The tablet found by Imri Elya. (photo by IAA via Ashernet)
Imri Elya was on an outing with his parents at Tel Jemmeh archeological site near Kibbutz Re’im when he picked up the square clay object. His parents contacted the Israel Antiquities Authority (IAA) and they handed over the item to the authority’s National Treasures Department.
According to archeologists Saar Ganor, Itamar Weissbein and Oren Shmueli of the IAA, the artifact was imprinted in a carved pattern, and the artist’s fingerprints even survived on the back. The tablet depicts the scene of a man leading a captive. According to the researchers, “The artist who created this tablet appeared to have been influenced by similar representations known in Ancient Near East art. The way in which the captive is bound has been seen previously in reliefs and artifacts found in Egypt and northern Sinai.”
They date the artifact to the Late Bronze Age (between the 12th and 15th centuries BCE) and believe that the scene depicted symbolically describes the power struggles between the city of Yurza – with which Tel Jemmeh is identified – and one of the cities close to the Tel, possibly Gaza, Ashkelon or Lachish, or the struggle of a nomadic population residing in the Negev. The researchers believe that the scene is taken from descriptions of victory parades; hence, the tablet should be identified as a story depicting the ruler’s power over his enemies. This opens a visual window to understanding the struggle for dominance in the south of the country during the Canaanite period.
The COVID-19 pandemic has impacted the lives of everyone in our local Jewish community, as it has impacted people around the world. Daily events like school, work, visiting with friends and family, as well as grocery shopping and other errands, have been transformed by public health recommendations.
The Jewish Museum and Archives of British Columbia has a responsibility to collect and document history as it happens – and needs your help to document this historic time. What are the important aspects of this moment that our community should recall years from now?
Each of us is experiencing this crisis in our own unique way, and the Jewish Museum and Archives wants to gather as many of those experiences as possible. Not sure what to say? The museum can help with that. The JMABC has recruited the assistance of Carly Belzberg, a specialist in guided autobiography, who will be helping community members put their experience into words.
The museum would like to know how daily routines around your house, including work, school and fitness have changed; how you’re staying in touch with family and friends; and what Jewish traditions look like for your family this year. For example, how did you celebrate Passover? How are you keeping Shabbat?
If you are interested in sharing your experiences, or simply would like to learn more about this project, contact JMABC archivist Alysa Routtenberg at [email protected].
National Hebrew Book Week has taken place every year in June. Its fate for this year, in light of the COVID-19 pandemic, is unclear. (photo from gojerusalem.com)
In Israel, you know Shavuot is approaching when you see the grocery stores setting up displays of pasta and spaghetti sauce. The pandemic shouldn’t change that.
Israelis are obsessed with the thought of eating non-meat meals on Shavuot. I suspect that at the heart of this obsession is the feeling that, even today, many people still consider eating a non-meat meal equivalent to eating less than a full meal. Hence, the worry that there really will be a satisfying meal to appropriately celebrate the holiday.
While there are many lovely explanations about why we eat dairy on Shavuot, they seem to be secondary to some practical considerations. As Rabbi Prof. David Golinkin points out, in the late spring, young calves, lambs and kids are weaned. Thus, historically at this time in Europe, there was an abundance of milk. Bear in mind that refrigeration is a fairly new process and that, prior to refrigeration, farmers needed to move fast with perishable milk. They made cheese and butter, which, likewise, needed to be consumed relatively fast. This dairy excess may have motivated some Jews to eat dairy on Shavuot. (See the article “Why do Jews Eat Milk and Dairy Products on Shavuot?” on the Schechter Institutes’ website, schechter.edu.)
But, eating a non-meat meal on Shavuot is not restricted to the customs of European Jewry. As Jewish food expert Claudia Roden notes in The Book of Jewish Food: An Odyssey from Samarkand to New York, Sephardi Jews in Syria made cheese pies called sambousak bi jibn, Tunisian Jews had a special dairy couscous recipe and, in places like Turkey and the Balkans, Jews prepared a milk pudding called sutlage for Shavuot. (If you don’t want to eat animal-based foods, you don’t need to feel left out. The United Kingdom’s Jewish Vegetarian Society helps you enjoy a variety of traditional, but vegan, cheesecake recipes.)
So from where did all this dairy focus originate? One appealing explanation reminds us of what was supposed to have happened on Shavuot, namely that the Jewish people received the Torah. In Gematria, the Hebrew word for milk (chalav) adds up to 40, the number of days on which Moses stayed on Mount Sinai in order to receive the Torah.
Significantly, studying the Torah and other Jewish texts on Shavuot eve has become a major trend in Israel, as well as in the Diaspora. The big Israeli cities offer any number of options for participating in a tikkun leil Shavuot. These free learning sessions welcome the participation of all of Israeli society, from the religious to the secular, and everyone in between. Those living in smaller towns and on kibbutzim and moshavim likewise hold study sessions on the night of the holiday.
The idea of all-night studying originates with the kabbalists. The earliest members of this group apparently studied with Rabbi Shimon bar Yochai, the author of the Zohar, who lived in the second-century CE. It was this scholar (also known by his initials, as Rashbi) who stated: “G-d forbid that the Torah shall ever be forgotten!” (See the Babylonian Talmud Tractate Shabbat 138b.) By the Middle Ages, the kabbalistic all-night Shavuot study had really picked up steam in places such as Safed.
Some claim the reason for studying during the night is found in the midrash stating that it was a way to correct for the Children of Israel’s mistake of oversleeping on the morning they were meant to receive the Torah. Others claim, however, that the Hebrew word tikkun should not be translated as correction, but rather as adorning or decorating the bride. The bride in this instance is the people of Israel and the groom is either G-d and/or the Torah.
According to a late 17th-century Libyan tradition, Shavuot symbolizes the wedding day between the people of Israel and the Torah. According to this tradition, the Torah is the bride, which explains the title of the Libyan Shavuot text entitled Tikkun Kallah. Accordingly, those who read this tikkun are likened to bridal attendants.
The importance of studying on Shavuot is bolstered by the fact that Israel’s Hebrew Book Week (or, in some places, Book Month) begins right after Shavuot. I do not believe this occurrence is coincidental, but rather links us to the idea that we are still the People of the Book and a people of books.
The Israeli book fair has been running for many years. This year, 2020, would mark the 59th annual celebration of Hebrew Book Week and the fair’s age is all the more impressive when you recall how shaky was the Israeli state’s start as an independent entity. Recent years’ events have included Israeli authors appearing in coffee houses, story hours and plays for children, guided walks in Israel’s National Library, the more traditional book signings and, of course, the possibility of thumbing through thousands of Hebrew books.
In brief, our spring holiday offers opportunities for both spiritual and physical nourishment.
Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.
The paper cut “Jerusalem Mizrah” by Yehudit Shadur (1928-2011). (photo from shadurarts.com)
Papercuts are created by taking a folded sheet of paper and drawing a design on one side. The folded sheet is then fastened to a wooden board and the design is cut out with a sharp knife. When the paper is unfolded, a symmetrical work of art appears.
Papercutting dates back to the fourth-century CE in China. It appeared in Western Asia by about the eighth century; in Europe by the 13th century and in Turkey, Switzerland and Germany by the 16th century. Papercutting has been a common Jewish folk art since the Middle Ages and, by the 17th century, it was popular for Shavuot.
Shevuoslekh (little Shavuots) and roysele (rosettes or flowers) were used to decorate windows on Shavuot. They were made of white paper, usually, and frequently displayed the phrase, “Chag haShavuot hazeh” – “this holiday of Shavuot.”
According to an article by Sara Horowitz in the recently defunct Canadian Jewish News a couple of years ago, “for Ashkenazi Jews, there was a particular link between papercutting and Shavuot, which stems from an old practice of decorating homes and synagogues with flowers, branches, boughs and trees. In shtetl culture, cut flowers were a luxury – pricey and perishable. And Jewish culture was deeply literate, so paper, especially used paper – was always around and available for artistic repurposing. Some sources cite the objection of 18th-scholar Vilna Gaon to the Shavuot greening as another reason for the development of a Shavuot papercutting tradition. Because church décor involved cut flowers and pagan practices involved trees, the Vilna Gaon viewed such customs as inherently non-Jewish.”
An acquaintance of mine from many years ago, Yehudit Shadur (1928-2011), and her husband, Joseph, wrote a history of the last three centuries of Jewish papercutting, called Traditional Jewish Papercuts: An Inner World of Art and Symbol. The book won a 1994 National Jewish Book Council Award.
Yehudit Shadur was considered to be the one who pioneered the contemporary revival of the Jewish papercutting tradition. Her works are represented in major museum collections. She also had museum exhibits in Israel, England and the United States.
Shadur’s website offers many quotes from the artist, including one from a 1996 exhibit catalogue, in which she states, “What at first seemed a simple craft proved to be an artistic medium of endless possibilities and variations – not only in the arrangement of time-honoured Jewish symbols imbued with deep and often complex significance, but also in the challenges of colour, composition and texture. Eventually, the subject matter of my papercuts went beyond traditional forms and content to express my personal vision as a contemporary artist….”
Some typical symbols in Shadur’s Jewish papercuts – and in those of others – are menorot, crowns (keter Torah, the crown of Torah), columns representing the Temple in Jerusalem, plants or trees (the Tree of Life, the Torah), and grapevines, lions and gazelles (all representing the people of Israel).
If you’re looking for an activity to do with your children, PJ Library (pjlibrary.org) offers the book The Art Lesson: A Shavuot Story written by Allison and Wayne Marks and illustrated by Annie Wilkinson, in which “Grandma Jacobs teaches Shoshana how to make traditional papercuts,” and readers also learn to make a papercut. For anyone interested, there are various websites that have papercutting tutorials for kids and adults alike.
Chag sameach!
Sybil Kaplan is a journalist, lecturer, book reviewer and food writer in Jerusalem. She created and leads the weekly English-language Shuk Walks in Machane Yehuda, she has compiled and edited nine kosher cookbooks, and is the author of Witness to History: Ten Years as a Woman Journalist in Israel.
Gilad Seliktar, left, and Rolf Kamp in Amsterdam. They are drawing the last hiding place of Nico and Rolf Kamp in Achterveld, which was liberated in April 1945 by Canadian troops. (photo from UVic)
A University of Victoria professor is orchestrating an international project that links Holocaust survivors with professional illustrators to create a series of graphic novels, thereby bringing the stories of the Shoah to new generations.
Charlotte Schallié, a Holocaust historian and the current chair of UVic’s department of Germanic and Slavic studies, is leading the initiative, which connects four survivors living in the Netherlands, Israel and Canada with accomplished graphic novelists from three continents.
The project, called Narrative Art and Visual Storytelling in Holocaust and Human Rights Education, is supported by the Social Sciences and Humanities Research Council of Canada. Its aim is to teach about racism, antisemitism, human rights and social justice while shedding more light on one of the darkest times in human history.
UVic is partnering with several organizations in the project, including the Canadian Museum for Human Rights in Winnipeg, the Anne Frank House in Amsterdam and the Vancouver Holocaust Education Centre.
Many historians of the genre have argued that the rise of graphic novels as a serious medium of expression is largely due to the commercial success of Art Spiegelman’s Maus in 1986. Maus, the first graphic novel to win a Pulitzer Prize, depicts recollections of Spiegelman’s father, a Shoah survivor, with Jews portrayed as mice, Germans as cats and Poles as pigs.
Schallié told the Independent that the idea for the project came from observing the interest her 13-year-old son has in graphic novels and the appeal Maus has had among her students, who have continually selected it as one of the most poignant and memorable materials in her classes.
“Though a graphic novel, Maus could hardly be accused of treating the events of the Holocaust frivolously,” she said from her office on the campus of the University of Victoria.
As most survivors are now octogenarians and nonagenarians, the passage of time creates an ever more compelling need to tell their stories as soon as possible.
“Given the advanced age of survivors, the project takes on an immediate urgency,” said Schallié. “And what makes their participation especially meaningful is that each of them continues to be a social justice activist well into their 80s and 90s. They are role models for the integration of learning about the Shoah and broader questions of human rights protection.”
The visual nature of a graphic novel allows it to bring in elements or depict scenes that are not possible with an exclusively written work, according to Schallié. A person may describe an event in writing but leave out aspects of a scene that might add more to the sense of what it was like to be there at the time.
One of the survivors participating in the project, David Schaffer, 89, lives in Vancouver. He is paired with American-Israeli comic artist Miriam Libicki, who is also based in the city. The two met in person in early January so that Libicki could learn the story of how he survived the Holocaust as a child in Romania.
In 1941, Schaffer was forcibly sent with his family to Transnistria, on the border of present-day Moldova and Ukraine, by cattle car. There, they suffered starvation and were subjected to intolerable and inhumane living conditions.
“The most important thing is to share the story with the general population so they realize what happened and to avoid it happening again. It’s very simple. History has a habit of repeating itself,” said Schaffer.
Libicki, who was the Vancouver Public Library’s Writer in Residence in 2017, is the creator of jobnik!, a series of graphic comics about a summer she spent in the Israeli military. An Emily Carr University of Art + Design graduate, she also published a collection of essays on what is means to be Jewish, Toward a Hot Jew. (See jewishindependent.ca/drawing-on-identity-judaism.)
“The more stories, the better. The wiser we can be as people, the more informed we can be as citizens and the more empathy we can have for each other,” Libicki said. “Graphic novels are not just a document in the archives; they’re something people will be drawn to reading.”
The other illustrators are Barbara Yelin, a graphic artist living in Germany, and Gilad Seliktar, who is based in Israel. Yelin is the recipient of a number of prizes for her work, including the Max & Moritz Prize for best German-language comic artist in 2016. Seliktar has illustrated dozens of books – from publications for children to adult graphic novels – and his drawings frequently appear in leading Israeli newspapers and magazines.
Brothers Nico and Rolf Kamp in Amsterdam and Emmie Arbel in Kiryat Tiv’on, Israel, are the other three survivors who are providing their accounts of the Holocaust.
The books will be available digitally in 2022. A hard copy version of each book is planned, as well. When finished, the graphic novels will be accompanied by teachers guides and instructional material designed for schools in Canada, Germany, Israel, the Netherlands, the United Kingdom and the United States.
UVic hopes to match a larger number of survivors with professional illustrators in the future. To learn more, contact Schallié at [email protected]. You can also visit the project’s website at holocaustgraphicnovels.org.
Sam Margolishas written for the Globe and Mail, the National Post, UPI and MSNBC.
A few weeks ago, my husband got an email out of the blue from a distant relative in Israel. This Israeli was working on some family genealogy. He was stunned to discover that he had many U.S. relatives he never knew about. Together, my husband and this distant relative took on a big extended family project, even as COVID-19 shut down borders and isolated us in our homes.
Suddenly, my husband in Winnipeg and his dad, aunts, uncles and cousins in New Jersey were emailing, sending photos and stories to one another. They tried to iron out all the stories they’d heard and fit the puzzle pieces together. My husband’s paternal grandparents (z”l) were from Mezritch, Poland. They spent the Second World War on the run. They were in a Siberian Gulag work camp. Then, they lived in a shantytown near Tashkent, Uzbekistan. After the war, they stayed in a series of displaced persons camps in Germany before U.S. relatives found them. They arrived in the United States, with their three children, in 1950.
Discovering what may have happened to each relative 75 years ago, and documenting it, has taken on an urgency for both my husband and this “new” Israeli relative. In part, it’s because his oldest aunt, who was 9 when she came to the United States, remembered it all and discussed it with her mother in detail, over and over, as those who’ve gone through huge upheaval sometimes do. For my husband’s aunt, this childhood experience defines much of her worldview. Now, though, her mother, my husband’s grandmother, has died. His aunt is still alive, but unwell. She’s unable to recount the stories or identify the people in photos anymore. The family is racing to record as much of their family history as they can before even more of the pieces are lost forever.
In the midst of this nightly family email exchange, I read a book called Gateway to the Moon by Mary Morris. This novel makes connections between the Sephardi Jews who fled Spain after the Inquisition, the crypto-Jews of New Mexico and the history behind the family connections and modern-day Jewish practice. The author explained that the idea for the book came to her when she met someone long ago. This New Mexican seemed convinced that his family had been Jewish. Indeed, now we know through DNA analysis that many Spanish-speaking people throughout the world have Sephardi Jewish roots.
Gateway to the Moon was graphic, full of historically correct violence, and direct. It took me a long time to get through. It was powerful, but also hard to grasp the scope of the suffering faced during the Inquisition. This religious violence chased Jewish families for hundreds of years through Spain, Portugal, Mexico and beyond.
Morris does a good job of connecting people throughout history in her narrative. This was particularly powerful when a character tastes a lamb dish in Morocco, on vacation, and is instantly transported to her grandmother’s table in New Mexico. Even as their identity was hidden or forgotten, familiar recipes remained. Just the taste of that lamb stew connected the character to the family’s lost past and their Sephardi Jewish identity.
The ramifications of these huge experiences – violence, trauma, colonization, wars, genocides, terrorist attacks and pandemics – will shape us and future generations. We, as Jews, and as people, are forever shaped by these things. We’re about to celebrate Passover. It recounts a huge event in our people’s story – slavery, freedom and migration. This experience shapes us, though it happened (if it happened) long ago. As we say at the seder, Avadim hayinu: Once we were slaves in Egypt, and now we are free. We’re commanded to remember this as though we personally left Egypt.
As I write this, we’re suffering a pandemic, another huge, worldwide and scary experience. My husband and I are Gen Xers. We’ve been shaped by the Holocaust experiences of our families and friends. We were raised hearing their stories and traumas, and it was part of who they, and we, are.
Now, I pray that we, and all our families, and everyone in our community, live to think about what the ramifications of this next event will be. It will impact us all.
My family and I wish you everything good – a chag sameach, zissen Pesach – a happy holiday. Most importantly, may you enjoy it in good health.
Joanne Seiff has written regularly for CBC Manitoba and various Jewish publications. She is the author of three books, including From the Outside In: Jewish Post Columns 2015-2016, a collection of essays available for digital download or as a paperback from Amazon. Check her out on Instagram @yrnspinner or at joanneseiff.blogspot.com.
Damascus Gate today and, below it, the Aelia Capitolina arch leading to the Roman Plaza. (photo by Deborah Rubin Fields)
Revenge is sweet. Apparently, while the Roman Emperor Hadrian did not spike enemy heads on palisades, after three years of battle, he did construct an arch celebrating the suppression of the Bar Kochba revolt. This archway was quite detailed, as it marked the northern border of his Jew-less Roman colony (Jews were only allowed in on Tisha b’Av to mourn the temples they had lost) and the Aelia Capitolina, a colony built on the Jerusalem the Romans had destroyed.
Below and to the left of Damascus Gate (built by Suleiman the Magnificent in 16th century CE) are the remains of Hadrian’s Arch of Triumph and his Roman Plaza. Although the site has been explored since 1864 by numerous archeologists, only recently have the Israel Antiquities Authority, the Jerusalem Municipality and the East Jerusalem Development Company (PAMI) cooperated to open to the public the arch that Hadrian ordered built in 135 CE.
The arch seen today was actually part of a three-arched entrance way. Two shorter arches bordered a taller and wider centre one. Only the eastern entrance remains fully intact, along with the bases of what were once elaborate stone pillars. Inside this archway, one still sees the vaulted ceiling and the floor made of large stone slabs.
The thick blocks making up this flooring measure some two metres (6.6 feet) long and 1.2 metres (3.9 feet) wide. To prevent people from slipping on the stones, the Romans striated some of the pavement, which is still in place, albeit worn smooth from use.
None of Hadrian’s building machinery was motorized, of course. Even the Roman tread wheel crane was run on human or animal power. Not one to waste and not one to overlook architectural beauty, Hadrian scavenged the enormous stones of the razed Second Temple and public structures – Herodian stones from the Temple area are distinct in having narrow margins and low, flat, smooth centre bosses. Hadrian used these stones to build two massive guard towers flanking the archway on the right and left.
As the Herodian stones were not attached by mortar, it was probably relatively easy – the average weight of each is said to have been two to five tons – for Hadrian’s gate builders to dismantle the Temple-area stones. These huge limestone pieces still stand, as the remains of the guard towers, neatly stacked at an incredible height of some 11 or 12 metres.
Soldiers throughout history have faced boredom. To counter this, the Roman soldiers in these guard towers played games. One such “board game,” is still scratched into the flooring near the towers.
The gate with its three arches was typical of its period. Just above the remaining arch, one can still decipher the “C” in the Latin inscription bearing the city’s Roman name, Aelia Capitolina. In Jerusalem, a similar example of this kind of gate is the Ecce Homo Arch. It served as an entrance to the eastern forum of Aelia Capitolina. Part of it may be seen today, along the Via Dolorosa.
As further evidence of how well-planned Hadrian’s city was, the gate opened into a plaza, a circular space that was the junction or crossing point of the eastern and western cardines (plural of cardo; literally, heart) or main roads. According to Simon Sebag Montefiore’s book Jerusalem: The Biography, this plaza led to two forums, one close to the destroyed Antonia Fortress and one close to today’s Church of the Holy Sepulchre. There, Hadrian reportedly built a temple to Jupiter.
This gate appears on Jordan’s mosaic Madaba Map. On the sixth-century map – a model of which appears inside the discovered Roman Plaza – one sees an open square with a column just beyond the gate. To prevent anyone from forgetting who was victorious over the Jewish rebels, the column was topped with Hadrian’s figure. On site, there is a model of the column to give current-day visitors an idea of how the column looked. From this column, distances to different parts of the country were measured. Moreover, the column is the source of Damascus Gate’s Arabic name, Bab al-Amud.
To the left of the arch entrance are the large millstone remains from the later Byzantine period. Most likely, an olive oil factory existed there in ancient times.
To the east of the Roman Plaza, there are three other sites worth visiting when such things become possible again, once the COVID-19 pandemic is contained:
Zedekiah’s Cave (also known as Solomon’s Quarry) has visiting hours like those of the Roman Plaza. As the cave has very good acoustics, over the past few years, it has been used to host concerts. The entrance fee is currently 18 shekels. The local telephone is the same as that of the Roman Plaza, 02-6277550. There is partial wheelchair accessibility.
Rockefeller Archeology Museum, on the northern side of the street, recently had a small, but fascinating, exhibit dealing with the 100-year history of Jerusalem Armenian Ceramics. (imj.org.il/en/exhibitions/glimpse-paradise). The museum is free of charge, with hours Sunday, Monday, Wednesday and Thursday, and even on Saturdays. There is a short flight of stairs at the entrance, so contact the curator, Fawzi Ibrahim, about visiting in a wheelchair. The local number is 02-628-2251.
The Northern Promenade route of the Old City’s ramparts allows you to visit these areas from “above,” but is not designed for wheelchairs or strollers. Buy tickets at the tourist office just inside Jaffa Gate.
From the Romans onward, rulers have built special arches marking the defeat of their enemies. Hadrian’s Arch might also have served as a reminder to potential rebels not to try again. What does seem clear is Hadrian has left us with a 1,885-year-old reminder of the many changes of hands Jerusalem has undergone.
Deborah Rubin Fieldsis an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.
Stockholm’s neighbourhoods are pristinely preserved. This photo was taken last summer. (photo by Ella Kaplun)
Summer days in Stockholm seem never ending. The sun refuses to set until around 10 p.m., leaving a romantic glow upon the city for the evening hours. It is a city made up of a string of 14 islands, most interconnected by bridges; the blue of the water and the green of the land fit together like irregular shaped pieces of a giant jigsaw puzzle.
Stockholm has a unique landscape, with barely any high-rise buildings, except for church spires that pierce the otherwise almost-unobstructed skyline. Since Sweden was neutral during the Second World War, Stockholm was not touched by the war and its old neighbourhoods are pristinely preserved, and feature low buildings in different shades of pastel, inspired by many varied styles of architecture, especially in the Old Town, Gamla Stan.
To get around the city conveniently, a Stockholm Pass, which can be purchased in advance (stockhompass.com), enabled us to hop on and off buses, visit museums and take the always enjoyable ferry rides. But, besides touring, my granddaughter and I also explored Stockholm’s Jewish life here, with its deep-rooted history. Although Sweden has the largest population of Jews in the Scandinavian countries – an estimated 20,000 thousand, 4,500 of whom live in Stockholm – they have a minuscule number compared to other European countries.
To learn more about Stockholm’s Jewish past, we took a three-hour walking tour with knowledgeable guide David Kay from Milk and Honey Tours. We started at our hotel, the Diplomat, a turn-of-the-20th-century Art Nouveau building overlooking Nybroviken Bay. We walked along the waterfront toward the Gamla Stan, where Jews were first officially allowed to settle in Sweden. Ferryboats lined the docks and, last summer, in the many bars and restaurants, including many vegetarian ones, people were relaxing after work, meeting friends and taking in the summer sun.
We crossed a bridge to Gamla Stan, a harbour town built on a hill, with the Royal Palace on top. As we were winding our way up narrow, cobbled streets, passing eye-catching storefronts, our guide told us the story of David Isaac. In 1774, the wealthy gem merchant and seal engraver was invited to settle in Stockholm by Gustav III, to help finance his military expeditions. Unlike Jews who came to Sweden before him and accepted conversion for the privilege of staying, Isaac made it a condition for coming that he be allowed to practise as a Jew. He also insisted that he bring with him other Jewish families so a congregation could be formed.
Our guide then pointed out the middle storey of a three-storey apartment house where the first synagogue in Sweden had been housed. This building, just off the island’s main square, where the Nobel Museum is located, was recently purchased by the Jewish community to be converted into a Jewish museum.
Our tour ended by crossing to another island to see the Great Synagogue. Built in 1870 in a Moorish style, it is a testimony to the wealth and privilege Jews attained by that time and the tolerant attitude of their adopted country. It is now a Conservative synagogue with a female rabbi.
Jews have contributed, of course, to the cultural and economic life of Sweden. An elegant department store in the centre of Stockholm was established by the Saks family, who also owned Saks Fifth Avenue in New York. The renowned publishing house Bonnier, founded in 1804, is still important in the literary life of Sweden. The Stockholm Concert Hall was built by the textile merchant Isaac Hirsch and the City Hall was largely financed by Jewish donors. Even though many of these older families are no longer Jewish, because of intermarriage and assimilation, they continue to support Jewish causes.
However, the climate for Jews has changed and Sweden is no exception to the rise of antisemitic incidents in Europe and in North America. There have been news reports of harassment, intimidation and attacks on Jews in Malmo, Gothenburg and other towns. In Sweden, antisemitism has found oxygen both among white supremacists on the far right and Israel-bashers on the far left.
Nevertheless, Jewish life goes on, albeit on a reduced scale. We spoke with a local high school senior, Eliot, who was involved in the Jewish youth organization in Sweden. He told us that, for him, as for many of his peers, Glamsta, the only overnight Jewish summer camp, was his most important experience in maintaining his Jewish identity. Located in Stockholm’s picturesque archipelago, this small camp attracts children from all over the country. “This was the first time I was involved with Shabbat rituals,” Eliot said, “and it made me proud to be Jewish. In this camp you also become part of a close-knit community of young Jews.”
Another important institution that helps to keep the community together is the Bajit (House), a Jewish cultural community centre, built in 2016. It houses the Hillel school, the only Jewish day school in Sweden, with 360 students in classes from kindergarten to sixth grade, and it also sponsors many cultural events. Like all schools in Sweden, including universities, this one is also tuition free.
Although most Swedish Jews hesitate to show any identifiable sign of their religion, the Chabad rabbi of Stockholm walks around with a kippah. Chabad is located on the island of Sodermalm, formerly a working-class neighbourhood that has been gentrified into a kind of Soho, with vintage and antique shops, art galleries and ethnic restaurants. Chabad holds an Orthodox minyan, hosts Shabbat and holiday meals, houses a kindergarten and is a gathering place for youngsters. Chabad also offers bar/bat mitzvah lessons and Jewish studies, and caters to tourists by delivering kosher meals to their hotels.
Stockholm’s Great Synagogue is not only an historical landmark, like in many other places in Europe, but also a functioning one. One Shabbat morning during our stay we witnessed a double bat mitzvah. One of the celebrants was a local girl, the other from New York, who chose to celebrate this important occasion in Stockholm because she and her family are active in Paideia, a Sweden-based organization dedicated to the revival of Jewish culture in Europe. Both girls read from the Torah, their young voices ringing out in this soaring historical interior, which can easily seat 900 people. On that Shabbat, fewer than 100 attended, but these young voices were the hope for the continuation of Swedish Jewish life.
Erika Levianthas written travel pieces for newspapers and magazines in the United States and Canada. Her granddaughter, Ella Kaplun, is an English major at New York University.
From the page before the opening of Moishe Rozenbaumas’s incisive, heart-felt memoir, we already feel the pain that will inhere in much of his story. Even before we begin reading this autobiography, we see a photocopy of the author’s dedication, handwritten in Yiddish, to the memory of his mother and three brothers, with the dates they were murdered by the Germans’ Lithuanian collaborators in August 1941, in Telz, where Rozenbaumas (1922-2016) was born.
Many people know Telz as the name of the famous yeshivah that was located there, but The Odyssey of an Apple Thief (Syracuse University Press, 2019) by Rozenbaumas – translated from the French by Jonathan Layton and edited by Isabelle Rozenbaumas – takes us into the city, depicting a vibrant Jewish culture, zeroing in on housing, way of life, learning and sports. The title comes from little Moishe’s sneaking into the bishop’s orchard next door and nabbing apples, and the author gives us an historian’s sweep of an area, with a memoirist’s penchant for detail.
For instance, his description of a middle-class household’s Sabbath meal. Although Jews lived “in poverty, hand to mouth,” middle-class Jews had munificent Sabbath meals. Typical to Eastern European towns, the housewife prepared the cholent pot at home, then brought it to the baker, whose oven was heated all Friday night long throughout the Sabbath. Then, around noon on Shabbat, the woman would go and pick up her cholent. Most Jews didn’t have the sort of meals that Rozenbaumas describes, which are at odds with the reigning poverty in Telz.
When the Germans occupy Lithuania, Rosenbaumas accents the avid cooperation between the Lithuanians and the Germans, who murdered 90% of Lithuania’s Jews. He writes that the situation of the Jews in Lithuania was no worse than in other countries; they weren’t loved but they were tolerated. However, in the very next sentence, we read that once, when the president of Lithuania addressed an antisemitic rally, he said that nobody should be stupid enough to slaughter a productive cow while it’s still giving milk.
Rozenbaumas provides what he considers a needed reassessment of the yizkor bikher, the memorial books that survivors of various towns assembled after the Holocaust, which always accented the people’s “piety, purity and morality,” even though there were all kinds of individuals. What is often omitted from these yizkor bikher, Rosenbaumas states, is the miserable poverty of Jews who lived in lightless cellars, had only black bread dipped in powdered sugar for food, froze in winter, and dressed in rags.
During the financial crisis in the late 1920s, his father’s successful fabric shop began slipping. Rather than declaring bankruptcy, the father ran away to Paris, where he had sisters. Despite continuing promises, the father never sent any support to his wife and children, and was unaware of what happened to his family until after the war.
Without a father, the author’s mother and her four boys slowly sank into poverty and hunger. Rozenbaumas becomes an apprentice to a poor tailor with 10 children who live in squalid quarters. Soon, he is the sole breadwinner for his family. But, when the Germans invade, he flees eastward to the Soviet Union, just like his father had fled westward. But the author doesn’t notice the irony of the breadwinner again fleeing alone. True, Rozenbaumas asks his mother to come, but she refuses; he doesn’t ask any of his brothers to join him in his flight.
In the Soviet Union, life wasn’t easy. First, Rozenbaumas served four years on the front, undertaking dangerous reconnaissance missions; he was wounded and decorated several times. He regrets that Jewish former soldiers from other lands never mention the half million Jews who fought with the Red Army, including hundreds of Jewish generals and other high-ranking officers.
When Rozenbaumas’s unit liberates Lithuania, first thing he does is go to his house in Telz, where he finds Lithuanians occupying his now-emptied home. He learns where his family was massacred and longs for revenge, which soon comes. After volunteering as a translator for the Russians, he gets the satisfaction of hunting for the Lithuanian murderers, finding them, watching their trials and immediate executions. He even found the murderer of his youngest brother, Leybe, “who may have been,” Rozenbaumas adds, “his playmate.”
When Rozenbaumas finally decides to leave communist-controlled Lithuania, he describes the nightmare of leaving, taking the great risk of paying an exorbitant fee for forged papers that would guarantee his exit. He makes it, finally, across the border into Poland, with suspense and fright accompanying him like a second skin. It was not until he got to Vienna that he could breathe freely.
One day, Rozenbaumas met a man who knew about his father in Paris and thus was able to find him. But the father-son relationship was uneasy. The father never expressed a word of emotion regarding the murder of his wife and his three sons.
Coincidence also plays another crucial role. Rozenbaumas, by chance, bumps into his old girlfriend, Roza, and later marries her.
Rosenbaumas concludes his touching narrative with the hope that the stories of the European Jewish civilization that was brutally erased from the face of the earth will not be forgotten.
Curt Leviant’s most recent novel is Katz or Cats; Or, How Jesus Became My Rival in Love.
During the Nazi regime, all references to the great physician-chemist Paul Ehrlich were suppressed. In the 1990s, he was featured on the German 200-mark bill. (photo from the internet)
In the 17th century, the Netherlands was a country of great tolerance, having welcomed the Jews driven out of Spain and Portugal, including renowned physicians. Not coincidentally, this was the Dutch Golden Age, a time of breathtaking advances in the arts and sciences. It was there that the first microscopes were invented. To the eyes of Antoni van Leeuwenhoek in the town of Delft in the 1670s were revealed a veritable zoo of subvisible microorganisms previously inconceivable to even the most fevered imagination.
Throughout the 18th century and well into the 19th, there was speculation among medical men about the possible relation of microorganisms to disease. Certain varieties of these tiny beings seemed to appear in the organs or blood of patients with certain diseases. But there were endless questions: Could these creatures, so primitive, come into being by themselves (“spontaneous generation”)? Were they the cause of disease or were they the product of the diseased body? Could a pathogenic microbe of one disease transform into that of another disease? In diseases known to be infectious, were microorganisms the culprits, transmitted from a diseased body to a healthy one, there to germinate?
A breakthrough heralding the Heroic Age of the “microbe hunters” came in 1840 with the publication of Pathological Researches by the Bavarian medical doctor Jacob Henle, a descendant of rabbis. Using technologically advanced microscopes and deductive analysis of case histories, Henle declared to the medical world: “Contagion is matter endowed with individual life which reproduces itself in the manner of animals and plants, which can multiply by assimilating organic material and can exist parasitically on the sick body.”
A year later, the Polish-German Jew Dr. Robert Remak published the first of his observations that cells – of any living organism, including microbes – can arise only by division of parent cells. Thus, Remak helped put to rest the concept of “spontaneous generation.”
Humankind’s war against transmittable diseases accelerated dramatically in the second half of the 19th century. In the German city of Breslau (today Wroclaw, Poland) the botanist-microscopist Dr. Ferdinand Cohn published his Bacteria, the Smallest Living Organisms in 1872. As the undisputed master of the classification of subvisible life, Cohn elucidated that, while a microorganism of one disease may undergo various transformations, it remained the microorganism of that specific disease and not of another.
Robert Koch, a student of Henle and a protégé of Cohn, of Protestant background, discovered the tuberculosis bacterium and elucidated the mysterious life cycle of the anthrax bacillus.
Such dramatic advances led to the discovery of links in the chain by which the various pathogenic microorganisms are transmitted, and then to measures to break those links: cholera by drinking water contaminated by sewage, sleeping sickness by the tsetse fly, childbed fever by the contaminated hands of doctors and midwives, malaria (literally “bad air” in Italian) by mosquitoes.
To such defensive measures were added an arsenal of aggressive weapons. In Berlin in the 1890s, the Jewish doctor Paul Ehrlich was instrumental in developing serums. The watery part of the blood (after coagulation) of an animal that has fought off a toxin-producing disease such as diphtheria contains powerful antitoxins that can be injected into a diphtheria patient. A brilliant and imaginative chemist, Ehrlich pioneered techniques for selectively staining specific microorganisms to distinguish them under the microscope. This principle inspired him to develop the world’s first chemotherapeutic agent – the arsenical compound Salvarsan, known popularly as the “magic bullet,” which homed in on and destroyed the spirochetes of syphilis. (Ehrlich’s coreligionist Albert Wassermann developed the blood test for the disease.)
A general optimism prevailed as the new century dawned that humankind would soon be free of all serious infectious disease. But there was a missing piece in the puzzle.
It had been known since ancient times that people who survived a given disease were wholly or partially immune from an attack by the same disease. In 1798, the English physician Edward Jenner showed that deliberate inoculation with the pustules of relatively benign cowpox (vaccination, from the Latin vacca, cow) protected the person from attack from the far more virulent and deadly smallpox.
Among the great triumphs in the war against transmissible disease was the development of a new kind of vaccination by the French chemist Louis Pasteur, a devout Catholic. Pasteur showed how inoculating a patient with killed or attenuated (weakened by drying or other techniques) pathogens such as rabies activated the natural immune system against a subsequent all-out attack by the fully virulent disease.
But here was the rub. Unlike the microorganisms of tuberculosis, cholera, diphtheria, syphilis and so many other diseases, no one had ever seen the agents of smallpox and rabies. Pasteur speculated that they were microorganisms beyond the range of the most powerful microscopes.
Around the turn of the 20th century, the Dutch microbiologist Martinus Beijerinck showed how the fluid of an infected plant, after being strained through the finest filter, was able to infect healthy plants. This was an important breakthrough, but Beijerinck erred in assuming the culprit wasn’t composed of solid matter. He called it virus, Latin for poison.
That no one had seen a virus made the fight more difficult. Between 1918 and 1920, as the Spanish flu claimed more lives than all the battlefields of the Great War in the preceding four years, the medical profession mistakenly attributed it to an opportunistic bacterium, visible under the microscope.
The limit of what could be seen was dramatically pushed back with the invention of the electron microscope in the early 1930s, by which viruses, hundreds of times smaller than bacteria, were exposed to the light of day. It appeared that Pasteur was right after all in postulating that the agent of rabies was a microorganism.
But not quite. Research later in the century showed that viruses – unlike living entities (organisms) – can’t multiply or reproduce on their own. Viruses turned out to be packets of genetic material – DNA or RNA – that penetrate, commandeer and destroy living cells in order to multiply.
Poliomyelitis, the dread crippler caused by an enterovirus, was checked in the 1950s (and is now virtually eradicated worldwide) thanks to two vaccines developed independently by the American Jewish medical doctors Jonas Salk and Albert Sabin. (The virus was cultured using the foreskins of circumcised babies.)
AIDS, hepatitis, SARS, Ebola and now corona – new virulent viruses keep emerging. And the weapons to fight them – vaccines, tests, serums, pharmacological “magic bullets” – are in the enduring spirit of the great Jewish microbe hunters.
Dr. Frank Heynick is the author of Jews and Medicine: An Epic Saga (KTAV Publishing House, 2002, still in print). There are some 500 publications of his in the United States and Europe, ranging from academic to popular-scientific, many on the history of medicine and allied fields, including the crucial Jewish role. He lives in New York and has taught the history of medicine at New York University.