One of the lesser-known heroes of World War II was Jan Karski (1914-2000), an officer in the Polish Underground resistance who infiltrated the Warsaw Ghetto twice… This past April, actor David Strathairn took on the role of Karski in a dramatic reading of Derek Goldman’s play, Remember This: Walking with Jan Karski, at Georgetown University in Washington, DC.
This thriller about the Israeli-Arab conflict comes with rare praise from one of the masters of suspense fiction and with a premise that suggests exploration of deep moral dilemmas. The endorsement comes from Stephen King, who says the book is “about the lies we tell ourselves until the truth is forced upon us,” and is “what great fiction is all about.”
PREVIEW OF THE CORE EXHIBITION OF THE MUSEUM OF THE HISTORY OF POLISH JEWS
My personal journey to Jewish identity has taken place by way of the past. Like many immigrants from Eastern Europe, my grandparents and great-grandparents rarely spoke of the Old Country, leaving me to spend years trying to piece together the clues. This longing to know more about my family’s origins led me to genealogical research and DNA testing, to towns and shtetls in Ukraine, and to Moment.
In Genesis, God granted humans dominion over animals. In modern times, that dominion has spawned one of the planet’s biggest threats: a livestock industry that spews greenhouse gases, guzzles resources and renders the lives of billions of animals brutish and short. Last August, vexed by the problem, a Dutch physiologist named Mark Post came up with a solution: a burger no cow had to die for. He called it the “test-tube burger.”
Did you ever wonder about the origin of the distinctive round thermostat that regulates the temperature in your home? Or how about the pink Princess phone every teenage girl once coveted or those eye-catching images that promoted such films as The Man with the Golden Arm, Anatomy of a Murder or Exodus? All these items, it turns out, are evidence of the vital role that Jewish architects, designers and patrons played in the development and dissemination of modernism in America.
This summer and fall, the Metropolitan Museum of Art is highlighting the little-known Pre-Raphaelites in the exhibit, “The Pre-Raphaelite Legacy: British Art and Design” (through October 26).
Creating art from the events of the Holocaust remains as daunting as ever. Soon, those awful events will move beyond the reach of living memory while the need for testimony grows more pressing, not less. But the responsibilities of art are different from those of history: Theodor Adorno’s much-misrepresented dictum that “it is barbaric to write poetry after Auschwitz” can simply be used as a lazy shorthand for refusing to engage with difficult and challenging creations.
At the very beginning of his probing, disturbing account of the Nazis’ destruction of Dutch Jewry, Bernard Wasserstein asks what is no doubt the most terrible question that can be posed about Jewish behavior during the Holocaust: “Confronting the absolute evil of Nazism, was there any middle road between outright resistance and abject submission?”
