Show Notes
In early June 2024, the Holocaust historian Raz Segal was offered a job directing the Center for Holocaust and Genocide Studies at the University of Minnesota after roundly impressing an academic search committee. But as soon as the offer was extended, donors, politicians, and Jewish advocacy groups mobilized against his hire due to his public advocacy against Israel’s genocide in Gaza, which included his Jewish Currents article “A Textbook Case of Genocide” from October 13th, 2023. Within a week, the university’s interim president intervened to rescind Segal’s offer. Now, two years later, Segal, an associate professor of Holocaust and genocide studies and the endowed professor in the study of modern genocide at Stockton University, has reached a $250,000 settlement with the University of Minnesota. On this episode of On the Nose, senior editor Mari Cohen guest hosts to interview Segal about the lessons from his struggle at Minnesota and recent developments in the field of genocide studies, which Cohen reported on extensively in a 2024 Jewish Currents feature. In their conversation, Segal traces the history of genocide studies and the political contexts that have made it difficult for scholars in the field to adequately address Israeli violence, and reflects on “A Textbook Case of Genocide” nearly three years after its publication. Is genocide studies finally evolving to meet the moment? And what should we make of the fact that many liberal commentators are only now willing to accept the argument Segal made six days after October 7th? Thanks to Jesse Brennemen for editing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”
Media Mentioned and Further Reading “A Textbook Case of Genocide,” Raz Segal, Jewish Currents “Can Genocide Studies Survive a Genocide in Gaza?,” Mari Cohen, Jewish Currents “An Israeli professor lost a prestigious US job offer after speaking out on Gaza. Now the university is paying him $250,000,” Alice Speri, The Guardian “A Holocaust Scholar Called Israel’s Actions in Gaza ‘Genocide.’ It Cost Him a Job Offer,” Maggie Hicks, Chronicle of Higher Education “Many American Jews sharply critical of Israel on Gaza, Post poll finds,” The Washington Post “Bad Memory,” Jewish Currents “Israel Must Stop Weaponizing the Holocaust,” Raz Segal, The Guardian “Tenured California Professor Fired Over Gaza Protest Wins Job Back,” Alice Speri, The Guardian The Problems of Genocide by Dirk Moses IAGS Resolution on the Situation in Gaza Convention on the Prevention and Punishment of the Crime of Genocide “Museum Statement on the Attack on Israel,” US Holocaust Memorial Museum “No, Israel is Not Committing Genocide in Gaza,” Bret Stephens, The New York Times “US Universities Are Seeing an Influx of ‘Antisemitism Centers.’ Some Jewish Scholars Are Worried,” Alice Speri, The Guardian “Disputed Gaza Language No Longer on Stockton Holocaust Studies Page,” Buzz Keough, The Press of Atlantic City
Transcript forthcoming.
More from On the Nose
Seasons of Fury, a new book by the journalist Rozina Ali, tells a sweeping history of American Islamophobia through narrative reporting on four American Muslim families with varied backgrounds. The book reveals that American Zionism is integral to the story of anti-Muslim bias in the US. The legal structures for surveilling and criminalizing Muslims originated in US officials’ preoccupation with Palestinian militants in the 20th century, and Zionist organizations have been key participants in a broad civil society ecosystem pushing Islamophobia in the American mainstream. In this episode of On the Nose, senior politics editor Mari Cohen guest hosts to interview Ali about the book and her findings. They discuss how the targeting of Arab activists morphed into anti-Muslim sentiment; how the definition of terrorism changed in the 20th century and came to be associated with Islam; how the Anti-Defamation League has abetted Islamophobia; and how antisemitism and Islamophobia are pitted against each other in American politics. Thanks to Jesse Brenneman for editing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”
On July 9th, PEN America published an article called “A Silent Moratorium,” which asserts that Jewish and Israeli writers face “blatant hostility, discrimination, and hate” and attempts to chart the “impact on their freedom of expression.” The PEN article affirms a narrative advanced across Jewish media and mainstream press alike that—as the headline of a piece by James Kirchick in The New York Times put it—“a chill has fallen over Jews in publishing” amid the war on Gaza. The article has since been joined by other attempts to quantify the damage to Jewish letters: An article by the writer Meg Keene attempted to provide data to support the claim of a precipitous dropoff in Jewish books since 2023. The ADL recently added another report to the pile. Last week, we published a report written by Josh Lambert, director of Jewish studies at Wellesley College, and Dan Sinykin, director of graduate studies at Emory University—both researchers of publishing history, with expertise between them in contemporary Jewish literature and quantitative literary studies. The piece took on the claims of the PEN America article, about which they wrote, “Digging into its anecdotal reports of abandonment by agents and missing book deals, online harassment and review-bombing, we found that many of the claims were too vague to qualify as evidence, and that many accounts . . . turn out to be imprecise at best and entirely false at worst.” They also examined Keene’s data and ran some of their own; it turns out the picture of the number of Jewish titles being published looks very different with a more solid methodology. On this episode of On the Nose, Arielle Angel speaks with Lambert and Sinykin about what these accounts of anti-Jewish sentiment in publishing got wrong, and what it means about the current market for both Zionist and anti-Zionist books. Thanks to Jesse Brenneman for editing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”
Naza, a film by Israeli filmmakers Yuval Abraham and Rachel Szor, features interviews with 24 members of elite intelligence units in the Israeli military describing the mechanics of carrying out remote, indiscriminate mass killing in Gaza. Since news spread of a 25-minute standing ovation for the film at the Venice Film Festival, it has provoked intense debate, with some Palestinians expressing criticism of the way that Israelis’ confessions have made the genocide more “real” in the West than Palestinians’ own testimony. Meanwhile, in Israel, the film has elicited disturbing incitement against the filmmakers (who currently remain abroad), and Prime Minister Benjamin Netanyahu has threatened to revoke the filmmakers’ citizenship. What is the unique function of cinema focused on the perpetrators of genocide? How do we understand the concept of “evil” in listening to the voices of the murderers? And can these testimonies provoke a reckoning within global Jewry? To discuss these questions, Arielle Angel speaks with two filmmakers: Rami Younis, Palestinian journalist and co-director of the film Lyd, about the city in historic Palestine, now in the south of Israel; and Joshua Oppenheimer, director of the Oscar-nominated films The Act of Killing and The Look of Silence, about the Indonesian genocide. Thanks to Jesse Brenneman for editing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”
Slam Frank—the satirical play about a Latina “Anita Franco” stuck in the attic with a colorblind cast (à la Hamilton) of daft identitarians—reopened last week Off-Broadway at the Orpheum Theatre in Manhattan. While some audience members have reportedly been shocked by its irreverent take on a child hero of the Holocaust, some viewers on both the left and the right are convinced that the play reflects their sensibilities and political leanings. The play’s author, Andrew Fox, has declined to say anything about his personal politics, but touchstone books of Jewish reactionary grievance like David Baddiel’s Jews Don’t Count and Dara Horn’s People Love Dead Jews are part of the show’s dramaturgy. On this episode of On the Nose, Arielle Angel talks to theater critic Alisa Solomon and New York Times columnist M. Gessen about their differing interpretations of the play. The three argue about what the play actually intends to say about the contemporary left, whether the playwright’s own political leanings matter to the read of the play itself, and whether the proliferation of interpretations is a feat or a liability. Thanks to Jesse Brenneman for editing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).”
As we make our way through the Days of Awe, On the Nose is turning over our feed to an episode of Ways of Awe, an exploration of the high holiday liturgy written by artist and educator Maia Brown and writer and organizer Shelby Handler, and based on translations originally shared with the Kadima Reconstructionist Community in Seattle, WA. This episode explores the “Kol Nidre” prayer recited on Erev Yom Kippur, in which all vows from the year before are nullified. In this episode, the hosts spoke with Rabbi Jessica Rosenberg and Rabbi Xava De Cordova. This episode was edited by Maia Brown, with audio engineering by Daniel Guenther. Thank you to Ross Kirshenbaum of Levoneh for composing our show music and to Peter Lippman and Jimmy Austin for playing on the track, and to Jenny Asarnow for their field recordings. Thank you to the Jack Straw Cultural Center Artist Support Program, the Seattle Office of Arts & Culture Smart Ventures Program, and Signal Fire Coop. Thank you to Hannah Epstein for design. Thank you to all those who lent their prayer-voices to the Kol Nidre episode including: Noraa Kaplan, Sharone Sayegh, Moyshe Oysher. Thank you to Jeannie Wells-Yablonsky from the Seattle Symphony for her rendition of Kol Nidre. An excerpt from “Kol Nidre,” performed by Sharone Sayegh in the Iraqi Sephardic tradition, was produced by Reboot in partnership with Hillel International for Higher Holidays 2020 and is reproduced here with permission.