"This essay, originating in a speech delivered in 1956 at an Israel Independence Day celebration, discusses the religious significance of the creation of the State of Israel and the obligation that its existence imposes upon Jews."--BOOK JACKET.

A razor-sharp collection from the acclaimed New Yorker cartoonist and Instagram sensation whom Vulture recently called “a remarkable young talent” With her trademark, scratchy style and keen eye for the absurd, Liana Finck has amassed a large, devoted following who love the deeply insightful, delightfully odd way she describes how we all experience the world. Excuse Me assembles more than 500 of her most loved cartoons from Instagram and The New Yorker over the past few years, in such distinctive chapters as: Love & Dating; Gender & Other Politics; Animals; Art & Myth-Making; Humanity; Time, Space, and How to Navigate Them; Strangeness, Shyness, Sadness; and Notes to Self. Melancholy and hilarious, relatable and surreal, intensely personal yet surprisingly universal, Excuse Me brings together the best work so far by one of the most talented young comics artists working today.

“Excuse me, are you Jewish?” With these words, the relentlessly cheerful, ideologically driven emissaries of Chabad-Lubavitch approach perfect strangers on street corners throughout the world in their ongoing efforts to persuade their fellow Jews to live religiously observant lives. In The Rebbe’s Army, award-winning journalist Sue Fishkoff gives us the first behind-the-scenes look at this small Brooklyn-based group of Hasidim and the extraordinary lengths to which they take their mission of outreach. They seem to be everywhere—in big cities, small towns, and suburbs throughout the United States, and in sixty-one countries around the world. They light giant Chanukah menorahs in public squares, run “Chabad houses” on college campuses from Berkeley to Cambridge, give weekly bible classes in the Capitol basement in Washington, D.C., run a nonsectarian drug treatment center in Los Angeles, sponsor the world’s biggest Passover Seder in Nepal, establish synagogues, Hebrew schools, and day-care centers in places that are often indifferent and occasionally hostile to their outreach efforts. They have built a billion-dollar international empire, with their own news service, publishing house, and hundreds of Websites. Who are these people? How successful are they in making Jews more observant? What influence does their late Rebbe, Menachem Mendel Schneerson (who some thought was the Messiah), continue to have on his followers? Fishkoff spent a year interviewing Lubavitch emissaries from Anchorage to Miami and has written an engaging and fair-minded account of a Hasidic group whose motives and methodology continue to be the subject of speculation and controversy.

A viciously funny and intelligently provocative play about family, friendship and faith, adapted by the author from his Pulitzer-finalist short story. Who in your life would you trust to keep you alive? And who do you know who would risk their own life for yours? Debbie and Lauren were best friends until Lauren became ultra-Orthodox, changed her name and moved to Jerusalem. More than twenty years later, husbands in tow, their Florida reunion descends with painful but hilarious inevitability into an argument about parenthood, marriage, friendship and faith. If you really want to ensure a Jewish future, you should be like me. Good, old-fashioned afraid. Nathan Englander's serious comedy, adapted for the stage from his Pulitzer-finalist short story, received its European premiere at the Marylebone Theatre, London, in October 2024.

In this “extraordinary family memoir,”* the National Book Award–winning author of The Future Is History reveals the story of her two grandmothers, who defied Fascism and Communism during a time when tyranny reigned. *The New York Times Book Review In the 1930s, as waves of war and persecution were crashing over Europe, two young Jewish women began separate journeys of survival. Ester Goldberg was a rebel from Bialystok, Poland, where virtually the entire Jewish community would be sent to Hitler’s concentration camps. Ruzya Solodovnik was a Russian-born intellectual who would become a high-level censor under Stalin’s regime. At war’s end, both women found themselves in Moscow. Over the years each woman had to find her way in a country that aimed to make every citizen a cog in the wheel of murder and repression. One became a hero in her children’s and grandchildren’s eyes; the other became a collaborator. With grace, candor, and meticulous research, Masha Gessen, one of the most trenchant observers of Russia and its history today, peels back the layers of time to reveal her grandmothers’ lives—and to show that neither story is quite what it seems. Praise for Masha Gessen “One of the most important activists and journalists Russia has known in a generation.”—David Remnick, The New Yorker “Masha Gessen is humbly erudite, deftly unconventional, and courageously honest.”—Timothy Snyder, author of On Tyranny

Comedy is full of famously funny Jews, from Groucho Marx to Larry David to Sarah Silverman. This smart and funny book includes tales from many of these much-loved comics, and will appeal to their broad audience, while revealing the history, context, and wider culture of Jewish joking. The Jewish joke is as old as Abraham, and like the Jews themselves it has wandered over the world, learned countless new languages, worked with a range of different materials, been performed in front of some pretty hostile crowds, and yet still retained its own distinctive identity. So what is it that animates the Jewish joke? Why are Jews so often thought of as “funny”? And how old can a joke get? With jokes from Lena Dunham to Woody Allen, as well as Freud and Marx (Groucho, mostly), Baum balances serious research with light-hearted humor and provides fascinating insight into this wellknown and much loved cultural phenomenon.

As an old proverb puts it, "Two Jews, three opinions." In the long, rich, tumultuous history of the Jewish people, this characteristic contentiousness has often been extended even unto Heaven. Arguing with God is a highly original and utterly absorbing study that skates along the edge of this theological thin ice--at times verging dangerously close to blasphemy--yet also a source of some of the most poignant and deeply soulful expressions of human anguish and yearning. The name Israel literally denotes one who "wrestles with God." And, from Jacob's battle with the angel to Elie Wiesel's haunting questions about the Holocaust that hang in the air like still smoke over our own age, Rabbi Laytner admirably details Judaism's rich and pervasive tradition of calling God to task over human suffering and experienced injustice. It is a tradition that originated in the biblical period itself. Abraham, Moses, Elijah, and others all petitioned for divine intervention in their lives, or appealed forcefully to God to alter His proposed decree. Other biblical arguments focused on personal or communal suffering and anger: Jeremiah, Job, and certain Psalms and Lamentations. Rabbi Laytner delves beneath the surface of these "blasphemies" and reveals how they implicitly helped to refute the claims of opponent religions and advance Jewish doctrines and teachings.

Who Are the Jews--And Who Can We Become? tackles perhaps the most urgent question facing the Jewish people today: Given unprecedented denominational tribalism, how can we Jews speak of ourselves in collective terms? Crucially, the way each of us tells our "shared" story is putting our collective identity at risk, Donniel Hartman argues. We need a new story, built on Judaism's foundations and poised to inspire a majority of Jews to listen, discuss, and retell it. This book is that story. Since our beginnings, Hartman explains, the Jewish identity meta-narrative has been a living synthesis of two competing religious covenants: Genesis Judaism, which defines Jewishness in terms of who one is and the group to which one belongs, independent of what one does or believes; and Exodus Judaism, which grounds identity in terms of one's relationship with an aspirational system of values, ideals, beliefs, commandments, and behaviors. When one narrative becomes too dominant, Jewish collective identity becomes distorted. Conversely, when Genesis and Exodus interplay, the sparks of a rich, compelling identity are found. Hartman deftly applies this Genesis-Exodus meta-narrative as a roadmap to addressing contemporary challenges, including Diaspora Jewry's eroding relationship with Israel, the "othering" of Israeli Palestinians, interfaith marriage, the Israeli-Palestinian conflict, and--collectively--who we Jews can become.

Winner of the 2021 National Jewish Book Award for Con­tem­po­rary Jew­ish Life and Prac­tice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.