When the Ron Rosenbaum was researching his upcoming biography of Bob Dylan—to be published as part of Yale University Press’s Jewish Lives Series—he came across an obscure quote. In the mid-‘60s Dylan had written an experimental novel almost impossible to read. But being a diligent journalist, Rosenbaum muscled through the novel (“Tarantula”) and found a poem that included these lines: “hitler did not change / history. hitler WAS history.”
That was all he needed to stake a provocative new interpretation of Dylan.
In the warwaging over Gunter Grass—the Nobel Prize winning German author, teenage Nazi soldier, and author of a poem denouncing Israel’s threats on Iran—it’s hard to tell whose national psyche is more scarred. In Germany, where Grass, 84, published the poem, translated into English as “What Must Be Said,” the intellectual landscape has been virtual
A couple of weeks ago, a Passover rap video—all in Hebrew, and with beat-boxing—went viral. It featured two fairly typical looking American Jews dressed up as Pharaoh, Moses, and a sleuth of other biblical characters. Then there were scenes of a Jewish girl in an Israeli-flag bikini; the two main singers playing poker in a retirement community; and then them again, rapping on a beach lined with skyscrapers. I thought, Wait, I know that place: Florida.
Ohad Naharin, the Israeli choreographer, is so synonymous with his home country that I often forget he did much of his formal training in the United States. In New York, in fact, at both the School of American Ballet and Juilliard. I get a vivid reminder of that this weekend, when Juilliard’s remarkable ensemble of student dancers performed his work “Secus,” from 2005.
For the first half of her life, the woman born Adrienne Cecile Rich, in Baltimore, 1929, lived the life you would have expected. She was baptized and raised in the Episcopalian church; her father was a medical professor at Johns Hopkins; her mother a pianist and composer. Adrienne went to Radcliffe and wrote poetry. By 1950, the kingmaker of mid-century poets, W.H. Auden, helped her publish her first collection, “A Change of World,” which featured accomplished if rather dull formal English verse—punctual meters, rhymes, etc.
If Leon Wieseltier would for once drop his surly, admonitory tone perhaps more people would listen. For what he delivers in his scathing review of the New American Haggadah is certainly worth reading. There are precious few people who are as learned in both Hebrew and English literature as he. And that’s why, even if you disagree with his reading of the new Haggadah, you will undoubte
Do you ever wonder what, one hundred years from now, historians will make of Obama’s record? And how about something more specific: his record with Jews? I do. But reading Jenna Weissman Joselit’s review of a new book on Ulysses S.
When Arthur Miller’s “Death of A Salesman” first opened on Broadway, in 1949, Brooks Atkinson, The New York Times’ chief theater critic, could not have been more enthusiastic—“masterly,” he called, “heroic” and “superb.” It is safe to say that the same adjectives can be used to describe the current Broadway revival that opened this week. Philip Seymour Hoffman, in the lead role of Willy Loman, brings renewed complexity to a classic American character who
This week brought news of two shocking deaths: the first of Albert Abramson, 94, an important figure in building the United States Holocaust Memorial Museum in Washington, D.C. And then there was Peter Novick, 77, an historian who wrote a withering attack of the Holocaust’s undue influence on American Jewish identity. The two would probably have had little to agree
All eyes were on Bibi Netanyahu yesterday as he delivered his AIPAC speech. At times he was disarming, at others bellicose, both emphasizing that Obama has Israel’s back, but that if need be, Israel would go it alone. “The purpose of the Jewish state is to secure the Jewish future,” he thundered. “That is why Israel must always have the ability to defend itself, by itself, against any threat.”