of pushed into naming names. And I think that that’s what interests me, which is how difficult it becomes to be good in America, how difficult that is becoming, how terrifying and terrorizing the current administration is.”
The play, by Eric Bentley, highlights testimony by some of those — Jerome Robbins, Elia Kazan, Larry Parks, Abe Burrows — who named names of Communist Party associates and some of those who didn’t, such as Arthur Miller, Paul Robeson, Lillian Hellman, Lionel Stander. It features a rotating cast that includes Steven Pasquale, Molly Ringwald, Santino Fontana and Bob Odenkirk.
Bentley, who died in 2020 at age 103, taught dramatic literature at Columbia University during the 1950’s and 60s. He was a champion and translator of the German playwright Bertolt Brecht. Shapiro won her Tony for Tracy Letts’ August: Osage County and is a former artistic director of the famed Steppenwolf Theatre Company in Chicago. Most recently on Broadway she directed the Tony-winning revival of Eureka Day.
‘Of course they were antisemitic’
Six of the Hollywood Ten screenwriters and directors who were blacklisted and sent to prison for their refusals to testify were Jews. In the Bentley play, Miller, Robbins, Hellman, Stander and Burrows are Jewish.
As the play records, one key committee member, John E. Rankin of Mississippi, a known racist who was called out for his antisemitism, insisted on reading out the birth names of actors who he presumed to be Jewish, such as June Havoc (June Hovick), Danny Kaye (David Daniel Kaminsky), Eddie Cantor (Edward Iskowitz), Edward G. Robinson (Emanuel Goldenberg) and Melvyn Douglas (Melvyn Hesselberg).
“Of course they were antisemitic,” Shapiro said. “One of the things that they went out of their way to point out was how many of the actors and directors in Hollywood had changed their names and that their original names were so clearly Jewish. For them, this exposed a kind of nefariousness. They assumed a nefarious intent, as opposed to being what it really was, which was a way for Jews to defend themselves and keep themselves safe from antisemitism by changing their names, to be able to be in the public eye in a way that was less dangerous for them.”
The committee, she said, “twisted that and said, see, all these people, all of these people in Hollywood, are pretending not to be Jews, but they are, and they’re the problem.”
Actually, though, she said, “when you really look at what being a quote-unquote Communist was in this time, for the most part, these were essentially Democratic socialists. They were people who had gotten a little lucky, were making a little money. Many of them for the first time in their families. And they wanted to help the underdog. They wanted to look at what was corrupt in the system and make things better for people. They weren’t ‘burn the system down.’ They weren’t those people.”
Many Jews were victims of blacklisting, but many top executives in Hollywood who perpetrated or supported blacklisting were themselves Jewish. One reason, of course, was fear of the committee and other anti-Communist zealots like Wisconsin Senator Joseph R. McCarthy. But there was another.
“I think that’s our complex history, isn’t it?” Shapiro said. “And we’re in a complex moment as Jewish people. We have been in such a conversation with our existential threats. And what we think of as the solution to that very, very real historic and current threat. And what I appreciate about you bringing that up is that Jews are not a monolith. Right now, that’s happening again, right? I disagree actively with my older brother, right? Now, what we don’t disagree with each other about is that we’re Jews.”
Making an impact
Although Shapiro says her family were not practicing Jews, she said she is very conscious of her Jewish heritage. “My mother didn’t practice primarily because she was a Marxist and she didn’t believe in God. And also, quite frankly, she was raised in a very conservative Jewish household. And the sexism of her day, of when they were in shul, the women were upstairs. Every Friday night, her grandmother would cook everything and eat in the kitchen. So she saw a lot of the sexism. And that really made her walk away from her Judaism. But with both of my parents, whenever Judaism was being attacked or somebody wanted to take it away from them, they would fight for it.”
“What I’ve realized, Shapiro went on to say, “is how without practicing, without going to shul, without even celebrating Passover, my Judaism is in my body, and it informs decisions I make. I think it’s the reason that I’ve done so much work around equity and systemic racism and systemic sexism. I think I essentially understand that part of my task is to seek justice, and to make an impact in the world.”
So what impact would she like the play to make on audiences?
“I always say that I direct plays really for one reason, and that is to make the audience’s world bigger. And that really only happens two ways, right? You go into a theater and you either see something familiar and you go, wow, there’s other people like me, or you go into the theater and you see something so different from your own experience and you think, my God, the world is so much bigger than I know. In this play, based on the way that you calibrate the performances, you can either make a very black and white statement, or you can make more nuanced and ambiguous statements.”
She agrees with the philosophy, she said, that every society’s survival is based on its ability to embrace ambiguity.
“And where we are right now — and I’m not even talking about on the right, because I don’t have anything to say about the right. They’re very confusing to me. So I can only speak to the people with whom I share essential beliefs. I think that we are not talking to one another well. I think we are looking at black and white and good and evil, and it’s way more complex than that. So I hope people come away going, wow, I really thought it was just going to be like the good guys who didn’t name names and the bad guys who named names.”
‘Are You Now Or Have You Ever Been’ runs through Sept. 11 at City Center in New York.
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Israel dominates debate as Rep. Dan Goldman defends seat in referendum on Zionism
American support for Israel and the ongoing Israeli-Palestinian conflict emerged as a central point of contention during the first televised Democratic primary debate between Rep. Dan Goldman and former New York City Comptroller Brad Lander on Tuesday night.
Lander, who identifies as a liberal Zionist, is challenging Goldman with the support of Mayor Zohran Mamdani, in a campaign that has gone after Goldman as allegedly out of step with Democratic voters who seek change in Israel.
Recent events in and near the 10th Congressional District, in Brooklyn and lower Manhattan, provided plenty of fodder. The Celebrate Israel parade, the vote by members of the Park Slope Food Coop to boycott Israeli products, military assistance for Israel and investments in Israel bonds made up the first 15 minutes of the one-hour debate, hosted by Spectrum News NY1.
The exchange highlighted growing divisions within the Democratic Party over Israel and the war in Gaza.
“With all due respect, we’re now 10 minutes into this, and we’ve only spoken about Israel,” Goldman, a two-term incumbent, complained. “Israel is not the most important issue in this district.” The district voted heavily for Mamdani, an outspoken critic of Israel. Jewish voters make up an estimated 20% of the electorate.
“This is one of the significant moral and humanity challenges of our time, and our representative failed,” Lander pushed back, citing Goldman’s support for U.S. aid to Israel and refusal to call the war in Gaza a genocide. In his opening remarks, Lander criticized Goldman for accepting donations from AIPAC, the U.S. campaign fundraising group allied with the Israeli government.
The Goldman-Lander contest is expected to serve as an early test of Mamdani’s political influence following his upset victory in the mayoral race. Mamdani and Lander cross-endorsed each other in the mayoral race, and Mamdani made his endorsement of Lander for Congress along with democratic socialists in two other congressional primaries. Recent polling has shown Goldman trailing Lander.
Both candidates, who describe themselves as liberal Zionists, drew sharp contrasts over their approach to the conflict in the Middle East and the movement to boycott Israel.
Lander defended his decision not to march this year the annual Israel parade by pointing to the participation of Israeli Finance Minister Bezalel Smotrich, a far-right member of Prime Minister Benjamin Netanyahu’s governing coalition who has made past controversial statements, including advocating for the displacement of Palestinians. “We shouldn’t be marching with war criminals,” Lander said.
However, Lander announced he would not attend the parade before it was publicly known that Smotrich would participate in the event, and shortly after Mamdani announced that he too would skip. Smotrich’s appearance drew little attention during the march itself. The Israeli minister joined the march at East 63rd Street along the route and walked primarily with a delegation of Knesset members. His participation sparked backlash afterward, with prominent Democrats condemning his appearance and critics of Israel excoriating Democratic elected officials who marched along the same route.
In an interview on Monday, Mamdani said he’s “offended” by the participation of Smotrich, saying he represents “a vision of annihilation, a complicity in genocide, and frankly a belief that does not have much value for even the sanctity of children in Gaza.”
Goldman defended his march. “I was unaware” of Smotrich joining the parade, he said. “And I am incredibly disappointed that that occurred.”
Israel appeared again in the cross-examination period, with Goldman asking Lander to explain why he left the Democratic Socialists of America after Oct. 7, 2023 — with Lander citing a “heinous” rally DSA promoted on Oct. 8 cheering on the attacks.
In the debate Lander emphasized his support for Israel as a Jewish state that is also one where Palestinian rights thrive.
In remarks on Sunday, ahead of the parade, Goldman spoke about the stakes of the race in an appeal to Jewish voters. “It’s a difficult time for many of us, but what we need is more than anything is moral clarity,” Goldman said at the Met Council annual legislative breakfast. “We need to stand for what we believe in, and I will do that right through the tape with the support of many of you.”
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