There was a whole article about how the more equal a marriage is the more sexless it is by Lori Gottlieb in the New York Times and it didn’t quote one woman in her late 20s or early 30s — the generation for whom equal marriage is most institutionalized. So, Gottlieb, here is what one of us thinks.
Welcome to Throwback Thursday, a weekly photo feature in which we sift 116 years of Forward history to find snapshots of women’s lives.
Editor’s Note: This article is a response to Avital Chizhik’s article which called for Orthodox feminism to seek to open the minds of women, not just to emulate the ritual practice of men.
(Ha’aretz) — Dear Ms. Chizhik,
I - a high-school student - write to you from a community in which your proposals for “real empowerment” have already been implemented.
In the Modern Orthodox day schools I have attended all my life, I have been “educated for the sake of education and not simply vocation.” I have been “taught to hold [myself] with dignity and confidence, encouraged to speak and build and succeed, entrusted with the best of secular knowledge, history, literature, sciences, politics.” I am a religious woman who “speaks proper English and Hebrew, and identifie[s] as [a] citizen of a greater society.” I have, because of my education, become “tolerant and unafraid of the outside,” and I “turn to the world with an unwavering confidence in [my] own faith and strength.”
When I spoke to Jennifer Senior, author of the new book “All Joy and No Fun: The Paradox of Modern Parenthood”, I told her that my experience reading her book felt much like the state of being she describes in the title. As a mother of 15-month-old, I am still in denial about the long term struggles inherent to this whole parenting thing and it was often painful to accept her smart analysis of the topic.
The book looks at all the reasons we are less happy than we’d like to be, or at least thought we would be. Some of these, like the fact that toddlers are incapable of rational thinking, we can only battle through acceptance, while others are things we can actually do something about. The one that stood out to me was the decline in community, best known as the “bowling alone” phenomenon, and how the resulting isolation only works to make parents’ lives even less fun than they need be.
I spoke with Senior about why parents are so much lonelier these days and how Shabbat dinner might save us all.
(JTA) — Julia Lipnitskaia, a 15-year-old Russian skating prodigy, took home the Olympic gold with a routine set to John Williams’ “Theme from Schindler’s List.”
Lipnitskaia skated in a red costume meant to evoke the iconic “girl in the red coat,” who briefly appears in the movie “Schindler’s List” to enhance the pathos of a scene of the liquidation of Krakow’s ghetto.
For many, the slender girl’s soundtrack choice struck a sour note in an otherwise breathtaking routine. “Schindler’s List on Ice,” as one member of the Twitterati called it, was, for some, another strange element in an already bizarre Olympics that has been plagued by malfunctioning snowflakes, toilet troubles and political unrest. Max Fisher, a foreign affairs blogger at the Washington Post, had a typical reaction:
As Justin Peters pointed out on Slate, Lipnitskaia is far from the first figure skater to use music from “Schindler’s List” for a routine. The movie’s wrenching resonance suits skating’s exaggerated emotional beats.
While it’s hard to deny that the sight of a glittery-Spandex-clad interpretation of “Schindler’s List” does push some iffy buttons, it’s important not to conflate Spielberg’s movie with the Holocaust itself. “Schindler’s List” is significant for raising and sustaining awareness of the Holocaust and its hidden heroes, but using a Hollywood film theme in a figure skating routine is not necessarily any kind of desecration. The red coat-clad girl Lipnitskaia riffed on was a fictional creation, meant to pull on audience’s heartstrings, to a soundtrack of Yiddish folk song.
Strong detractors of Lipnitskaia’s routine might need to be reminded that Spielberg’s creation is just that — a masterfully crafted work of fiction representing the Holocaust, not a historical artifact, and not, indeed, history itself.