A Guide to Jewish Warsaw 1938 is an extraordinary book, describing a place that no longer exists: Jewish Warsaw was, as is well known, utterly destroyed in World War II. And yet, the book seeks to pretend as if everything is still intact, and it is possible to go on a tour following it or embark on an imaginary journey. Every detail is based on information pertaining to Jewish Warsaw in 1938 from countless sources: newspapers, literature, travel guides, written and oral memoirs, archives, interviews, films, and exhibitions. A Guide to Jewish Warsaw 1938 seeks to reveal the beauty hidden from the eye in the largest Jewish city in Europe before the war. The acquaintance with Jewish Warsaw is made through general and useful introductions, describing its history, its beliefs and opinions, its unique language, and its tastes and smells. At the center of the book are seven walking tours, revealing the city's delights: the antique bookstores on Świętokrzyska Street; the buffet at the Writers and Journalists Association at Tłomacka 13; the "Maccabi" swimming pool and the Bund's sports field; cantorial music at the Great Synagogue and Hasidic melodies in the Modrzyc courtyard in the resort town of Otwock; the summer terrace at the Rubinchik cafe, opening onto Krasiński Garden, "the Jewish Garden"; modern marble sculptures in the cemetery; the "Tel Aviv" cafe on Nowolipie Street; the treasures in the Jewish Museum; courtyards that are a world of their own on Nalewki Street and its surroundings, and much more.

How does the past remain present in the urban landscape—in houses, streets, and public squares—even after the culture that once sustained it has been destroyed? What happens when history is not merely an abstract memory but a material reality that continues to shape and unsettle the present? In Bloody Wednesday , Yechiel Weizman traces the ghostly presence of the Jews of Olkusz, a town in south-central Poland whose large Jewish community flourished for centuries, until the Holocaust. Despite their total physical absence, from the end of the war until today the memory of the Jews is palpable and persistent—and at the same time silenced and repressed—in every street corner: in empty houses, in abandoned cemeteries and synagogues, in plaques and monuments, and through the ongoing public debates about property, heritage, and commemoration. Using the case study of a single Polish town, the book shows how the urban topography of Eastern Europe was continuously reshaped and redefined in relation to the legacy of the Second World War, the question of Jewish property, and the politics of Holocaust memory during the Communist period and after the fall of the Iron Curtain. Adopting a microhistorical lens and examining the smallest details of everyday life and urban history, the book reveals how the persistent debate over the presence of the dead Jews in the concrete and imagined spaces of one small town became a dramatic arena for a painful, intimate, and nostalgic confrontation with the violent fingerprints of the twentieth century and with pressing questions of responsibility, ethics, and guilt.

The Last Trial deals with the trial of Ivan Demjanjuk, who was tried in the State of Israel in 1986 on charges of being "Ivan the Terrible," the operator of the gas chambers at the Treblinka extermination camp, and was acquitted after a seven-year legal process. The book is based on in-depth archival research and reveals for the first time a rich collection of historical documents from the legal authorities in Israel, the United States, and Germany. The book is also based on in-depth interviews with senior members of the legal system who were involved in the trial – judges, attorneys, and witnesses. The Demjanjuk case was considered both a case with a high chance of conviction and a potential for severe punishment, and a case that was expected to bring the memory of the Holocaust back onto the public agenda, some half a century after the Eichmann trial. It was chosen from among the cases of other suspects to be the first test case for the possibility of extraditing Nazi criminals from the United States to Israel. The results of the trial therefore had a decisive impact on the continued activity of the State of Israel in bringing Nazi criminals to justice. When Demjanjuk was acquitted, it became clear that not only had the prosecution failed to achieve the desired result of convicting the defendant, but also that the legal process in his case had failed to fulfill the educational, documentary, and historical goals that were attached to it. In the final analysis, this resounding failure brought the prosecution of the Nazis and their accomplices in the State of Israel to an end. The tension between the legal field and the historical field, and between legal judgment and factual truth, runs throughout the book. The greatest danger of blurring the lines between "law" and "history" lies in the fact that the legal outcome of a criminal proceeding – "guilty" or "not guilty" – may mistakenly be linked to the historical determination of "did happen" or "did not happen." A misunderstanding of legal acquittal as historical acquittal is one of the biggest obstacles to the influence of criminal law, which ends in acquittal, on collective memory. As the book shows, the case of Demjanjuk's extradition and trial in Israel illustrates the difficulties inherent in dealing with the Holocaust within the courtroom, and also sharpens the problematic nature of using criminal law tools to establish historical truths.

Yehuda Jud Ne'eman's latest book, Auschwitz Capital of the 20th Century , presents the work of one of the most important scholars of Israeli cinema, who was also a groundbreaking director and creator. In this book, Ne'eman shares with his readers his involvement as a creator and intellectual in the establishment of Israeli cinema as a space for central artistic, cultural, and political discourse, whose significant contribution to Israeli culture and society is beyond doubt. The book includes two parts that complement each other. The first part contains an innovative and original discussion that maps the history of Israeli cinema by comparing it to cinema that began during the yishuv period. During this period, cinema was committed to the Zionist narrative, and the work is characterized as a continuous conflict between avant-garde and ideology, similar to Soviet avant-garde cinema. Within the framework of this comparison, Ne'eman emphasizes the preoccupation with modernist cinema of the "New Sensibility," a term coined years ago, and refers to films created by Israeli directors following the French "New Wave," including his own films. In doing so, he claims that between Israeli folk film and the modernism of the "New Sensibility" films, there was in fact cooperation in opposition to the establishment and Zionist ideology. The second part of the book discusses films made in the State of Israel and during the yishuv period that deal with the representation of the Holocaust as a central test case. Among other things, Ne'eman shows that the attempt to heal the horrors of the Holocaust in a simplistic national way expresses feelings of guilt and offers a limited solution to the problems of the survivors.

Anti-Semitism emerged in the late nineteenth century as a political movement that swept the masses. It presented a worldview in which a cohesive tribe called "the Jews" conspired to rule the earth by controlling international capital markets, trade, and money lending, while at the same time working to destroy—through revolutionary plots—the very capitalist system it supposedly controlled. It is easy to draw a straight line from this paranoid thinking at the turn of the century to the murderous delusions of fascism in the twentieth century. But, argues Laura Engelstein, the line was not straight. Anti-Semitism as a political weapon had its opponents, even in Eastern Europe, where its consequences were particularly terrible. Jewish leaders who joined forces in various countries and in cooperation with non-Jewish public figures worked for the rights of Jews and in firm opposition to persecution and acts of violence against Jews. In Tsarist and Soviet Russia, as well as in Poland and Ukraine – regions notorious in the West as centers of hatred for Jews – there were also those who saw anti-Semitism as a harmful burden on society and their movement. In the introduction to the book, Engelstein describes the different ways in which Jews were treated through the ways in which one Jew, Maurice Greenfeld, the author's grandfather, dealt with the upheavals of World War I, the Russian Revolution, and the civil war that followed, including the expressions of hostility and sympathy he encountered throughout his life. In the following chapters, she reveals the – sometimes surprising – positions of Russian liberals such as Prince Sergei Urusov, Ukrainian leader Symon Petliura, and Polish émigré in Paris Andrzej Bobkowski. The chapters on the inevitable rise of anti-Semitism thus examine the complex reasons why leaders and intellectuals renounced pogroms and incitement against the Jewish population. Engelstein added a short introduction to the Hebrew edition of the book.

A letter written during the destruction of the communities of Galicia in the spring of 1943 by Solomea Ochs, née Luft, found among the possessions of a Wehrmacht general and later featured in an exhibition in contemporary Berlin, transforms in the hands of historian Ram Ben-Shalom into a wide-ranging documentary novel. Solomea's letter, in her own handwriting, describes not only the horrors of the massacre and extermination but also touches on the depths of humiliation and devastation felt by the Jews kneeling before their killers. This is the voice of mighty force of nature that has been silenced; something stronger than poetry and lamentation, even if it will surely be remembered alongside the great Jewish laments of the Middle Ages and Bialik's "Upon the Slaughter." Ram Ben-Shalom discovered that this letter is none other than a letter from his aunt to her family before her murder, and that the letter was kept in the drawer of his father's desk at their home in Tel Aviv. From here, a complex search journey emerged, with surprising dimensions that accumulate into a picture of distinctly epic proportions. With craftsmanship, Ben-Shalom weaves a story that is at once a poetics of life, a cultural critique, and an unparalleled delicate analysis of the depths of the selfhood of Israeli Judaism.

The Other War articulates the anatomy of World War II. For that purpose, it takes an unusual perspective: instead of following the conventional horizontal historical axis, from Nazi Germany eastwards and westwards, it directs the view from the global south to the north. Both axes, the continental and the colonial, were, of course, not disconnected; to expose their intersections, this book lays the focus on Jewish Palestine. The focus on Palestine, as part of a broad British defense parameter protecting the Indian subcontinent, reveals the entanglement of two conflicts: the European war, that escalated into a world war, and the Jewish-Arab-British war over Palestine. In their discreet competition, each of these conflicts remained, for its rival, a foreign war.

This book examines the overt and covert engagement with the immigrant experience in American cinema in the decade preceding World War II. It presents the story of a gallery of creators, mostly Jewish, who had emigrated to the United States, some by force and others by choice. An examination of the films they created reveals their attitudes towards their countries of origin, the nation that gave them a new home, and the Jewish identity they were forced to rediscover. This Jewish identity was at times a burden, sometimes a painful reminder of their past, and at other times a source of great inspiration and hope.

The book relates the story of the Jewish movement in the Soviet Union in the 1970s and 1980s as perceived by its participants. On the basis of interviews with almost 300 activists from over 60 cities, it portrays the movement's evolution in all its facets. It examines the activist's personality and background and the path he or she took prior to becoming active, including the presentation of documents to the authorities, that branded him or her as a social pariah and potential traitor. The book discusses the emergence of a refusenik community that enabled their struggle with the all-powerful regime to leave the country while maintaining a "normal" existence for an unpredictable duration. Two chapters view the variety of instruments to which the activists had recourse as they developed the tactics and strategy of that struggle, while three final chapters review specific topics that were an inseparable part of the movement's story. They cover the confrontation with the KGB – the persistent shadowing, interrogations, arrests, trials and camps; the return to Judaism in the search for roots and identity; and the movement's links with the Jewish and non-Jewish world outside.

The book traces the changes that have taken place in the world views of Josef Zelkowicz, a modern Jewish intellectual, after he was imprisoned for more than four years in the Lodz ghetto under extreme living conditions. The book follows Zelkowicz and a fascinating group of intellectuals who struggled to understand life in the ghetto. The book presents the events as perceived by those intellectuals at the time of their occurrence. The readers get to know Zelkowicz's work through stories that were translated into Hebrew for the first time and are included in the book.

In 1980, the Italian publisher Einaudi wanted to publish a series of personal anthologies of its authors. Primo Levi quickly arose to the challenge and submitted La ricerca delle radici ( The Search for Roots ): thirty excerpts from thirty masterpieces of world literature, accompanied by thirty short introductions he wrote. Every such introduction is a brilliant commentary on the work, and a reflection of Primo Levi himself - as a kind of self-portrait, in which the painter produces his collage from materials created by others. These excepts - published for the first time in Hebrew - reveal some of the important ethical and aesthetic influences on Primo Levi and his work. Levi quotes from Job, Lucretius, Rabelais‏, Babel, Shalom Aleichem, de Saint-Exupéry and more, but also from Darwin's On Origin of Species and even from Practical Organic Chemistry. Thus, it is possible to trace his extensive and diverse, humanistic and scientific education, the roots from which his unique literary work grew.