Examining more than a dozen films from Jewish artists, this book reveals how the postmodern impulse to turn the lens inward intersects provocatively with historical tropes and stereotypes of the Jew. It focuses on Jewish filmmakers working on the margins and examines the work of Jonathan Caouette, Chantal Akerman and many more.
An examination of what can be learned by looking at the journals and diaries of Jews living during the Holocaust. What are the effects of radical oppression on the human psyche? What happens to the inner self of the powerless and traumatized victim, especially during times of widespread horror? In this bold and deeply penetrating book, Amos Goldberg addresses diary writing by Jews under Nazi persecution. Throughout Europe, in towns, villages, ghettos, forests, hideouts, concentration and labor camps, and even in extermination camps, Jews of all ages and of all cultural backgrounds described in writing what befell them. Goldberg claims that diary and memoir writing was perhaps the most important literary genre for Jews during World War II. Goldberg considers the act of writing in radical situations as he looks at diaries from little-known victims as well as from brilliant diarists such as Chaim Kaplan and Victor Kemperer. Goldberg contends that only against the background of powerlessness and inner destruction can Jewish responses and resistance during the Holocaust gain their proper meaning. “This is a book that deserves to be read well beyond Holocaust studies. Goldberg’s theoretical insights into “life stories” and his readings of law, language and what he calls the “epistemological grey zone” . . . provide a stunning antidote to our unthinking treatment of survivors as celebrities (as opposed to just people who have suffered terrible things) and to the ubiquity of commemorative platitudes.” —Times Higher Education “Every decade or so, an exceptional volume is born. Provocative and inspiring, historian Goldberg’s volume is one such work in the field of Holocaust studies. . . . Highly recommended.” —Choice “Amos Goldberg’s Trauma in First Person: Diary Writing During the Holocaust is an important and thought-provoking book not only on reading Holocaust diaries, but also on what that reading can tell us about the extent of the destruction committed against Jews during the Holocaust.” —Reading Religion “Amos Goldberg’s work offers an innovative approach to the subject matter of Holocaust diaries and challenges well-established views in the whole field of Holocaust studies. This is a comprehensive discussion of the phenomenon of Jewish diary writing during the Holocaust and after.” —Guy Miron. Author of The Waning of Emancipation: Jewish History, Memory, and the Rise of Fascism in Germany, France, and Hungary “This is an important contribution to trauma studies and a powerful critique of those who use the “crisis” paradigm to study the Holocaust.” —Dovile Budryt, Georgia Gwinnett College, Holocaust and Genocide Studies
An engrossing memoir-meets-investigative report that takes a fresh, frank look at how we treat depression. Depression is a havoc-wreaking illness that masquerades as personal failing and hijacks your life. After a major suicide attempt in her early twenties, Anna Mehler Paperny resolved to put her reporter’s skills to use to get to know her enemy, setting off on a journey to understand her condition, the dizzying array of medical treatments on offer, and a medical profession in search of answers. Charting the way depression wrecks so many lives, she maps competing schools of therapy, pharmacology, cutting-edge medicine, the pill-popping pitfalls of long-term treatment, the glaring unknowns and the institutional shortcomings that both patients and practitioners are up against. She interviews leading medical experts across the US and Canada, from psychiatrists to neurologists, brain-mapping pioneers to family practitioners, and others dabbling in strange hypotheses—and shares compassionate conversations with fellow sufferers. Hello I Want to Die Please Fix Me tracks Anna’s quest for knowledge and her desire to get well. Impeccably reported, it is a profoundly compelling story about the human spirit and the myriad ways we treat (and fail to treat) the disease that accounts for more years swallowed up by disability than any other in the world. If you or someone you know is struggling with suicidal thoughts, help is available. Contact the National Suicide Prevention Lifeline at 800-273-8255.
A 2021 National Jewish Book Award Finalist One of Smithsonian Magazine's Best History Books of 2021 "An uplifting tale, suffused with a karmic righteousness that is, at times, exhilarating." —Wall Street Journal "A gripping narrative that reads like a page turning thriller novel." —NPR In the summer of 1942, the Rabinowitz family narrowly escaped the Nazi ghetto in their Polish town by fleeing to the forbidding Bialowieza Forest. They miraculously survived two years in the woods—through brutal winters, Typhus outbreaks, and merciless Nazi raids—until they were liberated by the Red Army in 1944. After the war they trekked across the Alps into Italy where they settled as refugees before eventually immigrating to the United States. During the first ghetto massacre, Miriam Rabinowitz rescued a young boy named Philip by pretending he was her son. Nearly a decade later, a chance encounter at a wedding in Brooklyn would lead Philip to find the woman who saved him. And to discover her daughter Ruth was the love of his life. From a little-known chapter of Holocaust history, one family’s inspiring true story.
Personal narratives of Christians, Gypsies, deaf people, homosexuals, and Blacks who suffered at the hands of the Nazis before and during World War II.
Finalist for the National Jewish Book Awards Finalist, National Translation Award in Prose An exquisitely original collection of darkly funny stories that explore the panorama of Jewish experience in contemporary Poland, from a world-class contemporary writer “These small, searing prose pieces are moving and unsettling at the same time. If the diagnosis they present is right, then we have a great problem in Poland.” —Olga Tokarczuk, Nobel Prize laureate and author of Flights Mikołaj Grynberg is a psychologist and photographer who has spent years collecting and publishing oral histories of Polish Jews. In his first work of fiction—a book that has been widely praised by critics and was shortlisted for Poland’s top literary prize—Grynberg recrafts those histories into little jewels, fictionalized short stories with the ring of truth. Both biting and knowing, I’d Like to Say Sorry, but There’s No One to Say Sorry To takes the form of first-person vignettes, through which Grynberg explores the daily lives and tensions within Poland between Jews and gentiles haunted by the Holocaust and its continuing presence. In “Unnecessary Trouble,” a grandmother discloses on her deathbed that she is Jewish; she does not want to die without her family knowing. What is passed on to the family is fear and the struggle of what to do with this information. In “Cacophony,” Jewish identity is explored through names, as Miron and his son Jurek demonstrate how heritage is both accepted and denied. In “My Five Jews,” a non-Jewish narrator remembers five interactions with her Jewish countrymen, and her own anti-Semitism, ruefully noting that perhaps she was wrong and should apologize, but no one is left to say “I’m sorry” to. Each of the thirty-one stories is a dazzling and haunting mini-monologue that highlights a different facet of modern Poland’s complex and difficult relationship with its Jewish past.
How the Murder of More Than Two Million Jews Was Carried Out—In Broad Daylight Based on a decade of work by Father Patrick Desbois and his team at Yahad–In Unum that has culminated to date in interviews with more than 5,700 neighbors to the murdered Jews and visits to more than 2,700 extermination sites, many of them unmarked. One key finding: Genocide does not happen without the neighbors. The neighbors are instrumental to the crime. In his National Jewish Book Award–winning book The Holocaust by Bullets, Father Patrick Desbois documented for the first time the murder of 1.5 million Jews in Ukraine during World War II. Nearly a decade of further work by his team, drawing on interviews with neighbors of the Jews, wartime records, and the application of modern forensic practices to long-hidden grave sites. has resulted in stunning new findings about the extent and nature of the genocide. In Broad Daylight documents mass killings in seven countries formerly part of the Soviet Union that were invaded by Nazi Germany. It shows how these murders followed a template, or script, which included a timetable that was duplicated from place to place. Far from being kept secret, the killings were done in broad daylight, before witnesses. Often, they were treated as public spectacle. The Nazis deliberately involved the local inhabitants in the mechanics of death—whether it was to cook for the killers, to dig or cover the graves, to witness their Jewish neighbors being marched off, or to take part in the slaughter. They availed themselves of local people and the structures of Soviet life in order to make the Eastern Holocaust happen. Narrating in lucid, powerful prose that has the immediacy of a crime report, Father Desbois assembles a chilling account of how, concretely, these events took place in village after village, from the selection of the date to the twenty-four-hour period in which the mass murders unfolded. Today, such groups as ISIS put into practice the Nazis’ lessons on making genocide efficient. The book includes an historical introduction by Andrej Umansky, research fellow at the Institute for Criminal Law and Criminal Procedure, University of Cologne, Germany, and historical and legal advisor to Yahad-In Unum.
Explores the full diversity of Black Jews, including bi-racial Jews of both matrilineal and patrilineal descent; adoptees; black converts to Judaism; and Black Hebrews and Israelites, who trace their Jewish roots to Africa and challenge the dominant western paradigm of Jews as white and of European descent. The book showcases the lives of Black Jews, demonstrating that racial ascription has been shaping Jewish selfhood for centuries. It reassesses the boundaries between race and ethnicity, offering insight into how ethnicity can be understood only in relation to racialization and the one-drop rule. Within this context, Black Jewish individuals strive to assert their dual identities and find acceptance within their communities. Putting to rest the notion that Jews are white and the Black Jews are therefore a contradiction, the volume argues that we cannot pigeonhole Black Hebrews and Israelites as exotic, militant, and nationalistic sects outside the boundaries of mainstream Jewish thought and community life. it spurs us to consider the significance of the growing population of self-identified Black Jews and its implications for the future of American Jewry.
Seven stories from the Old Testament, such as Noah's Ark and Joseph and his Rainbow Coat, are retold for the very young. Includes "Who's Who in the Bible Stories."
When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play – the matter and the maker—thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.