The specific course of the Reformation in England in the 16th-17th centuries brought about interest in the Jewish Bible, i.e. the Old Testament, and the emergence of a self-image held by the British that they constitute a people of the Book, beside the Jews. This, in turn, gave rise to philosemitism, which marked British culture from the days of Cromwell to those of Churchill, being tinged in various tones, from millenarianism to philo-Zionism. However, the tradition of philosemitism in England was accompanied by manifestations of antisemitism; the same people who extolled the Jews opposed their admission to Parliament; people who defended Jewish rights in the 18th-19th centuries often shared anti-Jewish stereotypes of their time; and leaders who sympathized with Zionism could believe in a Jewish conspiracy against Christian civilization. Ch. 4 (pp. 83-117), "Fictional Heroes and Heroines", deals with 19th-century literature and shows how some writers (e.g. Walter Scott, Dickens, Trollope) could combine philosemitic and antisemitic motifs in their literary works.

When Juliet Montague's husband disappears, so does she. As far as the conservative Jewish community in which she lives is concerned, she is invisible. She does her best to conform to their rules, but then on her thirtieth birthday she does something unexpected. Instead of the fridge she has scrimped for, she impulsively spends her savings on a portrait of herself. It is the first in a series of portraits that punctuate Juliet's adult life as she joins London's lively post-war art scene and proves to be an astute spotter of talent. Yet she remains an outsider in both her worlds: a mother of two, drawn to a reclusive artist who never leaves Dorset, and unable to feel free until she has found her husband - a quest that leads her to California and a surprising discovery. Absorbing, intriguing and richly evocative, this is the tale of one woman's life and an unusual emotional journey, each stage hinged on a painting. It is a bravura performance by a highly talented young author.

"This powerful, meticulously researched novel is a moving tale of one girl's struggle against a world in turmoil. In 1930s Berlin, choked by the tightening of Hitler's fist, the Klein family are gradually losing everything that is precious to them. Their fifteen-year-old daughter, Rosa, slips out of Germany on a Kindertransport train to begin a new life in England. Charged with the task of securing a safe passage for her family, she vows that she will not rest until they are safe. But as war breaks out and she loses contact with her parents, Rosa finds herself wondering if there are some vows that can't be kept ...A sweeping tale of love and loss, with the poignant story of the Kindertransport at its heart, this is an exceptional accomplishment from one of Britain's bravest and most vibrant young writers."

"A major influence on the BBC and independent television in Britain in the 1960s, as well as on CBC and the National Film Board in Canada, Sydney Newman acted as head of drama at a key period in the history of television. For the first time, his comprehensive memoirs--written in the years before his death in 1997--are being made public. Born to a poor Jewish family in the tenements of Queen Street in Toronto, Newman's artistic talent got him a job at the NFB under John Grierson. He then became one of the first producers at CBC TV before heading overseas to the U.K. where he revitalized drama programming. Harold Pinter and Alun Owen were playwrights whom Newman nurtured, and their contemporary, socially conscious plays were successful, both artistically and commercially. At the BBC, overseeing a staff of 400, he developed a science fiction show that flourishes to this day: Doctor Who. Providing further context to Newman's memoir is an in-depth biographical essay by Graeme Burk, which positions Newman's legacy in the history of television, and an afterword by one of Sydney's daughters, Deirdre Newman."--

From Kindertransport survivor to pioneering Foreign Correspondent at the Guardian - the extraordinary life of Hella Pick. A trailblazer for women in journalism, Hella Pick arrived in Britain in 1939 as a child refugee from Austria. Over nearly four decades she covered the volatile global scene, first in West Africa, followed by America and long periods in Europe. In her thirty-five years with the Guardian she reported on the end of Empire in West Africa, the assassination of President Kennedy, Martin Luther King's march from Selma to Montgomery, the Vietnam peace negotiation in Paris, the 1968 student revolt in France, the birth of the Solidarity movement in Poland, and the closing stages of the Cold War. A request for coffee on board a Soviet ship anchored in Malta led to a chat with Mikhail Gorbachev. A request for an interview with Willy Brandt led to a personal friendship that enabled her to come to terms with Germany's Nazi past. Her book is also a clarion call for preserving professionalism in journalism at a time when social media muddy the waters between fact and fiction, and between reporting and commentary. Invisible Walls tells the dramatic story of how a Kindertransport survivor won the trust and sometimes the friendship of world leaders, and with them a wide range of remarkable men and women. It speaks frankly of personal heartache and of a struggle over her Jewish identity. It is also the intensely touching story of how, despite a gift for friendship and international recognised achievements as a woman journalist, a continuing sense of personal insecurity has confronted her with a series of invisible walls.

An epic novel of Christians and Jews in the plague years -- the Black Death of 1349. The story takes place in the monastery of Bodmin, in the misty moors of Cornwall and on the continent where Will's wife, Miriam, goes in search of her Jewish ancestors. She is a female picaresque heroine through whose eyes the devastation of the Black Death on the continent is witnessed.

God bless you, England, on this glorious Year of Our Lord, 1145. Things are definitely not right in Nottingham. Rebecca, daughter of a Jewish money-lender, has a sense for it. A mad monk schemes to resurrect the Christ from body parts. A bone harpist murders creatures of legend for a price. A fae creature binds its wings and embraces a new God and his son. And don't even mention the Hood. The Man in Green. The Prince of Thieves. The tick-tock taker of the ten-toll tax. What hope have the series of sheriffs sent to hold the peace? It's the forest, you see. Sherwood. Ice Age ancient, impenetrable, hiding a dark and secret heart. But hearts, no matter how black, no matter how hidden, are not immune to change. The old world is dying... and a terrifying new one is waiting to take its place. Rebecca senses an opportunity. But how far is she willing to go, and what price - because there is always a price - will she have to pay? The Hood is Lavie Tidhar's narcotic reweirding of an ancient English myth, a tale stitched together from legends lost to time, a tale told and retold, reworked and renewed for each passing century. A tale, reader, for today. 'A wild, inventive tapestry of myth and magic, with a wry sense of humor. Tidhar's writing is wonderfully vibrant' Silvia Moreno-Garcia, bestselling author of Mexican Gothic

A remarkable insight into Jewish history in Britain, 'My Mother's House' is a poignant story of belonging, nationhood and identity set in Wales, England and Palestine. The first novel from the acclaimed author of Eunice Fleet - a poignant story of belonging, nationhood and identity set in Wales, England and Palestine. First novel from the acclaimed author of EUNICE FLEET a poignant story of belonging, nationhood and identity set in Wales, England and Palestine Simon is a troubled young manborn in Wales, of Jewish heritage, and in love with Englishness and an English heiress. He determines to reject his Jewish and Welsh identity and the industrial valleys he grew up in and seeks to fulfil his ambition to rise in the Civil Service. His experiences in love and his professional life see him reject Edith on discovering that she is not what he believed her to be, and taking up arms in the fight against Englands enemies in the Great War. Ultimately, he must embrace his family and his heritage before he can experience a sense of wholeness. Simons experience raises questions of belonging, language, nationhood and identity that are as relevant now as they were in 1931 when the novel was first published. Lily Tobiass sensitive individual and communal portraits illuminate some of the most topical personal, social and political issues of the twenty-first century.