Henryk Broder, one of the most controversial and engaging writers in Germany today, has been a thorn in the side of the Establishment for thirty years. The son of two Polish Holocaust survivors, Broder is not only a trenchant political critic and observant social essayist but an invaluable chronicler of the Jewish experience in late twentieth-century Germany. 
 
This volume collects eighteen of Broder's essays, translated for the first time into English. The first was written in 1979 and the most recent deals with the post-9/11 realities of the war on terrorism, and its effects on the countries of Europe. Other essays address the debate over the construction of a Holocaust memorial in Berlin, the German response to the 1991 Gulf War, the politics of German reunification, and the rise of the new German nationalism.
 
Broder charts the recent evolution of German Jewish relations, using his own outsider status to hold up a mirror to the German people and point out that things have not changed for German Jews as much as non-Jews might think.
 

Immediately after the Holocaust, it seemed inconceivable that a Jewish community would rebuild in Germany. What was once unimaginable has now come to pass: Germany is home to one of Europe’s most vibrant Jewish communities, and it has the fastest growing Jewish immigrant population of any country in the world outside Israel. By sharing the life stories of members of one Jewish family—the Kalmans—Y. Michal Bodemann provides an intimate look at what it is like to live as a Jew in Germany today. Having survived concentration camps in Poland, four Kalman siblings—three brothers and a sister—were left stranded in Germany after the war. They built new lives and a major enterprise; they each married and had children. Over the past fifteen years Bodemann conducted extensive interviews with the Kalmans, mostly with the survivors’ ten children, who were born between 1948 and 1964. In these oral histories, he shares their thoughts on Judaism, work, family, and community. Staying in Germany is not a given; four of the ten cousins live in Israel and the United States.

Among the Kalman cousins are an art gallery owner, a body builder, a radio personality, a former chief financial officer of a prominent U.S. bank, and a sculptor. They discuss Zionism, anti-Semitism, what it means to root for the German soccer team, Schindler’s List, money, success, marriage and intermarriage, and family history. They reveal their different levels of engagement with Judaism and involvement with local Jewish communities. Kalman is a pseudonym, and their anonymity allows the family members to talk with passion and candor about their relationships and their lives as Jews.

The Kulturbund’s directors were repeatedly caught between escalating demands from their Nazi overseers and from their own Jewish constituents. By examining why and how an all-Jewish repertory theatre could coexist with the Nazi regime, Rovit raises broader questions about the nature of art in an environment of coercion and isolation, artistic integrity and adaptability, and community and identity. 

In this book Rose illuminates the extraordinary creativity of Jewish intellectuals as they reevaluated Judaism with the tools of a German philosophical tradition fast emerging as central to modern intellectual life. While previous work emphasizes the “subversive” dimensions of German-Jewish thought or the “inner antisemitism” of the German philosophical tradition, Rose shows convincingly the tremendous resources German philosophy offered contemporary Jews for thinking about the place of Jews in the wider polity. Offering a fundamental reevaluation of seminal figures and key texts, Rose emphasizes the productive encounter between Jewish intellectuals and German philosophy. He brings to light both the complexity and the ambivalence of reflecting on Jewish identity and politics from within a German tradition that invested tremendous faith in the political efficacy of philosophical thought itself.

Seventeen scholars explore the interaction between a Jewish culture with its ancient heritage and an expansive German culture in the process of modernization.

    German Jews were fully assimilated and secularized in the nineteenth century—or so it is commonly assumed. In Jewish Scholarship and Culture in the Nineteenth Century, Nils Roemer challenges this assumption, finding that religious sentiments, concepts, and rhetoric found expression through a newly emerging theological historicism at the center of modern German Jewish culture.
    Modern German Jewish identity developed during the struggle for emancipation, debates about religious and cultural renewal, and battles against anti-Semitism. A key component of this identity was historical memory, which Jewish scholars had begun to infuse with theological perspectives beginning in the 1850s. After German reunification in the early 1870s, Jewish intellectuals reevaluated their enthusiastic embrace of liberalism and secularism. Without abandoning the ideal of tolerance, they asserted a right to cultural religious difference for themselves--an ideal they held to even more tightly in the face of growing anti-Semitism. This newly re-theologized Jewish history, Roemer argues, helped German Jews fend off anti-Semitic attacks by strengthening their own sense of their culture and tradition.

Jews and Other Germans is the first social and cultural history to probe the parameters of Jewish integration in the half century between the founding of the German Empire in 1871 and the early Weimar Republic. Questioning received wisdom about German-Jewish assimilation and the pervasiveness of anti-Semitism in Imperial Germany, van Rahden’s prize-winning book restores some of the complexity and openness of relations between Protestants, Catholics, and Jews before World War I.

            Closely analyzing the political, social, and cultural life in a major German city, van Rahden shows that Jews were a part of a broad urban community that encompassed diversity within unity, at once offering them a large measure of equality while permitting them to remain meaningfully Jewish. Jews and Other Germans also substantially revises the chronology of anti-Semitism in Germany, showing that Jews only began to experience exclusion from Breslau’s social world during World War I.

            Yet van Rahden not only illuminates Breslau’s multicultural fabric; he also tells the story of this remarkable city as one of cultural and religious conflict and coexistence. Recounting the experiences of Jews, Protestants, and Catholics within a single narrative, he offers a critical intervention into scholarship on liberalism and civil society in nineteenth- and early twentieth-century Europe.

 While it is common knowledge that Jews were prominent in literature, music, cinema, and science in pre-1933 Germany, the fascinating story of Jewish co-creation of modern German theatre is less often discussed. Yet for a brief time, during the Second Reich and the Weimar Republic, Jewish artists and intellectuals moved away from a segregated Jewish theatre to work within canonic German theatre and performance venues, claiming the right to be part of the very fabric of German culture. Their involvement, especially in the theatre capital of Berlin, was of a major magnitude both numerically and in terms of power and influence. The essays in this stimulating collection etch onto the conventional view of modern German theatre the history and conflicts of its Jewish participants in the last third of the nineteenth and first third of the twentieth centuries and illuminate the influence of Jewish ethnicity in the creation of the modernist German theatre.

 The nontraditional forms and themes known as modernism date roughly from German unification in 1871 to the end of the Weimar Republic in 1933. This is also the period when Jews acquired full legal and trade equality, which enabled their ownership and directorship of theatre and performance venues. The extraordinary artistic innovations that Germans and Jews co-created during the relatively short period of this era of creativity reached across the old assumptions, traditions, and prejudices that had separated people as the modern arts sought to reformulate human relations from the foundations to the pinnacles of society.

 The essayists, writing from a variety of perspectives, carve out historical overviews of the role of theatre in the constitution of Jewish identity in Germany, the position of Jewish theatre artists in the cultural vortex of imperial Berlin, the role played by theatre in German Jewish cultural education, and the impact of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre activity through Jewish philosophical and critical perspectives and examine two important genres within which Jewish artists were particularly prominent: the Cabaret and Expressionist theatre. Finally, they provide close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. By probing the interplay between “Jewish” and “German” cultural and cognitive identities based in the field of theatre and performance and querying the effect of theatre on Jewish self-understanding, they add to the richness of intercultural understanding as well as to the complex history of theatre and performance in Germany.

Tracing the introduction of coffee into Europe, Robert Liberles challenges long-held assumptions about early modern Jewish history and shows how the Jews harnessed an innovation that enriched their personal, religious, social, and economic lives. Focusing on Jewish society in Germany in the seventeenth and eighteenth centuries, and using coffee as a key to understanding social change, Liberles analyzes German rabbinic rulings on coffee, Jewish consumption patterns, the commercial importance of coffee for various social strata, differences based on gender, and the efforts of German authorities to restrict Jewish trade in coffee, as well as the integration of Jews into society.

Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture.

 

Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur’s notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield’s engagement with montage arose from a broadly-shared dissatisfaction with photography’s capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century.

A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history.

This volume, the original version of which was published in 1988, brings to a close the autobiographical writings of a modern Christian philosopher who lived through the two World Wars and the ecclesiastical upheaval in the Catholic Church in the context of the Second Vatican Council. What stamps this philosopher throughout the course of his life – with all its social and political uncertainties – is his constant dedication to truth and his manifest unswerving integrity.

Themes with which the reader of his previous works would be well acquainted recur in this volume. The dedicated Catholic philosopher, who preferred his independence as a trainer of teachers to the less independent role of a professor in a Catholic university, was quite prepared to criticize developments in the Church which resulted from Vatican II. In his defense of the sacred, which he deemed threatened by popularizing trends in the Church, he criticized what he saw as the watered down language in modern German translations of Church liturgical texts; the growing preference for secular garb; and the compromising developments which saw the sacramental signs – surrounding baptism, for instance – being reduced to such an extent that they no longer had the power to signify their sacred meaning even to a well-intentioned congregation.

A great lover of the philosophy of Plato, Augustine, and Aquinas – among many others –, Pieper highlighted the need for living a life of truth. He did not consider truth to be merely something abstract but as something to be lived existentially. While he could explain his philosophy in clear rational terms, something which especially stood to him in his post-war lectures to eager students who were hungry for intellectual guidance and leadership, the great interest of his philosophy was, possibly, his preoccupation with mystery – that which impinges on our inner lives but frustrates all our attempts to account for it in purely rational terms.

As a philosopher – one might say a Christian philosopher – Pieper seems to have observed the traditional boundaries drawn between philosophy and theology. His generation was exposed to the modernist debates in the Church. It would have been deemed heretical to say that the Divine could be grasped by our purely human thought processes – access to the Divine being only possible through faith and grace. Pieper was no heretic. But he was also not altogether conservative. In fact, his philosophy, closely allied to existentialism – despite his care, for instance, to distance himself from the negative existentialism of Sartre – focused on the individual’s inner existential grasp of the most profound reality. Truth is to be found within us, even if it remains a mystery. What lies beyond death is, for the individual, the ultimate mystery.

Jurek Becker, the author of the first comic novel on the Holocaust, Jacob the Liar, and other highly acclaimed works, was one of West Germany's most famous exiles from the GDR. A survivor of the Shoah-his mother died in a Nazi death camp-and witness to the Soviet occupation of Eastern Europe, Becker endured most of the trials that Jews experienced in Europe from the onset of World War II to the end of the Cold War.

In the first biography of this fascinating figure, Sander Gilman tells the story of Becker's life in five worlds: the Polish-Jewish middle-class neighborhood where Becker was born; the Warsaw ghetto and the concentration camps where Becker spent his childhood; the socialist order of the GDR, which Becker idealized, resisted, and finally was forced to leave; the isolated world of West Berlin, where he settled down to continue his writing; and the new, reunified Germany, for which Becker served as both conscience and inspiration.

Gilman was close friends with Becker for nearly thirty years, and his biography is based on unprecedented access to both the man and his papers. As Gilman reveals, Becker's story encapsulates the fractured experience of life in twentieth-century Europe, a time and place in which political systems and national borders were constantly in flux. The life of Becker, we learn, was one of great literary achievement and notoriety, but it was also one of profound cultural dislocation. An important theme in the book is Becker's struggle with his Jewishness, an identity he repressed in socialist East Germany, but embraced after reunification, when he found himself at the center of Jewish culture and literature.

Sander Gilman's story of Jurek Becker is biography of the highest order, a portrait of an extraordinarily gifted artist whose hope and courage are manifested in his legacy as one of the greatest German writers of the past century.