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The Jewish, Odesa-born poet, Semyon Izrailevich Lipkin (1911-2003), was a central figure in modern Russian literature, although until recently, he was best known in the West for his role in preserving the manuscript of Vasily Grossman's Life and Fate from the KGB. As a Soviet journalist in WW2, he witnessed and wrote about the horrors of Stalingrad, which led the Nobel Laureate Josef Brodsky to refer to him as 'Russia's war poet'. Later, during the years of Stalin's deportation of ethnic groups, Lipkin translated and preserved the language and writings of Tajiks, Uzbeks, and Tatars and, in doing so, became a living repository of their culture for which he risked censure and arrest from the Soviet authorities. In this memoir, Lipkin's humanity, civic courage, and friendship with many important Russian writers - Anna Akhmatova, Marina Tsvetaeva, Andrei Platonov, and of course, Grossman himself - shine through the reports of terror and oppression that characterized this most turbulent period of Russian history.

In 1975, at the age of forty, Richard Raskind, a renowned eye surgeon and highly ranked amateur tennis player, "died," and Renée Richards was "born," in what was to become the most public and highly scrutinized sex reassignment to date. It was not until Renée Richards was discovered playing in an amateur tennis tournament that the world took notice. Extensive media coverage and criticism thrust Renée reluctantly into the spotlight, sparking an intense public debate over her private life. Now, at seventy-two, Richards looks back and speaks frankly about all aspects of her complicated and often notorious life in this eye-opening, thought-provoking memoir. Richards' honest and compelling narrative explores the dichotomy between the successful life she lived as Dr. Richard Raskind, who seemed to have everything (devoted friends, a beautiful wife and son, a stellar record of academic and professional achievement, and outstanding athletic ability), and a secret life of struggle with a drive that could not be suppressed, even by years of psychotherapy and the force of a considerable will. Richards takes readers through her difficult decision to undergo surgery and the complex mixture of relief and continued frustration that came with the realization of her new identity. Discussing life after her transformation, Richards candidly relates the details, trials, and pleasures of her romantic life as well as fascinating stories about her tennis career, including her experiences as Martina Navratilova's coach. She also provides an intimate account of her difficult but rewarding relationship with her rebellious son: runaway teenager, high-stakes Vegas gambler, karate champion, and entrepreneur. She describes the deterioration of a once-loving marriage and the challenges of reclaiming her place at the forefront of her demanding medical specialty. Having lived as a woman almost as long as she lived as a man, Richards draws on a personal history that illuminates thirty years of remarkable change in society's attitude toward gender issues. Her absorbing and inspiring story, at once heartbreaking and uplifting, is a testimony to how far we have progressed in our ability to discuss and accept sexuality in all its iterations, as well as a reminder of how far we still must travel.

"Jack Austin served as a cabinet minister in both the Trudeau and Martin governments and represented British Columbia for over three decades in the Senate. In the 1970s, he served as federal deputy minister of Energy, Mines, and Resources (during the oil crisis), and then Principal Secretary to Trudeau Sr., who later became a travelling companion. Since 2008, he has been an honorary professor at UBC's Institute of Asian Research. His memoir, Unlikely insider, is more than a personal journey; it ruminates on some of the most pressing political issues animating Canadian public life: the move away from a colonial relationship with First Nations peoples, Canada-China relations, bilateral relations with the US, economic security, and the defense of domestic sovereignty. Inclusion, at both the regional and demographic levels, is an import theme recurring throughout the chapters."--

"Griselda Pollock reintroduces an important feminist forerunner in this new, full-colour setting of Helen Rosenau's 1944 book Woman in Art. Helen Rosenau (1900-1984) was part of the influential migration of European Jewish intellectuals who fled to Britain and the United States during the 1930s, bringing with them exciting innovations in art history's methods. Only Rosenau, however, centred gender in her analysis. The result--her book Woman in Art: From Type to Personality--is a feminist art-historical project, as relevant today as when it was first published in 1944, in which Rosenau drew on contemporary discussions of gender in anthropology, philosophy, sociology, law, theology, history, and literature. In this new volume, ahead of the eightieth anniversary of its original publication, Rosenau's erudite and accessible text is prefaced with a personal memoir by Adrian Rifkin, who was once her student, new research into the refugee experience by Rachel Dickson, and a portrait of Rosenau as feminist intellectual by Griselda Pollock. In conversation with this new setting of the original text, richly illustrated with colour images, Pollock offers eye-opening new readings of key aspects of Rosenau's methods, concepts, arguments, and interpretations of famous artworks, establishing the place of Rosenau's "little book of 1944" in the historiographies of both feminist thought and cutting-edge art history across two centuries."-- Source other than Library of Congress.

Levenfish describes in vivid detail the atmosphere of pre- and post-revolutionary Russia, giving first-hand impressions of some of the most famous names in early-twentieth-century chess, such as Lasker, Rubinstein, Alekhine and Capablanca - all of whom were personally known to him. Some of the stories stay long in the memory: descriptions of the hardships endured by players in the first USSR Championship that took place in the difficult years of the Civil War; of idyllic trips to the Caucasus and Crimea; of grim struggles for survival in the winter of 1941. Soviet Outcast comprises Levenfish's annotations to 79 of his finest games, translated from his Russian autobiography, plus extensive bonus material including several games compiled from other sources, mostly with annotations by Levenfish himself, as well as a 30-page Afterword by GM Jacob Aagaard. This is the first time Levenfish's memoir has been published in English.

The first section of the book develops Solway's approach to literature, starting from the assumption that genuine criticism requires the intellectual freedom to range at will across the literary landscape rather than restricting one's direction based on what is current, fashionable, or politically correct. Solway argues that advocating a theoretical school - postmodernism, poststructuralism, semiotics, new historicism, Marxist revisionism, or queer theory - generally involves abandoning the real critical project, which is the discovery of one's own undetermined motives, dispositions, and interests as reflected in the secret mirrors embedded in literary texts. Instead Solway pursues what he calls elective criticism, writing that enables the critical writer to freely discover his or her own identity - a concept that he claims cannot reasonably be diluted, relinquished, or deconstructed. In the second section Solway practices what he preaches, exploring a wide range of authors and subjects. His essays include an analysis of Franz Kafka's The Trial as a Jewish joke, a personal memoir of Irving Layton, an interpretation of Erin Moure's "Pronouns on the Main," an examination of language in William Shakespeare's romances, a reading of Robert Browning's "My Last Duchess" that is sympathetic to the Duke, an assertion that James Joyce has more in common with the traditional novelist than with the professional, (post-)modern alienator, and an exploration of Jonathan Swift's sartorial imagery that contends that form is the source of substantive identity.

Anshel Brusilow was born in 1928 and raised in Philadelphia by musical Russian Jewish parents in a neighborhood where practicing your instrument was as normal as hanging out the laundry. By the time he was sixteen he was appearing as soloist with the Philadelphia Orchestra. He also met Pierre Monteux at sixteen, when Monteux accepted him into his summer conducting school. Under George Szell, Brusilow was associate concertmaster at the Cleveland Orchestra until Ormandy snatched him away to make him concertmaster in Philadelphia, where he remained from 1959 to 1966. Ormandy and Brusilow had a father-son relationship, but Brusilow could not resist conducting, to Ormandy's great displeasure. By the time he was forty, Brusilow had sold his violin and formed his own chamber orchestra in Philadelphia with more than a hundred performances per year. For three years he was conductor of the Dallas Symphony, until he went on to shape the orchestral programs at Southern Methodist University and the University of North Texas. Brusilow played with or conducted many top-tier classical musicians, and he has opinions about each and every one. He also made many recordings. Co-written with Robin Underdahl, his memoir is a fascinating and unique view of American classical music during an important era, as well as an inspiring story of a working-class immigrant child making good in a tough arena.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

BIO

[Jamee] As we talked, a thought came to me and I told her that, when we first came to know each other, I was fourteen years old, Sharon was thirteen, and you (Joan) were ten. That means that, for over fifty years, you two have been the closest thing to sisters I'll ever have and I just can't believe that she's [Sharon] gone. [Richard] And now Joan is gone, too. She died on September 30, 2022. That leaves Jamee and me as the only ones left of that generation.

"A fabulous, gripping story, with a nice dose of suspense at the end of each chapter, making you want to turn the page." -Arnold Ismach, journalism dean, University of Oregon "I read Angels in the Forest with great interest and admiration.... a terrific book. The extraordinary and significant details are the reasons. If there is truth to the clich?, a triumph of the human spirit, This book proves that truth." -Ira Berkow, feature writer, New York Times Earl Greif's Angels in the Forest reflects the man and his mission It is a work of simplicity and passion, written with integrity and decency. told in a way faithful to the past and challenging for our future." -Michael Berenbaum, former director, Holocaust Research Institute

This book has been taken off forever. pp.Hard CoverVery GoodEnglish

A Lesser Child recounts the childhood of distinguished poet Karen Gershon, who grew up in Germany under Hitler's regime. Karen was the granddaughter of a wealthy member of the local Jewish community, and her family was close-knit. She was academically gifted and a natural poet, with striking good looks. Yet none of her good fortune could dispel her sense of inferiority. In Hitler's Germany, a conventional adolescence was impossible, and Karen cowered behind an unrelieved bewilderment. Karen's story, however, is more than an account of her childhood. It is a vivid and moving re-creation of the period leading up to the Holocaust, with all its tension and uncertainty.

Adam P. Kennedy holds a conversation with Dr. Joseph Kennedy as part of his Chronicling greatness Series - Pioneers

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.