In this memoir, the author casts a wry and self-deprecating look back on her childhood, with anecdotes about the chance events and comic ironies that make up a life. Rifke (Rosalie Wise Sharp) grew up in North Toronto, which felt to her like a foreign place because there were no other Jewish families there in the late 1930s. Yiddish was spoken in her household, and the food, dress, and customs of Ozarow—the Polish shtetl (small Jewish town) from which her parents emigrated—were all maintained. Rifke's peers took lessons in tap dancing, ice skating, the piano, and the flute—activities that didn't translate into the Yiddish vocabulary, where only hard work, no-nonsense, and book learning were permitted. Rifke secretly decided to pass as a gentile, joining a bible class and the Christmas choir, and she was guilty about her pursuit of these activities during the war, when her mother was frantic with fear that their family in Poland was being slaughtered by the Nazis. In high school, Rifke's life changed: it was there that she met and married her soul mate Isadore, who worked in the construction business, much to her parents' disappointment. Prosperity, took time however, and Isadore's audacious dream to build a world-class hotel chain, The Four Seasons, came to pass.

A collection of plays, many of which are based on favorite children's tales, including such titles as : "Charlotte's Web, ""Really Rosie, ""Wiley and the Hairy Man, ""Wise men of Chelm, ""and "The Crane Wife."

Rifke Schulman, a Russian Jew, came to Argentina in 1889 at the age of eighteen and helped set up the small agricultural colony called Moises Ville. Rifke's journal and the accompanying short stories introduce Bela Pelatnik, a victim of the white slave trade; Henoch Rosenvitch, the love of Rifke's life; Leah Uberman on her way to attend Moises Ville's centennial celebration; and many others. The book spans the last hundred years and examines the experience of Jewish immigrants in both North and South America, some of whom were nourished by their roots, others who severed their ties to an old way of life. In looking at the choices they all made, the ways they found love or shut themselves off from it, Nina Barragan offers a moving and multidimensional portrait of early twentieth-century Argentina and its contemporary descendants.

Rebecca Janzen brings a unique applied understanding of religion to bear on analysis of Mexican cinema from the Golden Age of the 1930s onward. Unholy Trinity first examines canonical films like Emilio Fernández's María Candelaria and Río Escondido that mythologize Mexico's past, suggesting that religious imagery and symbols are used to negotiate the place of religion in a modernizing society. It next studies films of the 1970s, which use motifs of corruption and illicit sexuality to critique both church and state. Finally, an examination of films from the 1990s and 2000s, including Guita Schyfter's Novia que te vea, a film that portrays Mexico City's Ashkenazi and Sephardic Jewish communities in the twentieth century, and Carlos Carrera's controversial 2002 film El crimen del padre Amaro, argues that religious imagery—related to the Catholic Church, people's interpretations of Catholicism, and representations of Jewish communities in Mexico—allows the films to critically engage with Mexican politics, identity, and social issues.

Revolutionary Visions traces the emergence of a growing corpus of Latin American films that explore the legacy of Jewish encounters with revolutionary political movements in 1960s and 1970s Latin America.

Demonstrates how film adaptations intersect with feminist discourse in neoliberal Mexico. Adapting Gender offers a cogent introduction to Mexico’s film industry, the history of women’s filmmaking in Mexico, a new approach to adaptation as a potential feminist strategy, and a cultural history of generational changes in Mexico.Ilana Dann Luna examines how adapted films have the potential to subvert not only the intentions of the source text, but how they can also interrupt the hegemony of gender stereotypes in a broader socio-political context. Luna follows the industrial shifts that began with Salinas de Gortari’s presidency, which made the long 1990s the precise moment in which subversive filmmakers, particularly women, were able to participate more fully in the industry and portrayed the lived experiences of women and non-gender-conforming men. The analysis focuses on Busi Cortés’s El secreto de Romelia (1988), an adaptation of Rosario Castellanos’s short novel El viudo Román (1964); Sabina Berman and Isabelle Tardán’s Entre Pancho Villa y una mujer desnuda (1996), an adaptation of Berman’s own play, Entre Villa y una mujer desnuda (1992); Guita Schyfter’s Novia que te vea (1993), an adaptation of Rosa Nissán’s eponymous novel (1992); and Jaime Humberto Hermosillo’s De noche vienes, Esmeralda (1997), an adaptation of Elena Poniatowska’s short story “De noche vienes” (1979). These adapted texts established a significant alternative to monolithic notions of national (gendered) identity, while critiquing, updating, and even queering, notions of feminism in the Mexican context. “Adapting Gender demonstrates Luna’s considerable skills as a scholar. She deftly carries out a careful analysis of the literary and cinematic texts, putting them in the context of the evolving publishing and film industries. Written in a lively and engaging style, this is a unique synthesis of the evolution of feminism and the roles women have had—indeed, at times, been limited to—in Mexico and what this has meant for their creative output.” — Niamh Thornton, author of Revolution and Rebellion in Mexican Film