Before 2010, there were no Israeli horror films. Then distinctly Israeli serial killers, zombies, vampires, and ghosts invaded local screens. The next decade saw a blossoming of the genre by young Israeli filmmakers. New Israeli Horror is the first book to tell their story. Through in-depth analysis, engaging storytelling, and interviews with the filmmakers, Olga Gershenson explores their films from inception to reception. She shows how these films challenge traditional representations of Israel and its people, while also appealing to audiences around the world. Gershenson introduces an innovative conceptual framework of adaptation, which explains how filmmakers adapt global genre tropes to local reality. It illuminates the ways in which Israeli horror borrows and diverges from its international models. New Israeli Horror offers an exciting and original contribution to our understanding of both Israeli cinema and the horror genre. A companion website to this book is available at https://blogs.umass.edu/newisraelihorror/ (https://blogs.umass.edu/newisraelihorror/) Book trailer: https://youtu.be/oVJsD0QCORw (https://youtu.be/oVJsD0QCORw)
"The Joshua Generation examines the book of Joshua's many lives, from its relationship to ancient political forms to the present Israeli Occupation. Its scope encompasses the nationalist celebrations and the stringent critiques of the biblical volume along with their impacts on political discourse and lived space"--
"Gesher Theatre opened in 1990 as a marginal immigrant troupe in Tel Aviv, and soon became one of the most popular innovative theatres in Israel. It has now achieved international acclaim. However, because its bilingual performances and multicultural cast challenge cornerstones of Zionism, the mainstream Israeli media constantly debate Gesher's position. Gesher: Russian Theatre in Israel - A Study of Cultural Colonization discusses Gesher's history and analyzes its controversial media reception. What emerges is an extension of postcolonial theory to new cultural contexts, leading to a groundbreaking model of interethnic relations. This book will be of value to scholars of cultural studies and immigration, as well as to anyone interested in contemporary Israeli culture." --Book Jacket.
WINNER OF THE JANET HEIGINGER KAFKA PRIZE FOR FICTION “The novel showcases the humanity, tragedy, and complexity of life in the West Bank. . . . The characters’ interwoven lives will stay with you long after the book's denouement.” —Entertainment Weekly “Sacks is an extraordinarily gifted writer whose intelligence, compassion and skill on both the sentence and tension level rise to meet her ambition. She keeps us constantly on edge. . . . City of a Thousand Gates makes a convincing case for a literature of multiplicity, polyphonic and clamorous, abuzz with challenges and contradictions, with no clear answers but a promise to stay alert to the world, in all its peril and vitality.” —Washington Post Brave and bold, this gorgeously written novel introduces a large cast of characters from various backgrounds in a setting where violence is routine and where survival is defined by boundaries, walls, and checkpoints that force people to live and love within and across them. Hamid, a college student, has entered Israeli territory illegally for work. Rushing past soldiers, he bumps into Vera, a German journalist headed to Jerusalem to cover the story of Salem, a Palestinian boy beaten into a coma by a group of revenge-seeking Israeli teenagers. On her way to the hospital, Vera runs in front of a car that barely avoids hitting her. The driver is Ido, a new father traveling with his American wife and their baby. Ido is distracted by thoughts of a young Jewish girl murdered by a terrorist who infiltrated her settlement. Ori, a nineteen-year-old soldier from a nearby settlement, is guarding the checkpoint between Bethlehem and Jerusalem through which Samar—Hamid’s professor—must pass. These multiple strands open this magnificent and haunting novel of present-day Israel and Palestine, following each of these diverse characters as they try to protect what they love. Their interwoven stories reveal complicated, painful truths about life in this conflicted land steeped in hope, love, hatred, terror, and blood on both sides. City of a Thousand Gates brilliantly evokes the universal drives that motivate these individuals to think and act as they do—desires for security, for freedom, for dignity, for the future of one’s children, for land that each of us, no matter who or where we are, recognize and share.
The controversial English-language debut of celebrated Israeli novelist Yishai Sarid is a harrowing, ironic parable of how we reckon with human horror, in which a young, present-day historian becomes consumed by the memory of the Holocaust. Written as a report to the chairman of Yad Vashem, Israel’s memorial to the victims of the Holocaust, our unnamed narrator recounts his own undoing. Hired as a promising young historian, he soon becomes a leading expert on Nazi methods of extermination at concentration camps in Poland during World War II and guides tours through the sites for students and visiting dignitaries. He hungrily devours every detail of life and death in the camps and takes pride in being able to recreate for his audience the excruciating last moments of the victims’ lives. The job becomes a mission, and then an obsession. Spending so much time immersed in death, his connections with the living begin to deteriorate. He resents the students lost in their iPhones, singing sentimental songs, not expressing sufficient outrage at the genocide committed by the Nazis. In fact, he even begins to detect, in the students as well as himself, a hint of admiration for the murderers—their efficiency, audacity, and determination. Force is the only way to resist force, he comes to think, and one must be prepared to kill. With the perspicuity of Kafka’s The Trial and the obsessions of Delillo’s White Noise, The Memory Monster confronts difficult questions that are all too relevant to Israel and the world today: How do we process human brutality? What makes us choose sides in conflict? And how do we honor the memory of horror without becoming consumed by it? Praise for The Memory Monster: “Award-winning Israeli novelist Sarid’s latest work is a slim but powerful novel, rendered beautifully in English by translator Greenspan…. Propelled by the narrator’s distinctive voice, the novel is an original variation on one of the most essential themes of post-Holocaust literature: While countless writers have asked the question of where, or if, humanity can be found within the profoundly inhumane, Sarid incisively shows how preoccupation and obsession with the inhumane can take a toll on one’s own humanity…. it is, if not an indictment of Holocaust memorialization, a nuanced and trenchant consideration of its layered politics. Ultimately, Sarid both refuses to apologize for Jewish rage and condemns the nefarious forms it sometimes takes. A bold, masterful exploration of the banality of evil and the nature of revenge, controversial no matter how it is read.” —Kirkus Reviews, Starred Review “[A] record of a breakdown, an impassioned consideration of memory and its risks, and a critique of Israel’s use of the Holocaust to shape national identity…. Sarid’s unrelenting examination of how narratives of the Holocaust are shaped makes for much more than the average confessional tale.” —Publishers Weekly “Reading The Memory Monster, which is written as a report to the director of Yad Vashem, felt like both an extremely intimate experience and an eerily clinical Holocaust history lesson. Perfectly treading the fine line between these two approaches, Sarid creates a haunting exploration of collective memory and an important commentary on humanity. How do we remember the Holocaust? What tolls do we pay to carry on memory? This book hit me viscerally, emotionally, and personally. The Memory Monster is brief, but in its short account Sarid manages to lay bare the tensions between memory and morals, history and nationalism, humanity and victimhood. An absolute must-read.” —Julia DeVarti, Literati Bookstore (Ann Arbor, MI) “In Yishai Sarid’s dark, thoughtful novel The Memory Monster, a Holocaust historian struggles with the weight of his profession…. The Memory Monster is a novel that pulls no punches in its exploration of the responsibility—and the cost—of holding vigil over the past.” —Eileen Gonzalez, Foreword Reviews
What if all the Palestinians in Israel simply disappeared one day? What would happen next? How would Israelis react? These unsettling questions are posed in Azem’s powerfully imaginative novel. Set in contemporary Tel Aviv forty eight hours after Israelis discover all their Palestinian neighbors have vanished, the story unfolds through alternating narrators, Alaa, a young Palestinian man who converses with his dead grandmother in the journal he left behind when he disappeared, and his Jewish neighbor, Ariel, a journalist struggling to understand the traumatic event. Through these perspectives, the novel stages a confrontation between two memories. Ariel is a liberal Zionist who is critical of the military occupation of the West Bank and Gaza, but nevertheless believes in Israel’s project and its national myth. Alaa is haunted by his grandmother’s memories of being displaced from Jaffa and becoming a refugee in her homeland. Ariel’s search for clues to the secret of the collective disappearance and his reaction to it intimately reveal the fissures at the heart of the Palestinian question. The Book of Disappearance grapples with both the memory of loss and the loss of memory for the Palestinians. Presenting a narrative that is often marginalized, Antoon’s translation of the critically acclaimed Arabic novel invites English readers into the complex lives of Palestinians living in Israel.
Operation Protective Edge, launched in early July 2014, was the third major Israeli assault on the Gaza Strip in six years. It was also the most deadly. By the conclusion of hostilities some seven weeks later, 2,200 of Gaza’s population had been killed, and more than 10,000 injured. In these pages, journalist Mohammed Omer, a resident of Gaza who lived through the terror of those days with his wife and then three-month-old son, provides a first-hand account of life on-the-ground during Israel’s assault. The images he records in this extraordinary chronicle are a literary equivalent of Goya’s “Disasters of War”: children’s corpses stuffed into vegetable refrigerators, pointlessly because the electricity is off; a family rushing out of their home after a phone call from the Israeli military informs them that the building will be obliterated by an F-16 missile in three minutes; donkeys machine-gunned by Israeli soldiers under instructions to shoot anything that moves; graveyards targeted with shells so that mourners can no longer tell where their relatives are buried; fishing boats ablaze in the harbor. Throughout this carnage, Omer maintains the cool detachment of the professional journalist, determined to create a precise record of what is occurring in front of him. But between his lines the outrage boils, and we are left to wonder how a society such as Israel, widely-praised in the West as democratic and civilized, can visit such monstrosities on a trapped and helpless population.
Even people familiar with cinema believe there is no such thing as a Soviet Holocaust film. The Phantom Holocaust tells a different story. The Soviets were actually among the first to portray these events on screens. In 1938, several films exposed Nazi anti-Semitism, and a 1945 movie depicted the mass execution of Jews in Babi Yar. Other significant pictures followed in the 1960s. But the more directly filmmakers engaged with the Holocaust, the more likely their work was to be banned by state censors. Some films were never made while others came out in such limited release that the Holocaust remained a phantom on Soviet screens. Focusing on work by both celebrated and unknown Soviet directors and screenwriters, Olga Gershenson has written the first book about all Soviet narrative films dealing with the Holocaust from 1938 to 1991. In addition to studying the completed films, Gershenson analyzes the projects that were banned at various stages of production. The book draws on archival research and in-depth interviews to tell the sometimes tragic and sometimes triumphant stories of filmmakers who found authentic ways to represent the Holocaust in the face of official silencing. By uncovering little known works, Gershenson makes a significant contribution to the international Holocaust filmography.
In Falling Out of Time, David Grossman has created a genre-defying drama - part play, part prose, pure poetry - to tell the story of bereaved parents setting out to reach their lost children. It begins in a small village, in a kitchen, where a man announces to his wife that he is leaving, embarking on a journey in search of their dead son.The man - called simply the 'Walking Man' - paces in ever-widening circles around the town. One after another, all manner of townsfolk fall into step with him (the Net Mender, the Midwife, the Elderly Maths Teacher, even the Duke), each enduring his or her own loss. The walkers raise questions of grief and bereavement: Can death be overcome by an intensity of speech or memory? Is it possible, even for a fleeting moment, to call to the dead and free them from their death? Grossman's answer to such questions is a hymn to these characters, who ultimately find solace and hope in their communal act of breaching deathâe(tm)s hermetic separateness. For the reader, the solace is in their clamorous vitality, and in the gift of Grossmanâe(tm)s storytelling âe" a realm where loss is not merely an absence, but a life force of its own.
A PopMatters Best Book of the Year A perceptive study of how Israel’s actions, which run counter to the traditional historical values of Judaism, are putting Jewish people worldwide in an increasingly untenable position, now with a new introduction. More than a decade ago, the historian Tony Judt considered whether the behavior of Israel was becoming not only “bad for Israel itself” but also, on a wider scale, “bad for the Jews.” Under the leadership of Benjamin Netanyahu, this issue has grown ever more urgent. In The State of Israel vs. the Jews, veteran journalist Sylvain Cypel addresses it in depth, exploring Israel’s rightward shift on the international scene and with regard to the diaspora. Cypel reviews the little-known details of the military occupation of Palestinian territory, the mindset of ethnic superiority that reigns throughout an Israeli “colonial camp” that is largely in the majority, and the adoption of new laws, the most serious of which establishes two-tier citizenship between Jews and non-Jews. He shows how Israel has aligned itself with authoritarian regimes and adopted the practices of a security state, including the use of technologies such as the software that enabled the tracking and, ultimately, the assassination of Saudi Arabian journalist Jamal Khashoggi. Lastly, The State of Israel vs. the Jews examines the impact of Israel’s evolution in recent years on the two main communities of the Jewish diaspora, in France and the United States, considering how and why public figures in each differ in their approaches.
