Arts


This blog has covered the controversy surrounding the disinvitation of poets Josh Healey and Kevin Coval from the J Street Conference. As you may recall, Josh and Kevin moved their performance to another venue instead.

I was planning to add to the blog an audio recording of the event, just so that people could hear for themselves what the controversy was all about. I am glad I did not. Why? In the meanwhile, Josh produced video recordings instead.

They are absolutely worth a watch. I did not arrive in time to DC to be at the original performance. I confess that watching the videos replenished my soul after a hard Congress Goldstone-bashing week.

Here’s how Josh described the value of Kevin’s poetry:

I know that listening to Kevin provokes a lot in me. Listening to Kevin … makes me want to speak, makes me want to yell, makes me want to cry. It brings out a lot. It brings out more than just reading the newspaper or just reading the BBC — and it brings it out in a way that hopefully we can see more, more in common with each other, more in common with each other’s humanity while recognizing that we are not all the same but we can have the same goals, so for me it is creating a space that is a safe space to maybe not leave the conversation in the same place that you started it.

After you watch these short videos, I hope you will agree that this applies to both Kevin and Josh.

First off, the context:

Josh’s poem that got Michael Goldfarb’s right-wing panties in a bunch:

Now Kevin:

The beginning of the Q&A, with Laila Al-Arian:

Closing thoughts:

If you want to watch more, go to http://joshhealey.org

If you want to read more from Kevin, here’s a start:

Since the Second Intifada I have thought, wrote, and spoke about these issues, but over the course of these last several weeks, I have arrived at a new beginning. Prior to now, I muddled this issue in complexity. But I have come to realize it is actually simple and clear. I am a Jewish-American man in solidarity with Palestinian people. I am in solidarity with Israeli and American and all people who work and risk their lives and livelihood for justice. I am not restricted to working within the confines of the Jewish-American community. Justice and the resistance to imperialism is a global, human concern for all people down to struggle. For Jews, yes, but not Jews alone. For Palestinians, yes, but not Palestinians alone.

OK, if you still you want to listen to the full audio (no video), here it is.

– Sydney Levy

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I attended what turned out to be the replacement for J street’s disinvited poet panel. Ari Roth from Theater J — who supported the poets by coming out to their reading yesterday at BusBoys & Poets — used the beginning of his time to alert people to the panel that was and delivered a passionate defense of poets from a literary perspective.

Ari urged not taking the words literally and pointed out that one “doesn’t look to poets for rational discourse.” He defended the “right to conjoin symbols,” and asked if “a wonky convention like J Street is comfortable with metaphor.” He dismissed any suggestion that anyone was calling for a boycott of J Street, creating a “truly J Street dialectic: pro-conference and pro-poetry (a play of words on J Street’s tag line, pro-Israel, pro-peace), which led to applause.

He posed two possibilities: we are either entering a “new age of censoriousness” or an “excitement moment,” and noted what great plays have been performed at Theater J, including “Seven Jewish Children,” and a play featuring both Rachel Corrie and Daniel Pearl. All in all, it was a hopeful moment for both art and the conference, whatever the larger moment we live in.

– Jesse Bacon

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Yesterday, we reported that J Street canceled the poetry session at their upcoming conference because a right-wing blogger discovered that poet Josh Healey had invoked the Holocaust to write about Palestinians and the war on terror. (Healey was invited to present by J Street staff, and not Theater J as we incorrectly reported).

This cancellation is interesting in part because it follows J Street’s vigorous defense of Israeli artistic expression as part of the Toronto International Film Festival’s celebratory spotlight on Tel Aviv. (J Street, like numerous other groups, mistakenly used the term boycott to describe the Toronto Declaration protest. The Declaration opposed the focus on Tel Aviv as part of the Brand Israel campaign but explicitly did not call for a boycott. On the other hand, it might be technically accurate to call the booting of Healey an actual form of boycott.)

Healey doesn’t hold back in this interview today, Poet booted from J Street meet for comparing Guantanamo to Auschwitz, in Haaretz :

“I had a conversation with ‘J Street’ staff, and they explained that they are playing the game - Washington politics, and seeking legitimacy. And they are not willing to fight this battle. I was born in Washington, so I’m not surprised to become Van Jones of J Street,” (U.S. President Barack Obama’s “green jobs czar” who resigned over the controversy about his past political associations).

“So Van Jones resigned, but did the right wing stop attacking Obama? On one level, I understand them - it’s easier to get rid of the poet, who cares? But as an artist and a Jewish activist, it’s a matter of principle. If you’re trying to be an alternative to AIPAC - don’t behave like AIPAC.”

“I told them I don’t think it’s the legitimacy they want, because it’s not the legitimacy that makes change. When you’re trying to make change, you must expect that some people will push back. But they kick out their allies - and I still consider myself an ally. I’m not personally offended - I’m politically disappointed. It’s ironic that we were invited to perform and be a part of the dialogue at the track ‘The culture as a tool for change.’ But we can’t even have this dialogue. The Jewish community acts like children, with smear campaigns and name-calling. I am not surprised by the right wing attacks - but that J-Street went along with it and accommodated it.”

Referring to the specific line which stirred the negative emotions, Healey said: “It was taken of context. Judged by themselves, these lines don’t even make sense. Just before this line, I wrote: ‘I remember when the German soldiers put yellow stars on my family coats and they put pink ones on my friends.’ I was talking about de-humanization. And yes, I have family that was killed in the Holocaust. There were Jewish people killed and gay people and Gypsies, and many others, and as a Jew, my solidarity is with my people - and with all people. And my solidarity is with the people of Israel - but also with the people of Palestine. And I believe in two state solution and peace and justice for all people. And if J-Street are not willing to have debate with people who believe in solidarity and humanity, I don’t know what legitimacy they want, because it’s not a moral legitimacy.”

“I love my people, the Jewish people, and that’s why I’m critical - because it’s my people, my family that are silencing people the same way we were silenced and suppressed for centuries,” Healey concluded.

And here as a longer statement from Healey and fellow banned poet Kevin Coval, who wrote, “The reason J Street put us out to dry is because they feel more accountable to the Right-wing than to us. Let’s change that, and open up the debate.”

Searching for a Minyan:
Israel, McCarthyism, & the Struggle for Real Dialogue

by Kevin Coval and Josh Healey

This weekend, J Street, a new Jewish “Pro-Israel, Pro-Peace” PAC and Washington-based organization is holding its first national conference. The two of us, along with another artist, were to perform and read poems at several sessions during the conference. Specifically, we were invited to lead a workshop on how culture and spoken word create democratic spaces that sift through difficult issues and ensure a multiplicity of voices are heard: and how that can be used to open up the Israel/Palestine debate. Instead, we have been censored and pushed out of that very debate.

This week, some right-wing blogs and pseudo-news organizations latched on to various lines of poems Josh wrote and churned the alarmist rumor mill saying that hateful anti-Israeli poets are keynote speakers at the J Street conference. This is not surprising. The radical right-wing, including the growing Jewish right-wing of this country and abroad, hates complex discourse, especially when it brings to light truths they seek to systematically deny. The Weekly Standard, Commentary, and their AIPAC-influenced brethren have been attacking J Street for weeks, scared that the conference will bring together the majority of American Jews who do favor a more rigorous peace process. When they found Josh’s poems and took lines out of context, they had the perfect straw man: the Van Jones to J Street’s Obama. Again, this is not surprising.

What is disappointing, and troubling, is J Street’s response in caving to this sort of McCarthyism. The executive director of J Street called us to say  “I know what I’m doing is wrong…but there are some battles we choose not to fight,” before canceling our program, and disinviting us from the conference. This accommodates their red-baiting and is the wrong response. Rather than give in, which only emboldens the right and legitimizes their attacks, we need to stand up for our principles and engage on that front. Van Jones is another perfect example: after the Fox News venom became too much and he resigned last month, the radical Right hasn’t stopped attacking Obama, or more accurately, the alternative, progressive voice they fear he represents. The Right stands by its politics, and practices solidarity with their allies. Too often the Left doesn’t. And that’s why we often lose – on health care, on global warming, and on Israel/Palestine.

For the second time in two months Kevin, who is Jewish, has been told not to come to a Jewish conference because of what he will say about Palestine and Israel. This past August, the evening before the International Hillel Conference, conference planners said if he were to read poems about Palestine, they’d rather not have him. Today, Josh, who is Jewish, has had his name thrown into a mudslide of blogs and hate emails. All this  because we are practicing the Jewish maxim of the refusal to be silent in the face of oppression, anyone’s oppression.

One of the key teachings of Judaism is the insistence on wrestling with and debating ideas. There are a thousand years of codified arguing, recorded in the Talmud and Midrash, over the meaning of the stories in the five books of Torah. Jews debate everything. There is the old adage, “when you have two Jews in the room, you have three opinions”. Our families cannot come to agreement about what constitutes a deli as opposed to a diner. (A deli must have pickles on the table with poppy seed rolls, etc….)

But when you try to talk about Palestine there is silence. When you talk about the role the United States plays in supporting Israel and its military coffers, there is no room for discourse. If you bring up Palestinians’ right to return to land they were forced out of, or mention that this past January over 1400 Palestinians, mostly civilian, were killed in Gaza, there is no room to speak in Jewish-centric spaces in this country.

There are many reasons why this trend of censorship is disturbing. We believe in democracy, in the right to speak and be heard and in the right be disagreed with. We are disheartened and outraged by the lack of democratic discourse in the American Jewish community and within the country as a whole.

Why are we scared of what will come from an honest conversation? What do we have to lose, or discover, or admit to if we question the policies of Israel or America’s support of its government and military? It can be unsettling for one’s worldview to unravel, the intricate web of white lies and half-truths pulled apart. This can be disconcerting for generations of Jews who have accepted the propaganda of a chosen people and the acting out of geostrategic nightmares via military might.

Kevin works at a Hillel for Hashem’s sake! He is charged with the task of addressing why so many young Jews are distancing themselves from the religious and cultural practice of Judaism.  This is one of those reasons! American Jews are told at shul to repent for our sins, but silenced if we bring up the sins of the country that acts in our name. We need authentic, honest discourse in the American Jewish community. It must start today and it must be about Palestine and Israel.

So, we are searching for a minyan—a crew of progressives and progressive Jews to build and connect with. We want to have a conversation. Not wait for the conversation to be dictated and have borders and walls built around acceptable topics,  but to have a conversation determined by us, Jews That Are Left, that are on the Left. A conversation that is honest and open and genuinely reclaims and considers our progressive past as well as forges the future world. A conversation engaged in the work of tikkun olam for real, the work of repair and healing and wholeness.

Progressive American Jews where you at? Holla at us! For real: jewsthatareleft@gmail.com. Let’s reshape the conversation. Let’s build a minyan, a coalition of progressive Jews and gentiles who want what is just and right for ALL people and all people in Israel and Palestine.

Editor’s note: the space that Kevin and Josh imagine for progressive Jews and allies “who want what is just and right for ALL people and all people in Israel and Palestine” already exists and it’s called Jewish Voice for Peace.

-Cecilie Surasky

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We wrote back in May about artist Reena Katz’s multi-layered exhibition about Toronto’s historic Kensington Market area. The project, Katz stated, was intended to “animat[e] a dialogue between aspects of Toronto’s diverse Jewish/Yiddish history and its fascinating contact with other cultures.” Sponsors of the project, the Koffler Centre of the Arts, a specifically Jewish art space, abruptly severed ties with Katz after they discovered an endorsement of Israel Apartheid Week on her Facebook page. No one ever suggested the decision was in any way related to the content of the piece or their satisfaction with her work. Here is today’s update from Katz and curator Kim Simon:

August 5, 2009

Dear friends and colleagues;

We are pleased to update you regarding the status of Katz’s performative project in Kensington
Market, each hand as they are called:

As many of you know, The Koffler Centre for the Arts dissociated from Katz and the commissioned project in early May, 2009 because of her political work for Palestinian human rights, and subsequently sent a defamatory press release across the country, falsely claiming that Katz supports the extinction of the State of Israel. Since late May, we have been in legal negotiations with the Koffler about moving forward with the project and we have now reached an agreement. While the specific terms of this agreement are confidential, we are happy to continue discussions about our experience and understanding of the Koffler “dissociation” as well as the project itself.

Simultaneously but independent of our legal negotiations, the Toronto Arts Council (TAC) Board of Directors has been involved in internal discussion, as well as in consultation with the Koffler about their decision to dissociate as well as their professional and ethical conduct. The TAC has determined that the Koffler was in violation of the City of Toronto’s non-discrimination policy regarding an individual’s right to freedom of political association. As it is not TAC general policy to release public statements regarding such matters, for a more detailed statement regarding the decision, the TAC invites you to contact Executive Director Claire Hopkinson directly at Claire@torontoartscouncil.org.

(more…)

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Muzzlewatch has been covering the San Francisco Film Festival brouhaha. Here are two accounts describing what happened on Saturday, when the movie Rachel was finally screened:

From JVP member Joel Frangquist:

When Peter Stein, director of the San Francisco Jewish Film Festival, took the stage on Saturday to introduce the program for the film “Rachel”, it must have been one of his tougher moments. Stein later told me that getting through the program had “felt like landing a plane in a storm.” It should be noted that the Castro Theater was full, that Stein received a standing ovation, and that when he mentioned Jewish Voice for Peace and the AFSC, there was thunderous applause.

After having reviewed the controversy, and having asked us all to be respectful of the entire program, Stein was followed by Michael Harris of San Francisco Voice for Israel. Harris claimed that his presence could not balance the two hours which were to follow him. As if the “Rachel” program needed balancing within the context of a film festival presenting 37 films from or about Israel, including two about Israeli soldiers captured by Hamas and Hezbollah. As if everyone in the audience didn’t know that Israelis have died in this conflict. As if the film “Rachel” was not going to include Israeli testimonies.

(more…)

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Efforts to keep Cindy Corrie from speaking at the San Francisco Jewish Film Festival, ban the film Rachel altogether, and/or defund the festival, inspired filmmaker and peace activist Rachel Leah Jones to write this moving letter from Tel Aviv. Jones is friends with Rachel filmmaker SImone Bitton, and was planning to go to the West Bank the day Corrie was killed in Gaza. The appropriate intensity of Jones’ response reveals the profound chasm in the Jewish world. As though seeing for oneself what the occupation hath wrought, instead of reading the filtered fundraising letters of our childhoods from various Jewish groups, transports one into an entirely different parallel universe. As more and more of us make that journey- literally or metaphorically - the two worlds threaten to explode on contact.

Like the SF Jewish Film Festival, which has, ironically, been a model of integration and vision, understanding that our Jewish community is wide and broad and varied and strong enough to be just that.

It simply remains a fact: any just solution and lasting peace will absolutely require that we join these universes together.

Jones writes:


Date: Friday, July 24, 2009, 2:22 AM
 
 From one Rachel to another
 
 An open letter to Rachel Corrie as the screening of the film that bears her name, honors her life, and condemns her death faces shameless criticism and censorship
 
 Dear Rachel,
 
 The day you were crushed to death by an Israeli bulldozer in Gaza, was a stormy day in Tel Aviv.
 
 March 16, 2003 — to be exact.
 
 I was seated at my computer editing a collection of reports by Amira Hass filed from Ramallah (reporting from ramallah). It was the first compilation of writings by this Jewish Israeli Ha’aretz journalist to be published since she left Gaza for the West Bank. Come afternoon, I was to head from Tel Aviv to Ramallah, where I intended to meet up with my friend and colleague, filmmaker Simone Bitton. Simone was working on a series of daily video diaries (Ramallah DailY). It was raining so hard, I wondered if I had it in me to schlep across Qalandia checkpoint. It never dawned upon me whether I had it in me to face a D9 house-demolishing bulldozer in Rafah.
 
 I went online to check the forecast, to see if the storm was going to let up, and I saw the newsflash announcing your crushing; anonymous, faceless, nameless. I remember the words American, peace-activist, female. I didn’t know yet that, like me, your name was Rachel. Nor did I know that you too were a “Greener.” I just knew that some folks in the states might mistakenly worry at first glance that the said woman was me. I dropped my mother a line to assure her I was fine. And off to Ramallah I went.
 
 Simone was in a production frenzy but I remember we exchanged a few words about it: “Did you hear?” “I heard.” Finally the rain subsided, and posters bearing your likeness sprang up like mushrooms. Ramallah was covered in them: a blond, blue-eyed, “girl-next-door,” sweatshirt-wearing martyr. People were deeply moved. Someone other than they, someone who “didn’t really have to,” had put their life on the line. And since we all know that in the deranged Western economy of imagined human worth one blond, blue-eyed, sweatshirt-wearing life is worth 100 if not 1,000 brown-haired, brown-eyed, not sweatshirt-wearing lives, your death was like a massacre.

(more…)

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The wonderful Jewish Peace News has a a bunch of stories worth checking out. Better yet, consider subscribing to this important news source.

Jewish Peace Activists Defend German Critic of Israel

More than 370 Jewish peace activists from around the world signed a statement defending German politician Hermann Dierkes against charges of anti-Semitism.

Dierkes, a left-wing politician with a distinguished record of fighting for social justice, called for a boycott of Israeli goods as a means of putting pressure on the Israeli government to end its oppression of Palestinians. For this he has been subjected to vicious denunciations for anti-Semitism.

Jeff Halper: An unhelpful discourse on Israel / Middle East News Service

JPN picked this up from Antony Lowenstein. It is Jeff Halper’s unpublished op-ed on getting censored during a trip to Australia. As JPN’s Racheli Gai writes:

“The following article was written by Israeli/American peace activist Jeff Halper for the Australian Jewish News. The paper refused to run the piece, despite spending weeks attacking Halper and his supporters in its pages.
The type of dynamics Halper describes in the essay, where organized Australian Jewry comes to the “rescue” of an idealized Israel - an “Israel” which has nothing to do with Israel as a real country, doesn’t seem unique to Australia. It’s certainly the case in the US, and I suspect in other countries as well, that the Jewish diaspora latches on to an imaginary Israel for its own needs, even while Israel puts Jewish diaspora to its own
unholy uses.”

Seven Jewish Children–A Play for Gaza

As JPN’s Rebecca Vilkomerson wrote, “Caryl Churchill, a renowned British playwright and feminist, wrote a short play called: Seven Jewish Children–A Play for Gaza. It premiered in London in February and in New York on March 16th, in an event marking the anniversary of Rachel Corrie’s death. It was produced at the New York Theatre Workshop, which was the center of a controversy three years ago when it backed off from its decision to produce the play “My Name is Rachel Corrie.”

(more…)

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More on the story about the Spertus Museum:

Last week, the Chicago Reader spoke with Rhoda Rosen, the smart and courageous director of Spertus, Chicago’s Jewish museum. The Imaginary Coordinates exhibit on maps of the Holy Land (held as part of the city’s Festival of Maps), which Rosen worked on for 3 years, recruiting both Israeli and Palestinian artists, “was suddenly and mysteriously shut down” a week after opening. The public reason for the closure was too much sun light shining on the displays. This excuse was, pardon the pun, transparent. Chicago Reader’s Deanna Issacs remarks that the museum was housed in a spectacular state of the art showpiece building completed 6 months before, making the excuse unlikely.

For the next few days the museum’s Web site carried a notice that Imaginary Coordinates had been closed due to “unanticipated maintenance.” Reached by phone early in the week, Rosen blamed “building issues” but declined to elaborate. A call to Krueck + Sexton was referred to architect Tom Jacobs, who hadn’t heard anything about it. Subsequent calls to Rosen were returned by the museum’s outside public relations rep. No further information was available.

Meanwhile, word on the street was that the exhibit had proved too controversial for some key members of the Spertus audience. The Jewish United Fund, a major Spertus supporter, had taken a look and promptly canceled a May 13 fund-raising dinner booked for the tenth floor boardroom. Michael Kotzen, executive vice president of the Jewish Federation of Metropolitan Chicago, says he moved the event after hearing from “a number of people who thought the exhibit wasn’t appropriate” in “content and point of view.”

Then came word that the show would reopen “tweaked,” as Rosen put it, and with a new protocol: visitors would be admitted only on guided tours, to be conducted hourly. On May 15, she led the first tour herself, providing background on everything from Heinrich Bünting’s 16th-century German map, The Whole World in a Clover Leaf (with Jerusalem as its nexus), to Barbed Hula, a two-minute video of Israeli artist Sigalit Landau on a Tel Aviv beach, twirling a hoop of barbed wire around her naked torso. Other pieces include Ahmad Ibrahim’s Memory Map of Jimzu, showing every house destroyed in his Palestinian village in 1948, and artifacts like a menorah with shell cartridges for candleholders.

Other changes were made as well:

Rosen, who worked on the exhibit for three years, notes no art was removed from the show during the closure, although wall cards were revised and objects were rearranged. A case containing a paligirl T-shirt and black shorts with palestine emblazoned across the butt (sold by Detroit-based HZwear) was moved from its original spot on the path between the elevator and the boardroom. Rosen no doubt had some difficult days during the hiatus, but insists she’s not defensive about the result: “The board, staff, and myself stand behind the integrity of this exhibit,” she says, adding that the guided tours will provide “context” and encourage discussion.

It sets a terrible precedent to require tour guides for an art exhibit, to revise explanatory cards on the wall, and to even move items, but it’s important to see the forest for the trees. It’s likely that Rosen and staff did everything they could to protect the show. She and Spertus deserve support and kudos for standing behind the exhibit, which by all accounts is thought-provoking, beautiful and terrible, and highly relevant to political discussions today.

Funders used to supporting independent and critical thinking on everything BUT Israel-Palestine politics will have to get used to this new landscape. Besides, exhibits like these, are indeed, “good for the Jews.” Thank Spertus and Rosen for standing behind the show.

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Most of the time, we all realize that art and politics are inseparable. But on contentious issues, which obviously includes the Israel-Palestine conflict, somehow art is expected to be sanitized.

One has to ask how, exactly, Palestinians are supposed to express themselves and yet keep the occupation out of it. No one who had been to a Palestinian town, much less a refugee camp, would believe such a thing was possible, regardless of their views of the larger political questions. The occupation permeates every aspect of Palestinian life.

Yet this is, apparently, what is expected of the Al-Ghad Folklore Dancing Troupe of Beit Sahour, a suburb of Bethlehem. The troupe’s performance at a high school in Old Saybrook, Connecticut was cancelled this week after an angry grandparent complained about an earlier appearance. Apparently one of the group’s dances included a depiction of the ill treatment Palestinians receive from Israeli soldiers.

This is the experience of Palestinians, and asking them to exclude it from their art is no different from asking African-Americans to exclude their experiences with racism or women their experiences with sexism. This is the substance of Palestinian lives under occupation. Its appearance in an artistic forum is not a political statement, it is a statement of the facts of their lives. (more…)

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Oy Bay reports about a group of artists that calls itself the Zionist 5.

Himmelberger Gallery, a well-known art gallery located in San Franciscos tony Union Square, has decided to cancel plans to publish an art catalogue of one of its represented artists, noted author Alan Kaufman, who is under contract to the gallery. The decision is due to use of the word Zionism in the catalogues title Visionary Expressionism: A Zionist Art. Kaufman said in response:

For myself, I want to say that to see oneself and ones colleagues censored for expression of a Zionist perspective is one of the most shocking experiences Ive ever had as an artist, or writer. But what made it especially hard was to see my fellow writers, David Twersky, David Rosenberg, Etgar Keret, Polly Zavadivker, also censored. It was then that I understood that this was not merely censorship of me: this was censorship of an entire community, of my people, the Jewish People; of my colleagues, my fellow writers and artists. This drove home to me like nothing else that I must never accept such censorship from anyone, under any circumstances. I must stand up proudly as a Zionist and express myself freely, without shame or reservation.

The gallery objects to the expressly Zionist focus of several essay contributions to the catalogue by well-known authors and journalists, including David Twersky, contributing editor of the New York Sun and senior adviser, International Affairs for American Jewish Congress; noted scholar David Rosenberg, author (with Harold Bloom) of The Book of J and most recently of Abraham: The First Historical Biography; Etgar Keret, widely acknowledged as Israels most popular young writer, and whose books include The Nimrod Flip-Out and The Bus Driver Who Wanted To Be G-d ; and Polly Zavadivker, a young scholar completing graduate studies in Hebrew and Judaics at New York University and currently working as a grants officer at the Jewish Federation in Oakland, California. Kaufman, whose critically acclaimed books include the memoir Jew Boy and the novel Matches has an essay and an interview, conducted by Zavadivker, in the catalogue.

(more…)

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