Jose Carlos and His Spirits: The Ritual Initiation of. Zelador Dos Orixzas in. Brazilian Umbanda Center,. hour, 24 minutes. Purchase $100; rental $25.. Brazilian Pilgrimage: The Festa de Sao Francisco in Canmde, 56 minutes. Purchase $75; rental $25.Spiritist Healing in Brazil, 31 minutes. Purchase $75; rental $25.The Return of Dr. Fritz, 62 minutes. Purchase $75; rental $25.

Jose Carlos and His Spirits: The Ritual Initiation of. Zelador Dos Orixzas in. Brazilian Umbanda Center,. hour, 24 minutes. Purchase $100; rental $25.. Brazilian Pilgrimage: The Festa de Sao Francisco in Canmde, 56 minutes. Purchase $75; rental $25.Spiritist Healing in Brazil, 31 minutes. Purchase $75; rental $25.The Return of Dr. Fritz, 62 minutes. Purchase $75; rental $25.

"No, your honor. I didn't know who or what he was when I first came across the book -- they don't exactly love him in the synagogue, if you've read the story of his life. I found it in a junkyard in a nearby town, paid a kopek, and left cursing myself for wasting money hard to come by. Later I read through a few pages and kept on going as though there were a whirlwind at my back. As I (...) say, I didn't understand every word but when you're dealing with such ideas you feel as though you were taking a witch's ride. After that I wasn't the same man. That's in a manner of speaking, of course, because I've changed little since my youth.". The speaker is Yakov Bok, the unlikely hero of Bernard Malamud's The Fixer. At this point, early in the novel, Yakov speaks truthfully when he says that he has changed little since his youth. But over the next two and a half years (the time-period covered in the novel), he will undergo profound change and impressive moral growth. He suffers; he learns; he grows. Spinoza's name and ideas appear again and again at crucial moments in the course of the hero's moral development. Yakov Bok's verbal account of Spinoza's ideas is often comically primitive, but his understanding far outstrips his ability to articulate. By the end of the novel, his sufferings have led him to a deep grasp of certain of Spinoza's ethical and political doctrines. (shrink)

A certain tension cuts across Althusser’s many theoretical experiments: a tension — perhaps even a “paradox”— between science and struggle. In a conjuncture in which a self-defeating skepticism short-circuits the conjunction between science and struggle, it seems vital to reformulate this problem anew. By turning to Althusser’s formulation of the “revolutionary” materialist dialectic in the so-called “theoreticist” texts this essay elaborates a re-formulation of the supposed aporias of this paradox and finds a possible way out of it. Science and struggle (...) are disarticulated insofar as no other practice produces the effect of their conjunction. That is the task of the revolutionary materialist dialectic. Having defined “Althusserianism” as the philosophical practice which continuously produces combinations, conjunctions, or encounters between science and struggle, this essay then turns to the theoretical and political practice of Mauricio Malamud. The variations in the “Althusserianism” of this communist philosopher and militant further displace the apparent paradoxical character of the relation between science and struggle. In the political and theoretical practice of Malamud, this essay encounters both the necessity of theory as “a guide for action” and affirms neither “a scientism without politics” nor a “politicism without science.” . (shrink)

The study of highly imagistic representations of Spinoza's philosophy found in popular, extra‐academic literature is essential for building a rational view on Spinoza's philosophy. Popular literature on Spinoza is an ineliminable condition of academic literature on Spinoza. The cementing of Spinoza's popularity belongs to a larger history of Spinoza's reception. This chapter examines two late‐nineteenth and early‐twentieth century works on Spinoza. Jules Prat's idiosyncratic blend of Spinozism and left‐wing French Republicanism stands out as a historically and philosophically rich approach to (...) Spinoza that has hardly been studied thus far. The chapter also examines the fiction of Isaac Bashevis Singer and Bernard Malamud. One common feature to Singer and Malamud is the way that they root their Spinozists in a Jewish world. In this, they are forerunners of the ongoing popular preoccupation with Spinoza's own relation to Judaism. (shrink)

Bernard Malamud's God's Grace (1982) is a neo-Darwinian Beast Fable about morality in a thermonuclear age. It serves me as a starting point for a fresh look at the fundamental questions surrounding morality and altruism. There is no doubt any more that, from the standpoint of multilevel selection, morality is a form of compromise among competing spheres of genetic self-interest. The result is a tug-of-war between two adaptive vectors: the egoistic and competitive "me first" versus the prosocial and cooperative (...) "we-first.". (shrink)

Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives—from Catholic to Protestant to Mormon—contribute to literary criticism? Thirty well known contributors reflect on these questions, including iterary theorists Marshall Gregory, James Phelan, (...) and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections between literature, religion and philosophy. (shrink)

Motto: “The purpose of freedom is to create it for others,” Bernard Malamud, The Fixer Dedication: To the memory of Michael Polanyi, for freeing inquiry from ideology..

Presents profiles of such well-known authors and celebrities as Susan Sontag, Beverly Sills, Bernard Malamud, Isaac Bashevis Singer, and Joseph Brodsky.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Strangers in the Land: Blacks, Jews, Post-Holocaust AmericaKeith P. Feldman (bio)Eric J. Sundquist. Strangers in the Land: Blacks, Jews, Post-Holocaust America. Cambridge, MA: Harvard UP, 2005. 662 pp.Strangers in the Land: Blacks, Jews, Post-Holocaust America provides a wide-ranging, rich, and nuanced cultural history of what Eric J. Sundquist terms the "black-Jewish question" (2). In doing so, the book serves as both culmination and corrective to an already-expansive scholarly (...) literature on blacks and Jews generated since the late 1960s. Much of this scholarship has operated within a U.S.-centered paradigm to chart interethnic relations, laboring as it does to unpack, complicate, theorize, and otherwise come to understand the changing texture of black-Jewish relations and, in Sundquist's wods, its "intermixture of empathy, anxiety, and Hostility' (3)." Strangers in the Land stretches this paradigm to its limit, even as the diasporic imaginaries treated therein persistently escape a U.S. national imaginary and signal other possibilities for conceptualizing this tense and tender history.In its five hundred–plus pages of text, one hundred–plus pages of endnotes, and countless detailed footnotes (that are themselves illustrative and evocative), Sundquist has assembled a voluminous archive of textual material to show how works of the imagination by blacks and Jews have been "produced in a dynamic, multilayered historical matrix" that reveals the paradoxes of American liberalism (9). From the well-known and well-trodden (novels by Bellow, Roth, Malamud, and Morrison all play key roles) to the newly discovered and underappreciated (John A. Williams's Sons of Darkness, Sons of Light; Paule Marshall's The Chosen Place, the Timeless People; Gloria Naylor's Bailey's Café; William Melvin Kelley's A Different Drummer; Jon Michael Spencer's Tribes of Benjamin; Lore Segal's Her First American), Sundquist's careful historicism reveals how works of the imagination can serve as both microscopic and telescopic lenses through which to examine the vicissitudes of what he calls black and Jewish "interdependent self-conceptions" in the United States (5).Along with addressing a thick textual archive with subtlety and patience, Sundquist's major analytical innovation is that, unlike many of his predecessors, which frequently [End Page 63] positioned their analyses within the scarred domestic terrain of post–civil rights polarization, Sundquist's voracious curiosity dwells in the archive's heterogeneous details, allowing him to linger in examples that routinely exceed the simple polarization of blacks and Jews. The complex racial geography of New York boroughs and greater Chicagoland, for instance, is overlaid by Auschwitz and Egypt and Jerusalem, Ghana and Kenya and the Caribbean. In these settings, Sundquist spends time with figures only glimpsed in passing in other works: Arab Jews, Afro-Zionists, and anti-Zionists; Jews and Black Jews; Black Panthers, Israeli Black Panthers, Holocaust survivors, Holocaust deniers, Black Power advocates, and their Jewish Power doppelgangers. In a lengthy meditation on Harper Lee's To Kill a Mockingbird, Sundquist charts the novel's refractions of the problem of American racial equality in the wake of the Holocaust. Similarly, the careful readings of novels by Naylor, Williams, Spencer, and Kelley exemplify the rich results of Sundquist's method.This deeply historicist and intertextual project echoes Sundquist's 1993 epic work To Wake the Nations: Race in the Making of American Literature, which strenuously and quite effectively demonstrated how African American literature is constitutive of American literature, and not merely a minor subset of it. If this earlier work revealed the continued paradox of racial slavery in American conceptions of democracy, Strangers in the Land serves as something of a sequel. The book places another massive racial project, the systematic genocide of Europe's Jews, at the heart of twentieth-century American life. "The Holocaust," writes Sundquist, "became the benchmark against which at least one other case, African American slavery and its aftermath, has been judged" (6). By placing Jewish genocide at the center of his analysis, Sundquist importantly reminds us of the conclusion reached almost simultaneously by both Hannah Arendt and Aimé Césaire, that the Nazi racial project had its ideological origins in nineteenth-century European imperialism, and that this legacy bears indelibly on the present... (shrink)

It was a novel, among other things, which originated the atomic bomb. H. G. Wells dedicated The World Set Free, published in 1913, to Frederick Soddy, a pioneer in the exploration of radioactivity. Using Soddy’s research as a base, Wells predicted the advent of artificial radioactivity in 1933, the year in which it actually took place; and he foresaw its use for what he named the “atomic bomb.” In Wells’ novel these bombs are used in a world war that erupts (...) in mid-century and is so catastrophic that a world government is formed, initiating a new age powered by the peaceful use of the atom. The physicist Leo Szilard, a long-time admirer of Wells, read this novel in 1932, the year before he first intuited the possibility of a nuclear chain reaction. The novel seems to have become part of his own mental chain reaction. One that took place at an almost unconscious level during the spring that Szilard spent at the Strand Palace Hotel in London, by his own admission doing nothing. He would only monopolize the bath from around nine to twelve in the morning, since “there is no place as good to think as a bathtub.”1 The theories that resulted from this prolonged immersion were introduced by references to Wells; and Szilard, having realized the atomic bomb, spent the rest of his life trying to realize the world government which, in the Wells novel, was its consequence.Literature, which was part of the genesis of nuclear weaponry, continues to be an inextricable aspect of its nature. For Derrida, in fact, we are facinga phenomenon whose essential feature is that of being fabulously textual, through and through. Nuclear weaponry depends, more than any weaponry in the past, it seems, upon structures of information and communication, structures of language, including non-vocalizable language, structures of codes and graphic decoding. But the phenomenon if fabulously textual also to the extent that, at the moment, a nuclear war has not taken place: one can only talk and write about it.2The linguistic nature of the arms race, of peace talks and negotiations, has been thoroughly analyzed. Likewise there is a growing number of books on the nature of nuclear war. But there is also a growing body of novels, poems, and plays making up a literature of nuclear holocaust. As the example of Wells’ novel shows, this is not altogether unprecedented; nuclear literature predates Hiroshima. But the subject of nuclear war has, up till now, mainly served the purposes of science fiction; only rarely—as in the cases of A Canticle for Leibowitz and On the Beach—have science fiction authors risen above the lowest common denominator of that genre. In the 1980s, every year sees the publication of works which demand serious attention both as literature and as fictive strategies for comprehending a subject that is commonly called “unthinkable.” Russell Hoban’s Riddley Walker, Bernard Malamud’s God’s Grace, Maggie Gee’s The Burning Book, Tim O’Brien’s Nuclear Age—these works explicitly preoccupied with nuclear holocaust may be supplemented by other works of the eighties with a persistent apocalyptic undertone, works such as Doris Lessing’s Canopus in Argos series, Umberto Eco’s Name of the Rose, and Mario Vargas Llosa’s War of the End of the World. And these are only the literary manifestations of a widespread movement in all the arts aimed at expressing the dominant condition of our time.3 1. Leo Szilard, Leo Szilard: His Version of the Facts: Selected Recollections and Correspondence, ed. Spencer R. Weart and Gertrud Weiss Szilard , p. 19.2. Jacques Derrida, “No Apocalypse, Not Now ,” Diacritics 14 , p. 23.3. Examples can be found in painting , mixed media , opera , oratorio , dance , film , television , and popular music . Peter Schwenger is associate professor of English at Mount St. Vincent University in Halifax, Nova Scotia. The author of Phallic Critiques: Masculinity and Twentieth-Century Literature, he is working on a book-length study of nuclear holocaust literature. (shrink)

Comments on the view of life shared by existential protagonists in six works by Woolf, Greene, Golding, Faulkner, Ellison, and Malamud.

This volume of the Chicago series is an anthology of what might be called religious literary criticism, where 'religious' speaks of a concern for particular motifs not of any didactic intent on the part of the critics, all of whom, as in the other volumes of the series, are either alumni or faculty of Chicago Divinity School. The contributors on the whole seem to be sound secular scholars with an interest in and passion for literature as a window on life's (...) hard questions. Scott's introduction and his lead article on Saul Bellow are erudite, vast, esoteric, and exhausting. The rewards of careful, hard-work reading are high; but the price will turn many back. All the entries except one focus on recent American prose: Malamud, Heller, Pynchon, Salinger, Flannery O'Conor, J. F. Powers, Styron, and Mailer.--S. O. H. (shrink)

This volume of the Chicago series is an anthology of what might be called religious literary criticism, where 'religious' speaks of a concern for particular motifs not of any didactic intent on the part of the critics, all of whom, as in the other volumes of the series, are either alumni or faculty of Chicago Divinity School. The contributors on the whole seem to be sound secular scholars with an interest in and passion for literature as a window on life's (...) hard questions. Scott's introduction and his lead article on Saul Bellow are erudite, vast, esoteric, and exhausting. The rewards of careful, hard-work reading are high; but the price will turn many back. All the entries except one focus on recent American prose: Malamud, Heller, Pynchon, Salinger, Flannery O'Conor, J. F. Powers, Styron, and Mailer.--S. O. H. (shrink)