Since his first public appearance in the late 1590s, Shylock has been synonymous with antisemitism. Many of his bon mots remain common currency among Jew-haters; among them "3000 ducats" and the immortal "pound of flesh". But Shakespeare, being Shakespeare, was incapable of inventing anyone so uninteresting; instead he affords Shylock such ambiguity that some of his other lines have become keynotes for believers in shared humanity and tolerance. Following Shakespeare's example these stories – all inspired by The Merchant of Venice – range from the comic to the melancholic. Many pivot on significant productions of the play: Stockholm in 1944, London in 2012, and Venice in 2016. Some are concerned with domestic matters, others with the political, including one – more outrageous than the others – that links Shylock via Israel with the American presidency; most combine both. Running through these linked stories – of which there are seven, like the ages of man – is the cycle of family life, with all its comedy and tragedy.

Few are aware that the actual identity of William Shakespeare, a pen name, represents our greatest cultural mystery. Even fewer realize that Will Shakspere of Stratford-on-Avon was an uneducated businessman who never owned a book, knew no foreign languages, never traveled and never wrote a word of poetry or prose. Shakspere was a front for a complete fraud perpetrated by England's leading politician, Robert Cecil, for reasons of power and greed. The astonishing strength of Conventional Wisdom has kept the ruse going for 400 years, perpetrated by professors of English who, blinded by traditional dogma, refuse to accept the remarkable and growing body of evidence in favor of Edward de Vere. Volume 8 of the Anthology Series, Building the Case for Edward de Vere As Shakespeare, documents the quickening pace of Oxfordian discoveries in the late 1990s and early 2000s. These present massive problems for professors of English to combat in a convincing manner. Supreme Court Justice John Paul Stevens, 1991: "For present purposes, I shall confine my analysis to the Sherlock Holmes principle that sometimes the fact that a watchdog did not bark may provide a significant clue about the identity of a murderous intruder. "This concern directs our attention to three items of [the Shakespeare authorship controversy]. First, it is of interest that there is no mention of any library, or of any books at all, in his will, and no evidence that his house in Stratford ever contained a library. "Second, his son-in-law's detailed medical journals . . . contain no mention of the doctor's illustrious father-in-law. "Finally is the fact that is most puzzling to me--the seven-year period of silence that followed Shakespeare's [Shakspere's] death in 1616. Until the First Folio was published in 1623, there seems to have been no public comment in any part of England on the passing of the greatest literary genius in the country's history. "It does seem odd that not even a cocker spaniel or a dachshund made any noise at all when he passed from the scene."

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.

Clive Sinclair's first collection of stories won the Somerset Maugham Award. His second was short-listed for the inaugural Dylan Thomas Award. His third won both the PEN Silver Pen, and the Jewish Quarterly Award. This is his fourth. The new stories range from New Orleans and Texas, to Peru, Venice, and Jerusalem. Their subjects are loss, the fear of loss, and love, most especially that between husbands and wives, fathers and sons. Their cast includes the quick and the dead, the real and the imagined: Davy Crockett, Kinky Friedman, Captain Haddock, Princess Diana, and Shylock. They are as cruel as life, and as funny. "I think you're a fine practitioner of the short story indeed. If some of such work is to be published in America in book form, ask the publishers to send me a copy. I'd be delighted to give you a blurb." Norman Mailer "I found Hearts of Gold quite wonderful ... And all this despite my immense dislike for football, cunts and national movements of any kind. So it had to be a very good book ... and it was." Sir Angus Wilson "I have reread the Laptop story. It is truly wonderful. Almost every sentence a surprise. Stuck in a rut as I am at the moment it's hard not to turn green with envy at the sight of such seemingly effortless prose. I don't think I have ever seen anyone performing comical tricks so high up in the air." WG Sebald "Witty, playful and magnificently compassionate." Kazuo Ishiguro [on The Lady with the Laptop] Sunday Times, Books of the Year "This outstanding collection [The Lady with the Laptop] should consolidate Clive Sinclair's reputation as one of the most inventive writers working in the form today." Elizabeth Lowry Times Literary Supplement