“I believe we have a choice in this world about how to tell sad stories,” says Hazel Grace Lancaster, the protagonist of John Green’s recent best-selling novel, "The Fault in Our Stars." The recent film adaptation of the novel, directed by Josh Boone, topped charts this past weekend, grossing $48.2 million during its debut. The film grappled with looming questions about suffering, tragedy and how to truthfully tell sad stories.
With apologies to Nathan Englander, what should we look at when we look at Anne Frank? Faith & Form, the new exhibit at The Anne Frank Center USA provides some answers. Aligned with the Center’s mission of using the diary and spirit of Anne Frank as tools to educate about the dangers of racism, anti-Semitism and discrimination, the exhibit features multi-media work by 21 artists, all members of the Jewish Art Salon, addressing those issues in a range of styles and expression.
The Anne Frank House defended Justin Bieber's visit to the museum and his guestbook message hoping that the teen diarist "would have been a Belieber."
"The Anne Frank House was pleased to welcome Justin Bieber to the Anne Frank House last Friday. We think it is very positive that he took the time and effort to visit our museum," the Amsterdam-based museum wrote Monday in a post on its Facebook page. "He was very interested in the story of Anne Frank and stayed for over an hour. We hope that his visit will inspire his fans to learn more about her life and hopefully read the diary."
When I saw that the new issue of The New Republic had Robert Alter reviewing a new work by Nathan Englander, I instinctively thought it’d be of Englander’s new translation of the Passover Haggadah. Given that Alter is a widely admired translator of the Hebrew Bible, it was only natural for me to assume as much.
Warning: What follows has nothing to do with intermarriage, and it's a few days late for the mountain of 10-year anniversary reflections. Nonetheless, I felt compelled to write and share it anyway:
Had we not been tired and had the admissions lines not been so long that afternoon, my husband and I would have been in the Anne Frank House on 9/11, when the planes hit.
I’ve often wondered what it would have been like to be standing in that famous and ultimately failed hiding place, surrounded by evidence of human evil (and heroism), while hearing the horrifying news.
Two one-woman shows measure the continuing impact of Anne Frank’s story and of apartheid.
Special To The Jewish Week
History’s shadows never stop lengthening. Two one-woman shows playing next week in New York explore how historical processes shape modern Jewish identity. Carol Lempert’s “After Anne Frank,” investigates the effect of the Dutch teenager’s story on the performer’s own life, while Gabrielle Maisels’ “Bongani” examines a relationship between a white Jewish girl and the black son of her family housekeeper in post-apartheid South Africa.
Puppets are moving, but ‘Compulsion,’Patinkin are less so.
Special To The Jewish Week
She seems both alive and dead at the same time, a plucky, precocious girl whose life was tragically cut short at 15. How perfectly appropriate then, that Anne Frank is played by an amazingly life-like marionette in Rinne Groff’s “Compulsion,” a play about the Jewish writer Meyer Levin’s obsession with Anne Frank’s diary.