The Life and Times of Moses Jacob Ezekiel: American Sculptor, Arcadian Knight tells the remarkable story of Moses Ezekiel and his rise to international fame as an artist in late nineteenth-century Italy. Sephardic Jew, homosexual, Confederate soldier, Southern apologist, opponent of slavery, patriot, expatriate, mystic, Victorian, dandy, good Samaritan, humanist, royalist, romantic, reactionary, republican, monist, dualist, theosophist, freemason, champion of religious freedom, proto-Zionist, and proverbial Court Jew, Moses Ezekiel was a riddle of a man, a puzzle of seemingly irreconcilable parts. Knighted by three European monarchs, courted by the rich and famous, Moses Ezekiel lived the life of an aristocrat with rarely a penny to his name. Making his home in the capacious ruins of the Baths of Diocletian in Rome, he quickly distinguished himself as the consummate artist and host, winning international fame for his work and consorting with many of the lions and luminaries of the fin-de-siècle world, including Giuseppe Garibaldi, Queen Margherita, Franz Liszt, Richard Wagner, Sarah Bernhardt, Gabriele D’Annunzio, Eleonora Duse, Annie Besant, Clara Schumann, Sir Lawrence Alma-Tadema, Alphonse Daudet, Mark Twain, Émile Zola, Robert E. Lee, Augustus Saint-Gaudens, and Isaac Mayer Wise. In a city besieged with eccentrics, he, a Southern Jewish homosexual sculptor, was outstanding, an enigma to those who knew him, a man at once stubbornly original and deeply emblematic of his times. According to Stanley Chyet in his introduction to Ezekiel’s memoirs, “The contemporary European struggle between liberalism and reaction, between modernity and feudalism, between the democratic and the hierarchical is rather amply refracted in Ezekiel’s account of his life in Rome.” Indeed so many of the contentious cultural, political, artistic, and scientific struggles of the age converged in the figure of this adroit and prepossessing Jew.

From the Jewish community of 1769 to that of 1917 is a far cry--the one resident of colonial times to the lawyers, doctors, bankers, artists, merchant princes and artisans of today. Success to a phenomenal degree has been theirs. What they accomplished has been by virtue of their own brain and good right arm. To penal and eleemosynary institutions they were practically strangers. They have, it is true, figured in the criminal courts--as the brightest of lawyers ; their escutcheons are often crossed with the bar sinister of a rope--it is not pendant from a tree, but a peddler's pack. Of all the successful Jews In Richmond today there is not one of whom it can be truthfully said that he owes aught of it to "pull." Theirs has been the conquest of "push." The remarkable part is all this has been achieved by stress of energy alone. They came to this country with only their good names, their indomitable wills, with the single purpose of "life, liberty, and the pursuit of happiness," and the right to practice their ancient faith as their consciences dictated. -- Pg. [11]

On the eve of Passover, April 19, 1943, Jews in the Warsaw Ghetto staged a now legendary revolt against their Nazi oppressors. Since that day, the deprivation and despair of life in the ghetto and the dramatic uprising of its inhabitants have captured the American cultural imagination. The Warsaw Ghetto in American Art and Culture looks at how this place and its story have been remembered in fine art, film, television, radio, theater, fiction, poetry, and comics. Samantha Baskind explores seventy years’ worth of artistic representations of the ghetto and revolt to understand why they became and remain touchstones in the American mind. Her study includes iconic works such as Leon Uris’s best-selling novel Mila 18, Roman Polanski’s Academy Award–winning film The Pianist, and Rod Serling’s teleplay In the Presence of Mine Enemies, as well as accounts in the American Jewish Yearbook and the New York Times, the art of Samuel Bak and Arthur Szyk, and the poetry of Yala Korwin and Charles Reznikoff. In probing these works, Baskind pursues key questions of Jewish identity: What links artistic representations of the ghetto to the Jewish diaspora? How is art politicized or depoliticized? Why have Americans made such a strong cultural claim on the uprising? Vibrantly illustrated and vividly told, The Warsaw Ghetto in American Art and Culture shows the importance of the ghetto as a site of memory and creative struggle and reveals how this seminal event and locale served as a staging ground for the forging of Jewish American identity.

A city boy has a great deal of trouble coaxing milk out of a dairy cow.

Parsimony is a novel about fathers and sons, about the twisted manifestations of politics and history in the lives of a particular Jewish American family. When the novel opens, David Ansky, a divorced and disaffected New York architect, has gone to Florida to move his father into a local nursing home. He has never been close to the man and dreads the responsibility, intending to dispatch with the matter as swiftly as possible. Yet things do not go as planned, so that quickly he finds himself entangled in the past, trapped in a cat and mouse game with his father in which he is never quite sure how to gauge the man's remarks, which range from the paranoid and sentimental to the cruelly, severely astute. At the heart of this experience is David's reckoning, just after 9/11, with his own life and career, and with his family's radically left-wing past-with his Stalinist grandfather and with his bitter, politically disillusioned father, a Trotsky scholar and retired professor of history. Set in the course of a single day in an apartment overlooking Sanibel Island, the novel explores the generational impact of shattered ideals.

Here is an award-winning, new translation that brings to light Gregory's complex identity as an early mystic. Gregory (c. 332-395) was one of the Greek Cappadocian Fathers, along with St. Basil the Great and St. Gregory Nazianzen. +

Evidence Unseen is the most accessible and careful though through response to most current attacks against the Christian worldview.