The year is 999 A.D. Christians in Europe are preparing themselves for the arrival of the Messiah at the millennium and religious fervour is in the air. Sailing from the North African port of Tangier to a small, distant town called Paris are a Jewish merchant, Ben Attar, his two beloved wives and his Arab partner, Abu Lutfi. They have come for a meeting with their third partner the widower, Raphael Abulafia who has been forced to turn his back on their previous trading partnership because of his new wife's distrust of the dual marriage of Ben Attar. The latter turns this annual trading voyage into a personal quest to legitimise his second wife, restore his honour and, equally important, to show others the richness and humanity in his way of life. A confrontation ensues between people of different cultures whose ways of living and loving are so different, and yet who are of the same religion, believe in the same God and in the same morality. Thus we enter a profound human drama whose moral conflicts of fidelity and desire resonate deeply with our times. A. B. Yehoshua has imaginatively recreated a medieval world with its merchant trade in great depth and sensuous detail. His evocation of one man's love is lyrical, erotic even, and A Journey to the End of the Millennium will rank with the best of Yehoshua's work.

It is 999; Ben Attar, a North African Jewish merchant, has for many years been in partnership with his nephew Abulafia. When Abulafia marries a German Jew who disapproves of his uncle's two wives, the partnership is suddenly dissolved.

Theological Stains offers the first in-depth study of the development of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a bold and deeply researched account, author Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers. He argues that Israeli art music, caught in the tension between a bibliocentric territorial nationalism on the one hand and the histories of deterritorialized Jewish diasporic cultures on the other, often features elements of both of these competing narratives. Even as composers critically engaged with the Zionist paradigm, they often reproduced its tropes and symbols, thereby creating aesthetic hybrids with 'theological stains.' Drawing on newly uncovered archives of composers' autobiographical writings and musical sketches, Shelleg closely examines the aesthetic strategies that different artists used to grapple with established nationalist representations. As he puts the history of Israeli art music in conversation with modern Hebrew literature, he weaves a rich tapestry of Israeli culture and the ways in which it engaged with key social and political developments throughout the second half of the twentieth century. In analyzing Israeli music and literature against the backdrop of conflicts over territory, nation, and ethnicity, Theological Stains provides a revelatory look at the complex relationship between art and politics in Israel.

Introduces the cutting edge issues and current scholarship in the interdisciplinary field of Israel Studies.

Once referred to by the New York Times as the “Israeli Faulkner,” A. B. Yehoshua’s fiction invites an assessment of Israel’s Jewish inheritance and the moral and political options that the country currently faces in the Middle East. The Retrospective Imagination of A. B. Yehoshua is an insightful overview of the fiction, nonfiction, and hundreds of critical responses to the work of Israel’s leading novelist. Instead of an exhaustive chronological-biographical account of Yehoshua’s artistic growth, Yael Halevi-Wise calls for a systematic appreciation of the author’s major themes and compositional patterns. Specifically, she argues for reading Yehoshua’s novels as reflections on the “condition of Israel,” constructed multifocally to engage four intersecting levels of signification: psychological, sociological, historical, and historiosophic. Each of the book’s seven chapters employs a different interpretive method to showcase how Yehoshua’s constructions of character psychology, social relations, national history, and historiosophic allusions to traditional Jewish symbols manifest themselves across his novels. The book ends with a playful dialogue in the style of Yehoshua’s masterpiece, Mr. Mani, that interrogates his definition of Jewish identity. Masterfully written, with full control of all the relevant materials, Halevi-Wise’s assessment of Yehoshua will appeal to students and scholars of modern Jewish literature and Jewish studies.

By analyzing its position within the struggles for recognition and reception of different national and ethnic cultural groups, this book offers a bold new picture of Israeli literature. Through comparative discussion of the literatures of Palestinian citizens of Israel, of Mizrahim, of migrants from the former Soviet Union, and of Ethiopian-Israelis, the author demonstrates an unexpected richness and diversity in the Israeli literary scene, a reality very different from the monocultural image that Zionism aspired to create. Drawing on a wide body of social and literary theory, Mendelson-Maoz compares and contrasts the literatures of the four communities she profiles. In her discussion of the literature of the Palestinian citizens of Israel, she presents the question of language and translation, and she provides three case studies of particular authors and their reception. Her study of Mizrahi literature adopts a chronological approach, starting in the 1950s and proceeding toward contemporary Mizrahi writing, while discussing questions of authenticity and self-determination. The discussion of Israeli literature written by immigrants from the former Soviet Union focuses both on authors who write Israeli literature in Russian and of Russian immigrants writing in Hebrew. The final section of the book provides a valuable new discussion of the work of Ethiopian-Israeli writers, a group whose contributions have seldom been previously acknowledged. The picture that emerges from this groundbreaking book replaces the traditional, homogeneous historical narrative of Israeli literature with a diversity of voices, a multiplicity of origins, and a wide range of different perspectives. In doing so, it will provoke researchers in a wide range of cultural fields to look at the rich traditions that underlie it in new and fresh ways.