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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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For years, Jewish activists tried to get the NYC Dyke March to accept Zionists. Now, they’re moving on.
Tens of thousands of queer women are expected to take to the streets of Manhattan on Saturday to celebrate the women who fought for their right to celebrate safely and to declare equal rights for all. Some will also be there to condemn the state of Israel, as organizers of the renowned Dyke March insist for the second year in a row that anti-Zionism has become a core value of the event.
But the bitter internal fight that shift sparked last year has vanished, along with many of the march’s longtime Jewish participants. Many will attend a separate event on Saturday hosted by Shalom, Dykes, a group created in 2024 by former Dyke March participants who have been shut out of the celebration.
“There has been an exodus,” said Nate Shalev, who spent a decade on the march’s organizing committee. Shalev stepped down when the organizers turned on them and other Jewish supporters of Israel after the Oct. 7 attacks. “Anyone who has dissented, anyone who has any sort of connection to Israel, anyone who is quote unquote not a good Jew.”
Dyke March organizers reject the notion that the march’s anti-Zionist stance disproportionately excludes Jews.
“We have Jews on the NYC Dyke March committee, and we do not believe anti-Zionism is antisemitic,” organizers told the Forward in a statement.
The split reflects broader fractures in queer spaces nationwide, as Pride Marches from Vermont to San Francisco have also splintered over positions on Israel and Gaza in recent years.
In New York, that divide now feels permanent. After getting doxxed and ousted from their roles, activists who once pushed back on the march’s anti-Zionist stance say they have given up on making change from the inside, instead directing their energy toward queer Jewish spaces.
“There’s this feeling of, where do we want to put our energy?” Shalev said. “Fighting against these folks who clearly don’t care about me or my communities, and don’t have the desire to be able to see multiple perspectives or truths, that’s not worthwhile.”
‘Settled in for the long haul’
Shalev, whose wife is Israeli, said the organizing committee debated for years whether the march would ban national flags — and by extension, the Jewish pride flag with a Star of David. But the committee allowed for open discussion, Shalev said, and they never ended up banning the flags.
That culture changed after Oct. 7, 2023, when Shalev said fellow organizers showed little understanding of the personal toll the attacks had taken.
“Here I was, post-October 7 with my Israeli wife, navigating all of this in our home, trying to understand if her friends and family were OK,” Shalev said. “And then having to navigate this with the Dyke March committee.”
A year later, an attempt at reconciliation was short-lived. In June 2024, the Dyke March Instagram account put up a post acknowledging that the committee’s delay in condemning the attack of Oct. 7 had caused harm and insisting that “unequivocal solidarity and empathy for Jewish safety can coexist alongside unwavering commitment to Palestinian safety and freedom” — then removed it after a half hour.
Organizers’ reason for deleting the post, they wrote in a subsequent post, was that “any language we put out which is not clearly opposed to a Zionist, imperial agenda is harmful to all.”
The 2024 march — dubbed “Dykes Against Genocide” — raised funds for five groups including Within Our Lifetime, a group that voiced support for Hamas after Oct. 7 and defends “the right of Palestinians as colonized people to resist the zionist occupation by any means necessary.”
That same year, Shalev co-founded Shalom, Dykes, a group that describes itself as a place where “Jewish dykes can exist fully and freely as themselves, no questions asked.”
What began as a one-off alternative to the Dyke March quickly became something larger. Roughly 300 people attended the group’s first celebration with dancing and a performance by drag queen Matzah Belle Soup at an East Village bar, scheduled at the same time as the Dyke March.
“I definitely thought it was going to be a one-time event,” Shalev said. “Immediately during and after that event, I understood that this was actually much, much larger than I thought.”
Even after the split, Shalom, Dykes encouraged members who wanted to attend the Dyke March to do so together. But two years on, Shalev said, fewer people are interested in reengaging with the Dyke March, while Shalom, Dykes has continued to grow.
One of those attendees was Amy Vernon, who came out as bisexual at age 50 and said she was still finding her footing in queer communities when she attended her first Dyke March in 2023. Marching proudly through the streets surrounded by thousands of queer women was an “electric feeling,” she said.
But the following year, the march’s statements about Zionism made Vernon feel like she couldn’t attend. Shalom, Dykes gave her an alternative.
“It really just felt like this lifeline,” Vernon said. “Because I was still trying to figure out where I even belonged anymore.”
Last year’s Shalom, Dykes dance party drew about 600 attendees — double the turnout of its first event — and the group has expanded into a year-round community, hosting holiday celebrations and happy hours.
“We’ve reached the point where we’re settled in for the long haul,” Vernon said. “I don’t know what future there is for American Jewry if we can’t eventually build bridges back, but to my knowledge, there is no interest from the Dyke March or other queer organizations to welcome us back.”
Dissenters depart
Founded in 1993 by a group of activists called the Lesbian Avengers, the Dyke March — which unlike New York’s Gay Pride parade the following day takes place without corporate sponsorship, permits, or police presence — originally had a strategically narrow focus: lesbian visibility. By separating themselves from male-dominated parades, the Avengers sought to specifically highlight women’s issues.
Today, organizers frame the Dyke March through a broader, intersectional lens. Its “statement of values” includes not only “anti-Zionism” but also “anti-militarism,” and standing “in solidarity with all oppressed peoples and occupied lands, including Palestine” among its many priorities.
According to Shalev, the change in approach reflected the exodus of dissenting voices in recent years, which left the committee without the intergenerational perspective that had long characterized the march.
By 2025, committee member Jodi Kreines found herself as the lone voice opposing a proposal to reaffirm the march’s anti-Zionist commitments.
“The only qualification was you had to identify as a dyke, and that was really what I was holding to,” said Kreines, who has been marching for two decades. “The idea that creating an explicitly anti-Zionist message would be really exclusionary of a large swath of dykes, especially within New York City.”
After Kreines voiced her concerns about the group’s anti-Zionist stance in the Forward last year, the committee voted to remove her in a 15-2 vote.
Kreines said she never shared her personal opinions about Israel with the committee. Her argument, rather, was that the march should remain open to all dykes regardless of their beliefs.
“You don’t get to determine who is a good dyke or a bad dyke, just as you don’t get to determine who is a good Jewish person or who is a bad Jewish person,” Kreines said. “There is no one way to exist.”
Other Jewish activists who challenged the committee’s anti-Zionist stance last year faced similar treatment, including Judith Kasen-Windsor, the widow of legendary gay rights activist Edie Windsor — the lead plaintiff in the landmark marriage equality case at the Supreme Court. Kasen-Windsor was also told she was no longer welcome at any Dyke March planning or organizational meetings.
“It was our community, and now it’s not our community anymore,” Kasen-Windsor told Gay City News after she was ousted from her role.
Dyke March organizers did not address questions about the committee’s process for removing members or their tolerance for dissent, instead directing the Forward to their “value statement” on Zionism.
“We oppose the nationalist political ideology of Zionism, particularly as it is promoted within U.S. institutions, which continues to be used to subjugate, displace, and marginalize Palestinian people,” the document reads. “We stand against antisemitism in all its forms and recognize that Jewish people have faced historical and ongoing oppression. Our critique is directed at a political system and ideology, not at Jewish people or Judaism.”
Kreines decided not to fight the committee’s decision.
“I needed to choose to protect my peace,” Kreines said. “I was not in any place that I had the capacity to fight anymore.”
The post For years, Jewish activists tried to get the NYC Dyke March to accept Zionists. Now, they’re moving on. appeared first on The Forward.
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For Mel Brooks and generations of his admirers, 100 years is not enough
Of how many Jewish comedians can it be sincerely said that 100 years of life is not enough?
Mel Brooks (born Kaminsky) who celebrates his centenary on June 28, has long been inspiring belly laughs with Yiddishkeit that has only recently been judged worthy of academic attention, as a volume of scholarly essays proved last year. Inspired by slapstick from Jewish vaudevillians like The Ritz Brothers and Moe Howard (born Moses Harry Horwitz) of The Three Stooges, Brooks is at times literary, but never intellectually glib. Brooks’ inclusion of the Jewish clown Harry Ritz in his 1976 Silent Movie was a gesture to traditional sight gags in what may be his most personal film in its revelations about his comedic roots. And as almost all his admirers are younger than he, as seen in Mel Brooks: The 99 Year Old Man!, the two-part HBO documentary film directed by Judd Apatow, a full perspective of his life and times is difficult to find.
Brooks’ creativity derived from a Brooklyn upbringing of quaffing egg creams and spending summers at Camp Sussex, a New Jersey oasis for underprivileged Jewish children founded just before the Great Depression, as the Yiddishist Sandra Fox has explained.
Deeply imbued with the Yiddish sensibility, Brooks told an interviewer for Playboy in 1975 that as a boy, he believed that upon reaching adulthood, all New York Jewish kids would suddenly know how to speak Yiddish, the language of family elders, at which point English could be discarded as a useless secondary means of communication.
His early recreational experiences prepared him for a career as a tummler, amusing Jewish businesspeople on holiday. Yet even then, Brooks offered a tragicomic twist, prefiguring Arthur Miller’s Death of a Salesman by appearing circa 1940 schlepping two suitcases and leaping fully clothed into a swimming pool as a mock gesture of suicidal despair because business was purportedly bad. The young Brooks was flummoxed by school lessons portraying Jews as simultaneously plutocrats and their anarchistic enemies. His 1991 tragicomedy Life Stinks, echoing the Book of Job in the Bible, is perhaps part of his inner investigation of the place of Jews in American society.
Complicating this understanding was antisemitic propaganda during Brooks’ youth. The German American Bund, a Nazi organization, filled Madison Square Garden in 1939 to denounce President Franklin Roosevelt as a Jew whose real name was “Frank D. Rosenfeld,” and scorn Roosevelt’s New Deal as the “Jew Deal.” For Brooks, who worshipped Roosevelt, this ethnic stereotyping was all too credible. At 17, he enlisted in the military, and like Don Rickles, another diminutive Jewish comedian who survived combat during World War II, Brooks emerged with an explosive penchant for humor as violence. The savage ridicule of “Springtime for Hitler” in The Producers was authenticated by early experience against Nazi adversaries in The Battle of the Bulge.
Rather than try to untangle such complexities, Brooks has tended to sum up life’s wisdom in bits of homespun wisdom attributed to his relatives, like “Never run for a bus; There’ll always be another” on the 2000 Year Old Man comedy album.
As a young comedy writer for Sid Caesar, he worked with the head writer Mel Tolkin (born Shmuel Tolchinsky near Odessa, Ukraine) who advised him to read Russian literature, and this acquaintance with Tolstoy, Turgenev, Gogol, and even the antisemitic Dostoyevsky, made an indelible impression. Comedy in the latter two writers, born of absurd pain, transfixed Brooks, who would go on to adapt a novel by two Ukrainian Jews, Ilya Ilf (Ilya Arnoldovich Feinsilberg) and Yevgeny Petrov (Yevgeny Petrovich Katayev) in the 1970 film The Twelve Chairs.
Although not a box office success, Twelve Chairs gave the English Jewish actor Ron Moody one of his few leading roles on film, after starring as the villainous Jew Fagin in the stage musical Oliver! and its screen adaptation in 1968. About Russian anti-Jewish pogroms, Brooks concurred with his friend Tolkin, who told the Los Angeles Times in 1992 that the violence “created the condition where humor becomes anger made acceptable with a joke.”
This comic fury was expressed by Brooks to Jewish friends like Howard Morris, a Bronx-born fellow comedian working with Sid Caesar, who was repeatedly mugged by Brooks, once by tying him up and stealing his wallet on a Greenwich Village street, and again in a Central Park rowboat. These ludicrous, yet intensely realized and enacted pranks were part of his persona over the past century.
And critics, Jews and non-Jews alike, whom he has long referred to as “crickets,” were other targets of aggression, as Brooks’ biographer Patrick McGilligan notes. The apotheosis of feedback deriding opinionated filmgoers is Brooks’ narration as a grumpy old Jew kvetching about avant-garde images in the Oscar-winning 1963 short film The Critic, directed by the American Jewish filmmaker Ernest Pintoff. As animated shapes form and reform, Brooks-as-Jewish-spectator concludes: “I don’t know much about psychoanalysis, but I’d say this is a dirty picture.” With each Jewish cinemagoer being an amateur Freud, the need for most critics is hilariously eliminated.
Similarly, Brooks became his own songwriter in hit musicals, despite lacking any memorable melodic gift. So he borrowed from Brahms the tune for the theme song of Twelve Chairs. The song characteristically expresses a generous life philosophy with the lines “You could be Tolstoy, or Fannie Hurst/ hope for the best, expect the worst.” Mentioning the sentimental bestselling American Jewish author Fannie Hurst was part of Brooks’ all-inclusive optic, writing leading roles for African American performers like Richard Pryor in Blazing Saddles, a part eventually played by Cleavon Little. And Brooks’ affectionate recognition, albeit mocking, of gay men in The Producers continued in 1983 with his remake of To Be or Not to Be, in which he interpolated a rescue of Sasha, a flamboyant dresser, from deportation to a Nazi concentration camp.
Brooks’ equally wide-ranging literary sensibilities are evident in a series of films produced by his Brooksfilms company, a number of them with an Anglophile flavor. Of these, his 1987 production of Helene Hanff’s 84, Charing Cross Road, an ode to bibliophilia, offered a plausible Jewish role for his wife, the actress Anne Bancroft.
But ultimately, Brooks’ passion for Russian literature as a Jewish reader best coincides with cinema in a vignette from the 1975 Playboy interview; in an extended Dostoyevskian narration, Brooks recounts how at age ten, he chased after his “Yom Kippur sweater” that had been swept away by an automobile. Arriving in an antisemitic neighborhood, Brooks was obliged to run further until, mentioning a celebrated freeze-frame closeup on a fleeing boy at the end of the French Jewish director François Truffaut’s film The 400 Blows, little Mel arrived at the ocean in Coney Island, his Yom Kippur sweater safely recovered. This happy ending, as is proper in comedy, echoes the long, productive life and career of Mel Brooks, who deserves all our birthday thanks for his comedic gifts to audiences over the decades.
The post For Mel Brooks and generations of his admirers, 100 years is not enough appeared first on The Forward.
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‘There was a campaign’: UN torture official says colleagues tried to block her letter documenting Oct. 7 atrocities
An Australian lawyer tasked by the United Nations with monitoring and documenting allegations of torture and cruelty is accusing colleagues within the UN human rights system of trying to block the publication of a Jan. 2024 letter she wrote documenting allegations of abuses committed during the Hamas-led Oct. 7 attack on Israel months earlier.
Alice Edwards, who since 2022 has served as United Nations Special Rapporteur on Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment, said she faced weeks of pressure from colleagues who argued that allegations included in the letter she drafted were false and urged her not to send it.
“There was a campaign to prevent that letter going out,” Edwards said in remarks delivered earlier this month at University College London and obtained by the Forward. “There was weeks of being bullied and deterred from writing it and telling me that everything in it was false.”
Edwards’ statements resurfaced a long-simmering conflict in the UN human rights system around its treatment of Israel, which is frequently singled out by UN resolutions and by rapporteurs as a perpetrator of human rights violations.
Meanwhile, other UN rapporteurs have declared doubts on evidence of sexual violence committed during the Oct. 7 attacks — prompting a surviving hostage and the head of an investigative commission that published a report last month compiling witness and survivor testimonies to confront them this week at a hearing in Geneva.
Edwards’ letter, sent in early 2024 to Palestinian authorities and copied to Hamas, detailed allegations of torture, sexual violence, including rapes and gang rapes, burning people alive, and other abuses committed during the Oct. 7 attacks.
According to Edwards, colleagues had given extensive feedback on drafts of the letter, with some items removed from the final version as a result. “All the comments of these individuals had been taken into account,” she said, adding that “the letter shrunk considerably.”
Even after those revisions, Edwards said, only one counterpart — the UN Special Rapporteur on Extrajudicial, Summary or Arbitrary Executions, Morris Tidball-Binz — ultimately signed the communication before it was sent.
Other special rapporteurs and working groups who had expressed interest in signing it, she said, “had also been bullied by others not to sign on.” Edwards added: “There was this concerted effort for this letter not to put on record some allegations that had been received.”
Contacted by the Forward, Danny Danon, Israel’s Ambassador to the UN sent a written statement. “Dr. Alice Edwards’ testimony exposes an uncomfortable truth: when it comes to Israel, facts are too often sacrificed on the altar of politics,” said Danon. “The evidence is overwhelming and undeniable. For more than two years, Israel has documented and presented the horrific crimes committed against its citizens.”
UN special rapporteurs are independent human rights experts appointed by the UN Human Rights Council to monitor, investigate and advise on thematic topics that include torture, violence against women, and education among others. While their recommendations are not binding, their advice informs UN action and aims to influence governments’ responses to alleged violations.
Israeli officials and advocacy groups had long argued that the United Nations devotes disproportionate attention to Israel’s alleged wrongdoing compared to other countries and holds Israel to a double standard. Since the Hamas-led attacks on Oct. 7, 2023, they say, the UN and its rapporteurs have not adequately condemned Hamas’ atrocities and the treatment of Israeli hostages.
Reem Alsalem, the UN Special Rapporteur on violence against women and girls, has said that the Israeli government’s failure to cooperate with her mandate has undermined investigative efforts and “represents a profound injustice to all the victims.” She also has called into question reports from victims, witnesses and investigators who described rape as part of the Oct. 7 violence.
In a post on X in November 2025, Alsalem wrote: “No Palestinian applauded rape in Gaza. No independent investigation found that rape took place on the 7th of October 2023.”
She also wrote of allegations of Hamas perpetrated sexual violence against Israelis: “I firmly believe that never have we seen such a weaponization of accusations of sexual violence as well as disinformation to manufacture consent for the commission of a genocide – aided and abetted by the media and governments around the world.”
The tensions resurfaced publicly this week at the UN Human Rights Council in Geneva when Dr. Cochav Elkayam-Levy, founder and chair of the Civil Commission on October 7th Crimes by Hamas against Women and Children, presented findings from the commission’s recently published report, Silenced No More.
The report, which has been received by governments, international organizations, academic institutions, and policymakers around the world and boasts many endorsers, is the most comprehensive body of evidence yet of sexual violence on October 7. It catalogues witness testimonies, accounts from hostages about sexual abuse during their captivity, and analysis of over 10,000 photos and videos, including hours-long videos recorded by the perpetrators.
“For two years, we immersed ourselves in testimonies of unimaginable violence,” Elkayam-Levy said Wednesday during her presentation of the findings at the UN in Geneva. “We revealed 13 patterns of abuse — including rape, gang rape, sexual torture, burning, and the deliberate mutilation of victims’ faces and genitalia.”
She went on to single out the UN human rights representatives as unresponsive to the evidence. “Will the UN rapporteurs who doubted or denied these crimes acknowledge the truth?” she said, adding, “We call upon you to recognize our findings.”
A day earlier, Ilana Gritzewsky, a survivor of Hamas captivity who has spoken publicly about sexual violence she experienced, confronted Alsalem directly during a live testimony in an emotional appeal.
“Ms. Alsalem, you said there was no evidence of sexual violence on October 7,” she said. “I am the living proof of sexual violence by Hamas. When I and other Israeli women begged not to be raped, why were you silent?”
‘She was very brave’
Asked about Edwards’ allegations, the UN office that supports the special rapporteurs and other independent human rights experts provided a statement to the Forward: “While the experts frequently issue joint communications on issues that engage multiple mandates, participation in any particular communication remains at the full discretion of each expert, in line with their mandate.”
According to Dr. Shelly Aviv Yeini, the former head of the international law department at the Hostages and Missing Families Forum, Edwards and the United Nations Special Representative of the Secretary-General on Sexual Violence in Conflict, Pramila Patten, were among a small number of UN officials who meaningfully engaged with hostage families after the terror attacks. Individuals within the Office of the Secretary-General reached out later in the war.
Aviv Yeini told the Forward that her group and the International Jewish Lawyers Organization provided Edwards with a report that informed Edwards’ later work. Edwards published a report determining that the families of hostages should also be recognized as direct victims of torture and hosted an event in Geneva alongside the forum to present and discuss those findings.
“I think she was very brave, acknowledging the families and defending us in a time when it wasn’t so easy,” said Yeini.
Adam Wagner, who spoke at the event and represented hostages with British ties taken by Hamas, told Edwards that she was “the only UN official” whom hostage families felt “ever reached out to them or did anything for them.”
Edwards’ position at the UN, like those of all other UN rapporteurs, is unpaid. As a part of her work, she is able to go on one official visit to a country for the purpose of investigating allegations of torture per year. Edwards says she supplemented this with several other trips, which she funded herself. In December 2024, she embarked on a self-funded trip to Israel to investigate the Oct. 7 atrocities, during which she visited southern Israel, including kibbutzim that had been decimated by Hamas, and spoke with victims and hostage families, among others.
Edwards said at the talk that she believes she was the only UN special rapporteur to request access to the video compilation assembled by Israeli authorities to personally review footage from the Oct. 7 attacks. According to Yeini, Edwards met repeatedly with hostage families, visited attack sites, and reviewed evidence firsthand.
Edwards told the Forward in a statement that the role of independent experts is “to document violations wherever they occur and regardless of the identity of the victims or the perpetrators.”
“Our credibility depends on maintaining public confidence that human rights are applied universally,” she said. “Where people perceive selectivity, double standards or political alignment, confidence is weakened.”
The post ‘There was a campaign’: UN torture official says colleagues tried to block her letter documenting Oct. 7 atrocities appeared first on The Forward.
