(Applause Books). Jacob Adler, with his performances in the Yiddish King Lear , Uriel Acosta and Shylock in The Merchant of Venice , became first a megastar of the exploding Yiddish theatre, and then all of Broadway. His memoirs, originally written and published in Yiddish and now translated (by his granddaughter) into English provides not only a compelling portrait of one of America's greatest actors but a fascinating social history of his time.

Hebrew manuscripts are considered to be invaluable documents and artefacts of Jewish culture and history. Research on Hebrew manuscript culture is progressing rapidly and therefore its topics, methods and questions need to be enunciated and reflected upon. The case studies assembled in this volume explore various fields of research on Hebrew manuscripts. They show paradigmatically the current developments concerning codicology and palaeography, book forms like the scroll and codex, scribes and their writing material, patrons, collectors and censors, manuscript and book collections, illuminations and fragments, and, last but not least, new methods of material analysis applied to manuscripts. The principal focus of this volume is the material and intellectual history of Hebrew book cultures from antiquity to the Middle Ages and Early Modern Period, its intention being to heighten and sharpen the reader’s understanding of Jewish social and cultural history in general.

Explores his contributions to the development of the island kingdom of Hawaii.

Starting in 1964, writes Margot Adler in this dazzling memoir, “I found myself mysteriously at the center of extraordinary events.” Now a correspondent for National Public Radio, Adler was a young woman determined to be taken seriously and to be an agent of change—on her own terms, free from dogma and authoritarian constraints. From campus activism at the University of California at Berkeley to civil rights work in Mississippi, from antiwar protests to observing the socialist revolution in Cuba, she found those chances in the 1960s. Heretic’s Heart illuminates the events, ideas, passions, and ecstatic commitments of the decade like no other memoir. At the book’s center is the powerful—and unique—correspondence between Adler, then an antiwar activist at Berkeley, and a young American soldier fighting in Vietnam. The correspondence begins when Adler reads a letter the infantryman has written to a Berkeley newspaper. “I’ve heard rumors that there are people back in the world who don’t believe this war should be. I’m not positive of this though, ’cause it seems to me that if enough of them told the right people in the right way, then something might be done about it. . . . You see, while you’re discussing it amongst each other, being beat, getting in bed with dark-haired artists . . . some people here are dying for lighting a cigarette at night.” Heretic’s Heart also explores Adler’s attempt to come to terms with her singular legacy as the only grandchild of Alfred Adler, collaborator of Freud and founder of Individual Psychology, and as the daughter of a forceful beauty who bequeaths her spunk and adventurousness to her daughter, but whose overpowering personality forces Adler to strike out on her own. Adler’s memoir marks an initiatory journey from spirit through politics and revolution back to spirit again. Revealing, funny, joyful, and often wise, Heretic’s Heart will restore the spirit of the 1960s: the passion, the confusion, the sense of social transformation and limitless possibility, and the ecstatic feeling that the world is on the cusp of change.

In Stardust Lost, Stefan Kanfer brings the colorful Yiddish stage roaring back to life. Born of ancient traditions stretching back to the drama of the Old Testament, the Yiddish theater was a vibrant part of the immigrant experience. Kanfer invokes the energy, belief, and pure chutzpah it took to establish and run the thriving, influential theaters. He reveals the nightly drama and comedy that played out behind the scenes as well as onstage, and introduces all the players—actors, divas, playwrights, directors, and producers—who made it possible. A richly evocative chronicle of its brief but dazzling existence in America, this is both an elegy for and a tribute to Yiddish theater—lost, but not forgotten.