A celebration of the relationships that bring us strength, purpose, and joy Ties That Bind honors the people who nourish and strengthen us. StoryCorps founder Dave Isay draws from ten years of the revolutionary oral history project’s rich archives, collecting conversations that celebrate the power of the human bond and capture the moment at which individuals become family. Between blood relations, friends, coworkers, and neighbors, in the most trying circumstances and in the unlikeliest of places, enduring connections are formed and lives are forever changed. The stories shared in Ties That Bind reveal our need to reach out, to support, and to share life’s burdens and joys. We meet two brothers, separately cast out by their parents, who reconnect and rebuild a new family around each other. We encounter unexpected joy: A gay woman reveals to her beloved granddaughter that she grew up believing that family was a happiness she would never be able to experience. We witness lifechanging friendship: An Iraq war veteran recalls his wartime bond with two local children and how his relationship with his wife helped him overcome the trauma of losing them. Against unspeakable odds, at their most desperate moments, the individuals we meet in Ties That Bind find their way to one another, discovering hope and healing. Commemorating ten years of StoryCorps, the conversations collected in Ties That Bind are testament to the transformational power of listening.

"There's a little Jewish mother in every mother," as comedienne Judy Gold reveals in her achingly hilarious and poignant book For a Jewish girl who remembers the first book ever read to her as a child was the pop-up version of The Diary of Anne Frank, learning how to be a Jewish mother who wasnt a carbon copy of HER Jewish mother wasnt easy. Here, Emmy Awardwinning comedienne Judy Gold asks, "Are there any Jewish mothers out there like me, or are they all, G-d forbid, like my mother" In 25 Questions for a Jewish Mother, she incorporates her own adventures in Jewish motherdom and her memories of growing up Jewish in suburban New Jersey -- communicating with her mother by putting Ann Landers articles on the fridge ("Dear Ann, My mother wont let me walk alone to school and Im 16! Please help." "Dear Ann, The crossing guard drinks. Please help.") -- with the voices of the fifty other Jewish mothers, she and her co-author, Kathleen Moira Ryan, interviewed. They asked homemakers, lawyers, Holocaust survivors twenty-five questions, including: --Who's your favorite Jewish mother (Judy's is Barbra Streisand.)? --How many times a day do you talk to your children or mother (for Judy, it's anywhere from one to the high double digits)? --Are Jewish mothers really more paranoid (or, "Why do I have to write an entire itinerary with names, addresses, and phone numbers every time I leave the house")? And so on. The culmination of these extraordinary stories confirms that there is ultimately something strong, courageous, and loving in every Jewish mother -- a hopeful -- and very funny -- message to mothers and their children everywhere.

These conversations between two linguistic scholars who were also husband and wife cover such topics as the characterization of the phoneme, symbolist poetry, the genetic basis of language, linguistic universals, semiotic systems, and aphasia and the process of language acquisition by children. In an afterword Pomorska describes Jakobson's acquaintances, friendships, and collaborations with international poets and artists -- Provided by the publisher.

Russian-speaking Jews from the former Soviet Union are a peculiarity in the Jewish world. After decades living in a repressive, nominally atheistic state, these Jews did manage to retain a strong sense of Jewish identity - but one that was almost completely divorced from Judaism. Today, more than ten percent of Jews speak or understand Russian, signaling the importance of an ever-vexing question: why are Russian Jews the way they are? In pursuit of an answer, Anna Shternshis's groundbreaking When Sonia Met Boris: An Oral History of Jewish Life under Stalin draws on nearly 500 oral history interviews on the Soviet Jewish experience with Soviet citizens who were adults by the 1940s. Soviet Jews lived through tumultuous times: the Great Terror, World War II, the anti-Semitic policies of the postwar period, and the collapse of the Soviet Union. But, like millions of other Soviet citizens, they married, raised children, and built careers, pursuing life as best they could in a profoundly hostile environment. One of the first scholars to record and analyze oral testimonies of Soviet Jews, Shternshis unearths heartbreaking, deeply poignant, and often funny stories of the everyday choices Jews were forced to navigate as a repressed minority living in a totalitarian regime. Shternshis reveals how ethnicity rapidly transformed into a disability, as well as a negative characteristic, for Soviet Jews in the postwar period, and shows how it was something they needed desperately to overcome in order to succeed. That sense of self has persisted well into the twenty-first century, and has impacted the Jewish identities of the children and grandchildren of Shternshis's subjects, the foundational generation of contemporary Russian Jewish culture. An illuminating work of social and cultural history, When Sonia Met Boris traces the fascinating contours of contemporary Russian Jewish identity back to their very roots.

The testimonies of individuals who survived the Holocaust as children pose distinct emotional and intellectual challenges for researchers: as now-adult interviewees recall profound childhood experiences of suffering and persecution, they also invoke their own historical awareness and memories of their postwar lives, requiring readers to follow simultaneous, disparate narratives. This interdisciplinary volume brings together historians, psychologists, and other scholars to explore child survivors' accounts. With a central focus on the Kestenberg Holocaust Child Survivor Archive's over 1,500 testimonies, it not only enlarges our understanding of the Holocaust empirically but illuminates the methodological, theoretical, and institutional dimensions of this unique form of historical record.

Presents profiles of fourteen teenagers from countries around the world, revealing their struggles to fit into American society and their personal triumphs.

First with his magisterial fantasy Bone to his mind-bending, time-warping sci-fi noir RASL, Paleolithic-set fantasy Tüki: Save the Humans, arthouse-styled superheroic miniseries Shazam!, and his latest children's book Smiley's Dream Book, Jeff Smith (b. 1960) has made an indelible mark on the comics industry. As a child, Smith was drawn to Charles Schulz's Peanuts, Carl Barks's Donald Duck, and Walt Kelly's Pogo, and he began the daily practice of drawing his own stories. After writing his regular strip Thorn for The Ohio State University's student paper, Smith worked in animation before creating, writing, and illustrating his runaway success, Bone. A comedic fantasy epic, Bone focuses on the Bone cousins, white, bald cartoon characters run out of their hometown, lost in a distant, mysterious valley. The self-published series ran from 1991 to 2004 and won numerous awards, including ten Eisner Awards. This career-spanning collection of interviews, ranging from 1999 to 2017, enables readers to follow along with Smith's development as an independent creator, writer, and illustrator.

One of America's most popular Jewish writers, Chaim Potok (b. 1929) is the author of such novels as The Chosen (1967), The Promise (1969), The Book of Lights (1981), and Davita's Harp (1985). Each of his novels explores the tension between tradition and modernity, and the clash between Jewish culture and contemporary Western civilization, which he calls "core-to-core culture confrontation." Although primarily known as a novelist, Potok is an ordained Conservative rabbi and a world-class Judaic scholar who has also published children's books, theological discourses, biographies, and histories. Conversations with Chaim Potok presents interviews ranging from 1976 to 1999. Potok discusses the broad range of his writing and the deep influence of non-Jewish novels-in particular, Evelyn Waugh's Brideshead Revisited and James Joyce's Portrait of the Artist as a Young Man -on his work. Interviews bear witness to Potok's many other influences-Orthodox Jewish doctrine, Freudian psychoanalytical theory, Picasso's Guernica, and Jewish kabbalah mysticism. Though labeled an American Jewish writer, Potok argues that Flannery O'Connor should then be called an American Catholic writer and John Updike an American Protestant writer. "In his mind," editor Daniel Walden writes, "just as Faulkner was a writer focused on a particular place, Oxford, Mississippi, . . . so Potok's territory was a small section of New York City." Potok often explores conflict in his writings and in his interviews. Strict Jewish teachings deem fiction an artifice and therefore unnecessary, yet since the age of sixteen Potok has been driven to write novels. At the root of all of these conversations is Potok's intense interest in the turmoil between Jewish culture, religion, and tradition and what he calls "Western secular humanism." As he discusses his work, he continually includes broader issues, such as the state of Jewish literature and art, pointing out with pride and enthusiasm his belief that Jewish culture, in the twentieth century, has finally begun to have a significant role in producing and shaping the world's art and literature. Whether discussing the finer details of Talmudic textual analysis or his period of chaplaincy during the Korean War, Potok is articulate and philosophical, bringing deep consideration into what may seem small subjects. Although his novels and histories take place primarily in the recent past, the Chaim Potok that emerges from this collection is a writer deeply rooted in the tensions of the present. Daniel Walden is Professor Emeritus of American Studies, English and Comparative Literature at Penn State University. He has written or edited several books, including On Being Jewish (1974), Twentieth Century American Jewish Writers (1984), The World of Chaim Potok (1985), and American Jewish Poets: The Roots and the Stems (1990).

The murder of a third of Europe's Jews by the Nazis is unquestionably the worst catastrophe in the history of contemporary Judaism and a formative event in the history of Zionism and the State of Israel. Understandably, therefore, the Shoah, written about, analyzed, and given various political interpretations, has shaped public discourse in the history of the State of Israel. The key element of Shoah in the Israeli context is victimhood and as such it has become a source of shame, shrouded in silence and subordinated to the dominant discourse which, resulting from the construction of a "new Hebrew" active subjectivity, taught the postwar generation of Israelis to reject diaspora Jewry and its alleged passivity in the face of catastrophe. This book is the culmination of years of preoccupation with the meaning of the Shoah for the author, an Israeli woman with a "split subjectivity: - that of a daughter of a family of Shoah survivors, and that of a daughter of the first Israeli-born generation; the culmination of her need to break the silence about the Shoah in a society which constructed itself as the Israeli antithesis to diaspora Jewry, and to excavate a "truth" from underneath the mountain of Zionist nation-building myths. These myths, the author argues, not only had deep implication for the formation of her generation but also a profound impact on the Israeli-Palestinian conflict. Moreover, they are shot through with images of the "masculine" Israeli, constrasted with those of the weak, passive, non-virile Jewish "Other" of the diaspora. This book offers the first gendered analysis of Israeli society and the Shoah. The author employs personal narratives of nine Israeli daughters of Shoah survivors, writers and film makers, and a feminist re-reading of official and unofficial Israeli and Zionist discourses to explore the ways in which the