“A valuable contribution to a growing body of scholarly work on Jewish visibility in cinema.” —American Jewish History Motivated by Woody Allen’s brief comedic transformation into a Hasidic Jew in Annie Hall, cultural historian Shaina Hammerman examines the effects of real and imagined representations of Hasidic Jews in film, television, theater, and photography. Although these depictions could easily be dismissed as slapstick comedies and sexy dramas about forbidden relationships, Hammerman uses this ethnic imagery to ask meaningful questions about how Jewish identity, multiculturalism, belonging, and relevance are constructed on the stage and silver screen—questions relevant to any minority in present-day America and Europe.
“An absolutely crackling, unputdownable mystery told by a narrator with one big, booming voice. I loved it.” —Gillian Flynn, #1 New York Times–bestselling author of Gone Girl One of The Boston Globe’s Best Books of the Year In her riveting debut, journalist Julia Dahl—a finalist for the Edgar and Mary Higgins Clark Awards—introduces a compelling new character in search of the truth about a murder and an understanding of her own heritage Just months after Rebekah Roberts was born, her mother, an Hasidic Jew from Brooklyn, abandoned her Christian boyfriend and newborn baby to return to her religion. Neither Rebekah nor her father have heard from her since. Now a recent college graduate, Rebekah has moved to New York City to follow her dream of becoming a big-city reporter. But she’s also drawn to the idea of being closer to her mother, who might still be living in the Hasidic community in Brooklyn. Then Rebekah is called to cover the story of a murdered Hasidic woman. Rebekah’s shocked to learn that, because of the NYPD’s habit of kowtowing to the powerful ultra-Orthodox community, not only will the woman be buried without an autopsy, her killer may get away with murder. Rebekah can’t let the story end there. But getting to the truth won’t be easy—even as she immerses herself in the cloistered world where her mother grew up, it’s clear that she’s not welcome, and everyone she meets has a secret to keep from an outsider. “Fast-paced, suspenseful . . . rises above the crime-novel genre in its unusual psychological, spiritual and sociological dimensions, entering a world unfamiliar to most people.” —The Washington Post
“Talia Carner is a skillful and heartfelt storyteller who takes the reader on journey of the senses, into a world long forgotten.” —Jennifer Lauck, author of Blackbird “Exquisitely told, with details so vivid you can almost taste the food and hear the voices….A moving and utterly captivating novel that I will be thinking about for a long, long time.” —Tess Gerritsen, author of The Silent Girl “Talia Carner’s story captivates at every level, heart and mind.” —Jacquelyn Mitchard, author of The Deep End of the Ocean The poignant, colorful, and unforgettable story of a young woman in early 20th-century Jerusalem who must choose between her faith and her passion, Jerusalem Maiden heralds the arrival of a magnificent new literary voice, Talia Carner. In the bestselling vein of The Red Tent, The Kite Runner, and A Thousand Splendid Suns, Jerusalem Maiden brilliantly evokes the sights and sounds of the Middle East during the final days of the Ottoman Empire. Historical fiction and Bible lovers will be captivated by this thrilling tale of a young Jewish woman during a fascinating era, her inner struggle with breaking the Second Commandment, and her ultimate transcendence through self-discovery.
Sarah Schenirer and the Bais Yaakov movement she founded represent a revolution in the name of tradition in interwar Poland. The new type of Jewishly educated woman the movement created was a major innovation in a culture hostile to female initiative. A vivid portrait of Schenirer that dispels many myths.
The essay that forms the core of this book is an attempt to understand the developments that have occurred in Orthodox Jewry in America in the last seventy years, and to analyse their implications. The prime change is what is often described as ‘the swing to the right’, a marked increase in ritual stringency, a rupture in patterns of behaviour that has had major consequences not only for Jewish society but also for the nature of Jewish spirituality. For Haym Soloveitchik, the key feature at the root of this change is that, as a result of migration to the ‘New Worlds’ of England, the US, and Israel and acculturation to its new surroundings, American Jewry—indeed, much of the Jewish world— had to reconstruct religious practice from normative texts: observance could no longer be transmitted mimetically, on the basis of practices observed in home and street. In consequence, behaviour once governed by habit is now governed by rule. This new edition allows the author to deal with criticisms raised since the essay, long established as a classic in the field, was originally published, and enables readers to gain a fuller perspective on a topic central to today’s Jewish world and its development.
Feminist reading of women’s representation and activism in Israeli cinema. Warriors, Witches, Whores: Women in Israeli Cinema is a feminist study of Israel’s film industry and the changes that have occurred since the 1990s. Working in feminist film theory, the book adopts a cultural studies approach, considering the creation of a female-centered and thematically feminist film culture in light of structural and ideological shifts in Israeli society. Author Rachel S. Harris situates these changes in dialogue with the cinematic history that preceded them and the ongoing social inequalities that perpetuate women’s marginalization within Israeli society. While no one can deny Israel’s Western women’s advancements, feminist filmmakers frequently turn to Israel’s less impressive underbelly as sources for their inspiration. Their films have focused on sexism, the negative impact of militarism on women’s experience, rape culture, prostitution, and sexual abuse. These films also tend to include subjects from society’s geographical periphery and social margins, such as female foreign workers, women, and refugees. Warriors, Witches, Whoresis divided into three major sections and each considers a different form of feminist engagement. The first part explores films that situate women in traditionally male spheres of militarism, considering the impact of interjecting women within hegemonic spaces or reconceptualizing them in feminist ways. The second part recovers the narratives of women’s experience that were previously marginalized or silenced, thereby creating a distinct female space that offers new kinds of storytelling and cinematic aesthetics that reflect feminist expressions of identity. The third part offers examples of feminist activism that reach beyond the boundaries of the film to comment on social issues. This section demonstrates how feminists use film (and work within the film industry) in order to position women in society. While there are thematic overlaps between the chapters, each section marks structural differences in the modes of feminist response. Warriors, Witches, Whores considers the ways social and political power have affected the representation of women and looks to how feminist filmmakers have fought against these inequities behind the camera and in the stories they tell. Students and scholars of film, gender, or cultural studies will appreciate this approachable monograph.
This passionate polemic addresses itself to the ultimate questions of Jewish destiny and proclaims the primacy of Israel as the locus of the Jewish future. Hillel Halkin is an American-born Jew who has cast his personal and historical lot with Israel. Corresponding with an imaginary “American Jewish friend” who upholds the possibility of a viable Jewish life outside Israel, Halkin forcefully argues his case: Jewish history and Israeli history are two lines in the process of converging; and any Jew who chooses, in the absence of extenuating circumstances, not to live in Israel is removing himself to the peripheries of the struggle for Jewish survival and away from the center of Jewish destiny.
"Naila's vacation to visit relatives in Pakistan turns into a nightmare when she discovers her parents want to force her to marry a man she's never met"--
With truly startling statistics and a wealth of anecdotes, Silbiger reveals the cultural principles that form the bedrock of Jewish success in America.
For Davita Chandal, growing up in New York in the 1930s and '40s is an experience of indescribable joy—and unfathomable sadness. Her loving parents, both fervent radicals, fill her with the fiercely bright hope for a new, better world. But the deprivations of war and the Depression take their ruthless toll. And Davita, unexpectedly, finds in the Jewish faith that her mother had long ago abandoned both a solace to her questioning inner pain and a test of her budding spirit of independence. To her, life's elusive possibilities for happiness, for fulfillment, for decency, become as real and resonant as the music of the small harp that hangs on her door, welcoming all guests with its sweet, gentle tones. Praise for Davita's Harp “Rich . . . enchanting . . . [Chaim] Potok's bravest book.”—The New York Times Book Review “It is an enormous pleasure to sink into such a rich . . . solidly written novel. The reader knows from the first few pages that he is in the hands of a sure professional who won't let him down.”—People “Engrossing . . . Filled with a host of richly drawn characters. Potok is a master storyteller.”—Chicago Tribune “Gripping and intriguing . . . A well-told tale that needed telling.”—The Philadelphia Inquirer
