Experience the story of the world's most famous Jewish song, as told by the song herself. In her spare, poetic text, Freda Lewkowicz has personified the song of Hava Nagila and made her the narrator of her own story, known simply as "Hava." Renowned Indian-American Jewish illustrator Siona Benjamin, who is known for her blue characters, draws Hava as a young blue girl in a sari. Follow Hava as she spreads joy and hope throughout the world.

Over the course of the nineteenth century, some 84,500 Jews in imperial Russia converted to Christianity. Confessions of the Shtetl explores the day-to-day world of these people, including the social, geographic, religious, and economic links among converts, Christians, and Jews. The book narrates converts' tales of love, desperation, and fear, tracing the uneasy contest between religious choice and collective Jewish identity in tsarist Russia. Rather than viewing the shtetl as the foundation myth for modern Jewish nationhood, this work reveals the shtetl's history of conversions and communal engagement with converts, which ultimately yielded a cultural hybridity that both challenged and fueled visions of Jewish separatism. Drawing on extensive research with conversion files in imperial Russian archives, in addition to the mass press, novels, and memoirs, Ellie R. Schainker offers a sociocultural history of religious toleration and Jewish life that sees baptism not as the fundamental departure from Jewishness or the Jewish community, but as a conversion that marked the start of a complicated experiment with new forms of identity and belonging. Ultimately, she argues that the Jewish encounter with imperial Russia did not revolve around coercion and ghettoization but was a genuinely religious drama with a diverse, attractive, and aggressive Christianity.

The Jewish immigrant experience in the early 1900s is touchingly and joyfully portrayed in this picture book based on the author's own grandfather. Growing up in a shtetl in Russia, Nathan is always singing, and when he hears a famous opera soloist perform in a nearby town one day, he realizes that music could be his future. But he'll need to travel far from his loved ones and poor village in order to pursue that cherished goal. With his family's support he eventually journeys all the way to New York City, where hard work and much excitement await him. His dream is coming true, but how can he be fully happy when his family is all the way across the ocean?

This first English translation of Sholom Aleichem's rediscovered novel, Moshkeleh the Thief, has a riveting plot, an unusual love story, and a keenly observed portrayal of an underclass Jew replete with characters never before been seen in Yiddish literature. The eponymous hero, Moshkeleh, is a robust chap and horse thief. When Tsireleh, daughter of a tavern keeper, flees to a monastery with the man she loves--a non-Jew she met at the tavern--the humiliated tavern keeper's family turns to Moshkeleh for help, not knowing he too is in love with her. For some unknown reason, this innovative novel does not appear in the standard twenty-eight-volume edition of Sholom Aleichem's collected works, published after his death. Strikingly, Moshkeleh the Thief shows Jews interacting with non-Jews in the Russian Pale of Settlement--a groundbreaking theme in modern Yiddish literature. This novel is also important for Sholom Aleichem's approach to his material. Yiddish literature had long maintained a tradition of edelkeyt, refinement. Authors eschewed violence, the darker side of life, and people on the fringe of respectability. Moshkeleh thus enters a Jewish arena not hitherto explored in a novel.

In Shtetl (Yiddish for "small town"), critically-acclaimed author Eva Hoffman brings the lost world of Eastern European Jews back to vivid life, depicting its complex institutions and vibrant culture, its beliefs, social distinctions, and customs. Through the small town of Braƒsk, she looks at the fascinating experiments in multicultural coexistence--still relevant to us today-- attempted in the eight centuries of Polish-Jewish history, and describes the forces which influenced Christian villagers' decisions to conceal or betray their Jewish neighbors in the dark period of the Holocaust.

Even the most pious Jew need not shed so many tears over the destruction of Jerusalem as the women were in the habit of shedding when Stempenyu was playing. The first work of Sholom Aleichem’s to be translated into English—this long out-of-print translation is the only one ever done under Aleichem’s personal supervision—Stempenyu is a prime example of the author’ s hallmark traits: his antic and often sardonic sense of humor, his whip-smart dialogue, his workaday mysticism, and his historic documentation of shtetl life. Held recently by scholars to be the story that inspired Marc Chagall’s “Fiddler on the Roof” painting (which in turn inspired the play that was subsequently based on Aleichem’s Tevye stories, not this novella), Stempenyu is the hysterical story of a young village girl who falls for a wildly popular klezmer fiddler—a character based upon an actual Yiddish musician whose fame set off a kind of pop hysteria in the shtetl. Thus the story, in this contemporaneous “authorized” translation, is a wonderful introduction to Aleichem’s work as he wanted it read, not to mention to the unique palaver of a nineteenth-century Yiddish rock star.

Audio disc contains: musical examples.

In the early 1990s, thousands of emigres arrived in the United States from the former Soviet Union. Most of them were Jewish. Forced to leave behind many of their most precious possessions, including photographs and books, they brought with them only the few items they were allowed to squeeze into two small suitcases. But they also brought their most valuable possession of all--their memories. Book jacket.