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
Facing backlash after accusing Israel of genocide, Scott Wiener steps down as Calif. Jewish Caucus co-chair
(JTA) — Scott Wiener, the California lawmaker who earlier this month announced that he believed Israel had committed “genocide” in Gaza, is stepping down as a leader of the state legislature’s Jewish caucus.
Wiener, a state senator from San Francisco, has been a co-chair of the caucus since 2023. He is currently running for Congress.
In a statement released Thursday, he attributed his resignation from the caucus’ leadership position to both his campaign and the backlash over his Israel comments. He will remain a member of the caucus after he steps down as its chair on Feb. 15.
“Last fall, I suggested stepping down but was asked to stay to provide continuity of leadership during a difficult time for the Jewish community,” Wiener said. “Now, my campaign is accelerating, and my recent statements on Israel and Gaza have led to significant controversy in the Jewish community. The time to transition has arrived.”
Wiener’s accusation of genocide, made Jan. 11 in a video posted to social media, came days after he declined to answer a question on the topic during a televised debate, spurring a backlash from pro-Palestinian voices.
His statement on Israel elicited its own criticism. Five local and national Jewish groups issued a statement saying that while they recognized Wiener’s support for the Jewish community and his own experiences of antisemitism, they were “deeply disappointed” in his video statement.
“Unfortunately, Senator Wiener’s newly stated position is both incorrect and lacks moral clarity,” said the groups, which included the Jewish Community Relations Committee of the Bay Area, the American Jewish Committee and a local Holocaust education center.
“The devastation throughout this war — including the loss of life in Gaza and Southern Israel — has been felt by us all,” they added. “Yet framing this conflict in reductionist and inflammatory terms fuels further hostility toward our community.”
Others went further, calling for him to step down from or be forced out of his leadership role. “Scott Wiener has no business being co-Chair of the CA Legislative Jewish Caucus,” tweeted Sam Yebri, a Persian Jewish pro-Israel attorney and influencer from Los Angeles.
Now, those who criticized Wiener’s comments are hoping that his resignation will turn down tensions.
“I hope @Scott_Wiener‘s decision to step down will allow our community, the @CAJewishCaucus, and the Senator himself the ability to move beyond this painful and divisive moment,” tweeted Tye Gregory, the CEO of the San Francisco JCRC, on Thursday. He praised Wiener’s support for legislation his organization backs and said he would look forward to working with Wiener during the legislative session.
The saga comes as support for Israel has plummeted among Democratic voters. Weiner is running to fill the seat being vacated by Nancy Pelosi, a staunch supporter of Israel, and both of his competitors in the Democratic primary have long backed the claim, which Israel and the United States reject, that Israel’s actions in Gaza during its two-year war with Hamas amounted to genocide.
The post Facing backlash after accusing Israel of genocide, Scott Wiener steps down as Calif. Jewish Caucus co-chair appeared first on The Forward.
Uncategorized
OneTable reimagines Shabbat dinner program amid safety concerns, layoffs and budget crisis
(JTA) — When the Shabbat-dinner nonprofit OneTable slashed a quarter of its staff last month, it wasn’t only because of a budget crisis.
It’s true that fundraising was way down. But the group was also responding to what it sees as important shifts in how Jews gather, citing its growing sense that Gen Z is less likely than others to want to open doors to their home.
Now, OneTable is revealing a raft of new pilot programs and policies, including a move away from its defining practice of subsidizing dinners; a new policy barring anti-Israel events; a renewed focus on young Jews; and a shift toward partnerships with emergent Shabbat “clubs” to lift the burden and risk of hosting at home.
“In this world right now, the idea of welcoming something, someone into your home is scary to people,” said OneTable’s new CEO, Sarah Abramson, who joined the company in May. “All of these things are actually creating barriers to people wanting to host in their homes, and so we know that we need to bring OneTable out into the world.”
At the same time, the group is centralizing its operations. While the 14 layoffs took place across the company, Abramson said OneTable had focused in part on field managers, who served as regional liaisons with hosts and potential hosts.
“If a person in that community really saw that field manager as the face of OneTable, and for whatever reason, did not feel like that person spoke to them or was not aligned with their Jewish values and how they want to Shabbat, then often they would kind of discount OneTable,” she said.
The changes come as Israel looms large over Jewish nonprofits, influencing fundraising and engagement while also at times laying a minefield, especially for younger Jews who are increasingly divided in their sentiments.
OneTable says the number of people participating annually in Shabbat dinners it supports doubled after Oct. 7, 2023, in keeping with a “surge” of Jewish engagement that many organizations observed following Hamas’ attack on Israel. Before the resulting war in Gaza, 42,000 people a year were attending OneTable dinners. After, the number reached 80,000, according to the group.
But the group struggled to keep pace when it came to fundraising. In 2024, OneTable ran a deficit of more than $900,000, spending about $10.6 million while bringing in just over $9 million in contributions, according to their tax filings that year. That represented a sharp decline in funding from 2023, when the organization reported nearly $12 million in contributions and ended the year in a surplus.
“In full transparency, our philanthropy has not kept pace with the volume,” Abramson said.
Prior to joining OneTable, Abramson worked as the executive vice president for strategy and impact at Combined Jewish Philanthropies, Boston’s Jewish federation. There, she oversaw grantmaking as well as the nonprofit’s $60 million post-Oct. 7 Israel emergency fund.
As Jews across the United States flooded funds like that with nearly $1 billion, concerns quickly emerged about whether the donations would supplant other giving. The answer at OneTable, at least, appears to be yes, Abramson said.
“Eighty thousand participants requires so much more philanthropic support at a time where, rightly, philanthropic support for the Jewish community was directed towards Israel, and really thinking about other priorities,” she said.
Gali Cooks, the president and CEO of Leading Edge, a nonprofit that provides training, research and support for Jewish nonprofits, said that there was also a “tricky confluence right now of rising demands and rising costs” within the Jewish nonprofit sector.
Cooks said that, across the sector, nonprofit leaders were realizing that they have to “think smaller and bigger at the same time” — as OneTable says it is doing.
“Within each organization, leaders are trying to achieve more focus and clarity and streamlining toward the mission,” said Cooks. “But between organizations, they’re striving for more collaboration, more partnerships, shared infrastructure, and shared planning. That’s true in the conversation about talent, board excellence, and leadership development, but I think it’s also true about things like antisemitism, security, Israel engagement, and more.”
The changes underway at OneTable include formalizing a stance on Israel for the first time. Earlier this month, the organization added a list of its “core commitments” to its website that included a section outlining drawing a hard line against anti-Israel advocacy.
“We do not formally partner with, or support, any organization, Shabbat dinners, or gatherings that call for Israel’s destruction or in any way question Israel’s right to exist,” the section reads. “We do not fund dinners that align with any political party or candidate.”
At the same time, the group is aiming to stoke Israel talk at the Shabbat table. The group has a new partnership with Resetting the Table, a Jewish nonprofit that teaches dialogue skills, to “allow our Shabbat tables to become nuanced places for hard conversations,” Abramson said during a presentation about at the Jewish Federations of North America annual conference in November.
“We also are doing a lot of pilots based on research that enable the skill of hard conversations for Shabbat,” Abramson told JTA. “For example, we have a pilot right now with Resetting the Table, helping a lot of our hosts think through, how do you actually have deep, meaningful conversations, often about Israel, but not only, particularly in the American context right now.”
For some, the changes mark an unhappy end to OneTable as a respite for young Jews from the pitched ideological divides over Israel that increasingly characterize Jewish experiences.
Alexis Fosco, a former OneTable employee, posted on LinkedIn last month in an announcement of her departure that she was “frustrated at Jewish funders withdrawing from diaspora-focused work, leaving the staff who are already subsidizing their causes to absorb the impact.” She indicated that she had not been among the laid-off workers.
“I keep thinking about how funding-driven scope creep takes hold,” continued Fosco. “It’s heartbreaking and spiritually exhausting to pour yourself into an organization and walk away realizing the work no longer aligns with what you set out to build or believe in.”
Three former field managers did not respond to JTA requests for comment.
Abramson said the nonprofit’s new initiatives would be rolled out as pilots over the coming year. But even if the tests are temporary, they mark a significant shift for the nonprofit that has long been synonymous with underwriting the costs of serving Shabbat dinner at home. Hosts have historically received $10 stipends for each registered guest at their OneTable dinners.
An analysis of host patterns found that a small number of repeat hosts were racking up disproportionate subsidies.
In September, after one former OneTable host posted about their dismissal from the program on Facebook, Dani Kohanzadeh, OneTable’s senior director of field, told JTA that it had let go of just under 50 hosts in one week. But she said that the decision was not primarily financial.
“It’s not about balancing the budget,” said Kohanzadeh. “We didn’t make this decision based on the financial cutoff, it’s based on the overall experience with our support.”
Now, Abramson said the organization plans on rolling out alternative incentives for hosting Shabbat, including a “point” system in which points can be exchanged for prizes including, potentially, trips to Israel and elsewhere.
“OneTable’s model really works for a lot of people … so we want to ensure that people who are finding a lot of meaning and financial support through nourishment continue to be able to choose that, we won’t be taking that away,” she said.
Abramson said the company was also shifting away from its recent focus on older Jewish adults to center its programming on younger Jews.
“OneTable was founded as an organization designed to provide Friday night Shabbat experiences for young adults,” she said. “This is really going back to our roots and ensuring that we are evolving the way in which young adults want to be reached.”
The post OneTable reimagines Shabbat dinner program amid safety concerns, layoffs and budget crisis appeared first on The Forward.
Uncategorized
Resignations shake art gallery after it rejects Jewish pro-Palestinian activist’s work over antisemitism claims
(JTA) — An art gallery in Canada has been roiled by resignations after it narrowly voted not to acquire works by Jewish photographer and outspoken pro-Palestinian activist Nan Goldin over accusations that she holds antisemitic views.
The resignations of the Art Gallery of Ontario’s modern and contemporary curator and two members of its modern and contemporary collections committee were first reported by The Globe and Mail.
Goldin, who is widely acclaimed for her documentary-style photography of marginalized communities, has faced controversy in recent years over her outspoken pro-Palestinian activism.
In the weeks following Oct. 7, Goldin also signed onto a letter calling for “Palestinian liberation.” In April 2024, she also signed another letter calling for Israel’s exclusion from the Venice Biennale. In December 2023, Goldin told n+1 Magazine that she had “been on a cultural boycott of Israel for my whole life.”
And German leaders criticized her after she said in a November 2024 speech at the Neue Nationalgalerie in Berlin, where she said, “I decided to use this exhibition as a platform to amplify my position of moral outrage at the genocide in Gaza and Lebanon,” adding, “Anti-Zionism has nothing to do with antisemitism.”
Last week, Goldin donated one of her artworks to a fundraiser for Palestinian children curated by children’s YouTube star Ms. Rachel, who has faced criticism for her pro-Palestinian advocacy.
According to an internal memo obtained by The Globe and Mail, the gallery was embroiled debates over acquiring Goldin’s works in the middle of last year.
The gallery’s modern and contemporary curatorial working committee eventually voted 11-9 against purchasing Goldin’s works, after some members alleged Goldin’s remarks were “offensive” and “antisemitic.” Other members of the committee argued that her works were not antisemitic and that “refusing the work because of the artist’s views was censorship,” the newspaper reported.
The Art Gallery of Toronto is publicly funded and already houses three of Goldin’s works. The work it decided not to acquire, “Stendhal Syndrome,” does not relate to her pro-Palestinian activism and was instead acquired by Vancouver gallery that has displayed it since November.
Following the debate over Goldin’s work, the director and chief executive of the Toronto gallery, Stephan Jost, outlined a governance review that recommended a “reset” on the committee’s acquisition discussions and “clarification” of its members’ responsibilities, according to the Globe and Mail.
In a statement to the Jewish Telegraphic Agency about the resignations, the gallery acknowledged the turmoil over Goldin’s work and said they had engaged an expert to review the meeting.
“Political views are never intended to be part of the process. In this instance, personal political views did surface,” said a AGO spokesperson. “As a result, the AGO engaged an independent governance expert to review matters relating to that meeting. The AGO takes these learnings seriously and has reset to ensure that such discussions are focused on an artwork’s alignment to the AGO’s acquisition criteria, are healthy and productive, and welcome multiple perspectives.”
The post Resignations shake art gallery after it rejects Jewish pro-Palestinian activist’s work over antisemitism claims appeared first on The Forward.