Eventually, this day had to come, the day when I wrote my last blog for The Jewish Week. In the fall I'll be starting a Ph.D. program in U.S. history at Columbia, which means I'll no longer be able to hold this job. But the good news is that I'll be able to freelance, so you can expect to see my by-line somewhere in The Jewish Week in the coming months.
Vatican II—the Catholic Church’s commission that liberalized many Catholic practices—was a watershed for Jews, too. The most famous Jewish-related doctrine to come out of it, “Nostra Aetate,” bluntly denounced anti-Semitism, and perhaps most significantly, said that Jews today, and throughout history, should not be held responsible for Jesus’ death. Most often, Vatican II is celebrated by Jews as a great turning-point for Catholics, and something of a mea culpa for the Church’s problematic relationship with the Nazis. But
Hofesh Shechter often gets annoyed when people only see Jewish or Israeli references in his choreography. “It’s a very interesting, conflicted way the world sees Jews,” he told me a while back. “People [in England] refer to me as Jewish rather than Israeli. There’s this pigeonhole, this file that says ‘Jewish’ on it.”
You may remember the uproar Cornel West, the Zelig-like black scholar, caused last year when he viciously attacked Obama on the liberal website Truthdig. The big news was that West—a prominent voice in American public life, but especially within the black community—had turned against the man he spent much of the 2008 campaigning for. But there was a lesser-noticed quote in that interview that raised many Jewish eyebrows. Embedded in his criticism that Obama wasn’t quite black enough, he said that Obama seemed “most comfortable with upper-¬middle
Move over Talmud: there’s a new Jewish commentary in town. This week, the Posen Foundation and Yale University Press announced the publication date for the first in a 10-volume series anthologizing 3,000 years of Jewish culture and civilization.
Dave Eggers, the literary wunderkind, almost mustered some courage. This week he refused to go to Germany to accept the prestigious, $50,000 literary award created by Gunter Grass—the Nobel laureate who recently caused on international uproar over his poem chastising Israel for threatening global stability. But Eggers’ seeming act of courage was more apparent than real. Essentially, he declined the award because he didn’t wan
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.
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.