This view of Ben Yehuda Street in Tel Aviv shows some of the typical buildings in the background to which it owes its unofficial name, “The White City.” Since 1933 and especially after the “Reichsbürgergesetz” came into effect in 1935, Bauhaus-trained architects had left Germany and were now putting their mark on Tel Aviv, either through their own creations or through their influence on others. The photo is dominated by the Migdalor building, which was built in 1935 and housed the city’s first air-conditioned movie theater. On the external wall there is a huge advertisement for Jean Renoir’s 1937 movie “Grand Illusion,” which due to its pacifist message was banned in Nazi Germany.
Stella was not thrilled about the idea of living in Palestine. Like her friend, Annemarie Riess, with whom she shared her feelings on December 28th, she had fled to Italy. But as a Jew, she was no longer welcome there, either. According to the fascist regime’s new racial laws, non-native Jews were to leave the country within six months. 2,000 of the 10,000 foreign Jews who had settled down in Italy before 1919 were exempt from the provision. At least Stella had an immigration certificate for Palestine, issued by the Mandatory Government, and at a Tel Aviv clinic, an unpaid position that came with free room and board was waiting for her. Nevertheless, she continued to try to get permission to enter the US or England. Actually, even the offer on an unpaid position was more than many immigrant physicians could expect in Palestine. Since 1936, there was a surplus of physicians in the land, and a new wave of immigration after the annexation of Austria in February 1938 (“Anschluss”) had aggravated the situation even more.
Herbert Mansbach, a German dentistry student temporarily based in Switzerland, was lucky. A friend of his worked for the “Sick Fund” (Kupat Holim) of the General Workers’ Association in Israel (Histadrut) and was able to share valuable information with him pertaining to acceptance as a kibbutz member and employment in Palestine. The main prerequisites for kibbutz membership were affiliation with the HeHalutz pioneer youth movement and some knowledge of Hebrew. However, in order to be hired as a dentist in Tel Aviv, total mastery of Hebrew was a must. Herbert’s friend painted a sobering picture of the mental state of the new immigrants. The majority, he writes, come without enthusiasm—determination to succeed is more important.
Few among the immigrant New York audience expected to attend a trilingual event of the Theodor Herzl Society had ever encountered native speakers of modern Hebrew: Hence, it is no wonder the Aufbau assumed that the Hebrew part would constitute the greatest attraction. The featured artist of the evening, actor Albert Klar (Sklarz), born and raised in Tel Aviv, had begun his career in Berlin under renowned directors such as Reinhardt and Piscator. He had made his way to New York thanks to an invitation from the great Yiddish actor and director, Morris Schwartz, who hired him for his Yiddish Art Theater. The venue was Ansche Chesed, a synagogue on the Upper West Side founded by German immigrants.
There are many ways to describe Leo Perutz: novelist, mathematician, native of Prague, chess lover—to name but a few. He was admired by his colleagues and millions of readers. His success as a writer was so great that he decided in 1923 to give up his bread-and-butter job as an actuary. The Great Depression hit him hard, since the crisis not only negatively impacted the bookselling trade but also rendered the family company, in which he had a share, less profitable. To make matters worse, after the Nazis’ rise to power, his Jewish publisher, Paul Szolnay, lost his largest market in Germany. This is one of the last photographs taken before Perutz’s emigration from Vienna to Tel Aviv, Palestine in 1938.