By Matthew Rovner
Arch Oboler’s “This Precious Freedom” (1942) is the first film ever made about a Nazi takeover of the United States. It was suppressed by its producer, an automaking company better known today for financial than moral bankruptcy: General Motors Corp.
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By Steven G. Kellman
Imminence of the end concentrates the craft. German critics employ the term Altersstill — late style — to designate the tendency of such aging masters as Poussin, Beethoven and Beckett to focus their energies on essentials. Once the enfant terrible of American Jewish literature, Philip Roth (Long may he live!) is now 76, and in “Everyman” (2006), “Exit Ghost” (2007) and “Indignation” (2008), the virtuoso of boisterous provocations has taken on the urgent task of confronting mortality. “The Humbling” extends that project.
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By Ilan Stavans
‘Mexicans are the scum of the earth,” a student of mine said after being asked to describe the status of the immigrants at her South Carolina high school.
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By Jessica Siegel
Though he still maintains his accent and caffeinated New York pulse, Richard Zimler is far better known in Portugal, Turkey, Brazil, France and England than in the United States. He may be the world’s most famous unknown living American Jewish writer.
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By Joshua Cohen
‘Chronic City” initially seemed an important and pleasurable novel to review, just as it must have initially seemed, to Jonathan Lethem, an important and pleasurable novel to write. The ideal reviewer, as if a character in science fiction, relives the writer’s experience word by word, sentence by sentence. The reviewer becomes, in a sense, the author’s projection or double, questioning choices of plot, wording and punctuation, and revising paragraphs and pages, until what results is an alternate book: Like it or not, you’re reading my own version of “Chronic City” now. (This is apropos of nothing much. But it seemed important and pleasurable enough at the beginning.)
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