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April 15, 2015

A taste of Morocco without leaving town

I remember six years ago being in Tarifa — on the southernmost coast of Spain, a 30-minute ferry ride to Tangier, Morocco — and being tempted to cross continents. The port was so close to Africa, I could nearly taste it. The cloth was brighter, the spices more aromatic, the sea greener. 

“I’m taking the ferry,” I told my parents, who were comfortably ensconced at home in Los Angeles, during a conversation over a throw-away mobile phone. 

“Like hell you are!” they responded. 

I still flirted with the possibility, but as a 20-year-old female trekking solo into that foreign port, without any real plan or sense of direction — not to mention a tired, old backpack filled to the brim with odds and ends — Morocco seemed too mystic, too far-fetched, too risky. I never went.

But I fulfilled that urge years later, with no backpack, no throw-away cellphone, no ferry crossing. With just a glass of Cabernet in hand, I sat at the Levantine Cultural Center on Pico Boulevard, transported to that faraway land with the help of an array of art and an impressive sound system. It was all part of an April 11 celebration of Mimouna, a Moroccan commemoration of the end of Passover.

Custom has it that Mimouna was an opportunity for Jews and Muslims to convene and break bread. Because Moroccan Jews at this time of year maintained Passover kitchens, their Muslim neighbors would offer them post-holiday ingredients from their own kitchens (flour, milk and honey) and, in turn, together they would celebrate with platefuls of mufleta, a flaky North African crepe. 

Jordan Elgrably, co-founder of Levantine Cultural Center, described Mimouna as a “chance for the non-Jewish Moroccans to hang out with their Jewish neighbors.” 

When I arrived at the event, I was immediately enveloped in a collage of colorful fabrics, scents of powdered sugar, baked dough and hot tea, and the sounds of traditional Moroccan tunes wafting from the stereo. 

“So, you are Moroccan tonight,” a busy Elgrably said before rushing away to the back. 

People continued to arrive — about 75 total. As seats were being arranged, visitors wearing traditional scarves, linens and ankle-length dresses in astonishing colors kept drifting through the Levantine’s front doors. Once no more seats were available, they sat cross-legged on the floor in typical Bedouin fashion.

“Happy Mimouna!” Elgrably said, welcoming the crowd. 

A patchwork of heritages, Elgrably is Moroccan, first and foremost, and a fusion of religious affiliations, including Jewish and Muslim. His father, of mixed ethnicity, was born in a town that Elgrably roughly calculated as “one day’s mule ride from Marrakesh,” and his mother came from Casablanca.

Inspired by his blended heritage, Elgrably told the Journal he wants to expand the potential of the Levantine Cultural Center in the coming year as a cultural co-op. In fact, a name change is underway and the center, which opened in 2001, soon will be rebranded as The Merkaz, which in Arabic and Hebrew means “The Center.” The idea, he said, is so “more people will relate to the concept that this is a hub.” 

“I’m the bridge from Old World to New World,” Elgrably, sporting a mop of curly hair, striped white-and-gold Moroccan garb and slick, black leather dress shoes, told the crowd. 

Soon after, the festivities commenced as performers Rose Rojas and her Guedra group took the stage. Guedra is a tribal dance traditional to the “blue people” of the Tuareg Berbers, a North African matriarchal tribe in which men, not women, wear veils. Their nickname comes from the indigo dyes used to color their linen, which in the Saharan heat, bleeds onto their skin. Adorned in rich indigo robes, the women sat on their knees, chanting, as Rojas went through the movements, twirling her hands and swaying her braided black locks.

Next was Youssef Iferd on a sinter (three-stringed lute), who played an improvised set with local band Bedouin X. Iferd’s voice wavered like an imam’s call to prayer as he sang the ancient hymns of Essaouira, the walled city from which he comes.

This was my first Mimouna and my first real taste of Morocco. And although, over the years, Mimouna has been adopted by other cultures and traditions have been revised, Elgrably made it a point to revert to its origins. For me, it rekindled something else — that feeling of sitting in a Spanish port, exhilarating and wondrous, not knowing what to expect. 

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Beyond Chocolate Bunnies and Passover Baskets

As I prepared for Passover last week, one of my co-workers asked me if I made “Passover baskets” for my kids.  When I replied no, she asked, “You mean your kids don’t get bunnies and Easter eggs?”

And so it begins.

Soon, my co-workers file in and the questions begin.  I am never asked about Rosh Hashanah or Yom Kippur.  However, it is assumed that Jews celebrate Christmas and Easter with a twist.

Most of my co-workers have met a few Jews.  Some even have a Jewish relative by marriage.  I am told their Jewish relatives are nothing like me.  I am the only observant Jew they have ever met.  At this point, I am the CEO of the Jewish people.

The Jews they have known don’t keep kosher or observe Shabbat.  Those Jews informed my co-workers that Jews do not eat pork because we didn’t know how to cook it properly.  They told my co-workers that ham was fine after the rabbi blessed it.  Lobster and shrimp were kosher because they are fish.  I would rather explain the meaning of life than dispel the nonsense of Jews who are ignorant of their Jewish heritage or embarrassed by it. 

We live far away from a large Jewish community.  It is easier to find little green men in New Mexico than Jews in the South.  It should not be this way.  The American South has never been devoid of Jews.   Some of the oldest synagogues in America are in Charleston and Savannah.  Richmond, Virginia is home to the only Jewish military cemetery outside of Israel.  The cemetery contains graves of Jewish Confederates who died at Manassas, Petersburg and Gettysburg.  There are thriving Jewish communities all over the South, but it is not New Jersey and my co-workers are curious.

As the questions fly, in walks my mentor.  She is African American and deeply religious.  A few years ago she accompanied her pastor on an Easter trip to Israel.  The stops included Masada, the Sea of Galilee, Jerusalem and Tel Aviv.  She saw people rolling matzos and preparing for Pesach.   She looks at my co-workers and says, “You are all a bunch of idiots.”  She explains that the Last Supper was the Passover Seder and that Jesus (not his real name, she explains) kept the Sabbath.  His religion was not theirs. She told everyone about her dip in the Kinneret and said and that a little water on the “keppie” (she has been around me a lot) is not the same.  She was thrilled to visit a Jewish country.  I am proud of her.

Now she has her own questions, and I am the focus of attention.   I used to be uncomfortable answering questions about Judaism.  I don’t hide who I am, but I don’t advertise it either.  Sometimes I am “outed.”   My experiences with anti-Semitism have made me find the backbone I did not realize I had.  I explained that matzo is not the same as the communion cakes Father Norman showed me when I was in college.  I bring in a box for them to sample.  One woman heard on a Christian television show that the stripes on matzo represent the lashes the Romans inflicted on Jesus.  I explain that the stripes are because of the baking process and tell her the entire process cannot take more than 18 minutes. The questions continue, but the last question was the same as the first.  “Don’t your kids want chocolate bunnies and eggs?”  My mentor rolls her eyes.  We are back at square one.

My mentor says, “You guys are really limited to your little world. You need to go Israel.”  Then it hits me.    The root of the word Mitzrayim is metzar or limit, shut or narrow.  Travelling to Israel during Pesach, she found a different world, a world that is not limited to chocolate bunnies or Sunday church services.  She saw a Jewish country that is political, spiritual and far removed from her own.  I realize my co-workers consider themselves religious Christians, but one of them made a connection with the mother of her religion.

Pesach is my favourite holiday.  I still struggle to make sense of the other holidays, but not Pesach.  I read the Haggadah in Spanish and translate for my family.  I am free, and Pesach is finally mine.

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West Coast Jewish Theatre takes the stage

Last year, Howard Teichman, the artistic director of the West Coast Jewish Theatre (WCJT), stood before the audience applauding the final performance of “The Whipping Man” and sorrowfully announced there would be no future plays — there simply was no more money in the kitty.

This week, a more cheerful Teichman retracted the obituary and announced a lineup of three plays for the 2015-2016 season.

“Happily, five donors stepped forward, donated money and enlisted new subscribers,” Teichman told the Journal. “We also received a small grant from the Ahmanson Foundation.”

These efforts yielded some $60,000, hardly enough to buy peanuts and martini olives for a Hollywood wrap party, but enough for WCJT to rise and tread the boards another year.

To celebrate the near-miraculous recovery, the theater’s first production of the new season is the American premiere of “O My God” by the late Israeli playwright Anat Gov, opening April 18 at the Pico Playhouse .

Popular Israeli-American actor Mike Burstyn, in the title role, describes the play as dealing with “some of the most profound questions and emotions facing human beings, but in the format of a divine comedy.”

The play opens in the office of Ella (Maria Spassoff), a Tel Aviv child psychologist facing numerous challenges, including raising a teenage autistic son (Joseph Rishik), who also is a musical prodigy.

One day, she gets a call from a new patient who insists on an immediate appointment. The patient turns out to be God, who knows everything about Ella’s life and problems but otherwise shares the frailties and fallibilities of ordinary humans.

“The play poses the question of what you would do or say if given the chance to meet God,” Burstyn said. “Would you, like the psychologist, ask him where he was during all the catastrophes that have befallen the Jewish people?”

For a change of pace, the season’s second production is the romantic comedy “Romance.com” by veteran stage and screenwriter Hindi Brooks, who died in 2011 at age 85.

The play revolves around an elderly man and woman, who meet via cyber chat rooms, each trying to attract the other by inventing youthful and attractive alter egos.

When they finally decide to meet face-to-face on a date, each has to find a substitute to represent the images they have concocted.

“Fugu,” the season’s final play, is another switch in theme and style and is one Teichman, in collaboration with Steven Simon, has been researching and writing for some 20 years.

Fugu is a Japanese delicacy derived from blowfish, but it also was the code name for a historical episode in which some Japanese politicians hoped to prevent a confrontation with the United States in the months and years before the attack on Pearl Harbor.

Convinced that President Franklin D. Roosevelt was Jewish, the planners persuaded the Japanese government to grant asylum in the city of Kobe to some 6,000 Jewish refugees from Nazi persecution, hoping that in return FDR would lift the embargo on oil shipments to Japan and assume a mellower attitude in general toward the Empire of the Rising Sun.

To launch the plan, the head of Kobe’s Jewish community was dispatched to the United States to contact influential Jews in Hollywood and on Wall Street, and to meet with Rabbi Stephen Wise, at the time the head of the World Jewish Congress.

The date set for the meeting was Dec. 7, 1941, and while Wise and the envoy were talking about peace, the radio blasted out the announcement that the Imperial Fleet and Air Force were bombing Pearl Harbor.

As for the future of WCJT, which was founded in 1993 by Naomi Karz Jacobs to present readings of Jewish-themed plays, Teichman is “cautiously optimistic.”

He points with some envy to Jewish theaters in such cities as St. Louis, Minneapolis and Seattle, where small but dedicated Jewish communities and their federations support these theaters to “keep Yiddishkeit going,” Teichman said.

“O My God” will run April 18 to June 7, and “Romance.com” Oct. 3 to Nov. 22. “Fugu” is scheduled for 2016, with dates to be announced.

For tickets and more information, visit this story at jewishjournal.com.

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Conductor Joshua Weilerstein to debut with Los Angeles Chamber Orchestra

In the old days, the conductor was king. Fritz Reiner, George Szell and Arturo Toscanini, for example, were leaders in the style of the film “Whiplash,” notorious for abusing musicians who didn’t meet their demands. But Joshua Weilerstein is one of a new breed of gentler, kinder conductors. 

At 27, Weilerstein has been getting laudable results from orchestras, including the New York Philharmonic, where he was assistant conductor for three years. He already has conducted the Los Angeles Philharmonic in Walt Disney Concert Hall and at the Hollywood Bowl and is regarded as one of the most promising conductors of his generation.

On April 18 at the Alex Theatre in Glendale, and again the next evening at UCLA’s Royce Hall, Weilerstein makes his debut guest conducting the Los Angeles Chamber Orchestra (LACO) in works by Joseph Hallman, Camille Saint-Saëns and Mozart. 

Speaking by phone from Dallas, where he was about to guest conduct the Dallas Symphony Orchestra, Weilerstein already sounded like a veteran.

“Conductors as dictators, imposing your will on people — those aren’t happy or joyful thoughts,” Weilerstein said. “One of the greatest conductors, Carlos Kleiber, got what he wanted, but he had a way of doing it. He once said to an oboist, ‘I want to see you enjoying the music.’ The goal is to inspire people to play beyond their capabilities, and the orchestra has to be willing.”

Weilerstein grew up in a thriving Jewish community in Cleveland and was born into a musical family. His sister, Alisa, has become a star cellist; his father, Donald, was founding first violinist of the Cleveland Quartet; his mother, Vivian Hornik Weilerstein, is a pianist who directs the New England Conservatory’s piano chamber music programs. 

Yet the conductor said there was never any sense of competitiveness in his family. “That’s not how we were raised,” Weilerstein said. “My mother and father communicated an enthusiasm and love for music their whole lives, and with a sister five years older than me, it can’t help but be inspiring.”

Still, before the age of 15, Weilerstein said music and playing the violin were just a hobby.

“I wanted to be a sports journalist,” Weilerstein said, “but as a violinist in the New England Conservatory Youth Philharmonic Orchestra, we went on a tour of Guatemala and Panama. Thousands of kids had never heard a symphony orchestra before, and to see them so excited changed my life.”

Weilerstein added that he considered becoming a concertmaster. “But once I started playing in orchestras, I wanted to play every instrument. And when everything’s working, I do get the feeling I’m playing the whole orchestra.” 

For his Los Angeles Chamber Orchestra debut, Weilerstein is scheduled to open the program with the West Coast premiere of Hallman’s “Imagined landscapes: six Lovecraftian elsewheres.”

“Hallman’s work is criminally under-represented,” he said. “His piece is inspired by [horror fiction writer] H.P. Lovecraft, and it’s strange in an atmospheric way, creating an air of mystery.”  

For the concert’s centerpiece, cellist Narek Hakhnazaryan, also 27, joins the conductor for Saint-Saëns’ evergreen Cello Concerto No. 1 in A minor. “I went to school with Narek,” Weilerstein said. “Now he performs everywhere. The Saint-Saëns concerto is not always given the respect it deserves, but every moment is gorgeous and exactly right.”

The concert concludes with Mozart’s Symphony No. 41 in C major, “Jupiter.” “It’s one of those pieces you never stop being in awe of,” Weilerstein said, “especially the last movement, where he turns a rudimentary fugue into such exhilarating music.”

Although these days most of Weilerstein’s time is devoted to conducting — his tenure as artistic director of the Orchestre de Chambre de Lausanne begins in September — he said he’ll never give up playing violin. 

According to conductor and pianist Jeffrey Kahane, who will be stepping down as LACO’s music director at the end of the 2016-17 season, that’s a good thing. “Almost every important conductor in history has mastered at least one instrument, usually either the violin or piano,” Kahane wrote in an email. “There are a handful of exceptions to this, but they are quite rare. It helps not only to communicate with an orchestra, but also helps to create a sense of trust on the part of musicians if they know the conductor understands the demands of playing an instrument.”  

Weilerstein agreed, adding that he feels lucky to play a string instrument. “When I ask the string section to play with more bow or other technical things, they listen,” he said. 

But the conductor said he wished he also played the piano.

“The less you speak, the better,” Weilerstein said of conducting orchestra musicians. “They like to be shown, not told.”


Los Angeles Chamber Orchestra, with guest conductor Joshua Weilerstein, at the Alex Theatre in Glendale on April 18 at 8 p.m., and UCLA’s Royce Hall on April 19 at 7 p.m. For ticket information, visit Conductor Joshua Weilerstein to debut with Los Angeles Chamber Orchestra Read More »

Survivor: Josef Kreitenberg

As the transport from Tacova, Czechoslovakia (then called Tecso, Hungary), pulled up to the Birkenau platform in late May 1944, the doors of the cattle cars slammed open. “Raus, raus,” the SS shouted, directing those fit for work into separate men’s and women’s lines. The others, mostly children and the elderly, were steered to another line. Josef Kreitenberg, 14, followed his mother and twin sister, Sura, to the group of nonworkers. Then he abruptly switched lines, joining his father, two brothers and other male workers. He stood on a stone he found nearby to make himself look taller. Josef doesn’t know what prompted him to move. “I guess I wanted to be with my father and brothers,” he said. 

Josef was born on Oct. 31, 1929, in Tacova, Czechoslovakia (now Tyachiv, Ukraine), to Elias and Chaya Kreitenberg. He had three older brothers — Sam, Yitzhak and Mendy — as well as his twin. 

The family struggled financially, living in two rooms in half of a house that had no electricity, sharing space with Elias’ shoe repair business and Chaya’s dressmaking shop. Josef’s maternal grandparents and three aunts, his mother’s younger sisters, lived in the other half of the house. “Life was not easy,” Josef said.

The family was traditional Orthodox, as were the thousand or so other Jews in their small town. Josef spent mornings in the Czech public school and afternoons and evenings in cheder, where he studied Torah. 

Anti-Semitism was always present, and Josef remembers running from boys calling out “dirty Jew.” But the Kreitenbergs also coexisted peacefully with the town’s Christians, people who patronized his parents’ businesses. 

In March 1939, Hungary occupied Tacova and Josef’s school became Hungarian.

Around 1943, Josef’s oldest brother, Sam, was taken to a Hungarian forced labor battalion. And Elias, because he was Romanian-born, was imprisoned for six months, until Chaya succeeded in securing his release.

On March 19, 1944, Germany occupied Hungary. And although it was Hungarian, rather than German, soldiers who entered Tacova, “Life quickly changed,” Josef said. The Kreitenbergs feared even to step outside of their house, because soldiers were beating up Jews. 

Then in mid-April, Tacova’s Jews were relocated to a ghetto at the end of town. Josef, his parents, Yitzhak, Mendy and Sura, along with two of his aunts, moved into a barn. His grandparents, meanwhile, had died, one aunt had moved to Budapest, and Sam remained in the forced labor battalion. 

In late May, the ghetto residents were marched to the train station and crammed into waiting boxcars. 

After arriving at Birkenau, Josef and the other men were taken to a barracks. The next day, they were processed, including being tattooed. Josef became 10192. 

They were then marched to Auschwitz and lined up as Germans called out for volunteers to work as muhlfahrer. Because muhl sounded like mel, the Yiddish word for flour, Josef, Elias and Mendy volunteered, thinking they would be working in a flour mill. Instead, they found themselves toiling in a garbage dump, and discovering that muhlfahrer meant garbage men. 

Yitzhak worked elsewhere with his friends. “We never saw him again,” Josef said. He later learned that Yitzhak, always fussy about his food, had refused to eat and died of starvation. 

In the garbage dump, which was located outside the camp, Josef, Mendy and Elias, along with 35 or so other inmates, sorted wagonloads of trash as well as debris from arriving transports. But the work had its benefits. “Sometimes we could find things to eat,” Josef said.

After a transport from Lodz, Poland, arrived in August 1944, Josef came across a large cookie with a gold bracelet hidden inside. Through a connection in the camp bakery, he traded the bracelet for seven loaves of bread and some sugar. He hid the food in the barracks and also filled a canteen he found with a mixture of breadcrumbs and sugar. 

Then, in a selection that took place in late December 1944, his father, Elias, was taken away. “I never saw him again,” Josef said. 

Around the same time, as the prisoners were returning from work one day, a Gestapo guard gratuitously smacked Josef across his face. “I saw fire in front of my eyes,” he said. 

In the very early morning of Jan. 17, 1945, the prisoners were ordered outside and evacuated, walking all day and all night. “Anyone who couldn’t make it was shot,” Josef said.

They arrived at Gleiwitz, Poland, the next morning and were loaded onto open boxcars, so crammed they had to stand almost motionless. “I was lucky to have my brother. He watched over me,” Josef said of Mendy. They traveled for several days with no food or water, trying to catch the falling snowflakes. Josef, however, still had the canteen with breadcrumbs and sugar, which he shared with Mendy. “That’s what kept us alive,” he said.

Finally they arrived at Dora-Nordhausen in Germany. Thirsty after exiting the train, Mendy drank some water that made him ill. After a week or two in the barracks, he couldn’t even stand, and Josef was forced to leave him.

In early April 1945, as the war was winding down, the prisoners were loaded into closed boxcars and transported to Bergen-Belsen. There, they found no food or water, just hundreds of prisoners sick and dying from a typhus outbreak. 

On April 15 the prisoners were summoned to roll call and informed that the British had liberated the camp. That was a relief to Josef. But, he said, “Mainly what went through my mind was, ‘Where and what do I get to eat?’ ”

The prisoners were transferred to a former German army barracks in the nearby town of Celle, which became the Bergen-Belsen displaced persons camp. 

Josef was later trucked to Pilsen, Czechoslovakia, where he caught a train to Budapest. There, in a refugee center, he unexpectedly encountered Mendy. 

The brothers headed for Tacova, where they found their three aunts and Sam, who had spent the war in a labor battalion. Eventually they all made their way to the Gabersee displaced persons camp near Wasserburg, Germany.

In Gabersee, Josef and Mendy, who were both 18 or younger at the time, qualified to receive special orphan visas to immigrate to the United States, arriving in January 1947. They were sent to Los Angeles, where they rented a room, paid for by Vista del Mar. 

In 1949, Josef and Mendy (now Mike) brought Sam to Los Angeles. Their three aunts, by then married, also joined them.

Josef attended Roosevelt High School, graduating in January 1951. After high school, he attended Los Angeles City College, hoping to become a teacher. But the Korean War had broken out, and he was drafted, assigned to a heavy-weapons company in Metz, France, where, from 1953 through ’54, he taught English and arithmetic to soldiers.

In 1954, Josef visited Israel while on furlough. During his return to France by ship, he met Marlene Laufer, who was joining her sister in South America. Josef and Marlene corresponded for three years while Josef returned to the U.S. and earned a degree in accounting at Los Angeles State College.

Marlene came to Los Angeles in 1957, and they married on Aug. 31 of that year. Josef worked as an accountant for several electronics companies and then, in the 1960s, he and Marlene’s brother formed K & L Construction, building apartments and condominiums. 

Josef and Marlene have three sons: Irv, born in December 1959; Steve in April 1962; and Mordechai in May 1967. 

Sam died in 2008. Mike is alive, but has Alzheimer’s.

Josef retired in the late 1990s, but, now 85 and the grandfather of 18, he continues to manage some properties. He also occasionally speaks to school groups. 

The tall young man on the right is Yitzhak Kreitenberg. On his right is Mendy Kreitenberg and next to him, in the hat, Elias Kreitenberg. The child in the center, partially seen, is Josef.

Around 1979, Josef learned that a trove of photographs from Auschwitz had been discovered and compiled into a book called “The Auschwitz Album.” Josef ordered it, discovering that the photographs specifically chronicled the arrival of his transport. “When I opened the book and I saw the pictures of my family, I cried. I cried very hard,” he said. These are his only photographs of Sura and his parents.

The girl in the top left is Suri Kreitenberg, Josef’s twin sister. On her right is their mother, Chaya Kreitenberg.

Josef doesn’t know how or why he survived. “Even when I was in Auschwitz, when I was going to work, I used to pray, whatever prayers I knew by heart,” he said.

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‘The Last Girl at Victoria Station’ a Kindertransport story

Every morning in 1936, Anne Forchheimer would bicycle to school, over a bridge in the German town of Coburg. She tried not to notice the signs of hate she passed along the way.  Hate for Jews and the call for their removal from German society. German law had forbidden Jewish students from attending public schools. Anne’s destination on this November morning, as it had been for the last 18 months, was a special school for Jewish children. 

On this day, however, Anne was met outside of her new school by two men. Towering over her in SS uniforms, they sternly commanded her to “go home. … There’ll be no school today for Jew pigs.”

She rode back to her home, where she was greeted by two more SS recruits, who marshaled her family into a town square. There, the other 40 Jewish families of Coburg were huddled together. Soon it was announced that women and children were to return home, while the men and boys had to remain. Fortunately, Anne’s father was a traveling salesman and escaped this first foray into what became the early days of The Final Solution.

Kristallnacht, the night of broken glass, exploded soon after, and as the shards of glass from broken windows lay in the streets and Jewish homes and businesses burned, Coburg’s remaining Jewish men were marched to a school gymnasium as the townsfolk yelled and jeered, “Burn them!” Later that evening, Anne was entrusted with bringing some sandwiches to their father, who this time had been captured.

“Children were not being physically attacked, so my mother was sent to where her father was being held,” Anne’s daughter, Rachel Green, said. “When she found him huddled against a wall, my mother hugged him, and I remember her telling me that this was the first time she had ever seen a man cry. After that, my mother would not see her father again until she was the last child at Victoria Station in London to be picked up, more than six months later.”

The handwriting on the wall was scrawled in red paint, and it became glaringly obvious to Jewish families in Germany that the best hope for their young children lay in one word: escape.

Anne’s journey would begin soon after that night, as thousands of German Jewish families desperately searched for an escape route for their children.

Five days after Kristallnacht, a delegation of British Jewish and Quaker leaders appealed to Neville Chamberlain, prime minister of the United Kingdom, urging the British government to take in unaccompanied Jewish children. Debate on this issue ensued at the highest levels of government, and it was later decided that the government would waive immigration requirements for German Jewish children, including infants to teens up to age 17. 

An organization was quickly formed called the Refugee Children’s Movement. An appeal was sent out to British citizens to set up foster homes. There were no requirements other than that the homes be clean and open to receiving these young, innocent refugees. In Germany, a clandestine network of volunteers worked feverishly to prioritize lists of children most in peril. Anne was one of those children, and so, carrying only an identity card and a small valise of clothing and keepsakes, she boarded that train not knowing if she would ever see her family again.

Anne as a child in 1937 in Coburg, Germany. Photo courtesy of Anne Forchheimer

Arriving days later at Victoria Station in London, Anne watched as other children were picked up by either government liaisons, new foster families or, if lucky, by their own parents who had escaped Germany. Soon, all the children had left and Anne stood alone in the vast London train station.

Suddenly, Anne turned to see her father running to her. He had escaped capture and gained entry to England at the last minute.

Green concluded her mother and grandfather’s story, saying, “My mother never spoke of her journey.”

A few years ago, Green’s brother, the popular entertainment journalist Sam Rubin, traveled to the streets of Coburg from which his mother, Anne Forchheimer Rubin, now deceased, had escaped, to try to understand her roots. “To some degree, my mom has always had this sunny and optimistic side to her. What struck me was how this lovely neighborhood influenced that attitude. They didn’t believe that this could be happening in this place,” Rubin said. “I think that once she was secure, having traveled from London to America, she suppressed this journey and glossed over it. She only came to terms with it later in life. It just seemed to her that this seemingly safe and secure neighborhood could never be torn apart.  But it [was].”

Sharon Farber, a celebrated Israeli-born motion picture, television and concert music composer had heard of Anne’s story. Farber’s latest concerto, “Bestemming,” featuring the voice of Holocaust survivor Curt Lowens, was recently performed with the consuls general of Germany and Holland, as well as the Israeli consulate, participating. Farber’s concerto was hailed as “a bridge builder between cultures” and became the basis for the formation of a nonprofit organization called The Bestemming Project, which fights anti-Semitism and oppression through music and the arts.

“When I heard Anne’s story, as told to me by Rachel and Sam,” Farber said, “I was inspired to start work on another classical composition, this time about the Kindertransport and especially about Anne’s unique story, ‘The Last Child at Victoria Station.’ ” 

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At Auschwitz-Birkenau, the silence and the song

Snow brings a strange silence. No more so than in the vastness of Auschwitz-Birkenau, where on Jan. 27 we all began several months of remembering the unfolding of the liberation of the Nazi camps 70 years ago. That day, I walked alongside Los Angeles resident Dario Gabbai in the soft glow of candles and the shuffle of feet in freshly fallen snow. It was night, and the floodlights shined on us as we filed along “The Ramp,” the platform — the final destination — where Jews had arrived from across Europe.

This week, the liberation of Buchenwald and Bergen-Belsen were also commemorated. Buchenwald was seared into the American collective conscience the day Gen. George Patton’s 6th Armored Division came across its monstrous truth on April 11, 1945. A few days later, on April 15, the British confronted the horrific reality of the Holocaust when they discovered thousands of corpses strewn across the typhus-ridden complex. Virtually every day that month and into the next, Jews were being liberated from the sprawling Nazi system to realize the true extent of their losses, almost the moment the gates were opened. 

No sooner were survivors free than they had an urgent need to commemorate their unfathomable loss. The first memorial services were held a year after the liberation, when survivors gathered in remote cemeteries and lonely forests to pray and mount a memorial on behalf of their murdered community. Remembrance was urgent and painful. But it was not until 1953 that David Ben- Gurion enshrined Yom HaShoah in Israeli law to mark the 10th anniversary of the Warsaw Ghetto uprising, a day of remembrance in the Hebrew calendar that also marks the power of resilience. 

I have been to Auschwitz-Birkenau many times, and it is never the same place twice. Remembrance is a combination of where you are, when you are there and whom you are with. I have been with family members, and as a graduate student. I have been with survivors, and have taken students and teachers. I traveled to Poland with film crews. Twenty years ago, I attended the 50th anniversary as a member of the media. Each time, I confronted something different about the place, I learned new things about Auschwitz, about how we confront its past and who we are in its long and dark shadow.

For all the times I have been there, I had never been to Birkenau at night, or in the snow, and not with Dario, who at 92 is one of the last living members of the Sonderkommando. He sat by Crematorium III near the crumbling ruins of the gas chamber and spoke quietly of being forced to work there, to haul out the bodies, take them to the crematorium, and clean up the room for the next group of victims. It was the last time that the authentic voice of someone who saw with his own eyes what happened there at the authentic site would ever be at the crematorium. 

His voice trailed away. There was only snow and silence. I wondered what more he could say that could bring closure and allow us to leave. He hummed a melody then sang a song titled “Mama,” which he had learned as a child, in Italian. As his voice floated across the ruins, his final message was not closure. It was one of resilience — I am here. I survived. I sing this song to honor those who were silenced. I sing to remind you to live every day as if it were your last. It was a song to break the silence of death.


Stephen Smith is the executive director of the USC Shoah Foundation-The Institute for Visual History and Education.

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Letters reveal a Jewish businessman’s struggle with family requests from Nazi Germany

Although it was more than a decade ago, I still remember the phone call. The excited voice at the other end that went on and on regardless of whether I uttered a response. Attorney Roger Blane had a donation for the American Jewish Committee Archives, where I work as the director. While in the studio apartment of the late Luzie Hatch, a Jewish immigrant from Berlin, he had stumbled upon an extensive collection of World War II-era letters.

On a brutally oppressive August day, I took the subway to Luzie’s New York City studio, where I was presented with a battered old binder bursting with correspondence. Turning the pages, I noticed something unusual. Not only were there letters Luzie had received, but often there were also carbon copies of her outgoing letters. I accepted the donation, unaware it would yield further surprises. Eventually, using select correspondence, I wrote “Exit Berlin: How One Woman Saved Her Family From Nazi Germany,” published in 2014 by Yale University Press.

A book blogger quickly took me to task for the subtitle. “One woman?” she queried. Why had Arnold Hatch, Luzie’s American-born cousin and rescuer, been shortchanged? The criticism is not without merit.

In 1933, at the age of 45, Arnold Hatch inherited the family business, Fuld & Hatch Knitting, in Cohoes, N.Y. The work was never-ending: shipping deadlines, purchases of raw materials, advertising plans and labor disputes. But days at the office also included letters to the Hebrew Immigrant Aid Society, U.S. court and immigration officials, bank officials and travel agents. For when his German father passed away, it was Arnold who assumed responsibility for relatives trapped in Nazi Germany.

It was in November 1938 that Arnold brought his cousin Luzie, then 24, to America. He had acted not out of love, for there is no indication there had been any prior contact, but out of family responsibility — she was a “blood relative.”

But why had it taken so long? More than two years had passed since he had answered Luzie’s request, promising, “If there is a chance in the world that I can take you out of Germany … I will do it.” In the lean years of the Depression, with millions unemployed, Arnold had no desire to be “reckless and foolish.” He wanted to plan, and to be sure there would be work for relatives arriving from Germany. 

Once in the U.S., Luzie acted as both translator and advocate for family back in Germany. She was their link to Arnold, a possible lifeline. And there was a steady stream of requests. Could he send money and/or food parcels? Would he act as a sponsor, filing an affidavit of support? Could he cover the cost of ship passage to Latin America or the U.S.?

The most daring proposal came from Aunt Martha Harf in Cologne. As the summer of 1940 drew to a close, she realized that chances of escape were dwindling. So she decided to travel with her young daughter Ruth to Moscow where they would take the Trans-Siberian Railroad across thousands of miles of frozen earth to Vladivostok, Russia. At the port, they would book passage to Shanghai, an open city — all hinging on Arnold’s financial backing. 

Arnold exploded. “It is utterly impractical at this time to send two women from Cologne via Berlin, Moscow, Siberia, and Japan … The journey is hazardous … and the American Express Company in accepting the utterly impossible sum of $700.00 per person does not guarantee a thing … the cost of this thing outside of the uncertainty of it is perfectly ridiculous.” To provide some context, the modern-day equivalent of $1,400 is approximately $23,700.   

Arnold Hatch  Photo courtesy of Pat Roth

Aunt Martha and her daughter were transported to the Lodz Ghetto in Poland, where, according to the archives at Yad Vashem, they died.

Since the publication of “Exit Berlin,” I have spoken at synagogues, churches, book clubs, libraries and community centers. It is always Luzie who dominates the conversation. How could it be otherwise? It was Luzie, who, unbeknownst to her parents, reached out to her American cousin in 1936, thus setting the stage for future actions. And Luzie was the one who created and preserved a rare collection of two-sided correspondence. 

And yet, in every discussion, Arnold is never far behind. Seeing him as symbolic of American Jews, readers always ask, “Did he do enough? Could he have done more?” It is easy to focus on times when Arnold said “no,” for he tended to so with a flourish. But there is more to his story.

In 1938, when he was finally ready to bring Luzie to America, he also sponsored her cousin Herta Stein. Funds were sent to his cousin Dora in Baden-Baden, Germany, as well as to relatives who had made it to Palestine. When Luzie’s family arrived in Shanghai, he wired them $312. It was nearly $1,000 to bring Luzie’s father, stepmother and brother from Shanghai to America and set them up in New York City.

To other relatives, he offered the promise of American passage after the “air cleared.” But Arnold never saw the war’s end; he died in 1943.

Much has been written, and debated, about how the American government and Jewish-American leaders and institutions responded to the Holocaust. Yet Arnold’s letters go down a new path, offering an intimate picture of how one Jewish-American family faced not only the question of its moral obligations but the everyday realities of rescue. 

Charlotte Bonelli is the director of the American Jewish Committee Archives and author of “Exit Berlin: How One Woman Saved Her Family From Nazi Germany,” Yale University Press, 2014.

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