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4 episodes with history norton
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4 episodes with history norton
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2 episodes with history norton
2 episodes with history norton
2 episodes with history norton
2 episodes with history norton
2 episodes with history norton
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
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. 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
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. 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
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
Despite repeated warnings from the White House, Russia's invasion of Ukraine in February 2022 shocked the world. Why did Putin start the war--and why has it unfolded in previously unimaginable ways? Ukrainians have resisted a superior military; the West has united, while Russia grows increasingly isolated. In The Russo-Ukrainian War: The Return of History (Norton, 2023), Serhii Plokhy, a leading historian of Ukraine and the Cold War, offers a definitive account of this conflict, its origins, course, and the already apparent and possible future consequences. Though the current war began eight years before the all-out assault--on February 27, 2014, when Russian armed forces seized the building of the Crimean parliament--the roots of this conflict can be traced back even earlier, to post-Soviet tensions and imperial collapse in the nineteenth and twentieth centuries. Providing a broad historical context and an examination of Ukraine and Russia's ideas and cultures, as well as domestic and international politics, Plokhy reveals that while this new Cold War was not inevitable, it was predictable. Ukraine, Plokhy argues, has remained central to Russia's idea of itself even as Ukrainians have followed a radically different path. In a new international environment defined by the proliferation of nuclear weapons, the disintegration of the post-Cold War international order, and a resurgence of populist nationalism, Ukraine is now more than ever the most volatile fault line between authoritarianism and democratic Europe. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. 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 Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. 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 Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. Learn more about your ad choices. Visit megaphone.fm/adchoices
"The Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. 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 Ukrainian nation will emerge from this war more united and certain of its identity than at any other point in its modern history," writes Serhii Plokhy at the end of The Russo-Ukrainian War (Norton, 2023). But that's not all, says the man acclaimed by the Financial Times as “the world's foremost historian of Ukraine” - author of Chernobyl: History of a Tragedy, The Gates of Europe: A History of Ukraine, and Nuclear Folly: A History of the Cuban Missile Crisis. "Ukraine's successful resistance to Russian aggression is destined to promote Russia's own nation-building project. Russia and its elites now have little choice but to reimagine their country's identity by parting ways not only with the imperialism of the Tsarist past but also with the anachronistic model of a Russian nation consisting of Russians, Ukrainians and Belarusians. By paying an enormous price in wealth and blood of its citizens, Ukraine is terminating the era of Russian dominance in a good part of eastern Europe and challenging Moscow's claim to primacy in the rest of the post-Soviet space". Serhii Plokhy is the Mykhailo Hrushevsky Professor of Ukrainian History at Harvard and director of the university's Ukrainian Research Institute. *The author's own book recommendations are The Zelensky Effect by Olga Onuch and Henry Hale (Hurst, 2022) and Beyond the Wall: East Germany 1949-1990 by Katja Hoyer (Allen Lane, 2023) Tim Gwynn Jones is an economic and political-risk analyst at Medley Advisors, who also writes the Twenty-Four Two newsletter on Substack and hosts the In The Room podcast series. 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/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
Lea Ypi grew up in one of the most isolated countries on earth, a place where communist ideals had officially replaced religion. Albania, the last Stalinist outpost in Europe, was almost impossible to visit, almost impossible to leave. It was a place of queuing and scarcity, of political executions and secret police. To Lea, it was home. People were equal, neighbours helped each other, and children were expected to build a better world. There was community and hope. Then, in December 1990, everything changed. The statues of Stalin and Hoxha were toppled. Almost overnight, people could vote freely, wear what they liked and worship as they wished. There was no longer anything to fear from prying ears. But factories shut, jobs disappeared and thousands fled to Italy on crowded ships, only to be sent back. Predatory pyramid schemes eventually bankrupted the country, leading to violent conflict. As one generation's aspirations became another's disillusionment, and as her own family's secrets were revealed, Lea found herself questioning what freedom really meant. Free: A Child and a Country at the End of History (Norton, 2021) is an engrossing memoir of coming of age amid political upheaval. With acute insight and wit, Lea Ypi traces the limits of progress and the burden of the past, illuminating the spaces between ideals and reality, and the hopes and fears of people pulled up by the sweep of history. Jill Massino is a scholar of modern Eastern Europe with a focus on Romania, gender, and everyday life. 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
Lea Ypi grew up in one of the most isolated countries on earth, a place where communist ideals had officially replaced religion. Albania, the last Stalinist outpost in Europe, was almost impossible to visit, almost impossible to leave. It was a place of queuing and scarcity, of political executions and secret police. To Lea, it was home. People were equal, neighbours helped each other, and children were expected to build a better world. There was community and hope. Then, in December 1990, everything changed. The statues of Stalin and Hoxha were toppled. Almost overnight, people could vote freely, wear what they liked and worship as they wished. There was no longer anything to fear from prying ears. But factories shut, jobs disappeared and thousands fled to Italy on crowded ships, only to be sent back. Predatory pyramid schemes eventually bankrupted the country, leading to violent conflict. As one generation's aspirations became another's disillusionment, and as her own family's secrets were revealed, Lea found herself questioning what freedom really meant. Free: A Child and a Country at the End of History (Norton, 2021) is an engrossing memoir of coming of age amid political upheaval. With acute insight and wit, Lea Ypi traces the limits of progress and the burden of the past, illuminating the spaces between ideals and reality, and the hopes and fears of people pulled up by the sweep of history. Jill Massino is a scholar of modern Eastern Europe with a focus on Romania, gender, and everyday life. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Lea Ypi grew up in one of the most isolated countries on earth, a place where communist ideals had officially replaced religion. Albania, the last Stalinist outpost in Europe, was almost impossible to visit, almost impossible to leave. It was a place of queuing and scarcity, of political executions and secret police. To Lea, it was home. People were equal, neighbours helped each other, and children were expected to build a better world. There was community and hope. Then, in December 1990, everything changed. The statues of Stalin and Hoxha were toppled. Almost overnight, people could vote freely, wear what they liked and worship as they wished. There was no longer anything to fear from prying ears. But factories shut, jobs disappeared and thousands fled to Italy on crowded ships, only to be sent back. Predatory pyramid schemes eventually bankrupted the country, leading to violent conflict. As one generation's aspirations became another's disillusionment, and as her own family's secrets were revealed, Lea found herself questioning what freedom really meant. Free: A Child and a Country at the End of History (Norton, 2021) is an engrossing memoir of coming of age amid political upheaval. With acute insight and wit, Lea Ypi traces the limits of progress and the burden of the past, illuminating the spaces between ideals and reality, and the hopes and fears of people pulled up by the sweep of history. Jill Massino is a scholar of modern Eastern Europe with a focus on Romania, gender, and everyday life. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Lea Ypi grew up in one of the most isolated countries on earth, a place where communist ideals had officially replaced religion. Albania, the last Stalinist outpost in Europe, was almost impossible to visit, almost impossible to leave. It was a place of queuing and scarcity, of political executions and secret police. To Lea, it was home. People were equal, neighbours helped each other, and children were expected to build a better world. There was community and hope. Then, in December 1990, everything changed. The statues of Stalin and Hoxha were toppled. Almost overnight, people could vote freely, wear what they liked and worship as they wished. There was no longer anything to fear from prying ears. But factories shut, jobs disappeared and thousands fled to Italy on crowded ships, only to be sent back. Predatory pyramid schemes eventually bankrupted the country, leading to violent conflict. As one generation's aspirations became another's disillusionment, and as her own family's secrets were revealed, Lea found herself questioning what freedom really meant. Free: A Child and a Country at the End of History (Norton, 2021) is an engrossing memoir of coming of age amid political upheaval. With acute insight and wit, Lea Ypi traces the limits of progress and the burden of the past, illuminating the spaces between ideals and reality, and the hopes and fears of people pulled up by the sweep of history. Jill Massino is a scholar of modern Eastern Europe with a focus on Romania, gender, and everyday life. 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
This book began as a bet between a father and son: could Richard White, Professor Emeritus at Stanford University and renowned historian of the American West, tell a complete history of California through photographs taken by his son, the photographer Jesse Amble White? As he tells it, no - Richard White lost that bet to Jesse. But the resulting book they created together, California Exposures: Envisioning Myth and History (Norton, 2020), is nonetheless an engrossing read. Taking Jesse's photographs as touchstones for the meeting places between myth and history, White tracks the history of California through the moment of Sir Francis Drake's landing in the 16th century (though where exactly that landing took place is a matter of some debate), all the way to the water crises engulfing the state now in the early 21st century. Along the way, Richard and Jesse both show and tell stories of Indigenous California, of settlement and agriculture, and of research libraries blocking entry to sensitive material. If California history is American history in microcosm, California Exposures argues that history needs to be seen to be believed. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography
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