"When I first read Winter Vigil over a year ago, I was swept away; I hadn’t read any contemporary writing as good in a long time. I hadn’t known Steve Kogan could write like that. I hadn’t, it turned out, known very much about him."
The Tunnel, A. B. Yehoshua’s most recent novel, written as he moved into his eighties, does not exhibit any traits of what some literary critics have called “the style of old age,” but its unusual subject, incipient dementia, is patently a concern of old age.
Morality is the title of the last book Rabbi Lord Jonathan Sacks published in his lifetime. It was released in the United States in September, and he died in November at the age of 72.
Honey on the Page, like the best anthologies, is an eye-opening work of literary history, gleefully introducing a sea of lightly known authors through both their work and through meticulously crafted biographical sketches.
There’s nothing quite like the realization that what you thought was an empowering work of art is actually a 200-page exercise in trolling. It took me more than 30 years to figure out that I’d been trolled by Roald Dahl.
Herman Mankiewicz's life wasn't all drunken bets and witty repartee. After all, he wrote Citizen Kane. Life in 1930s "Eretz Demille."
From his intensive study of Hebrew and Jewish history to a surprisingly romantic Zionist congress in Basel, and the horrors of the Kishinev Pogrom, 1903 seems to have been a turning point for the young Jabotinsky.
Mizrachi identifies the heightened energy she senses in the streets of Israel during the days between Rosh Hashanah and Yom Kippur. She renames the period between Rosh Hashanah and Yom Kippur known as the Ten Days of Repentance, “Aseret Yemei Teshuva,” as the “Aseret Yemei Teshuka,” or “Ten Days of Desire,” a time when the yearning for a return to God and Torah reaches a primal, visceral level.
In A Serious Man, the Coen Brothers found a way to address the realest of subjects—their own childhood, their own sense of Judaism—without sacrificing their style; they “grew up” without losing their humor.
One need not buy into the cultural importance of “Snapewives” to accept that the digital age is one in which individuals demand narratives, practices, and communities they find personally meaningful.