In Yankel's Tavern, Glenn Dynner investigates the role of Jews in tavern-keeping in the Kingdom of Poland between 1815 and the uprising of 1863-4 and its aftermath.

On April 22, 1823, a three-year-old boy named Fedor finished his lunch and went to play outside. Fedor never returned home from his walk. Several days later, a neighbor found his mutilated body drained of blood and repeatedly pierced. In small market towns, where houses were clustered together, residents knew each other on intimate terms, and people gossiped in taverns, courtyards, and streets, even the most trivial bits of news spread like wildfire. It did not take long before rumors began to emerge that Jews murdered the little boy. The Velizh Affair reconstructs the lives of Jews and their Christian neighbors caught up in the aftermath of this chilling criminal act. The investigation into Fedor's death resulted in the charging of forty-three Jews with ritual murder, theft and desecration of Church property, and the forcible conversion of three town residents. Drawing on an astonishing number of newly discovered trial records, historian Eugene M. Avrutin explores the multiple factors that not only caused fear and conflict in everyday life, but also the social and cultural worlds of a multiethnic population that had coexisted for hundreds of years. This beautifully crafted book provides an intimate glimpse into small-town life in eastern Europe. The case unfolded in a town like any other town in the Russian Empire where lives were closely interwoven, where rivalries and confrontations were part of day-to-day existence, and where the blood libel was part of a well-established belief system.

This collection of essays continues Adam Gillon's comparatist approach to Joseph Conrad, which he exhibited in three previous books: The Eternal Solitary: A Study of Joseph Conrad (1960 and 1964), Conrad and Shakespeare and Other Essays (1976), and Joseph Conrad (Tawyne English Authors Series), 1982. In the present collection, Gillon extends his perspectives by examining the affinities between Conrad's descriptive art and painting and film. Gillon presents a variety of new views and insights as he traces the connections between Conrad and such writers as Henry James and Vladimir Nabokov and compares Conradian characters Prince Roman and Peer Ivanovitch. Gillon's Polish background looms large in this collection. His mastery of the Polish language is apparent in the discussion of two Polish novels about Conrad's early life and in his translation of excerpts from these novels. The first and last chapters offer moving glimpses of Gillon's own Polish footprints, his initiation into Conrad lore, and the visit to his native land after a long absence. The intimacy and wry humor of these recollections are evident also in his essay about adapting Conrad to film, which is illustrated with excerpts from his scripts Under Western Eyes and Dark Country, his screenplay inspired by Heart of Darkness and Conradian themes. A native of Poland, Adam Gillon is professor emeritus of English and comparative literature at the State University of New York, New Paltz. He has lectured at universities in Canada, Israel, and Europe. His numerous publications include critical studies of Conrad, fiction, poetry, translations, articles, and reviews. He has written award-winning plays for screen, stage, and radio. He wrote, directed, and produced a feature film, The Bet. Gillon is president of the Joseph Conrad Society of America and founder and senior editor of its newsletter, Joseph Conrad Today.Raymond Brebach is an associate professor of humanities at Drexel University. He is a contributing editor for the Cambridge Edition of the Works of Joseph Conrad and he edits Joseph Conrad Today, the newsletter of the Joseph Conrad Society of America. He has written on the collaboration of Joseph Conrad and Ford Madox Ford.

The volume reveals, through contemporary Russian eyes, how the foundations of the hugely popular Russian classical repertory were laid, providing a vivid picture of the musical life of the opera house and the concert hall from which this repertory sprang.