Podcast appearances and mentions of Benjamin Balint

Today We have Benjamin Balint with us speaking about his book 'Kafka's Last Trail'. Kafka's Last Trial begins with Kafka's last instruction to his closest friend, Max Brod: to destroy all his remaining papers upon his death. But when the moment arrived in 1924, Brod could not bring himself to burn the unpublished works of the man he considered a literary genius—even a saint. Instead, Brod devoted his life to championing Kafka's writing, rescuing his legacy from obscurity and physical destruction.By the time of Brod's death in Tel Aviv in 1968, Kafka's major works had been published, transforming the once little-known writer into a pillar of literary modernism. Yet Brod left a wealth of still unpublished papers to his secretary Esther Hoffe, who sold some, held on to the rest, and then passed the bulk of them on to her daughters, who in turn refused to release them. An international legal battle erupted to determine who could claim ownership of Kafka's work: Hoffe's Family, Israel, where Kafka dreamed of living but never entered, or Germany as Kafka wrote exclusively in German. Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts.Benjamin Balint is the author of Bruno Schulz' S Biography and Kafka's Last Trial,. He was awarded the 2020 Sami Rohr Prize for Jewish Literature, and is the coauthor of Jerusalem: City of the Book. A library fellow at the Van Leer Institute in Jerusalem, he regularly writes on culture for The Wall Street Journal, the Jewish Review of Books, and other publications.You may Please use the link given in the show notes to buy the books mentioned .Please follow and review the Harshaneeyam Podcast on Apple and Spotify Apps.To buy 'Kafka's Last Trial' - https://tinyurl.com/kafkastrial* For your Valuable feedback on this Episode - Please click the link below.https://tinyurl.com/4zbdhrwrHarshaneeyam on Spotify App –https://harshaneeyam.captivate.fm/onspotHarshaneeyam on Apple App – https://harshaneeyam.captivate.fm/onapple*Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/israel-studies

When Franz Kafka died in 1924, his loyal friend Max Brod could not bring himself to fulfill Kafka's last instruction: to burn his remaining manuscripts. Instead, Brod devoted his life to championing Kafka's work, rescuing his legacy from both obscurity and physical destruction. Nearly a century later, an international legal battle erupted to determine which country could claim ownership: the Jewish state, where Kafka dreamed of living, or Germany, where Kafka's three sisters perished in the Holocaust?  In Kafka's Last Trial: The Case of a Literary Legacy (Norton, 2019), Benjamin Balint offers a gripping account of the controversial trial in Israeli courts—brimming with dilemmas legal, ethical, and political—that determined the fate of Kafka's manuscripts. Benjamin Balint, a fellow at the Van Leer Institute in Jerusalem, is the author most recently of Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton), winner of a National Jewish Book Award. His book Kafka's Last Trial (Norton) won the Sami Rohr Prize and has been translated into a dozen languages. He is also the co-author, with Merav Mack, of Jerusalem: City of the Book (Yale). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

On today’s episode, Abe spoke with two brilliant Jerusalem-based journalists, Ben Balint and Matti Friedman. Ben’s most recent book, Bruno Schulz: An Artist, a Murder, and the Hijacking of History won the 2024 National Jewish Book Award in biography. Matti Friedman is the author, most recently, of Who By Fire: Leonard Cohen in the Sinai. […] The post Benjamin Balint & Matti Friedman: 1973 & 2023 appeared first on Jewish Review of Books.

Benjamin Balint, an award-winning American-Israeli writer based at the Van Leer Jerusalem Institute, discusses his book Bruno Schulz: An Artist, A Murder, and the Hijacking of History. The literary legacy of Schulz, the  so-called Polish Kafka, has been the subject of an international legal, cultural and diplomatic debate.

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/van-leer-institute

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People's Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz's art became the currency in which he bought life. In Bruno Schulz: An Artist, a Murder, and the Hijacking of History (Norton, 2023), Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa―the last traces of his vanished world―into multiple dimensions of the artist's life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist's milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities. Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network's Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il. She's on Twitter @embracingwisdom. She blogs here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem's libraries which tells the story of this city as a place where some of the world's most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem's literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors' hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem's libraries which tells the story of this city as a place where some of the world's most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem's literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors' hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/van-leer-institute

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem’s libraries which tells the story of this city as a place where some of the world’s most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem’s literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors’ hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom.   Learn more about your ad choices. Visit megaphone.fm/adchoices

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem’s libraries which tells the story of this city as a place where some of the world’s most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem’s literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors’ hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom.   Learn more about your ad choices. Visit megaphone.fm/adchoices

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem’s libraries which tells the story of this city as a place where some of the world’s most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem’s literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors’ hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom.   Learn more about your ad choices. Visit megaphone.fm/adchoices

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem’s libraries which tells the story of this city as a place where some of the world’s most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem’s literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors’ hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom.   Learn more about your ad choices. Visit megaphone.fm/adchoices

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem’s libraries which tells the story of this city as a place where some of the world’s most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem’s literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors’ hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom.   Learn more about your ad choices. Visit megaphone.fm/adchoices

“The library is a gathering pool of narratives and of the people who come to find them. It is where we can glimpse immortality; in the library, we can live forever.” ― Susan Orlean, The Library Book. Benjamin Balint and Merav Mack's Jerusalem: City of the Book (Yale University Press, 2019) is a fascinating journey through Jerusalem’s libraries which tells the story of this city as a place where some of the world’s most enduring ideas were put into words. The writers of Jerusalem, although renowned the world over, are not usually thought of as a distinct school; their stories as Jerusalemites have never before been woven into a single narrative. For the first time ever the stories are told of the custodians, past and present, who safeguard Jerusalem’s literary legacies. By showing how Jerusalem has been imagined by its writers and shelved by its librarians, Mack and Balint tell the untold history of how the peoples of the book have populated the city with texts. In these authors’ hands, Jerusalem itself—perched between East and West, antiquity and modernity, violence and piety—comes alive as a kind of labyrinthine library. Renee Garfinkel is a psychologist, writer, and Middle East commentator for the nationally syndicated TV program, The Armstrong Williams Show.. Write her at r.garfinkel@yahoo.com or tweet @embracingwisdom.   Learn more about your ad choices. Visit megaphone.fm/adchoices

What might it look like to see Jerusalem, with its cross-hatched encounters between people of diverse faiths and cultures, as a city of the book? Merav Mack and Benjamin Balint share their forays into the city's most inaccessible reaches in the making of their recently published book, Jerusalem: City of the Book. Video and full transcript here: https://cswr.hds.harvard.edu/news/2019/11/11/video-jerusalem-city-book Learn more about Harvard Divinity School and its mission to illuminate, engage, and serve at http://hds.harvard.edu/.

This week Patrick and a high profile panel of historians, literary scholars and biographers discuss the life and cultural legacy of Jewish novelist and short story writer Franz Kafka. Joining Patrick on the panel were,  Dr Carolin Duttlinger, Co Director of the Oxford Franz Kafka Research Centre, Benjamin Balint, Author of 'Kafka's Last Trial', Dr Daragh Downes, School of English, Trinity College Dublin, Professor Anne Fuchs, Director of the UCD Humanities Institute, Dr David Suchoff, Dept of English, Colby College, Dr Stanley Corngold, Professor of German and Comparative Literature, Princeton University and Professor Ruth Gross, Department of Foreign Languages and Literatures, North Carolina State University.  

Marlene Streeruwitz: "Flammenwand. Roman mit Anmerkungen" Verlag S. Fischer ISBN 978-3103973853 22 Euro (Gespräch mit Claudia Kramatschek) Benjamin Balint: "Kafkas letzter Prozess" Aus dem amerikanischen Englisch von Anne Emmert Berenberg-Verlag ISBN 978-3-946334-48-4 25 Euro (Rezension von Clemens Hoffmann) Geovani Martins: "Aus dem Schatten. Stories" Aus dem brasilianischen Portugiesisch von Nicolai von Schweder-Schreiner Suhrkamp-Verlag ISBN-13: 9783518428580 18 Euro (Rezension von Eva Karnofsky) Maike Albath: "Trauer und Licht Lampedusa, Sciascia, Camilleri und die Literatur Siziliens" Berenberg-Verlag ISBN 978-3-946334-50-7 25 Euro (Gespräch mit der Autorin Maike Albath) Ian McEwan: "Maschinen wie ich und Menschen wie ihr" Aus dem Englischen von Bernhard Robben Diogenes-Verlag ISBN 978-3-257-60958-5 25 Euro (Rezension von Brigitte Neumann)

Benjamin Balint rollt die jahrelange gerichtliche Auseinandersetzung zwischen israelischen und deutschen Literatur-Institutionen um den richtigen Ort zur Aufbewahrung wertvoller Original-Manuskripte von Franz Kafka auf. Ein tolles Lehrstück über Besitzansprüche und die nationale Identität von Kulturgütern. | Aus dem amerikanischen Englisch von Anne Emmert, Berenberg-Verlag, 25 Euro

In deze aflevering van de NPO Radio 1 boekenpodcast bespreken Wim Berkelaar van OVT (VPRO) en Mieke van der Wij van Nieuwsweekend (OmroepMax) vier pas uitgekomen boeken die hen aanspreken. Deze titels worden besproken: De ontdekking van Elsschot van Vic van de Reijt, Vallen is al vliegen van Manon Uphoff, Kafka's laatste proces van Benjamin Balint, Onderdrukt door de Verlosser van Hester den Boer.

Cate Blanchett's appearance on London's theatre scene has caused so much excitement that ticket allocation is by ballot; When We Have Sufficiently Tortured Each Other: Twelve Variations on Samuel Richardson's Pamela at the National Theatre is described as "six characters who act out a dangerous game of sexual domination and resistance." When Franz Kafka died in 1924, he left instructions that any remaining manuscripts should be burnt. These instructions were not followed and a legal battle ensued to decide to whom they should belong: to the country of his language - Germany, of his birth - Czechoslovakia or his cultural affinities -Israel?. Benjamin Balint's book follows the machinations of alleged ownership An exhibition of paintings by Pierre Bonnard at Tate Modern; "The Colour Of Memory" includes several canvases with their frames removed to reveal how he worked. Nicole Kidman plays a cop setting out to establish justice and to right wrongs in Destroyer. And a sneak preview of Saturday Review's Podcast Extra Cultural picks this week: Lynn Shepherd – True Detective – series 1 and 3 https://www.hbo.com/true-detective Katie Puchrik – https://www.sceneonradio.org/ Inua Elems – American sonnets for My Past and Future Assassins by Terrance Hayes Toms Sutcliffe's guests are Inua Ellams, Katie Puckrik and Lynn Shepherd. The producers are Oliver Jones and Hilary Dunn

”Someone must have been telling lies about Joseph K., for without having done anything wrong he was arrested one fine morning”. This perfectly crafted sentence opens probably one of the most important novels of the 20th century, written by probably one of the most important novelists in modern literature. It was written by a 30-something year old Jew from Prague. In his short life he went on to write several books that would make his name almost synonymous with modern literature. That name is Franz Kafka. But what most people don’t know about the legendary author is that Kafka and his works almost disappeared into oblivion. Almost, but thankfully, there was Max Brod. In his new book, The Last Trial, writer Benjamin Balint tells for the first time the full story of Kafka’s legacy and how it survived against all odds. 2NJB is honored to be joined by Benjamin to hear about his new book and the story of Kafka.

On October 3, 2018, André Aciman, author of "Call Me by Your Name," and writer Benjamin Balint will discuss themes of exile and homecoming, of time, place, identity, and art across Aciman’s works of fiction and nonfiction. André Aciman is the author of Enigma Variations, Call Me by Your Name, Out of Egypt, and False Papers, and is the editor of The Proust Project (all published by FSG). He teaches comparative literature at the Graduate Center of the City University of New York. He lives with his wife and family in Manhattan. Benjamin Balint is a library fellow at the Van Leer Institute in Jerusalem. He has written for the Wall Street Journal, the Weekly Standard, and Die Zeit, and his translations from the Hebrew have appeared in the New Yorker. He is the author of Kafka’s Last Trial: The Case of a Literary Legacy and, with Merav Mack, Jerusalem: City of the Book (forthcoming). This event was hosted by the Center for Study of World Religions at Harvard Divinity School. Learn more about Harvard Divinity School and its mission to illuminate, engage, and serve at http://hds.harvard.edu/.

Author David Grossman is interviewed by Benjamin Balint in an event hosted by the Times of Israel in Jerusalem, April 2, 2017.

On this episode, Marcela reads from Author and poet Hagit Grossman's newest book in Benjamin Balint's English translation, Trembling of the City. The collection consists mostly of intimate portraits of inhabitants of the city, particularly women. Here is an excerpt from her poem "Sophia": "All morning she has stolen clothes and given them to the poor. This is what Sophia knows how to do. She being, herself, a very poor woman. She steals clothes from charity shops, but can't stand the bounty in her own closet. She has a conscience. She has a good opinion of herself. She gives them to poor women left out in the cold. She always dreamed of being Robin Hood." Grossman has been featured on Israel in Translation once before. Text: Hagit Grossman, Trembling of the City, translated by Benjamin Balint. Shearsman Books, 2016. Music:Questlove - Goodbye Isaac Mos Def - Respiration Trixcis - Meandering Thoughts