If there’s one thing museums have learned from the pandemic that forced them into cyberspace, it’s that the audience that is hungry for what they have to offer—whether lectures, courses or archival treasures—is much larger than they knew.
In many ways, Edith Halpert embodied the spirit of American pragmatism, which is how she explained herself: “I either had to stagnate, which was a thing I dreaded, or go ahead, and the only way to go ahead was to do something beyond what I was doing.”
Into the hell of Bosnia entered Susan Sontag. It was July 1993, her second visit, and she was in Sarajevo to direct a production of Waiting for Godot.
Just as Daniel Deronda probes the limits and possibilities for women in Victorian England, it addresses a different set of concerns regarding Jewish self-determination in Palestine.