This week I wrote my Culture View column on Maira Kalman's new exhibit at The Jewish Museum. I've got a pet obsession with her work, and figured that it would have been near impossible to leave my utterly self-conscious bias behind for the sake of a more "critical" review. So instead, I used it as an occasion to look at the same illustrations of hers I love--with all their winsomeness, humor, wit, vivacity and even occasional sadness--and simply view them in another light.
Pardon my bloggerly desuetude, but last week I was out on vacation. Now I'm back, and to make up for the lost time in blog-o-land, I'm posting a few longer essays you might have missed. (I did, at least.)
When Claude Lanzmann's nine-and-a-half hour epic "Shoah" debuted in 1985, much of Europe was aghast, infuriated, ashamed -- and profoundly moved. No film to date had captured the devolution of humanity that the Holocaust required -- and, years later, the sublimated memory and even outright denial that bystanders, Nazis and even victims still maintained.
Virtually no commentators, left or right, have defended Glenn Beck's vicious attack on George Soros. Commentary called Beck's tirade "marred by ignorance and offensive innuendo"; the ADL's Abe Foxman called them "horrific" and "over the top"; and this week, The New Yorker's
Reading Adam Gopnik's superb essay on Winston Churchill in the latest New Yorker, makes you wonder what Churchill actually thought about Jews. That question seemed about settled when Martin Gilbert, Churchill's official biographer and a leading British historian, published "Churchill and The Jews: A Lifelong Friendship" in 2007.