Uncategorized
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.”
—
The post YIVO digitizes writer Chaim Grade’s archive, a Yiddish treasure with a soap opera backstory appeared first on Jewish Telegraphic Agency.
Uncategorized
Trump’s new White House ballroom architect is a Jewish immigrant who has advocated for refugees
(JTA) — After parting ways with the first architect hired to carry out his vision for the White House’s East Wing, President Donald Trump has picked a replacement — turning to a firm run by prominent Jewish architect who once called on Trump to keep the country’s doors open to refugees and immigrants.
Shalom Baranes was born soon after his parents fled Libya amid antisemitic sentiment there, coming to the United States as a child with the help of the Hebrew Immigrant Aid Society, now known as HIAS. He rose to prominence as an architect in Washington, D.C., where he has designed both private and government buildings, including the Pentagon, that trend toward the modern.
The White House confirmed on Friday that it had chosen his firm, Shalom Baranes Associates, to continue the East Wing project, centered around the ballroom that Trump wishes to construct. Trump clashed with the first architect on the job over the ballroom’s size.
“Shalom is an accomplished architect whose work has shaped the architectural identity of our nation’s capital for decades, and his experience will be a great asset to the completion of this project,” a White House spokesman, Davis Ingle, said in a statement on Friday.
The firm did not immediately publicly confirm its attachment to the project, and Baranes did not reply to a Jewish Telegraphic Agency request for comment.
Baranes’ selection stands out in an administration that has typically favored partisan and ideological loyalists. Baranes is a repeated donor to Democratic candidates who has openly advocated against one of Trump’s signature policies, his efforts to limit refugee admissions.
In 2017, two months into Trump’s first term, Baranes penned an op-ed for the Washington Post about the new president’s travel ban. Trump had declared a ban on migrants from seven mostly Muslim countries and refugees from around the world soon after taking office, igniting wide opposition including from Jewish groups.
“The anti-immigrant sentiment I feel today is nothing new to me,” he wrote. “When my Jewish parents arrived in the United States just a few years after fleeing persecution in an Arab regime, it was as difficult for them to be accepted here as it is for Muslims now.”
Baranes laid out his criticism gingerly while saying he hoped the travel ban would be short-lived.
“As I watch the news and see families struggling to leave their countries and escape tyranny, I wonder who among them will make it to our shores and become part of the next generation of researchers, teachers, inventors, real estate developers and, yes, architects,” he wrote. “My hope is that the Trump administration will take actions to ensure that the travel ban is indeed temporary, so that good, hard-working individuals fleeing tyranny can find a new home as I did — and that each of them will be given the same opportunity to help build this great nation that I had.”
Among the Jewish groups to lobby against Trump’s travel ban was HIAS, the organization that had helped Baranes and his family come to the United States. HIAS declined to comment on his selection as White House architect but said through a spokesperson that the organization was working to respond to Trump’s crackdown on refugees, which the president renewed last week after an Afghan refugee shot and killed a member of the National Guard in Washington.
To those who are familiar with Baranes’ style, he is a surprising pick for more than just because of his personal politics. His designs typically trend toward the modern, not the gilded classical style that Trump favors. He also has said he prefers to think carefully before tackling a project — an impossibility when it comes to the White House ballroom, which is already mid-construction.
“You have to wonder why he would risk a stellar career and near pristine reputation for a project that could possibly end up in disaster. He could be publicly fired and castigated by the developer-in-chief or ostracized among his colleagues and clients,” wrote Douglas Freuhling, the editor in chief of the Washington Business Journal, on Friday.
But Fruehling noted that a successful build at the White House — one that balances Trump’s tastes with the gravitas of the White House — would be a defining capstone for any architect’s career. “He may just be the perfect architect for the job. For his sake, I hope it turns out that way,” he wrote of Baranes.
Baranes’ portfolio includes multiple synagogue renovations. He donated his services to restore the interior of Sixth & I, the Jewish center in downtown Washington, D.C., when it was reconstructed just over two decades ago.
The post Trump’s new White House ballroom architect is a Jewish immigrant who has advocated for refugees appeared first on The Forward.
Uncategorized
It’s time to reconsider what we know about Jewish birthing rituals
For all living things, birth is our introduction to the world. So it’s a fitting theme for the first exhibit in the Museum at Eldridge Street’s new initiative, “Opening Doors to Intercultural Understanding.”
The multiyear project is centered around three themes: sacred space, sacred community and sacred time. First Light is inspired by sacred time, which focuses on lifecycle events and holidays in the Jewish calendar. The museum staff worked with curator Warren Klein, the director and curator at Herbert & Eileen Bernard Museum of Judaica, to come up with the idea for an exhibit on birth.
“Of course, there’s a universal resonance there,” Amanda Gordon, the museum’s director of public engagement, said. “But really First Light is all about examining Jewish birth traditions and different observance practices, how they’ve evolved, but also different kinds of aesthetic craftsmanship ideas.”
Visitors are first greeted with contemporary paintings from artists Tobi Kahn and Mark Podwal that depict the significance of birth both personally and biblically. Kahn’s abstract painting evokes one of his children’s sonograms through its textured exploration of rounded shapes. This is juxtaposed with Podwal’s depiction of Pharaoh’s daughter finding Moses in the Nile, using a classic Egyptian style to depict the female face looming over baby Moses, almost protectively. Further along in the exhibit are older examples of birth-related rituals both in art and in historic objects.
“These rotating exhibitions,” Gordon said. “They give us a chance to showcase not only cultures outside of Ashkenazi Jewish culture, but also contemporary work. So to have, you know, Tobi’s work and Mark Podwal’s work here in conversation with these pieces from the 19th and 18th century.”
One of the first photographs in the exhibit is of a two-seater bench; one seat is for the sandek, who holds the baby during the bris, and the other is for Elijah the Prophet.
Klein explained that Elijah is imagined to be at every circumcision ceremony, and some communities reserve a seat for him, much like how many families save him a glass of wine during a Passover seder.
“It’s hard to kind of pinpoint where the custom was created,” Klein said. “Across the board, Ashkenazi and Sephardic communities will have a chair reserved for Elijah.”
The exhibit also explores lesser-known traditions; though most people think that Jewish birthing customs are limited to “circumcision or bris milah and that’s it,” Klein said. “It’s truly not.”
For example, there is Pidyon haben, the redemption of the first born son, a tradition that dates back to the days of the high priest, when Israelites had to offer their firstborn sons as priestly assistants. In the era of rabbinic Judaism, the redemption became more symbolic, and families would offer coins on a platter to “purchase” their child back from the rabbi. In the exhibition, a photo of an ornate silver platter filled with coins illustrates the practice.
Although the exhibit could house only a limited number of physical objects, it displays a wide range of customs. There’s a decorative amulet case from the 19th century that once held a prayer to protect its holder from Lilith, a demon — or, according to some stories, Adam’s first wife before Eve — thought to harm the mother and child during labor or right after birth. One glass case hosts a printed prayer book for a German mohel, or ritual circumciser, dated to 1744. What makes this facsimile particularly interesting, Klein explained, is its depiction of women, who are usually not seen in the visual images of the bris.
Klein wanted to make sure women were more represented in this exhibit than they usually are in discussions of Jewish birthing customs. One photograph shows a girl’s baby naming in 20th-century Morocco and another depicts the outfit worn by a female baby at a Greek ceremony.
The exhibit also features a wimpel, a long piece of cloth used to tie the Torah scroll. Traditionally, wimpels are made from the cloth that swaddled a baby during his bris, and are decorated with prayers for the boy to grow strong, learn Torah and get married.
“These then would be deposited or used in the synagogue, maybe on his bar mitzvah, maybe on special occasions, and then given to the synagogue almost as a census that this person was a part of the community,” Klein said. “There would be communities that had truly thousands of these.”
“Unfortunately, this is a custom that almost died out after the Holocaust,” Klein said. “There was a resurgence in the 20th century and certain communities still practice it. But it is very rare to find.”
Both Gordon and Klein expressed hope that visitors of all backgrounds would gain something from the exhibit.
“It was my hope that, you know, visitors would come in with their traditions or their kind of preconceived notions on what maybe Jewish birth traditions and customs are,” Klein said. “And to also kind of have some ideas to take with them into their own communities.”
The exhibit First Light: Birth in the Jewish Tradition will be on view at the Museum at Eldridge Street until April 26, 2026.
The post It’s time to reconsider what we know about Jewish birthing rituals appeared first on The Forward.
Uncategorized
White House Releases New National Security Strategy Indicating Renewed Focus on Western Hemisphere
US President Donald Trump speaks at the White House in Washington, DC, US, Sept. 25, 2025. Photo: REUTERS/Kevin Lamarque
The White House late on Thursday night released its new “National Security Strategy,” indicating a sharp pivot of the nation’s strategic focus toward the Western Hemisphere while recalibrating US engagement with Europe, the Middle East, and Asia.
The 33-page document only mentions Israel and the Middle East briefly, instead focusing closer to home.
“After years of neglect, the United States will reassert and enforce the Monroe Doctrine to restore American preeminence in the Western Hemisphere, and to protect our homeland and our access to key geographies throughout the region,” the strategy states. “We will deny non-Hemispheric competitors the ability to position forces or other threatening capabilities, or to own or control strategically vital assets, in our Hemisphere. This ‘Trump Corollary’ to the Monroe Doctrine is a common-sense and potent restoration of American power and priorities, consistent with American security interests.”
The strategy adds that the Trump administration wants “to ensure that the Western Hemisphere remains reasonably stable and well-governed enough to prevent and discourage mass migration to the
United States; we want a Hemisphere whose governments cooperate with us against narco-terrorists, cartels, and other transnational criminal organizations; we want a Hemisphere that remains free of hostile foreign incursion or ownership of key assets, and that supports critical supply chains; and we want to ensure our continued access to key strategic locations.”
Publication of the strategy came just after the results of a major new defense survey showed that the American public still overwhelmingly supports active US global leadership and robust military strength.
The White House argues in its strategy that more local challenges represent the most urgent threats to US sovereignty and domestic stability. At the same time, the document downplays the view that deep involvement in conflicts abroad advances US interests. While it reaffirms the importance of alliances and deterrence commitments, it rejects the role of Washington as “global policeman,” instead prioritizing a stronger homeland, resilient supply chains, and revitalized domestic industrial capacity. The strategy also calls for major investment in missile-defense capabilities, including a nationwide system sometimes referred to as a “Golden Dome for America,” echoing Israel’s longstanding layered defense architecture.
The White House’s strategy coincides with the release of data from the newly published Reagan National Defense Survey, which finds Americans more supportive of engagement and global leadership than many pundits have suggested. According to the findings, 64 percent of Americans want the US to be more engaged in world affairs, not less, and 87 percent believe maintaining the strongest military in the world is essential. Meanwhile, 71 percent of Americans say global peace is most likely when the US holds clear military superiority. The data also shows strong majorities support defending key allies if attacked, while 68 percent back building a national missile-defense system, reflecting rising concern about long-range threats.
For Israel and the Middle East, the White House strategy signals a recalibrated emphasis on preventing Iran from acquiring a nuclear weapon, securing vital maritime chokepoints, and supporting Israel’s long-term security, including cooperation on advanced defense technologies.
Public support for the Jewish state remains strong, though there are indications of waning. Sixty-six percent of Americans view Israel as an ally, a decrease from 72 percent the year prior, according to the Reagan survey.
The survey indicates that 60 percent of Americans approved of the June 2025 US airstrike targeting Iranian nuclear infrastructure, though partisan divides remain prevalent. Enhanced pressure on Tehran, including sanctions and cyber measures, garner even broader bipartisan support.
Experts indicate that for Israel, a long-standing partner deeply affected by US posture in both Europe and the Middle East, the strategy’s emphasis on missile defense, deterrence, and countering Iranian ambitions will be particularly reassuring. However, some analysts argue that the strategy’s overall de-emphasis on the Middle East and apparent desire to be less engaged outside the Western Hemisphere could prove problematic for the Jewish state.