“Thanks to Carol Zemel’s provocative study, we are invited to look at Jewish art in new ways . . . provides a deeper understanding of the ordeal of diaspora.” —Studies in American Jewish Literature Jewish art and visual culture—art made by Jews about Jews—in modern diasporic settings is the subject of Looking Jewish. Carol Zemel focuses on particular artists and cultural figures in interwar Eastern Europe and postwar America who blended Jewishness and mainstream modernism to create a diasporic art, one that transcends dominant national traditions. She begins with a painting by Ken Aptekar entitled Albert: Used to Be Abraham, a double portrait of a man, which serves to illustrate Zemel’s conception of the doubleness of Jewish diasporic art. She considers two interwar photographers, Alter Kacyzne and Moshe Vorobeichic; images by the Polish writer Bruno Schulz; the pre- and postwar photographs of Roman Vishniac; the figure of the Jewish mother in postwar popular culture (Molly Goldberg); and works by R. B. Kitaj, Ben Katchor, and Vera Frenkel that explore Jewish identity in a postmodern environment.

This lively chronicle of the years 1847­–1947—the century when the Jewish people changed how we see the world—is “[a] thrilling and tragic history…especially good on the ironies and chain-reaction intimacies that make a people and a past” (The Wall Street Journal). In a hundred-year period, a handful of men and women changed the world. Many of them are well known—Marx, Freud, Proust, Einstein, Kafka. Others have vanished from collective memory despite their enduring importance in our daily lives. Without Karl Landsteiner, for instance, there would be no blood transfusions or major surgery. Without Paul Ehrlich, no chemotherapy. Without Siegfried Marcus, no motor car. Without Rosalind Franklin, genetic science would look very different. Without Fritz Haber, there would not be enough food to sustain life on earth. What do these visionaries have in common? They all had Jewish origins. They all had a gift for thinking in wholly original, even earth-shattering ways. In 1847, the Jewish people made up less than 0.25% of the world’s population, and yet they saw what others could not. How? Why? Norman Lebrecht has devoted half of his life to pondering and researching the mindset of the Jewish intellectuals, writers, scientists, and thinkers who turned the tides of history and shaped the world today as we know it. In Genius & Anxiety, Lebrecht begins with the Communist Manifesto in 1847 and ends in 1947, when Israel was founded. This robust, magnificent, beautifully designed volume is “an urgent and moving history” (The Spectator, UK) and a celebration of Jewish genius and contribution.

Who are the Jews--a race, a people, a religious group? For over a century, non-Jews and Jews alike have tried to identify who they were--first applying the methods of physical anthropology and more recently of population genetics. In Legacy, Harry Ostrer, a medical geneticist and authority on the genetics of the Jewish people, explores not only the history of these efforts, but also the insights that genetics has provided about the histories of contemporary Jewish people. Much of the book is told through the lives of scientific pioneers. We meet Russian immigrant Maurice Fishberg; Australian Joseph Jacobs, the leading Jewish anthropologist in fin-de-siècle Europe; Chaim Sheba, a colorful Israeli geneticist and surgeon general of the Israeli Army; and Arthur Mourant, one of the foremost cataloguers of blood groups in the 20th century. As Ostrer describes their work and the work of others, he shows that to look over the genetics of Jewish groups, and to see the history of the Diaspora woven there, is truly a marvel. Here is what happened as the Jews migrated to new places and saw their numbers wax and wane, as they gained and lost adherents and thrived or were buffeted by famine, disease, wars, and persecution. Many of these groups--from North Africa, the Middle East, India--are little-known, and by telling their stories, Ostrer brings them to the forefront at a time when assimilation is literally changing the face of world Jewry. A fascinating blend of history, science, and biography, Legacy offers readers an entirely fresh perspective on the Jewish people and their history. It is as well a cutting-edge portrait of population genetics, a field which may soon take its place as a pillar of group identity alongside shared spirituality, shared social values, and a shared cultural legacy.

A hilarious compendium of traditional wisdom, recipes, and lore from the authors of the bestselling Yiddish with Dick and Jane. Modern Jews have forgotten cherished traditions and become, sadly, all- too assimilated. It's enough to make you meshugeneh. Today's Jews need to relearn the old ways so that cultural identity means something other than laughing knowingly at Curb Your Enthusiasm- and The Big Jewish Book for Jews is here to help. This wise and wise-cracking fully-illustrated book offers invaluable instruction on everything from how to sacrifice a lamb unto the lord to the rules of Mahjong. Jews of all ages and backgrounds will welcome the opportunity to be the Jewiest Jew of all, and reconnect to ancestors going all the way back to Moses and a time when God was the only GPS a Jew needed.

“Thanks to Carol Zemel’s provocative study, we are invited to look at Jewish art in new ways . . . provides a deeper understanding of the ordeal of diaspora.” —Studies in American Jewish Literature Jewish art and visual culture—art made by Jews about Jews—in modern diasporic settings is the subject of Looking Jewish. Carol Zemel focuses on particular artists and cultural figures in interwar Eastern Europe and postwar America who blended Jewishness and mainstream modernism to create a diasporic art, one that transcends dominant national traditions. She begins with a painting by Ken Aptekar entitled Albert: Used to Be Abraham, a double portrait of a man, which serves to illustrate Zemel’s conception of the doubleness of Jewish diasporic art. She considers two interwar photographers, Alter Kacyzne and Moshe Vorobeichic; images by the Polish writer Bruno Schulz; the pre- and postwar photographs of Roman Vishniac; the figure of the Jewish mother in postwar popular culture (Molly Goldberg); and works by R. B. Kitaj, Ben Katchor, and Vera Frenkel that explore Jewish identity in a postmodern environment.

Rachel Shabi was born in Israel to Jewish Iraqi parents. When she was a child her family emigrated to the United Kingdom in 1974. Their leaving reversed the spiritual trek of the Jewish Diaspora, around the world whose members wistfully repeat at the Passover tables, "Next year in Jerusalem." Years later, in fact, Shabi went back to visit and to live for an extended period, but her attitude toward her former homeland is conflicted by the longstanding discrimination suffered by Arab Jews in Israel. Shortly after its creation, Israel accepted close to one million Jews from Arab lands-from Yemen, Egypt, Morocco, Syria, Tunisia, Algeria, Iraq, Iran, and Turkey. Mizrahi (Middle Eastern) Jews now make up around 50% of Israel's population. Yet Ashkenazi Jews have traditionally disparaged the Mizrahi as "backward" and have systematically limited their opportunities in the classroom and the workplace. "There is a class split," writes Shabi, "that runs on ethnic lines." She traces the history of how the Jewish Disapora lived alongside Muslims and Christians for centuries, and how the dream of Jewish solidarity within Israel in the mid-20th century was fractured by ethnic discrimination as pernicious as racism in the United States, Great Britain, and other parts of the world. Shabi combines scholarly research with intimate oral history to shed light on ethnic injustice, and her personal story and passion make We Look Like the Enemy a stunning, unforgettable book.

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism, Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized.