Two weeks ago, The Jerusalem Post published a lengthy story about a recently discovered manuscript by Tuvia Bielski, the leader of the Polish Jewish brigade that rescued 1,200 Jews from the Holocaust, the largest such rescue in history.
To the public, it was a revelation. But it was not to Jonathan Brent, the director of the YIVO Institute for Jewish Research, which holds the manuscript.
BAM film documents Mizrahi civil rights movement of the ‘70s, though inequities still resonate for Jews from Arab countries.
Shortly after Israel’s victory in the War of Independence, the Jewish state took in a mass exodus of Jews from Arab lands, first in 1949, and then again in 1956.
Jews from Arab lands, called Mizrahim, came to Israel not because they were ardent Zionists, but because their host Arab countries, angered by the establishment of the State of Israel, had turned against them.
Group of scholars pressing idea of cultural Zionism, amid pushback.
From the United Nations to the capitals of Europe to the pages of the New York Review of Books, Zionism — and the Israeli policies that undergird it — have lately come under withering attack.
Israel is reeling from the international condemnation following the failed flotilla attack. And Peter Beinart’s essay in the NYRB — which attacked Jewish leaders for failing to inspire a new generation of Jews committed to Israel — urged a more liberal Zionism as a way to get young Jews back in the fold.
I’m afraid Eric Herschthal misunderstood, and consequently misrepresented, some of what he quotes me as saying in his “Changing Images Muddy Picture of Zionism, Israel”. One point in particular is worthy of clarification:
JT Waldman put it bluntly: “I’m a comic-book geek. My entire world view is defined by them.” While he grew up in a Reform synagogue, went to Hebrew school and had a bar mitzvah, Waldman was essentially a lapsed Jew by the age of 14. His was the normal stuff of childhood: comic books, video games and Froot Loops. But when he was in college, studying in Spain, his Jewish identity became more apparent.
People seem to love author and cultural critic Christopher Hitchens for precisely the reason other people seem to hate him: he has an opinion, and a strong one, about almost everything. His new memoir, “Hitch-22,” is chock full of them, too. And when he appeared at at the 92nd Street Y on Tuesday night, in a chat with his close friend Salman Rushdie, that fact was not glossed over.
When the Nazis invaded Holland in May of 1940, Pauline Kalker’s grandfather, Joseph Emanuel, who was Jewish, went into hiding. He moved from house to house, evading the Nazis for several months. But soon he was caught. The Nazis tortured him for three days, hoping to get information about where other Jews were hiding, but he did not crack.
For young American Jews, it’s a long way from ‘Exodus’ to the separation wall.
In 1960, the film “Exodus” was nominated for three Academy Awards. Based on Leon Uris’ novel about the founding of Israel, it seems hard to believe that such a film, drenched in Jewish military heroism and suffused with Holocaust imagery and Arab aggression, could have such broad and unambiguous appeal. But it did. It not only won an Oscar, it also starred a Hollywood icon, Paul Newman, as the heroic Jewish fighter, and even made a commendable showing at Cannes.
But almost a half-century later, a very different film about Israel won an Oscar nomination. “Waltz With Bashir,” (2008) directed by the Israeli Ari Folman, put a spotlight on the massacres at the Sabra and Shatilla refugee camps during the first Lebanon War.
Rina Castelnuovo’s photos, at the Meislin Gallery.
On Tuesday, Andrea Meislin, an art dealer in New York, was on her way to Washington. Israel’s ambassador to the United States, Michael Oren, asked her to help decorate his new home, knowing that she represented some of Israel’s most prominent photographers. But Meislin, unsure of Oren’s politics and his artistic tastes, was packing light. She was bringing only her laptop for this trip, she said, which contained images of all her artwork, instead of carrying just a few select prints. She did not want to offend him with any of her own choices.