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A DEBUT NOVEL OF DARING ORIGINALITY, THE YID GUARANTEES THAT YOU WILL NEVER THINK OF STALINIST RUSSIA, SHAKESPEARE, THEATER, YIDDISH, OR HISTORY THE SAME WAY AGAIN Moscow, February 1953. A week before Stalin's death, his final pogrom, "one that would forever rid the Motherland of the vermin," is in full swing. Three government goons arrive in the middle of the night to arrest Solomon Shimonovich Levinson, an actor from the defunct State Jewish Theater. But Levinson, though an old man, is a veteran of past wars, and his shocking response to the intruders sets in motion a series of events both zany and deadly as he proceeds to assemble a ragtag group to help him enact a mad-brilliant plot: the assassination of a tyrant. While the setting is Soviet Russia, the backdrop is Shakespeare: A mad king has a diabolical plan to exterminate and deport his country's remaining Jews. Levinson's cast of unlikely heroes includes Aleksandr Kogan, a machine-gunner in Levinson's Red Army band who has since become one of Moscow's premier surgeons; Frederick Lewis, an African American who came to the USSR to build smelters and stayed to work as an engineer, learning Russian, Esperanto, and Yiddish; and Kima Petrova, an enigmatic young woman with a score to settle. And wandering through the narrative, like a crazy Soviet Ragtime, are such historical figures as Paul Robeson, Solomon Mikhoels, and Marc Chagall. As hilarious as it is moving, as intellectual as it is violent, Paul Goldberg's THE YID is a tragicomic masterpiece of historical fiction.
"Moscow, February 1953. A week before Stalin's death, his final pogrom, "one that would forever rid the Motherland of the vermin," is in full swing. Three government goons arrive in the middle of the night to arrest Solomon Shimonovich Levinson, an actor from the defunct State Jewish Theater. But Levinson, though an old man, is a veteran of past wars, and his shocking response to the intruders sets in motion a series of events both zany and deadly as he proceeds to assemble a ragtag group to help him enact a mad-brilliant plot: the assassination of a tyrant. Levinson's cast of unlikely heroes includes Aleksandr Kogan, a machine-gunner in Levinson's Red Army band who has since become one of Moscow's premier surgeons; Frederick Lewis, an African American who came to the USSR to build smelters and stayed to work as an engineer, learning Russian, Esperanto, and Yiddish; and Kima Petrova, an enigmatic young woman with a score to settle. While the setting is Soviet Russia, the backdrop is Shakespeare: A mad king has a diabolical plan to exterminate and deport his country's remaining Jews. And wandering through the narrative, like a crazy Soviet Ragtime, are such historical figures as Paul Robeson, Solomon Mikhoels, and Marc Chagall. As hilarious as it is moving, as intellectual as it is violent--with echoes of Inglourious Basterds and Seven Samurai--THE YID is a tragicomic masterpiece of historical fiction"--
"We have proverb in Florida...You know why it's good to be on beach?" Bill smiles, but says nothing. He wants the guy to keep talking. "Because on beach you are surrounded by idiots on only three sides." "And on the remaining side you have what?" asks Bill. "Sharks..." Paul Goldberg, the acclaimed author of The Yid, takes us behind the scenes of a Florida condo board election, delivering a wild spin on Miami Beach, petty crime, Jewish identity, and life in Trump's America. It is January 2017 and Bill has hit rock bottom. Yesterday, he was William M. Katzenelenbogen, successful science reporter at The Washington Post. But things have taken a turn. Fired from his job, aimless, with exactly $1,219.37 in his checking account, he learns that his college roommate, a plastic surgeon known far and wide as the “Butt God of Miami Beach,” has fallen to his death under salacious circumstances. With nothing to lose, Bill boards a flight for Florida’s Gold Coast, ready to begin his own investigation—a last ditch attempt to revive his career. There’s just one catch: Bill’s father, Melsor. Melsor Yakovlevich Katzenelenbogen—poet, literary scholar, political dissident, small-time-crook—is angling for control of the condo board at the Château Sedan Neuve, a crumbling high-rise in Hollywood, Florida, populated mostly by Russian Jewish immigrants. The current board is filled with fraudsters levying “special assessments” on residents, and Melsor will use any means necessary to win the board election. And who better to help him than his estranged son? As he did in The Yid, Paul Goldberg has taken something we think we know and turned it on its ear. Featuring a colorful cast of characters, The Château guarantees that you will never look at condo boards, crime, kleptocracy, vodka, Fascism, or Florida the same way again.
Named a BEST BOOK OF THE YEAR by * NPR * Esquire * O, The Oprah Magazine * Real Simple * BBC * PopSugar * Bustle * Kirkus Reviews * Lit Hub “A gripping, astute, and deeply humane political thriller.” —The Boston Globe “Mesmerizing [and] uncannily prescient.”—Los Angeles Times A taut, timely novel about what a powerful politician thinks he can get away with and the group of misfits who finally bring him down, from the award-winning author of Ways to Disappear. On an unnamed island country ten years after the collapse of a U.S.-supported regime, Lena suspects the powerful senator she was involved with back in her student activist days is taking advantage of a young woman who's been introducing him at rallies. When the young woman ends up dead, Lena revisits her own fraught history with the senator and the violent incident that ended their relationship. Why didn't Lena speak up then, and will her family's support of the former regime still impact her credibility? What if her hunch about this young woman's death is wrong? What follows is a riveting exploration of the cost of staying silent and the mixed rewards of speaking up in a profoundly divided country. Those Who Knew confirms Novey's place as an essential new voice in American fiction.
An instant New York Times bestseller!Alan Gratz, bestselling author of Refugee, weaves a stunning array of voices and stories into an epic tale of teamwork in the face of tyranny -- and how just one day can change the world. June 6, 1944: The Nazis are terrorizing Europe, on their evil quest to conquer the world. The only way to stop them? The biggest, most top-secret operation ever, with the Allied nations coming together to storm German-occupied France.Welcome to D-Day.Dee, a young U.S. soldier, is on a boat racing toward the French coast. And Dee -- along with his brothers-in-arms -- is terrified. He feels the weight of World War II on his shoulders.But Dee is not alone. Behind enemy lines in France, a girl named Samira works as a spy, trying to sabotage the German army. Meanwhile, paratrooper James leaps from his plane to join a daring midnight raid. And in the thick of battle, Henry, a medic, searches for lives to save.In a breathtaking race against time, they all must fight to complete their high-stakes missions. But with betrayals and deadly risks at every turn, can the Allies do what it takes to win?
Jew. The word possesses an uncanny power to provoke and unsettle. For millennia, Jew has signified the consummate Other, a persistent fly in the ointment of Western civilization’s grand narratives and cultural projects. Only very recently, however, has Jew been reclaimed as a term of self-identification and pride. With these insights as a point of departure, this book offers a wide-ranging exploration of the key word Jew—a term that lies not only at the heart of Jewish experience, but indeed at the core of Western civilization. Examining scholarly debates about the origins and early meanings of Jew, Cynthia M. Baker interrogates categories like “ethnicity,” “race,” and “religion” that inevitably feature in attempts to define the word. Tracing the term’s evolution, she also illuminates its many contradictions, revealing how Jew has served as a marker of materialism and intellectualism, socialism and capitalism, worldly cosmopolitanism and clannish parochialism, chosen status, and accursed stigma. Baker proceeds to explore the complex challenges that attend the modern appropriation of Jew as a term of self-identification, with forays into Yiddish language and culture, as well as meditations on Jew-as-identity by contemporary public intellectuals. Finally, by tracing the phrase new Jews through a range of contexts—including the early Zionist movement, current debates about Muslim immigration to Europe, and recent sociological studies in the United States—the book provides a glimpse of what the word Jew is coming to mean in an era of Internet cultures, genetic sequencing, precarious nationalisms, and proliferating identities.
How We Do Harm exposes the underbelly of healthcare today—the overtreatment of the rich, the under treatment of the poor, the financial conflicts of interest that determine the care that physicians' provide, insurance companies that don't demand the best (or even the least expensive) care, and pharmaceutical companies concerned with selling drugs, regardless of whether they improve health or do harm. Dr. Otis Brawley is the chief medical and scientific officer of The American Cancer Society, an oncologist with a dazzling clinical, research, and policy career. How We Do Harm pulls back the curtain on how medicine is really practiced in America. Brawley tells of doctors who select treatment based on payment they will receive, rather than on demonstrated scientific results; hospitals and pharmaceutical companies that seek out patients to treat even if they are not actually ill (but as long as their insurance will pay); a public primed to swallow the latest pill, no matter the cost; and rising healthcare costs for unnecessary—and often unproven—treatments that we all pay for. Brawley calls for rational healthcare, healthcare drawn from results-based, scientifically justifiable treatments, and not just the peddling of hot new drugs. Brawley's personal history – from a childhood in the gang-ridden streets of black Detroit, to the green hallways of Grady Memorial Hospital, the largest public hospital in the U.S., to the boardrooms of The American Cancer Society—results in a passionate view of medicine and the politics of illness in America - and a deep understanding of healthcare today. How We Do Harm is his well-reasoned manifesto for change.
Why have the Jews been vilified throughout their history? Why the anti-Semitism? Historians from time immemorial have stated the main reason for this is that the Jews killed Jesus Christ: the crucifixion was at the behest of the Jews of Israel. Indeed, the Jews until this day do not accept Jesus as a prophet of God at all. This inability to recognise Jesus as a man sent by God has infuriated Christians for centuries. They see it as a rejection of God the father himself. Worthy of condemnation. Moreover, the Jews reject the mission of the Prophet Muhammad. They regard Muhammad as an imposter. Many see this rejection of two of the world's major religions as a selfish, inward looking characteristic of Judaism. What follows is the scriptural background to the rejection of Jesus by the Jews after which come quotations from history, many of them condemnatory and some of questionable authenticity. But intended to indicate the make-up of anti- Semitism, the discussion of which is not presented in a balanced way in present times.
David Mamet's interest in anti-Semitism is not limited to the modern face of an ancient hatred but encompasses as well the ways in which many Jews have internalized that hatred. Using the metaphor of the Wicked Son at the Passover seder (the child who asks, "What does this story mean to you?") Mamet confronts what he sees as an insidious predilection among some Jews to exclude themselves from the equation and to seek truth and meaning anywhere--in other religions, political movements, mindless entertainment--but in Judaism itself. He also explores the ways in which the Jewish tradition has long been and still remains the Wicked Son in the eyes of the world. Written with the searing honesty and verbal brilliance that is the hallmark of Mamet's work, The Wicked Son is a powerfully thought-provoking look at one of the most destructive and tenacious forces in contemporary life.