Canadian Jewish Studies is a young field, often lost in the shadow of its American older sister. In The Canadian Jewish Studies Reader, editors Richard Menkis and Norman Ravvin demonstrate that what's going on in Canada, critically and artistically, is every bit as interesting as the work being done in the United States. Taking a cultural studies approach, the editors view the way that Canadian Jewish identity is examined in literature, visual arts, historical writing, feminist research and urban geography, among other fields. Included, too, is a preface that introduces the field and argues for the particular interest of Canadian Jewish Studies to readers and students in the international community. The articles are supplemented by a range of exciting visuals. The Canadian Jewish Studies Reader also features new work by both editors in their exploration of Canadian literature and history.

Starting with the first steps on Canadian soil in the eighteenth century to the present day, Faces in the Crowd introduces the reader to the people and personalities who made up the Canadian Jewish experience, from the Jewish roots of the NHL’s Ross trophy to Leonard Cohen and all the rabbis, artists, writers, and politicians in between. Drawing on a lifetime of wisdom and experience at the heart of the Canadian Jewish community, Franklin Bialystok adds new research, unique insights, and, best of all, memorable stories to the history of the Jews in Canada.

In Delayed Impact Franklin Bialystok explores the evolution of the legacy of the Holocaust in the collective memory of the post-war Canadian Jewish community. He seeks to understand why the Holocaust's effect was relatively muted up to 1960, moved to the forefront with the rise of antisemitism in the 1960s, and became a prominent concern and marker for Jewish ethnic identity after 1973. Bialystok begins by examining the years immediately following World War II, showing that Canadian Jews were not psychologically equipped to comprehend the enormity of the Holocaust. Unable to grasp the extent of the atrocities that had occurred in a world that was not theirs, Canadian Jews were not prepared to empathize with the survivors and a chasm between the groups developed and widened in the next two decades. He shows how the efflorescence of marginal but vicious antisemitism in Canada in the 1960s, in combination with more potent antisemitic outrages internationally and the threat to Israel's existence, led to an interest in the Holocaust. He demonstrates that with the politicisation of the survivors and the maturation of the post-war generation of Canadian Jews in the 1980s, the memory of the Holocaust became a pillar of ethnic identity. Combining previously unexamined documents and interviews with leaders in the Jewish community in Canada, Bialystok shows how the collective memory of an epoch-making event changed in reaction to historical circumstances. His work enhances our understanding of immigrant adaptation and ethnic identification in a multi-cultural society in the context of the post-war economic and social changes in the Canadian landscape and sheds new light on the history of Canadian Jewry, opening a new perspective on the effects of the Holocaust on a community in transition. Franklin Bialystok is a part-time lecturer in the Department of History at the University of Toronto and the University of Waterloo. He has published numerous articles on the Holocaust in various journals and edited collections.

"He died so Jewry should suffer no more." These words on a Canadian Jewish soldier's tombstone in Normandy inspired the author to explore the role of Canadian Jews in the war effort. As PM Mackenzie King wrote in 1947, Jewish servicemen faced a "double threat" - they were not only fighting against Fascism but for Jewish survival. At the same time, they encountered widespread antisemitism and the danger of being identified as Jews if captured. Bessner conducted hundreds of interviews and extensive archival research to paint a complex picture of the 17,000 Canadian Jews - about 10 per cent of the Jewish population in wartime Canada - who chose to enlist, including future Cabinet minister Barney Danson, future game-show host Monty Hall, and comedians Wayne and Shuster. Added to this fascinating account are Jews who were among the so-called "Zombies" - Canadians who were drafted, but chose to serve at home - the various perspectives of the Jewish community, and the participation of Canadian Jewish women.

The Man Booker Prize finalist Far to Go by acclaimed author Alison Pick is historical fiction at its very best. When Czechoslovakia relinquishes the Sudetenland to Hitler, the powerful influence of Nazi propaganda sweeps through towns and villages like a sinister vanguard of the Reich's advancing army. A fiercely patriotic secular Jew, Pavel Bauer is helpless to prevent his world from unraveling as first his government, then his business partners, then his neighbors turn their back on his affluent, once-beloved family. Only the Bauers' adoring governess, Marta, sticks by Pavel, his wife, Anneliese, and their little son, Pepik, bound by her deep affection for her employers and friends. But when Marta learns of their impending betrayal at the hands of her lover, Ernst, Pavel's best friend, she is paralyzed by her own fear of discovery—even as the endangered family for whom she cares so deeply struggles with the most difficult decision of their lives. Interwoven with a present-day narrative that gradually reveals the fate of the Bauer family during and after the war, Far to Go is a riveting family epic, love story, and psychological drama.

Jewish mysticism approaches God as no-thing or nothing, reflecting Judaism’s traditional identification of God as incorporeal. Whereas technical philosophical language often employed to discuss Jewish mysticism has a tendency to ward off otherwise interested readers, this study sufficiently breaks down the technical language of Jewish mysticism in its various expressions to allow a beginner to benefit from what may otherwise be indescribable and only approached by consideration of what is not rather than what is. Integral to the title, From Something to Nothing, is the concept that God cannot be something, because that would be restricting, so God is simply no-thing. Ironically, the conventional religious expression for the biblical notion of creation is “something from nothing”, whereas the title of this volume is its precise opposite, which may at first seem to be illogical – creation in reverse. However, in a volume dedicated to various deliberations on magic and mysticism, the ultimate reality may receive expression as nothingness, that is, no-thingness, no quality associated with things. What adds to our difficulty today is that nothingness is inextricably linked with silence. Is silence also an element or indication of an ultimate reality or its absence? Or is it merely the reflection of nothing whatsoever? This is at the heart of modern debates between atheists and believers. Believers feel that even this silence speaks to this ultimate reality, whereas atheists claim that if you cannot show it, then you do not know it. In other words, believers are victims of their own wishful thinking. From Something to Nothing memorializes Canadian mystic and scholar Zalman Schachter Shalomi, z”l, engaging in particular aspects that he addressed at some phase of his colourful and erudite life, providing the reader with a broad spectrum of both phenomenological and intellectual topics.

When Chris, an unambitious young waiter, walks through the park on his way home from work, he stumbles onto the set of a Hollywood film — and is promptly mistaken for the missing lead actor. Corralled into filming a scene for The Lost Expert — director Bryant Reed’s last-ditch effort to restore his reputation — Chris assumes the identity of international action star Thomson Holmes, and disconnects from his real life. He falls deeply into his newfound identity as Holmes and as his character in the film, a struggling young man who has the ability to find lost people and things. Tensions mount as Chris gradually learns of the real Thomson Holmes’ scandals and accusations of sexual misconduct. Meanwhile, the real Thomson Holmes has disappeared and Chris has reason to fear he’ll be next. As he tries to figure out what happened to the actor, he grapples with his role as imposter and whether he can — or even should — extricate himself from reinvention.