A Hope for Empathy

On 9/11 we had the brief fortifying message from folk around the planet, “We are all Americans now.” Not blessed with a president who knew how wisely to respond to that world outpouring of empathy, we catapulted into a “war” against terror from which we have scarcely recovered.

No Drawing: Art, Politics, and Gaza

A CHILD’S VIEW FROM GAZA
Edited by Howard Levine
Pacific View Press, 2011

Back in 1969, Carol Hanisch wrote her famous essay “The Personal Is Political” in response to the criticism that feminist consciousness-raising efforts were just “therapy.” In 2011, an exhibit of art by Palestinian children was faced with the inverse criticism: accusations that the art, which came out of a therapy program, had an inherent political agenda. In the resulting controversy, many have lost sight of the deeply personal process that led to the art’s creation. A new book on the planned exhibit at Oakland’s Museum of Children’s Art, A Child’s View From Gaza, chronicles the art project’s trajectory from personal to political, from healing to struggle. The Gazan students whose works make up A Child’s View From Gaza were not part of a political protest or advocacy group. Nor did they even have an intended audience for their work.

The Rhetoric of Family in U.S. Politics

No Direction Home is a powerful and compelling piece of cultural and political history that fundamentally reframes the history of the modern American family. Whether you lived through the 1970s or not, you will not be able to think about that decade and those that followed the same way again after reading this remarkable book.

The Birth of Jazz and the Jews of South Rampart Street

In popular imagination, jazz emerged from the bordellos of Storyville, the legendary red-light district where piano-players like Jelly Roll Morton entertained the prostitutes and their sporting men. But South Rampart itself was a prior birthplace to jazz along with neighboring Back a’ Town…. Like thrice-born Dionysius, jazz had two mothers, for a while simultaneously: according to the late jazz historian Tad Jones, South Rampart was “the spot for jazz.”

Feral

Climbing the tree had not been a thoughtless or impetuous action. The girl had taken a Jew’s harp, a handful of dried cranberries, a scrap of blue leather, feathers, a vial of silver and turquoise beads, a needle, some thread, other secret objects, some sacred, all carefully balanced in the lap of an oversized T-shirt that the girl turned alternately into a desk, a knapsack, a handkerchief for blowing her nose, while another T-shirt became a bandanna, a snood, and a white banner that declared most adamantly: “I will not surrender.”

Lamenter-in-Chief

Let us hope that Pinsky’s new Selected Poems will help to dispel the more jaded views of his accomplishments. For Pinsky is an important figure. He is also, as Tony Hoagland has rightly observed, “a much stranger poet than is generally acknowledged.”

A Palestinian Peacemaker’s Story

Jundi’s coming-of-age story is chronicled in the illuminating book, The Hour of Sunlight, co-authored by him and his friend, former colleague and author/documentary filmmaker/playwright Jen Marlowe. The title derives from Mahmoud Darwish’s stunning poem, “On This Earth.” Like Darwish’s poetry, Jundi’s life is a tale of dislocation, of yearning, of delight in the details and a reverence for the written word.

Sword and Plowshare in Jewish Thought

Eisen’s book is written as a series of dialogues between two voices: one that believes Judaism accepts and affirms the use of violence, and one that believes Judaism much more strongly seeks and urges peace. This pattern is useful but could be a lot more useful, were it not for two baffling failings in this review of the multimillennial literature.

The Work of Healing

Mary Jane Nealon’s gorgeous memoir works along that revelatory thread, examining the physical and metaphysical life of a person who became both a nurse and a writer.