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A sweeping and poignant story of Ashkenazi Jews fleeing the Russian pogroms at the end of the 19th Century, as well as a parable of the making of a modern society and the extent to which religion and mysticism meet. Inspired by a story told to the author by his grandmother. For the family of the little red-headed Malka, trading the Russian shtetl for the Argentine pampas isn't so easy. Even in a country eager to populate its vast territories, the immigrants discover that their new home isn't the promised land. They encounter hostility from both man and nature, as they struggle through droughts and locusts in an attempt to cultivate the arid soil. When misery pushes them to the extreme, Malka's uncle is visited by the prophet Elias, who advises that he create a Golem--the mythical creature fashioned from earth and endowed with life by engraving on his body the word Emet ("Truth")--to pose as a man and aid the immigrants. When years later the adult Malka is visited by Elias, the events of her youth force her to decide whether or not she can maintain her silence--with fate and divine justice hanging in the balance. Winner of the Best Foreign Graphic Album award at the Angoulême Festival.
The USA Today Bestseller An extraordinary novel of hope and heartbreak, this is a story about a family separated by the Holocaust and their harrowing journey back to each other. My brother's tears left a delicate, clean line on his face. I stroked his cheek, whispered, it's really you...
The most up-to-date critical guide mapping the history, impact, key critical issues, and seminal texts of the genre, Jewish Comics and Graphic Narratives interrogates what makes a work a "Jewish graphic narrative", and explores the form's diverse facets to orient readers to the richness and complexity of Jewish graphic storytelling. Accessible but comprehensive and in an easy-to-navigate format, the book covers such topics as: - The history of the genre in the US and Israel - and its relationship to superheroes, Underground Comix, and Jewish literature - Social and cultural discussions surrounding the legitimization of graphic representation as sites of trauma, understandings of gender, mixed-media in Jewish graphic novels, and the study of these works in the classroom - Critical explorations of graphic narratives about the Holocaust, Israel, the diasporic experience, Judaism, and autobiography and memoir - The works of Will Eisner, Ilana Zeffren, James Sturm, Joann Sfar, JT Waldman, Michel Kichka, Sarah Glidden, Rutu Modan, and Art Spiegelman and such narratives as X Men, Anne Frank's Diary, and Maus Jewish Comics and Graphic Novels includes an appendix of relevant works sorted by genre, a glossary of crucial critical terms, and close readings of key texts to help students and readers develop their understanding of the genre and pursue independent study.
A stolen heirloom reveals long-buried sins among a peaceful Midwestern Jewish community in this mystery from the author of Poisoned Passover. While running the Crestfall, Illinois, Torah study group can be rewarding, it isn’t especially eventful, until a valuable heirloom is stolen from one of the group’s members. Known as a yad—the Hebrew word for hand—it is used to keep one’s place while reading the Torah. And this particular yad happens to be encrusted with a fortune’s worth of jewels. Now the mayor’s wife, Julia Donnelly, finds herself volunteering to help find the item. With no experience in crime detection beyond what she’s seen on TV, Julia and the Torah group leader Rabbi Fine attempt to solve the mystery and address the misery it is causing. But they soon find that the heirloom they seek holds a mystery of its own—one that reaches back to the Second World War—about the enigmatic man who brought this priceless yad to America in the first place.
In The Silence of Heaven, the world renowned Israeli novelist Amos Oz introduces us to an extraordinary masterpiece of Hebrew literature that is just now appearing in English, S. Y. Agnon's Only Yesterday. For Oz, Agnon is a treasure trove of a world no longer available to today's writers, yet deeply meaningful for his wonderment about God, the submerged eroticism of his writing, and his juggling of multiple texts from the historical Hebrew religious library. This collection of Oz's reflections on Agnon, which includes an essay on the essence of his ideology and poetics, is a rich interpretive work that shows how one great writer views another. Oz admires Agnon especially for his ability to invoke and visualize the religious world of the simple folk in Eastern European Jewry, looking back from the territorial context of the Zionist revival in Palestine. The tragedy of Agnon's visions, Oz maintains, lies in his perspicacity. Long before the Holocaust, Agnon saw the degeneration, ruin, and end of Jewish culture in Eastern Europe. He knew, too, that the Zionist project was far from being a secure conquest and its champions far from being happy idealists. Oz explores these viewpoints in a series of thick readings that consider the tensions between faith and the shock of doubt, yearnings and revulsion, love and hate, and intimacy and disgust. Although Oz himself is interested in particular ideological questions, he has the subtle sensibility of a master of fiction and can detect every technical device in Agnon's arsenal. With the verve of an excited reader, Oz dissects Agnon's texts and subtexts in a passionate argument about the major themes of Hebrew literature. This book also tells much about Oz. It represents the other side of Oz's book of reportage, In the Land of Israel, this time exploring the ideologies of Jewish identity not on the land but in texts of the modern classical heritage. The Silence of Heaven hence takes us on a remarkable journey into the minds of two major literary figures.
In our current world, questions of the transnational, location, land, and identity confront us with a particular insistence. The Grammar of Identity is a lively and wide-ranging study of twentieth-century fiction that examines how writers across nearly a hundred years have confronted these issues. Circumventing the divisions of conventional categories, the book examines writers from both the colonial and postcolonial, the modern and postmodern eras, putting together writers who might not normally inhabit the same critical space: Joseph Conrad, Caryl Phillips, Salman Rushdie, Charlotte Brontë, Jean Rhys, Anne Michaels, W. G. Sebald, Nadine Gordimer, and J. M. Coetzee. In this guise, the book itself becomes a journey of discovery, exploring the transnational not so much as a literal crossing of boundaries but as a way of being and seeing. In fictional terms this also means that it concerns a set of related forms: ways of approaching time and space; constructions of the self by way of combination and constellation; versions of navigation that at once have to do with the foundations of language as well as our pathways through the world. From Conrad's waterways of the earth, to Sebald's endless horizons of connection and accountability, to Gordimer's and Coetzee's meditations on the key sites of village, Empire, and desert, the book recovers the centrality of fiction to our understanding of the world. At the heart of it all is the grammar of identity, how we assemble and undertake our versions of self at the core of our forms of being and seeing.
Describes the situations of the long-established Jewish communities of the Arab world, the forces that led them to immigrate to Israel, and the conditions that shaped their new lives in a Jewish state led by Jews of a different heritage
A revolutionary memoir about domestic abuse by the award-winning author of Her Body and Other Parties In the Dream House is Carmen Maria Machado’s engrossing and wildly innovative account of a relationship gone bad, and a bold dissection of the mechanisms and cultural representations of psychological abuse. Tracing the full arc of a harrowing relationship with a charismatic but volatile woman, Machado struggles to make sense of how what happened to her shaped the person she was becoming. And it’s that struggle that gives the book its original structure: each chapter is driven by its own narrative trope—the haunted house, erotica, the bildungsroman—through which Machado holds the events up to the light and examines them from different angles. She looks back at her religious adolescence, unpacks the stereotype of lesbian relationships as safe and utopian, and widens the view with essayistic explorations of the history and reality of abuse in queer relationships. Machado’s dire narrative is leavened with her characteristic wit, playfulness, and openness to inquiry. She casts a critical eye over legal proceedings, fairy tales, Star Trek, and Disney villains, as well as iconic works of film and fiction. The result is a wrenching, riveting book that explodes our ideas about what a memoir can do and be.
“Bloodknots is a truly singular and remarkable book of stories. Lyrical and disturbing, this is the work of a writer of unmistakable talent.”—Joan Silber, author of Ideas of Heaven, a National Book Award nominee “Bloodknots is a marvelous collection peopled by unforgettable characters.”—Nalini Warriar, author of Blues from the Malabar Coast and a McAuslan Book Award winner A collection of beguiling stories from an American writer who excels at depicting the family ties that bind: fathers, mothers, sons, and daughters whose connections to one another are as fragile as they are irrevocable. Stubbornly honest, and imbued with a sensibility that speaks to the author’s Jewish heritage, Ami Sands Brodoff writes with authority, passion, and razor-sharp detail about identity and the longing for human connections in the face of loss and exclusion. Her stories evoke the delicate familial weaves of Alice Munro, exposing the raw nerves of shattered lives redeemed by the willingness to forgive. Written close to the senses, Bloodknots penetrates to the core. Ami Sands Brodoff is from New York and also lived in Princeton, New Jersey, before relocating with her husband to Montreal, where she writes and teaches creative writing. Her work has received a Pushcart Prize nomination and has been anthologized in numerous journals and book collections. Her first book, Can You See Me?, received wide acclaim, including a rave from Publishers Weekly.
"Intensely readable and beautifully observed . . . full of wisdom, generosity, humor, and sharp insights." —Elif Batuman, author of Either/Or Three Israeli women, their lives altered by immigration to the United States, seek to overcome crises. Ilana is a veteran Hebrew instructor at a Midwestern college who has built her life around her career. When a young Hebrew literature professor joins the faculty, she finds his post-Zionist politics pose a threat to her life’s work. Miriam, whose son left Israel to make his fortune in Silicon Valley, pays an unwanted visit to meet her new grandson and discovers cracks in the family’s perfect façade. Efrat, another Israeli in California, is determined to help her daughter navigate the challenges of middle school, and crosses forbidden lines when she follows her into the minefield of social media. In these three stirring novellas—comedies of manners with an ambitious blend of irony and sensitivity—celebrated Israeli author Maya Arad probes the demise of idealism and the generation gap that her heroines must confront.