Sammy Harkham: Genius |
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by Paul Buhle, August 19, 2008 |
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The Cover of Sammy's book "Crickets." Kramer's Ergot is "only" an annual, but
an extravagant annual with no compromises of any kind to the history of comic
art or any other art, nor to politics, nor (and this may be an important point
for a former yeshiva bokher still interested in the Torah) to anyone's
interpretation of Jewishness. His drawing fills a small minority of the pages
because, obviously, he wants to offer as much variety as he can.Surprised by God |
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by Rabbi Danya Ruttenberg, August 19, 2008 |
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It seemed clear that abstaining from this stuff would create long stretches of silence and a freedom from distraction that could help a person access the most silent, hidden parts of the self. Heschel, however, explained that there was even more to it than that. He wrote,
To set apart one day a week for freedom, a day on which we would not use the instruments which have been so easily turned into weapons of destruction, a day for being with ourselves, a day of detachment from the vulgar, of independence from external obligations, a day on which we stop worshipping the idols of technical civilization, a day on which we use no money, a day of armistice in the economic struggle with our fellow men and the forces of nature-is there any institution that holds out a greater hope for man's progress than the Sabbath?[i]
The irony is that human progress
depends on saying no to technology and economic engagement, at least for a
while. Heschel framed Shabbat as a way of returning to too-oft-neglected ways
of being human-a way to help us remember what we have in common with the woman
who got up at 4 a.m. to clean the office.
I sipped my drink and I chewed on Heschel. The idea of being free from commercial transactions on Shabbat was attractive. I thought through the implications: If I didn't spend money, I couldn't get the eggplant sandwich I loved from the deli up the street. I wouldn't be able to ride the bus, since I never had a monthly pass. I needed Friday-night money to tip bartenders, pay cover charges, pick up the tab on a date, get into a movie. The list seemed to be endless. No eggplant sandwich?
Ehud Olmert: The Failure of Style Over Substance |
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by MosheYaroni, August 15, 2008 |
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Ehud Olmert's announcement that he would step down from office caught no one by surprise. The drama surrounding the announcement was typical of Olmert, a Prime Minister who has always been much more style than substance.
Israel treats its politicians harshly, even by the cynical standards of the twenty-first century. Almost all leave office under a cloud of disgrace. Where American presidents, even those who left office in disgrace, are generally respected figures in their later lives, even towering figures like Golda Meir, Moshe Dayan, and David Ben-Gurion, all held in almost idolatrous esteem in the United States, were treated much less ceremoniously in Israel.
On the flipside, disgraced leaders in Israel often have an easier time rehabilitating their image than do leaders in the United States, often even climbing the rungs of party politics to regain positions at the top of government. Such was the case with Ariel Sharon, who rebounded from the debacle of the first Lebanon War in 1982 to regain his position in the Likud Party, eventually becoming its leader and winning the premiership before forming his own party. Ehud Barak suffered the worst defeat of any incumbent Prime Minister ever, yet came back to lead the Labor Party and hold the Defense portfolio. Benjamin Netanyahu left office amid scandal and anger, after being soundly defeated by Barak, yet is currently the leading candidate for Prime Minister in most polls. Both Yitzhak Rabin and Shimon Peres regained the office after earlier tenures that were widely regarded as failures.
Halakhic Striptease: Avi Nesher's The Secrets |
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by Shai Ginsburg, August 13, 2008 |
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During the 1980s, Israeli filmmakers were preoccupied with the Israeli-Palestinian conflict. In the 1990s, they explored the dynamic between Israel's urban centers and the country's periphery. The past decade has witnessed a rise in films that seek to portray the experience of communities previously considered marginal to Israeli cinema. Avi Nesher's latest drama, The Secrets (Israel/France, 2007), joins a host of recent Israeli films, both feature-length and documentary, which explore Israel's ultra-orthodox community.
Ultra-orthodox Jews were mostly absent from Israeli filmmaking until the 1990s. This is no surprise, because Israeli cinema has historically reflected the identity of the Israeli establishment, promoting secularism and criticizing religion as a sign of ethno-nationalism rather than as a cultural facet of everyday life. From the late 1990s, however, the religious experience moved to the center of stage of Israeli cinema.
Light from the Postville Darkness |
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by Rabbi Arthur Waskow, August 5, 2008 |
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