February 11, 2016 by Merissa Nathan Gerson
If you are looking for a solid way to spend your Valentine’s Day, and you happen to be in San Francisco, I suggest you get yourself to 2nd Floor Projects in the Mission District to see a new body of work (no puns intended) by mixed-media interdisciplinary ceramicist Nicki Green.
I met Nicki a little over a year ago, through a mutual friend at Smith’s social work school who was doing a research project on Orthodox Jewish women’s sexuality. I was doing an MA in Jewish Studies and focusing on Sex and Judaism, and my friend suggested I talk to this artist exploring sex, gender, Judaism, trans identity and mikveh.
I picked Nicki up at the BART station in downtown Berkeley and we drove to the top of the Berkeley hills, where for two hours we sat and paced, sat and paced, and talked, like two Jewish kids at a very strange candy store.
February 9, 2016 by Eleanor J. Bader
Feminist artist Linda Stein wants every human being to be what she calls an “upstander,” not a bystander. Whether this means speaking out against oppression; defending someone who is being bullied, ostracized, or persecuted; or simply showing compassion to a person in need, her work is meant to encourage action over passivity.
Her most recent effort, a series of tapestries, sculptures and collages, is called Holocaust Heroes: Fierce Females, and pays homage to 10 women, half of them Jewish and half of them not, who exhibited almost-unimaginable “upstanding” courage during World War II.
Some, like Anne Frank (1929-1945) are well known. Others, like Vitka Kempner (1920-2012) are not. Kempner was a leader in the resistance that formed in Lithuania’s Vilna ghetto, and, as part of the United Partisan Organization, was the first woman to participate in blowing up a Nazi train. Other women memorialized by Stein include Noor Inayat Khan (1914-1944), the first female radio operator to be sent from Britain to assist the French resistance; Nancy Wake (1912-2011), a New Zealand native who became an underground courier; and Ruth Gruber (still alive at 104), an American journalist and photographer who not only interviewed camp survivors after the war—bringing their stories to international attention—but had earlier risked her life to rescue 1,000 Jewish refugees and wounded American soldiers.
February 8, 2016 by Sharon Glassman
Do you feel, in your heart of hearts, that Cupid’s annual holiday glorifies everything that’s wrongly romanticized and commercialized about love?
February 5, 2016 by Amy Stone
Miri Regev made page one of The New York Times. She’s the right-wing face of what The Times headlined as “Culture Wars Shift in Israel to Art Realm” (Jan. 30, 2016). Make the front page of The Times and you’re well on your way to being the Israeli that we American Jews rush to love or hate.
But back in November, the Other Israel Film Festival at the JCC Manhattan beat The Times to the punch at its panel “Israel’s Freedom of Speech.” Four outspoken Ha’aretz editors and reporters along with filmmaker Mor Lushi spoke critically of Regev’s chilling effect as Netanyahu’s Minister of Sport and Culture. This divisive defender of Israel approaches culture with the same zeal she brought to her brief stint as chief press and media censor for the Israeli army, followed by IDF spokesperson during Israel’s disengagement from Gaza in 2005 and the 2006 Lebanon War.
Minister of Sport and Culture since last May, Regev only joined the Likud Party in 2008, at the age of 43. She was elected to Knesset the next year, last on the Likud list of 27 candidates winning seats.
Disturbing examples of Regev’s wielding her budget for patriotic purity: She attempted to freeze funding for Haifa’s al-Midan Arab-language theater for producing a play about a Palestinian terrorist. She threatened to block state funding for the prestigious Jerusalem Film Festival unless it removed the documentary “Beyond the Fear,” on the assassin of Prime Minister Yitzhak Rabin.
February 3, 2016 by Sandy Eisenberg Sasso
Ten years ago my daughter was getting married, and I wanted to give her a gift of Jewish love stories which included her own. In searching for the very best stories, ones that might share love’s wisdom, I looked to a good friend and folklorist, Peninnah Schram. She suggested a number of beautiful narratives. As we talked, I proposed that we put together an anthology of Jewish stories of love and marriage. Not only could we provide an important historical collection, we could also show the evolving and eternal nature of romance. There was nothing like this available.
Neither of us had the time then, but we never abandoned the idea. One day we would create a book, Jewish Stories of Love and Marriage. When my daughter and son-in-law were celebrating their tenth anniversary, we were ready. Before we could even off a proposal to a publisher, we would have to do our research. All through those study months, Peninnah and I would call each other to share what amazing material we were finding. Each narrative had its own power and beauty; together they wove a tale of joy and sorrow, defeat and triumph, spontaneity and tenacity. Every day we found a new story, it was like opening a surprise gift. Every night I would pour a glass of wine and read those legends to my husband, Dennis. It was like renewing our vows.
One unexpected discovery was the story of Pearl, the wife of Rabbi Judah Loew of Prague. I knew the rabbi of Golem fame, but not Pearl, the clever and wise student of Talmud. The two are buried side by side in the Jewish Cemetery of Prague. One tombstone sits over both their graves. When I stood before that grave with a group of fellow travelers, I told her little known story.
We hadn’t anticipated including love letters in the anthology. But we kept finding such stunning correspondence that we decided to devote a section of the book to them. Reading the correspondence of Alfred Dreyfus (the Jewish French captain falsely accused of treason) and Lucie Hadamard, Martin and Paula Winkler Buber, we were witness to playful wit and compassionate longing. We came to understand in a much deeper way how those relationships sustained and fostered their creativity. Particularly important for us was how these letters often gave women a voice.
January 26, 2016 by Dina Weinstein
I love that Jewish women abound in the artwork of children’s book author and cartoonist Syd Hoff. I was a fan of his classic “I Can Read” books in my Cold War-era childhood. But when I read the quirky stories to my sons I began to see a whole different message about gender that had escaped me in my own youth.
Hoff’s zaftig mama is everywhere in his made-in-Miami children’s books and the New Yorker cartoons he produced from 1929 to 1975—as are other archetypal female characters. There are young and innocent girls, tenement-dwelling street toughs, eligible maidens, sexy molls and buxom Bronx Jewish mothers. Hoff was portraying Jewish women realistically and unapologetically for a general readership.
The artist and author is most famous for the 1958 HarperCollins “I Can Read” book Danny and the Dinosaur. (Hoff bent to the times. In the 1970s age of equal opportunity he published Amy and the Dinosaur.) Now, on the 100th anniversary of King Features Syndicate, it is an occasion to remember Hoff’s two long-running cartoon strips: “Tuffy,” a four-frame strip which ran from 1939 to 1949 and “Laugh It Off,” a one-frame gag cartoon, which ran from 1950 to 1970.
Tuffy was a tough female tenement urchin. “Laugh It Off” was similar to Family Circus with its anecdotal, humorous, domestic scenes. Looked at as a whole, it becomes apparent that Hoff used this platform to explore and appreciate Jewish women as Jewish Americans were asserting themselves in general culture.
Most of Hoff’s storybook characters are animals and underdogs. In his 1959 book Sammy the Seal, Sammy is unhappy at the zoo until he sees some children going to school. Sammy says: “I will go too.” It’s up in the air whether the teacher will let a seal stay in school. Hoff put his zaftig mama striding across the cover of Sammy the Seal!
Hoff’s are stories about quests for belonging, a classic theme of the minority Jewish experience. Search deeper and you will find images of Hoff’s family and neighbors from his childhood acting out that search for belonging.
January 14, 2016 by Dawn Marlan
I was about to be married, a thing I had never imagined possible. Why conjure unlikely scenarios when I could conjure a likely one? Instead, I had imagined persuading a future lover not to marry but to make me a child. I would win his consent by promising him exemption from all responsibility. It was a sort of hopeful daydream born of cynicism. A way of making the best of things. Because marriage had not worked for my mother, I had no business believing it might work for me. How could I be destined for anything but loneliness when what distinguished her from me was her optimism? She had expected it to last. Raised in the shadow of her disappointment, I was let loose in the world armed with the knowledge that nothing is guaranteed, a hard-won cliché that I adopted as my own like a cherished foundling.
At twenty-eight years old I wore a perfect, solitaire diamond that I disliked for its prissiness. I had chosen it to convince myself that something conventionally good could happen to me. In a case of shiny gems, I had recognized it as the one from the myth. It caught the sun, producing patterns of refracted light wherever I pointed it.
After the slew of partners with whom there had been no chance of understanding, my fiancé had preternatural intuition. Having lived in the same places and having read the same books, he knew precisely what I meant when I said, “hmmm,” staring into space. So I had reason to believe marriage possible in spite of the skepticism I’d spent so many years honing with theoretical weaponry. But our harmony was not enough to still the fear in me that something would happen to ruin it all. I became insanely jealous of his past, jealous, not of anything he might do, but of something he couldn’t deny. In fact, it was my own past I was trying to exorcize and suddenly, in the midst of researching wedding ceremonies, I knew how to accomplish it.
January 6, 2016 by Bonnie Friedman
I met my heroine, Lillian Vernon, the novelties-catalogue maven who passed away December 14, 2015, at the dedication of the building she’d donated to NYU to house its Creative Writing Department. She’d been firing my imagination for decades, long before this latest lagniappe, and I aimed to tell her so. Mine had been a narrow Bronx district of drearily familiar blocks where, I felt, everyone looked and sounded alike. When the Lillian Vernon catalogue arrived, I feasted. Wood hangers painted to be Russian dancers with outflung legs soaring, a latticework egg in which one stashed dried rose petals to perfume one’s closet, the cheese slicer that evoked Parisian parties, the red silk pincushions from China with tiny people all around the equator holding hands, and a majestic seal you could order with your own initials to shut your correspondence with a coin of swirling wax—all communicated the big possibilities of life.
As did Ms. Vernon’s story itself, as I learned when I was older. She’d started her business at her kitchen table with wedding money, taking out an ad in Seventeen magazine for a monogrammed handbag. The orders poured in. Mrs. Lillian Hochberg named her business for the posh, colonial-sounding town she lived in, Mount Vernon. Then, after her second divorce, she named herself for her business. Thus the girl born Lilli Menasche in Leipzig, a child refugee from Nazi Germany, ended up as Lillian Vernon. Could a story be more American?
I myself had escaped the constrictions of life through an ascent into the study of literature and writing. Still, I lived largely sequestered, my chief obligation being the afternoons I taught at NYU. A lack of pragmatism engulfed me, so much so that when I volunteered to read a brief personal essay in honor of our patron at the dedication of the Lillian Vernon house I was surprised to be told there would be no reading of creative writing on this occasion.
As I approached West Tenth Street on the afternoon of the event, I passed specially assigned police. Limousines gleamed. The parlor-floor rooms were crowded with men in dinner jackets and women in fancy dress. And then, here was Lillian Vernon herself! She was short, and solid, a well-coiffed woman who looked about 70 (she was, in fact, 80), wearing a brilliant turquoise jacket. I gushed to her my story about the Bronx, about her inspiring catalogue which was the very basis of the house of the imagination in which we now stood. She eyed me keenly. Then said, to my amazement: “Did you ever get out?” (Or rather, to be more accurate: “Didja ever get out?”)
December 29, 2015 by Yona Zeldis McDonough
Long before there was the Moosewood Cookbook and the explosion of interest in vegetarian cooking and eating, there was Fania Lewando, pioneering cook, thinker and educator. Born in Poland in 1889, Fania was the second of Haim and Esther Fiszliewicz’s six children—five of whom were girls. Her family immigrated to England in 1901 and changed their name to Fisher. As a young woman, Fania married an egg merchant, and together they moved to Vilna, where she opened a kosher dairy restaurant on the border of the Jewish quarter in old Vilnius. She also ran a cooking school nearby, and presided over a salon whose guests included Marc Chagall, and Yiddish poet and playwright Itzik Manger. She even supervised a kosher vegetarian kitchen on the MS Batory, an ocean liner that sailed between Gdynia, Poland, and New York City.
December 28, 2015 by Amy Stone
Not exactly a trend—but impressive—that two of the documentary directors in this past November’s Other Israel Film Festival are women who not only have several films to their credit but are also pregnant with their second child. More power to them.
Both were featured at the 9th annual Other Israel Film Festival, which is sponsored by JCC Manhattan and focuses on films critical of Israeli politics and society. Both directors’ voices are part of their films’ message that Israel can do better.
Mor Loushy’s “Censored Voices” is carefully constructed from long-silenced interviews by soldiers right after the Six-Day War. Laura Bialis’s “Rock in the Red Zone” is the more freewheeling personal and political story of a Los Angeles filmmaker, now 42, drawn to Sderot, the neglected town near enough to Gaza to be constantly under rocket attack. As a filmmaker who’s worked in Kosovo, she’s attracted to this neglected town that produces music that’s changed the Israel music scene. As she explains in the narrative, “I’d always heard that good music comes from hard places.”
She comes. She sees. She’s hooked. The film takes shape not only as the documentation of a town shamefully neglected by Israel (in the 1950s the Ashkenazi founding fathers sent the Jews from North Africa to this benighted spot, then the Ethiopians), but also as something more personal. We’re seeing the Zionist awakening of a Southern Californian. She doesn’t say it but these Mizrachi musician guys are real men, not your twerpy American Jewish males.