Tag Archives: immigrant experience

Zayda’s Kiddush Cup

by Janice Alper (San Diego, CA)

The small silver cup was stowed
in steerage, it sailed across
an ocean to a new home. It
overflowed with red wine
every Friday night. Zayda’s
hand never trembled as he
mumbled the blessing to usher
in Shabbat. Now I hold it in my
hand carefully, as the wine spills
over to the sixth generation.

Janice Alper writes poems, personal essays, and memoirs. Her work has appeared in the San Diego Poetry Annual, Bristlecone, and California Bards, and other places. She is the author of Sitting on the Stoop: A Girl Grows in Brooklyn, 1944-1957. Janice is currently pursuing an MFA in Creative Writing/Poetry, from San Diego State University. Follow her at www.janicesjottings1.com

Editor’s note: “Zayda’s Kiddush Cup” was originally published on OftheBook (https://ofthebookpress.com) and is reprinted here with permission of the author.

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Crown Heights (1955 – 1960): Through the eyes of a daughter of Holocaust survivors

By Sandra Hurtes (New York, NY)

Crown Heights was a world my mother and I explored together. The effects of Hitler’s war revealed themselves from St. John’s Place to Montgomery Street, from Utica Avenue to Albany Avenue. On our way to the doctor or the grocery or the park, my mother whispered stories about the greena (greenhorns from Eastern Europe who came to America after the Holocaust).

There was Esther who lived on President Street and had three children. My mother pulled me close and said, “Zug gurnish, mámala, [say nothing, sweetheart], Esther screams every night about Auschwitz.” With each walk, the story took on different tones. Soon it became, “Esther is in the hospital. Her psychiatrist is giving her shock treatments.” Then my mother, nodding in understanding, pursing her lips, sighing.

I wondered who was home watching Esther’s children, and if her husband, Murray, was cooking supper. I tried picturing her getting shocked, but didn’t know how that looked. I wondered if the shocks singed, like electrified barbed wire.

When my mother and I visited her friend Margie who lived on Lincoln Place, my mother reminded me, “Don’t stare at Margie’s hand.” On her right hand were four and half fingers. She sawed her middle finger in half while working in the munitions factory she was transferred to from Auschwitz. When Margie’s hand was steady, it appeared as if her finger was bent at the knuckle. Then she moved, and the finger wiggled like it had no bones.

There was Sylvia who once lived on Carroll Street. I recalled her only through my mother’s stories. One afternoon Sylvia was vacuuming. As she pushed the long hose along the floor, she fished in her pocket for a sucking candy. When she began choking on the button she’d accidentally slipped in her mouth, her son David frantically called the police. By then she was blue. The police held her upside down but the button was lodged too deeply.

 Each time my mother told me the story she said, “Sylvia survived Hitler to choke on a button in Brooklyn. God bless America!”  And all I could think about was that the police and David saw Sylvia’s underwear when her duster fell over her head.

There was Mrs. Steinberg who we often passed on Schenectady Avenue, pushing her shopping cart. While hiding in Siberia, Mrs. Steinberg had two miscarriages. Each time we passed her in the street, my mother admonished me, “Quick, mein scheina kint [my beautiful child], smile, say hello to Mrs. Steinberg before she gives you the evil eye.”

My mother lived in fear of the evil eye, a superstition she brought with her from home. This belief—that a curse would be cast upon us when someone was jealous of something we had—was one way in which she would remain old-fashioned, regardless of how glamorous she became. And so, since my mother had two children and no miscarriages, she worried she’d be cursed by Mrs. Steinberg.

To ward off the evil eye, my mother protected herself by making her hand into a fist and pushing her thumb through her index and middle finger. Whenever we saw anyone else who might curse us, we reflexively made the fist and held it behind our backs. If asked how we were, we said, “Fine,” and squeezed our fists tight.

There was Manny on Montgomery Street. He was my story, and a secret I kept from my mother. He came from Poland and struck it rich in a shoe business on Orchard Street. Manny was tall and lanky, with hair falling across his forehead hitting close to his right eye. Every afternoon I played pretend games with his daughter in their apartment. Just before I left for supper, Manny came home, undressed and stood naked in the bathtub, the water from the shower sliding down his body. The shower curtain was pulled apart, the door wide open.  

I never told my parents about Manny. I knew innately that what he did was wrong, and I wanted to protect him. And I was ashamed too, of the excitement I felt running past the bathroom, once, twice, three times, stealing looks as he rubbed a soapy washcloth in circles on his chest.

Ironic. Impossible. Ordinary. That was our Crown Heights.

Girls played double dutch, the jump ropes crisscrossing in the air like lines on a globe. There were hopscotch games chalked in yellow and pink, girls hopping in this box and that one, their ponytails flying back and forth or frizzy hair like mine a powder puff around their heads. Boys played Johnny on the Pony on the corner of Union Street and Schenectady. In the street, they kicked the can; gangly boys ran and hid as the metal cylinder rolled beneath parked Chevys and Desotos.

There was the varoooom of motorcycles speeding down Eastern Parkway. The soft rapid murmur of prayer trailing the Hasidic men in black as they hurried in and out of the subway. The high-pitched whine of alley cats crawling through garbage cans. Taunts like shake it don’t break it and your momma followed me and my friends, all of us barely aware of who we were.

When my mother and I walked together, she looped her arm through mine. We maneuvered between the stories of the greena and the everyday. We thanked God for our ability to hold a glass firm with all ten fingers, to not need shock treatments, not be the ones whose evil gaze was feared.

At home, my mother sang Que Sera Sera in a wistful tone as she cleaned the bathtub, a rusty can of Ajax in her hand. She scrubbed until the tub was spotless, singing all the while, what will be will be. When she bencht lecht (lit candles)for Shabbos, a tichal (kerchief) over her head, she prayed she would one day see all her siblings, as one family at a time, they emigrated to Crown Heights.

We believed we kept our stories to ourselves. We told each other we were lucky. The complications of war belonged to the others. When my mother and I strolled the promenade of Eastern Parkway, tree branches canopied over us, and birds flew from their nests. In those times, Auschwitz seemed so far away.

Sandra Hurtes’ work has appeared in The New York Times, The Jewish Week, Poets & Writers and many other publications. This essay is excerpted from a collection that she’s working on tentatively titled “Halfway Home.”

 

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Immigrants All

by Miriam Bassuk (Seattle, WA)

I come from wandering Jews,

merchants, lawyers, teachers,

grocery store owners.

I come from those who rode steerage

slept above deck in turbulent seas,

walked miles as young teens

to depart from Bremen, Germany

leaving all they knew

speaking Russian, Polish, Yiddish,

carrying only brass candlesticks

and a few coins.

Born from a mother

who labored long,

the only one in her family

to be born in a hospital.

All the others were born at home,

assisted by midwives.

I remember flowers, bloated

peonies on dining room wallpaper,

lilacs and lilies of the valley

gathered in large bouquets

to grace our table. I remember

my mother as a lion,

my champion at school.

When teachers were difficult,

she sang for me.

Sang sweet songs

in a kitchen, her haven,

spoke Yiddish to her father,

a frequent visitor. I remember

hot nights, looking out 

my bedroom window.

Scents of honeysuckle and roses,

haunting train whistle,

far in the distance.

How we might stray far from our roots,

escape the cloistered life

of segregated neighborhoods,

only to return, imprinted

on some cellular level

by those early risk takers.

Miriam Bassuk’s poems have appeared in Snapdragon, Borderless, 3 Elements Review, and The Jewish Writing Project. She was one of the featured poets in WA 129 project sponsored by Tod Marshall, the Washington State poet laureate. As an avid poet, she has been charting the journey of living in these uncertain times.

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Visiting on Father’s Day

by Lillian Farzan-Kashani (Santa Monica, CA)

Your energy shines

Like the sun rays

Grateful to be near you, 

I clean off your headstone with rosewater

What a gift to be raised

In the language you spoke

Hayedeh and Faramarz on repeat

In your honor

I wish we could have gotten 

Further into the

Rumi + Hafez of it all

Perhaps not a poet

But a philosopher

I wonder what you would say now

My fiancé’s flight canceled

Bombs going off in your homeland

And too close to where your parents rest

Would you tense like the rest of our family 

At the sight of a kefiyyeh?

Or see it just as

The stars I was given as a child, to wear around my neck

A symbol of

The people, at the end of the day

With whom you found grace, even kinship 

Moved by their beauty and hospitality

Oh how I long for more time spent with you, Baba, your leveled head and all

Lillian Farzan-Kashani is an Iranian American and Jewish therapist, poet, and speaker based in Los Angels, CA. Much her her work is rooted in being a child of immigrants and is reflective of her intersectionality. Read more about her professional and creative pursuits at https:www.lillianfarzan.com/

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Eretz, Israel

by Dido Silva (Herzliya, Israel)

Eretz —

adopted homeland.

Whatever immense goodness exists in me

burns in my chest,

anxious to be yours.

Eretz —

adopted homeland.

It is love — lots of it!

Love to sow and harvest.

Love —

it is what I have to offer you.

I wish for nothing in exchange,

just love:

loyal, incorruptible, and unconditional.

Rising from the ashes

of the first burning temple —

the first panic,

first fear followed . . .

Eretz —

adopted homeland.

They’re yours —

my little bees and their honey.

They’re yours —

my little hands,

which together build your immortality.

You’re my home.

Dido Silva is a Brazilian–Israeli–Dutch poet writing in English. His work explores the intersections of identity, exile, faith, and resistance, often blending political urgency with lyrical reflection. He lives between languages and histories, drawing from Jewish tradition, memory, and myth. His poem is part of a forthcoming collection titled What’s Gonna Be, Orania?

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A pair of candlesticks: A voyage across time and generations

by Steve Lipman (Forest Hills, NY)

Sometime in May, 1903, Zorach and Goldie Finkelstein, residents of Sapotskin, a heavily Jewish village in the northeast corner of Poland (now in northwest Belarus) climbed on a horse-drawn wagon, carrying their meager possessions in a few simple canvas and cardboard suitcases, and headed to the German port city of Bremen. There they boarded the SS Pennsylvania, a 13,333-gross ton passenger vessel.

Part of a wave of Jewish immigration from the Russia Empire’s one-time Pale of Settlement, the young couple left their homeland and their families, undoubtedly making the voyage to the United States in steerage, along with men and women and children from many ethnic groups.

Goldie was probably pregnant with the couple’s first child, a son, who would be named Max when he was born in Buffalo the following February.

In addition to the suitcases, which were packed with the expected clothes, and a rushnyk, a red-and-white linen table divider she had sewn five years earlier, Goldie, then in her early twenties, packed some of her most precious belongings in a parenee (the word, which was passed down in family lore, is of uncertain origin; in Polish the objects were known as a pierzyny), a large white comforter stuffed with goose feathers, which stayed in the Finkelsteins’ family for several decades.

Inside the paranee was a pair of candlesticks.

If the Finkelsteins, Yiddish-speaking Orthodox Jews who had been married five years earlier, followed the traditional practice of shtetlach in that part of the Jewish world, they most likely had received the candlesticks as a wedding gift five years before from their friends in Sapotskin.

The Finkelsteins’ style of candlesticks was typical of those owned by Orthodox Jews in their era and that part of Eastern Europe. Manufactured by the prestigious, Warsaw-based Jozef Fraget metal smith firm (founded in 1824), of hollow, galvanic sliver-plated brass (Jews were forbidden from owning silver in many parts of the empire), each stood 14 inches tall, with a detachable candle-cap that fit into a circular depression atop the candlesticks to catch paraffin droppings, and three artistic legs on the 5-inch-diameter base to give the candlesticks balance.

The candlesticks’ serial number – because of their value and popularity, the series of products was numbered – was 3340. Inside a small oval on the base of Goldie’s candlesticks: the words “FRAGET N PLAQUE,” which mean that the silver core was electroplated with a layer of pure silver.

Candlesticks like that were as common in many Jewish homes of that generation, especially those with immigrant roots, as the ubiquitous Singer sewing machine. And, in some Orthodox homes in the Greater New York area, artwork by the prolific, and eccentric, Morris Katz.

Goldie had no idea she fit a particular demographic; she simply kept the candlesticks to fulfill a Jewish woman’s mitzvah. One that her mother, and grandmother, and countless generations of women in her family had done before her with their own candlesticks. 

As she had in Sapotskin, Goldie used the candlesticks to usher in the Sabbath and important Jewish holidays in the modest home that she and her husband bought on the Jewish East Side of Buffalo (relatives had already settled there), and later, after Zorach (who took on the name Samuel in the United States) died, in the second-floor apartment of my parents’ two-story home in the city’s increasingly Jewish North Park neighborhood. Like other Jewish women, Goldie would cover her eyes with her hands as she recited the Hebrew blessing over the candles.

Sometimes her grandchildren – including me – would watch her make the brocha.

Goldie, a widow then for 20 years, died in 1968.

By rights, her candlesticks should have passed to my Aunt Hennie, the Finkelsteins’ oldest daughter, then a married resident of Rochester, an hour away, who –a kosher-keeping member of a Modern Orthodox synagogue — was more likely than my mother, Helene, married to a secular German-born Jew, to properly use them.

But Mom got the candlesticks. She had kids – three of us, while Aunt Hennie had none – and it was decided that it made more sense for a daughter who had a family, who had children to whom she could one day pass the treasured objects, to receive the candlesticks.

Mom, while by no means strictly Orthodox, grew more traditional as she grew older. She kept the pair in a prominent place of pride atop a light-brown wooden cabinet in the living room of the Lipmans’ home in North Park, then, after we moved, in the northern suburb of Tonawanda. She would, without fail, light the candles each Friday night and erev yom tov. Sometimes I and my two sisters would gather around Mom.

Dad, disinterested in things of a religious nature, would rarely join in.

As the candles burned, shrinking to differing heights, we would bet which one would go out first.

Mom, who had attended an after-school cheder decades earlier in Buffalo, had not mastered Hebrew. So she recited the l’hadlik ner shel Shabbat from memory, confidently – and incorrectly. She would say the last few words the same way each time, slurring several together into a unique rendition of lashon hakodesh; we restrained the urge to correct her, or to snicker. We understood what she was saying; I’m sure God did too.

After the blessing, Mom would say her own, personal supplications, softly, under her breath. A private conversation with the Creator. “Dear God,” she would begin, followed by “thank you” for kindnesses He had performed for her family or people in her circle of friends; or, “please take care of” ailing or deceased friends or relatives. Or other, similar words of praise or request. In other words, she would review whatever was on her mind.

Like Tevye, but with a Buffalo accent.

Then, “Good Shabbos.” And hugs.

Mom liked telling the following story about the spiritual value of the candlesticks in our family: Several decades ago she and one of her daughters had an appointment at Roswell Park Cancer Hospital, Buffalo’s famed medical center – a check-up that brought no bad news. They were walking on the cancer center’s stairs. “It was a beautiful day,” Mom remembered. Out of the blue, her daughter turned to her and said, “When you are gone, I want your candlesticks.”

Mom always told the story with a laugh. She was not offended. She was still a relatively young woman then. She understood the strong attraction of her daughter – who probably had mortality on her mind because of their presence at a cancer hospital –for the family heirlooms.

Mom said yes to her daughter’s request. In the meantime, the candlesticks remained in the Lipman home, and Mom continued using them.

In 2005 Dad died. The next year the candlesticks, carefully packed in a carry-on suitcase, went with Mom to the Houston suburb where one of my sisters had moved several decades before. There, Mom lived in an apartment, overlooking a small man-made lake, a mile from my married sister’s house.

Again, the candlesticks rested atop the wooden cabinet that had made the move with Mom to Texas.

Again, she lit the candles every week.

Again, the candlesticks shone. Mom, using some smelly pink polish, would shine them religiously, vigorously, employing a soft cloth or gloves specifically designed for that buffing purpose; or, as was more often the case, she would put one of her kids or her visiting grandchildren to work (people without sufficient elbow grease need not apply), making sure the pair gleamed so much you could almost see your reflection in them. It was not a fun assignment, but a labor of love. We all took a turn with the polishing cloth.

God forbid they should show a sign of tarnish.

A pair like that sell for $300-$500 nowadays, maybe more at auction, but to us, for sentimental reasons, they are priceless. 

The candlesticks were two of Mom’s most-prized possessions. She would make sure to hide them out of sight if a repairman was coming to her apartment or if she planned to be away for a few days. They were a symbol of her pride in being Jewish, in carrying on the tradition she had learned from her mother. They were not sleek or fashionable, which was fine with Mom. They were antiques, defiantly old-fashioned, remnants of a previous generation. They were a tactile reminder of Mom’s roots, of her long-gone relatives who brought their pride in Yiddishkeit from the shtetl environment that was a world removed from the big cities of the United States.

She would make sure that she was well stocked in candles, keeping a 72-count box at home, buying them at a Buffalo-area supermarket or sending one of her kids on a replenishment expedition when her supply was running low.

Mom was concerned about the candlesticks’ future. She made clear that, when the time came, the candlesticks would pass to a member of the family who a) was likely to use them regularly, and b) was not married then to someone who was not Jewish.

By her last few years, Mom, who died a few months ago on 12 Av, became increasingly feeble and forgetful. She no longer was in shape to light Shabbos candles; I would frequently provide her with small, battery-powered tea candles for her apartment or for the hospital rooms where she often – too often – found herself.

As Mom aged, and did not feel confident having lit candles in the apartment where she lived alone, she gave the candlesticks to the then-out-of-town daughter who had requested them decades earlier. Who uses them every week.

Goldie’s lichtern have a new home, 5,100 miles from their original home in the Old Country.

______

Steve Lipman was a staff writer for The New York Jewish Week from 1983 until 2020.

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Collecting Languages

After White Squares by Lee Krasner (USA) 1948 *

by Barbara Krasner (Somerset, NJ)

I won a Hebrew contest once,

not because I understood

the text blocks reading right to left,

            although I knew zeh meant “this”

            and ha meant “the”

but because I understood the random

algorithm of standardized testing

and that I couldn’t color in

too many D choices with my No. 2 pencil.

I won Honorable Mention

in a German Declamation contest once playing

a Hausfrau in Wolfgang Borchert’s “Die Küchenuhr,”

my hair in pink curlers, wearing my mother’s housecoat

on the Rutgers stage, the only top contestant

who did not speak German at home.

As a teen, I performed “Tri Medvedya,”

the “Three Bears,” to get eighth graders

interested in taking Russian classes

at the high school.

            Odna devoshka poshlya v lecu i zablyudilas.

            A girl went into the forest and sat down.

I took Greek classes from a Rutgers professor,

            So much based on the aleph bais of Hebrew

            Even the Russian kukla for doll

Czech lessons in Prague,

            Where I recognized from Russian

            Infinitives k’ pti to drink and plakat to cry

tried French with Rosetta Stone.

            L’éléphante est dans l’avion

The elephant is on the airplane

But it was my frustration with not knowing

my grandparents’ Yiddish that led me

to formal classes, to confront what little

I knew, what little I had absorbed,

robbed of linguistic heritage

by immigrant grandparents

who died too soon.

Barbara Krasner holds an MFA from Vermont College of Fine Arts and a PhD in Holocaust & Genocide Studies (HGS) from Gratz College, where she teaches in the HGS graduate programs. The author of two poetry chapbooks and three novels in verse, her work has appeared in Jewish Literary Journal, Tiferet, Minyan, Jewishfiction.net, Michigan Quarterly Review, and elsewhere. She serves as Director, Mercer County (NJ) Holocaust, Genocide & Human Rights Education Center.

* Editor’s note: This poem–an ekphrastic poem–was inspired by Lee Krasner’s work, White Squares. To view Krasner’s artwork, visit: https://whitney.org/collection/works/504

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In His Hands

by Barbara Krasner (Somerset, NJ)

My grandfather once held my grandmother’s hands in his. I never knew her. He held the keys of his wooden register in his hands. Canned goods. Fresh produce. Milk bottles for the 1915 free milk campaign as announced in the Newark Evening Star. He held my infant father in his hands, an American-born baby of a Litvak and a Galitzianer. He held his aging mother’s hands and when I was born, and my mother asked him for a name, he gave me the name of his mother, Bryna, and his eldest sister. Doba, who died in the 1918 flu pandemic. He once held shoelaces that he dipped in leather in his first job at a Newark tannery. He once held pencils and rulers in his work as a joiner in Russia. He once held the parcels of his Russian life as he steamed across the Atlantic at age 19 on the SS Rotterdam in 1899 to join his brother in Newark. He held the fringes of his tallis and the leather straps of his phylacteries that I now keep in a special treasures drawer. My grandfather once held the remote to his Amana television to watch The Lawrence Welk Show and used it to change the channel to The Wonderful World of Disney for me. He once held the lever to vote for Al Smith for American president after he became a US citizen. He once held the keys to a corner lot house after decades of living behind the general store he and my grandmother owned and operated. As he aged, he held the iron-wrought banister of the outdoor stairs to my father’s car. He held my father’s hands for support. He held onto life itself to the age of 93.

But with all that my grandfather held, I don’t think he ever once held me.

Barbara Krasner holds an MFA from Vermont College of Fine Arts and a PhD in Holocaust & Genocide Studies (HGS) from Gratz College, where she teaches in the HGS graduate programs. The author of two poetry chapbooks and three novels in verse, her work has appeared in Jewish Literary Journal, Tiferet, Minyan, Jewishfiction.net, Michigan Quarterly Review, and elsewhere. She serves as Director, Mercer County (NJ) Holocaust, Genocide & Human Rights Education Center.

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Meditations on My Yiddish Name:  Mudke Velvel ben Yankel Yisroel, ha-Levi

by Bill Siegel (Boston, MA)

1.  Mudke

They named me Mudke

          Makes me think of mud cakes, mud crawlers

          Muddy Waters

But they must mean Mordche

          which translates to Mordecai

The Latin mort, Death

          coupled with the Hebrew chai, Life

In America, they changed it to Morton

          dropping the chai, taking the life out of the name

How could you saddle a baby with a name like that?

          My aunt chided her sister

As if forgetting it was her own father’s name given to me

As if forgetting it would keep their father’s name alive

2. Velvel

A stutter, or better, a strut

One syllable with each shoulder’s swagger

          Vel~right shoulder forward and

          Vel~with the left now 

Say his name twice if you say it once:

          Vel~Vel

3. Ben

Son of,

          the rising sun of the father’s new life

The dawn of his hopes

The bend when a river changes course

          Giving birth in its time to a new flow

Ben, bene, bien

The good son

          May he not forget his ancestors

          May he remember where he comes from

          May he remember his names

          That they may carry him

Where he’s going

4. Yankel Yisroel

Who wrestled with God’s Messenger

          Or maybe God Himself

The original knock-down, drag-out, one-fall, winner-take-all

          first fixed bout, a mismatch made in Heaven

Who wrestled with the mighty Thunder King

          forcing It to reveal Its name

Jacob, who became Israel

Yankel, who became Yisroel

Yankel Yisroel

Who patrolled the Shadow of Death

          lined with the dead of Hitler’s demons

          That would boil his people

          To make soap for the armpits of strangers

Peel their skin for lampshades

Who stood, barely 20 years old,

at liberated death camps, surrounded

          by the dead, the dying and the barely surviving

Who stood between captured German officers

          And the interrogating Americans

Using his Yiddish to translate,

          to bridge the combatting languages

To make what happened perfectly clear

5.  ha-Levi

Children of Levi, the one desert clan

          To keep their name for 40 centuries

Through 400 years of slavery

          And 40 years in the desert

Temple servants and warriors

          Guardians of the faith, stationed in every city

And still the tribe with no land of our own

          4000 years and still we wash

The hands of the Cohanim

before the priestly blessing

Look now at the graves of ha-Levi, the Levites

          See the cup carved into the stone

Like all Levis before me, my stone

will honor Miriam ha-Levi

          And her well of Living Water

          that will never run dry

6.  Mudke Velvel ben Yankel Yisroel, ha-Levi

All this in one name.

          All this in my name.

Bill Siegel lives in the Boston MA area, and writes both prose and poetry – about family, fishing, jazz, and more. He has two manuscripts in process: “Printed Scraps”, poems inspired by Japanese woodblock prints; and “Waiting to Go Home”, about family and memories of growing up. His work has been published in “Beyond Lament: Poets of the World Bearing Witness to the Holocaust” (Northwestern University Press), and “Indigenous Pop: Native American Music from Jazz to Hip Hop” (University of Arizona Press). His poems also appear in Blue Mesa Review, Rust+Moth, JerryJazzMusician, Brilliant Corners, and InMotion Magazine, among others.

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Henoch: An Inventory

by Barbara Krasner (Somerset, NJ)

After Lauren Russell

A butcher’s apron pockmarked with dried blood that banging it against the river’s rocks cannot erase. An abacus to calculate the change he owes his patrons. The skill to sever an animal’s carotid arteries, jugular veins, and windpipes in one swift move. A sharp butcher’s knife to cleanly sever a chicken’s head and to break a cow down to its finest parts to sell at a premium to anyone who can afford it. His cleaver whacks away his disappointments until his own fingers bleed with hope for his children. Evening candlelight to read the sacred texts and pray. Meetings of the Baron Hirsch School trustees. His children, even the girls, will get an education, damn the naysayers. An American stamp on his passport from when he arrived in New York with younger brother Benzion. An Austro-Hungarian Empire stamp on his passport from when he returned because Pesia was pregnant. She needed him. No photographs to fold into Chava’s hands when she leaves for America. Plans for his widowed mother’s aliyah to Palestine. The burden of this place and time. No prescience that all but two of his children–the eldest and the youngest–will be murdered. Of the four grandsons named for him, only Herman Krasner is born under the flag of the American Dream.

while the others lie

in the sky in the ashen

shadow of the moon.

Barbara Krasner holds an MFA from Vermont College of Fine Arts and a PhD in Holocaust & Genocide Studies (HGS) from Gratz College, where she teaches in the HGS graduate programs. The author of two poetry chapbooks and three novels in verse, her work has appeared in Jewish Literary Journal, Tiferet, Minyan, Jewishfiction.net, Michigan Quarterly Review, and elsewhere. She serves as Director, Mercer County (NJ) Holocaust, Genocide & Human Rights Education Center.

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