This guest post by Eliana Fishman is part of an ongoing dialogue, which starts with the original post by Eliana Fishman and continues with the response by Raphael Magarik.
Thank you so much, Raffi, for continuing this conversation with me. I respect the thoughtfulness and passion that you bring to your relationship with Israel.’
I work very hard (as I’m sure you do) to ensure that my halachic practice reflects my values. I am not always successful, but I try. Text helps me explore what my values are, and how they define my practice. Both Masechet Pesachim and Rav Ovadyah Yosef’s teshuva give voice to what many American Jews have forgotten is a possibility: We can live religiously authentic, meaningful Jewish lives without a direct relationship with the modern state of Israel because our redemption is not about Israel.
American Jews and Israeli Jews are, simply, different. Look at central coming-of-age experiences: Non-Chareidi Israelis come into adulthood through military or national service, while (and this is a generalization) the American Jewish coming of age experience involves a college education. Religious American Jews subdivide based on praxis and attitudes towards gender, while religious Israeli Jews subdivide based on praxis and attitudes towards Zionism. With different sets of values, shouldn’t our halachic practice also be different? Neither geographic practice needs to be defined as better or worse. They’re just different. We can use differences in Ashkenazi and Sephardi halacha as a paradigm. Each community defined their practice based on their geographic and sociological norms. We can do the same. Israel should not dictate my religious practice, and vice versa.
Filmmaker Alexander Bodin Saphir presents on the rescue of the Danish Jews at OresundsLimmud 2013
On March 5, our almost-a-minyan who comprise the steering team of Limmud Oresund 2013 was holding the penultimate meeting prior to our second annual Limmud day of Jewish learning and culture. Over 160 people had pre-registered, and we were concerned about logistics: Would there be enough space for a Limmud that had doubled in size since last year? Had we ordered enough food for lunches and snacks? Did Folkuniversitet, an adult education school that was again openomg its facility to us free of chage, have a room large enough for all participants to close out the day together with singing, learning, thanking the volunteers, and tasting the cholent made during a morning session?
Imagine my surprise, then, to find my various in-boxes filled with messages from concerned friends all over the world. I had posted here on Jewschool about last September’s explosion at the Jewish community center of Malmö, where I live, so the Tablet Magazine artical entitled “Swedish Jews Continue Their Fight: In Malmö, kippah walks are part of a resurgence of identity” had them worried.
Trailer for Hava Nagila (The Movie) from Katahdin Productions on Vimeo.
When Hava Nagila: The Movie played the Boston Jewish Film Festival last year, I rolled my eyes and opted out of what I assumed would be a twee, cloying tribute to the ubiquitous anthem to American Jewish vapidity.
But when, three weeks into my relocation to New York City, a friend asked me if I wanted to take his second ticket to see it at the Museum of Jewish Heritage, I tried to stifle my skepticism in favor of a night out in my new home.
I was prepared for a nostalgic campfest, and while there was an element of that, the film was also surprisingly moving and educational. I even got a little teary-eyed during the segment with Harry Belafonte. I was surprised to learn the film was created by the team behind the excellent Hannah Szenes documentary, Blessed Is The Match. Director Roberta Grossman and producer Marta Kauffman said that after they completed their Szenes film, both women’s daughters asked them to work on a happier project – hence “Hava Nagila.” And while this is a happier film, it doesn’t shy away from a number of challenging questions about Jewish engagement, the Israel/Diaspora relationship, and the blooming and wilting of various strains of Jewish culture.
The movie begins a national roll-out this week. If it’s playing near you, check it out.
I recall chatting with one of my favorite singer-songwriters, composer, musician and poet Alicia Jo Rabins
in a Mexican joint in Chicago after a Golem show a few years back, right after the big market crash. I asked what else she was working on, and she started talking about a project revolving around Bernie Madoff. I (and I’m sure many others) suggested she apply to the 6 Points Fellowship, which happily saw the merit in her and her work. The resulting project has finally reached its debut moment. Rabins’ new full-length song cycle, A Kaddish for Bernie Madoff
, at Joe’s Pub in New York City on Thursday, November 8th and again on the 15th. Details after the jump. More »
This guestpost is by Jonah Rank, a musician in his 3rd year of Rabbinical School at the Jewish Theological Seminary, secretary of Mahzor Lev Shalem, a writer, and a Co-Founder and Creative Co-Director of Oholiav: A Meeting Place for Pop Culture & the Arts through Jewish Eyes, alongside Israeli artist and arts educator Timna Burston.
Tomorrow night is to be the first of many Jewish events unlike anything ever seen before.
The reason: it’s explicitly secular, and therefore explicitly Jewish.
Let me explain.
Tomorrow night is the premier event of Oholiav (oh-HO-lee-AV), a “meeting place” where the secular art and pop worlds come into contact with Jewish values, philosophies and narratives.
That’s abstract. Let me break it down.
Jewish culture and secular Western culture share some basic values: don’t murder people, stand up for what is right, be a good person.
When you look into some of those deeper details though, the wide range of Jewish views on gender roles, on human rights, on politics, on the importance of spirituality, are very likely to differ from that which we have to come to know in the secular world.
So, where are these points of tension, and where are those moments of harmony?
Oholiav examines secular culture through the pop culture—films, YouTube videos, singles, albums, TV shows, Broadway musicals, plays—and the world of art—literature, art galleries, dance. In pinpointing those moments when values are espoused in the secular world, or stories are told or beliefs are “preached” in the secular world, Oholiav compares these moments with their Jewish counterparts.
Does Dinner For Schmucks parallel the Jewish value of hospitality towards guests (hakhnasat orehim) or slam the door on the face of the ideal? Does Francisco Goya’s “The Disasters of War” series serve as a reprimand of oppression, unconsciously echoing Jewish discomfort with militarism? Do these elements perhaps meet somewhere in the middle? Perhaps the twain shall never meet? (Not to mention, the Jewish people rarely hold similarly with only one point of view on anything.)
Tomorrow night, the Oholiav Meeting Place is meeting for its very first event. At the Columbia/Barnard Hillel Kraft Center, in an evening co-sponsored with The Jewish Art Salon, we’re coming together to CELEBRATE TEXT/CONTEXT. At 6 PM, we’ll gather to view the opening of Ellen Alt’s exhibit Text and, alongside it, the group art exhibit Context, featuring over 25 artists from all over the world (Mark Podwal, Miriam Stern, Arza Somekh Cohen).
At 7 PM, in celebration of the art openings, we’ll gather together on the 5th floor of the Kraft Center for special performances by OMG Poetry, Ezra Benus, Lori Leifer and ChEckiT!Dance; followed at 8 PM by a Q&A Talkback with questions from the audience, in conversation with Ellen Alt and with ChEckiT!Dance about both artistic and Jewish elements of their biographies and bodies of work.
This is the first of many events we’ll be hosting throughout the future. At this same location, we’ll be hosting two grand events on October 25, featuring chamber-pop music selections from Scott Stein & His Well-Groomed Orchestra, and November 29, a night of multimedia artistic expression coded as “Shenanigans,” featuring Amazon #1 Best-Selling Author Lisa Alcalay Klug (Cool Jew).
In any event, things should be pretty awesome, and you should definitely feel free to E-mail us if you have any questions.
Many thanks to Jewschool for letting us get the word out there!
We can’t wait to meet you.
Elul is a busy month for Storahtelling founder Amichai Lau Lavie. He’s returning from Israel, is knee deep in studies, and on Sunday he began his 3rd annual 40 day blog leading up to the High Holidays, Prepent! It should be a good read.
This comes on the heels of an announcement from the decade-old Torah ritual theatre company that it is restructuring and that Lavie alsos assume the Interim Executive Director role following Executive Director Isaac Shalev’s departure after just 18 months.
“This transition comes at a time of important growth and transition for Storahtelling. Isaac, the Board and the Executive committee have all agreed that the best interests of the organization are to scale back, spend time rethinking our capacities, programs, operation and scope of mission and vision rather than continuing in the same model.”
Programs will continue and High Holidays services will happen, but how the organization will survive long term? Like other darlings of the emergent Jewish sector, the organization has faced difficulties during the economic downturn.
On the heels of its flagship Chicago event, Lollapolooza Festival has announced it will expand to the streets of Tel Aviv next year as reported by Timeout Chicago, Rolling Stone, the Wall Street Journal and Haaretz. According to founder Perry Ferrell, best known for fronting Jane’s Addiction and Porno for Pyros, it will take place August 20-22 2013.
Asked whether Tel Aviv had any “personal significance” to him as a choice of venue for Lollapalooza, Ferrell gazed as he struggled to give a non-committal response, “Let’s just say that I think that it’s a place that needs good music. It deserves it, it demands it, and so it shall be.” Elsewhere he has cited Tel Aviv’s geography, lack of an international festival or a curfew… Very nice, but is that all?
(ed note: Aryeh Bernstein comes from Chicago, lives in Jerusalem, and works for NY’s Mechon Hadar; last summer, under the moniker The Branding Iron, he independently released his debut hip-hop album, “A Roomful of Ottomans” with DJ OFn TISh (aka Ori Salzberg). He’s a friend of the blog and I loved this piece and he offered to share it with us- Ruby K)
I’m a teacher. In both formal and informal settings, I’ve always had a soft spot for “problem kids”. Well, a certain kind of problem kids, anyway – kids who considered rules optional, who showed up at what they wanted to show up at, whose laughter became more rambunctious and free the more their teachers emphasized the seriousness of the rules. I’ve had several students who were written off by all the other teachers as impossible, but with whom I actually developed my most meaningful relationships – kids who have a lot to say, kids whose clowning in boring or conformist contexts is an expression of the same curiosity and creativity as is their engaged participation in contexts that challenge them. These kids are so threatening to us teachers because they expose the weaknesses, fallacies, and mysteries we gloss over. They expose the ways in which we cover up our limits of imagination and our intellectual laziness with assertions of power and authority. When they do that, we, so steeped in our vulnerability and shame, or in our power trip, mistake their mockery of our chimerical power for disinterest in ideas or knowledge. We couldn’t be further from the truth. Sometimes the class clowns have the most to say. More »
Jewschool founder Mobius aka Dan Sieradski is part of the panel at this very interesting event at the 14th Street Y on “The Future of Jewish Culture.” A full press kit is here. A quick look at the panel shows it covers not only various sectors but geographies and aims to address a significant amount of ground in an evening:
“After a decade of flourishing Jewish creativity, major Jewish cultural enterprises are being forced to scale
back operations or close entirely. Using recent funding cuts as a springboard to examine the most pressing
issues facing new Jewish arts and culture, “Now What?” addresses:
- New perspectives on American Jewish identity
- Waning support for quality Jewish art and culture
- Strategies for cultivating Jewish art and culture in the future”
May 15, 2012 7pm, 14th Street Y, 344 East 14th Street (between 1st and 2nd Ave.), New York, NY 10003
If you’re in the area and are interested, sign up here. Naturally, this is a subject that deserves and requires significantly more time than a single evening. The need to advocate for, plan and implement a national Jewish Cultural Policy could be the focus of a week long conference with representatives from major communal institutions and umbrella organizations, local presenting arms and various elements from artists and performers to independent organizations. It could also be a great panel to recreate at the General Assembly because the message points need to be heard by people who hold the purse strings and those who put the money in that purse
Michael Dorf has attempted similar efforts at International Jewish Presenters Association Schmooze conferences which tried to create a Jewish SXSW on the heels of the annual APAP Conference. FJC did a bit of planning and even implementation with its New Jewish Culture Network. All of these have been significant achievements but none go far enough. We need buy-in from establishment organizations and entities, these efforts fall short.
As someone who runs a Jewish cultural initiative, I’m very interested in this and am excited that its taking place. I’d be interested to know who’s attending and if any funders or folks from the institutional community will be within earshot. And of course, as a non-New Yorker, I’m glad to see there’s three other regional centers represented on the panel.
Cultural folks- what are your thoughts?
In the 1920’s, Soviet filmmaker maverick Lev Kuleshov demonstrated how the juxtaposition of distinct, isolated filmed images can suggest psychologically-charged narratives: for example, a shot of a relatively ‘neutral’ gazing face followed by a shot of a bowl of soup leads viewers to understand that the person in the first shot is hungry. This all-important editing technique in cinema routinely forces us to forge narrative meaning and continuity by connecting isolated images and scenarios. It takes a particularly gifted filmmaker to transcend and even reverse such a tendency in the process of creating dramatic tension.
Such a filmmaker is Joseph Cedar, who most recently directed the dark comedy Footnote. At the very start of the film, the audience is required to interpret the context—in this case, the induction ceremony of the Israeli Academy of Arts and Sciences scene—based on the face which confronts us, and not vice versa. Via a tight medium close-up shot, we are introduced to Uriel and Eliezer Shkolnik, a son and father situated side by side amidst the assembled crowd. We later learn that have both spent their professional lives as academics. Uriel ultimately disappears from the frame (as we soon learn, from the off-screen dialogue, to ascend to the podium and accept the honour of his induction to this society), but the camera remains fixed on the singularly disturbed visage of his father. As we watch Eliezer’s almost haunted, blank expression, which suggests a deeply repressed quiet fury, we also listen to Uriel’s acceptance speech, in which he relates an anecdote from his early childhood involving his father. Read or heard in isolation, the speech would most likely appear benign–even gracious. However, as we absorb the tortured, humiliated look of defeat fixed on Eliezer’s face as the camera gradually positions him in the frame’s center throughout this long take, and as we listen to the polite collective laughter punctuating Uriel’s clever moments of public oratory, it is nearly impossible to not interpret the son’s words as anything but the severest cruelty.
It’s like this
Learn more about how you can dig in here.
!!זאָל זיין מיט מזל
In today’s popular American culture, expecting celebrities often recede from the limelight while pregnant. In her new EP, Beautiful Land, singer/songwriter Chana Rothman actively embraces the opportunity to channel her creative energy into an unforgettable musical journey, specifically during her pregnancy. The result is a celebration of life, brimming with heartfelt empathy, mesmerising grooves, and earthy splendor.
Photo by Elise Warshavsky
In just six tracks, Rothman creates a universe, transporting the listener to a different realm, one in which emotional honesty and whimsical funkiness reign supreme. Rothman’s music resides somewhere between the intersection of pop, folk, and ethnic, but she transcends all of them. As Rothman’s music demonstrates, we live in a thoroughly cosmopolitan, interconnected time, when such designations are essentially irrelevant labels.
The opening track, Shine, offers a life-affirming message to young people, with its light, breezy groove. The title track, Beautiful Land, showcases Rothman’s impressive stylistic and thematic versatility. Inspired by her travels in Jamaica, Rothman wrote this loving, polyrhythmic reggae-infused piece as a tribute to its people. Accented with hints of a West African groove, Beautiful Land conjures up distant times and lands, while insisting on a temporal and spatial immediacy with its hypnotic rhythms and gentle melody.
Of all the pieces on this EP, Inadequate packs in the most nerve and verve, with its brutally honest lyrics, reflecting on body image. Other reviewers likened Rothman’s lyrically-driven Inadequate to Ani DiFranco—and this was my initial association. One could also compare this track to India Arie’s I’m Not My Hair, but Rothman’s upbeat and bluesy piece has much more flavor, political punch, and lyrical colour.
In Come on Home, Rothman shifts gears again, this time offering a poignantly understated elegiac ballad. A modern-day Psalm of sorts, this piece never names the subject of its mourning, but rather evokes a flood of feeling and taps the core of the experience of loss. The following track again radically departs into an entirely different feeling and space. Listening to Baby Do That Dance for Me, one almost expects Django Reinhardt to surface magically and rip into one of his legendary hot jazz guitar solos. This joyful and jazzily ambient piece certainly makes you want to rise to your feet and dance along.
Remember Your Name, the other ballad on this EP, is the final track and mourns the loss of Michael Jackson, while also reflecting on his legacy and memory. Enlisting Soulfarm guitarist C Lanzbom’s help on the slide guitar, this track serves as an apt coda to an album which amply attests to the restorative power of music. Beautiful Land, which is available in stores starting today (and will be available digitally beginning Thursday, December 8), would make a gloriously soulful Hanukkah gift for the music lovers on your list.
'Beautiful Land' cover art: Graphic design by Michelle Nichols; Artwork by Michele Kishita
Above, the Chilean Federation of Jewish Students protests discrimination.
Over at New Voices Magazine (my day job), we launched a new blog this week that Jewschoolers might be interested in. It’s called the Global Jewish Voice and it’s a way to jump-start a wider conversation that we normally have at New Voices. While New Voices is normally American or Israeli (and occasionally Canadian) in scope, the Global Jewish Voice is a fully international conversation about the lives of Jewish students and young adults.
The blog is staffed by 10 writers reporting on their lives on campus, in the workplace and at home. They are writing in from every corner of the globe, including Israel, the US, Chile, Spain, China, Canada, the UK and–no joke–Serbia. The blog’s student editor is based in Portland, Ore. There’s also an open submission policy.
A few highlights so far:
Reporting from the West Bank, Liran Shamriz describes the constant dilemma of being an army soldier and same-time sociology student:
This could quickly turn to riots – we need to get the hell out of here. We don’t even have bulletproof vests – any jerk in the street can knife me and disappear. I started to walk toward the trucks and my phone blinks again, this time from a Facebook message: “Shlomo gave us grades! I got a 91! I think he is good after all, he probably didn’t even check that well… how much did you get?”
Meanwhile in Chile, sometimes the struggle is more symbolic of living Jewishly in a non-Jewish world. University student Maxamilliano Grass is on the vanguard of Jewish student activism and pro-Israel work in a country with 75,000 Jews—and over 400,000 Palestinians: More »
Today’s insightful New York Times Magazine article about Kickstarter set me browsing again. I used the crowdfunding site to raise the printing costs for The Comic Torah and it always, it provides a glimpse at the cutting edges of numerous cultures. My inner technogeek was intrigued to see projects funding $50 radiation detectors and $60 custom jeans. My Jewish culture maven found some just-as-cool, but less expensive, projects to support.
First, a Kabbalah-themed comic:
The 36 is a graphic novel based on the Kabbalistic belief that there are 36 people in the world upon whom it is saved by their simple existence. In times of need, these people emerge from anonymity and save us, then fade back into their lives.
Noam, our hero, is one of those people. Armed with the fabled staff of Moses (used to split the Red Sea), Noam would love nothing more than to fade into anonymity; he just doesn’t know what he has to do to finish his duty as one of the 36.
You can check out the first five pages of the comic here!
Tonally, it borrows from Bill Willingham’s Fables, with the source material being Jewish mysticism. It’s a world of magical realism in which golems exist and 36 humans have God-given abilities and the task to “save” humanity. These abilities range from the mundane, like speaking with animals, to the super, like wielding electricity. At its heart, the story focuses on the relationships between Noam and those he protects, whether fighting with his nebbish brother or fending off the infatuation of a girl he’s protecting. The first two chapters follow Noam as he investigates a murder spree committed by someone using a golem — an ancient creature created from mud.
Second, a 25th anniversary album from the Klezmatics:
To mark its silver anniversary, the band that helped bring klezmer into the 21st century is releasing Live at Town Hall, a sonic souvenir of a remarkable NYC concert. And to help promote this, the Klezmatics’ first self-produced live CD, the Grammy Award-winners are launching their very own Kickstarter campaign. Your generous donation will enable them to cover post-production costs and hire a radio promoter and media publicist to bring the recording not only to those who already love the Klezmatics and klezmer, but also to those who are entirely new to the music.
Since 1986, the Yiddish-American roots band the Klezmatics has spearheaded the popular revival of a tradition that once flourished at Jewish weddings and other joyous occasions in the shtetls and cities of Eastern Europe. They have performed in more than twenty countries and have released ten cds – of which Live at Town Hall, made in conjunction with the recent documentary film The Klezmatics: On Holy Ground, is the newest.
The double cd captures the Klezmatics’ milestone sold-out concert at the storied New York venue. The band rips through a career-spanning setlist, assisted by a star-studded roster of special guests including two of the band’s former clarinetists, David Krakauer and Margot Leverett and recent vocal collaborators Susan McKeown and Joshua Nelson. The audience is treated to a musical journey, traveling from the band’s earliest days (“Dzhankoye,” “Fun tashlikh”) through newly-composed songs featuring the lyrics of folk troubadour Woody Guthrie. The event was a real Klezmatics hometown party: a celebration of community, music and love, past, present and future.
With your help we can spread the word and the joy… Lomir ale freylekh zayn!
And then there’s a project about Ben Shahn, the great progressive, Jewish artist of the 20th century Depression.
There has yet to be written a full-lenth, color illustrated book on Shahn’s murals for the gernal public in the context of the New Deal (1933-1942). My work will be the first to explore Shahn’s visual representation of progressive Jewish political ideals and historical events — the importance of the Bill of Rights; Jewish involvement with the labor union movement; support for political radicals; the many contributions by immigrants to the United States; and the pressing need for FDR to open the country’s borders to Europe’s refugee (FDR would not).
Shahn was the only artist who worked for the New Deal who had the daring to include in his public mural scenes of Nazi Germany, the construction of concentration camps, and the plight of Europe’s refugees.
Finally, there’s a project underway to raise money for one of the strangest novels ever to cross my desk.
An Educated, Desperate Young Man chronicles the picaresque exploits of Naftali Herz Imber, the nineteenth century Hebrew poet best known (indeed, only known) for having penned the lyrics to what would become the Israeli national anthem. Spanning forty years and half the globe, it follows Imber from his impoverished youth in modern-day Ukraine through his travels in Romania (where he writes his famous poem), Istanbul (where he becomes enmeshed in a preposterous feud with devotees of Shabbatai Sevi, the seventeenth century false messiah), Ottoman Palestine (where he endeavors to unearth the telephone wires erected by King Solomon), London (where he lectures textile workers on how Moses discovered electricity) and New York’s Lower East Side (where his drunken shenanigans strain the tolerance and generosity of the Philadelphia judge who supports him). Things come to a head at the First Zionist Congress in Switzerland, where Theodore Herzl (a fastidious, failed Viennese playwright) articulates a plan to establish an independent Jewish polity in a sun-scorched backwater of the Ottoman Empire.
An Educated, Desperate Young Man is a bawdy, irreverent tour through fin de siècle Jewish history, a rollicking counter-narrative of early Zionism and a tender, merciless, hilarious tale of art and madness.
Tablet Magazine and Marc Tracy did well with this parody of the instant classic Go the Fuck to Sleep.
It’s Yom Kippur, and you’re far away,
The last thing I want’s to be cruel.
I’m your mother, son, you know I adore you,
But please go the fuck to shul.
We don’t observe the birth of Christ, son,
This isn’t some lame fucking Yule.
It’s the Day of Atonement, a big deal:
Go the fuck to shul.
Go ahead, eat something beforehand.
Gay gezunt, no reason to drool.
I’m not asking you to believe in it,
Only to go to fucking shul.
It’s a depressing observance, I know.
Could make you want to hit the barstool.
It’s the day that you say you’ve been shitty,
Which is why it’s in fucking shul.
Cast me as some kind of tyrant,
Your very own lord of misrule.
Jesus, is it really so fucking horrible
For you to go the fuck to shul?
And yes I’m a big stereotype,
Or worse, just a big Jewish tool.
It doesn’t matter what you think of me, though.
Go. The fuck. To shul.
Tons of missing verses so you have good reason to visit the original post.
Zeek, the journal of Jewish culture and thought, a source of insightful articles and art from the emerging generation of Jewish thinkers, has announced that it is going through some transitions. (Read on after the jump) More »
Meet Les Gold. Mr. Gold is the patriarch of American Jewelry and Loan in Detroit. His family business is the subject of Hardcore Pawn, a new reality television show on the TruTV channel. The show is a window onto the type of Jew we’ve come to associate with the Rhineland in the 17th century more than the American Midwest in 2011. The family that runs the shop is Jewish, not only in the plain meaning of the word, but also in the symbolic, nasty sense of the idea – The Golds are sometimes benevolent, sometimes nasty moneylenders serving a predominantly impoverished, black clientele in the middle of Detroit.
With over two million viewers, Hardcore Pawn is often compared to Pawn Stars, a History Channel reality TV show that, like a blue-collar Antiques Roadshow, presents a gang of Vegas hacks appraising antique soda machines and the Civil War currency. Yet, in reality, Hardcore Pawn isn’t really interested in appraising anything but the fraught relationship that one Jewish family has to the black ghetto in America in our own times. It’s ethnic and racial antagonism presented in documentary style, where the Jews try to pay as little as they can for gold and electronics from a population mired in stress and aggression, with a little bit of tenderness if the need arises.
The show demonstrates a few scenarios. An angry black woman arrives to pay off her interest, only to find out that after waiting 45 minutes in line, she doesn’t have enough money to retrieve her child’s video game console. In another, a poor, elderly black man brings in a ring so he can pay his rent, only to be told that his last valuable possession is worth about ten dollars to Les Gold’s son, Seth. In another, an aryan-looking white woman brings in what she says is Eva Braun’s swastika-bedazzled bracelet. Les Gold says he’ll buy it if its authentic, stating that he’ll use it to teach his grandkids what the Gold family endured during the Holocaust. (Nevermind the bracelet is a fake.)
What an embarrassment.
Check out this gem in Marty Peretz’s most recent TNR editorial:
…it is not Islam per sebut the very restraints on print and the idolization of language, among other factors, that are responsible for the benighted state of intellectual achievement in that orbit.
Peretz has mastered the art of turning a seemingly highly culturally-aware observation into a complete non-fact uninformed by, well, anything (and certainly lacking any understanding of basic cultural relativism). Perhaps he’s forgotten that the Islamic world gave us, you know, the foundations of algebra and chemistry. Those are kind of important.
The rest of the article is similar. Peretz says lots of things I agree with, lots I don’t, and still manages to come off sounding like a pretentious Western intellectual supremacist.
Updated: light grammatical editing.