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PEARLS OF WISDOM FROM RABBI YEHONATAN EYBESHITZ

TORAH GIANT, PREACHER & KABBALIST

An often profound, if occasionally abstruse, introduction to the work of a leading 18th-century rabbi.

An English translation of the teachings of influential Rabbi Yehonatan Eybeshitz.

Julie Gerber has long been fascinated and inspired by her distant ancestor and 18th-century Jewish teacher, commentator, and cabbalist Rabbi Yehonatan Eybeshitz. When she found Barber, Gerber knew he was the ideal person to translate her acclaimed forefather’s work from Hebrew to English. As a prolific author and Jewish scholar, Rabbi Barber has an “elevated knowledge” of Eybeshitz’s infamously esoteric writing. He draws on a deep understanding of Hebrew and Jewish tradition to offer readers the first comprehensive English translation of Eybeshitz’s work. The book begins with Eybeshitz’s biographical information, from his early years in Poland to his high-profile dispute with a German rabbi over amulets he provided to pregnant women. Eybeshitz’s writings, the book’s titular “Pearls of Wisdom,” comprise two parts. The first consists of concise, yet densely packed, commentary on weekly Torah readings that span from Adam to Moses. With remarks as short as a page in length, these insights are meant to be “read a number of times (even if one understands the idea after the first reading) to fully appreciate the various subtleties being conveyed.” Some chapters address practical questions that naturally arise in the Torah, such as how Noah’s ark held and fed every animal in the world despite its physical limitations (the answer, in brief: God provided). Other chapters feature painstaking, multipage discussions of the hidden meaning behind a single word in an obscure verse. The second part of the book centers on Eybeshitz’s commentary pertaining to Shabbat, holidays, exile, and the “End of Days.” Like his teachings on the Torah, Eybeshitz’s approach to Shabbat uses arcane details, such as in-depth discussions about cutting fingernails or building a fire, to illuminate broader spiritual truths, like the purpose and meaning of Shabbat and its connection to the Tabernacle. The book’s last section addresses Eybeshitz’s ideas pertaining to the messianic era.

Reflecting the desires of Jews born in the 1600s, Eybeshitz emphasizes that “no Jew will be left behind” during this age as he eagerly awaits the return of Jews from Spain and Portugal “who were forced to abandon their faith” during the Inquisition. Though Barber openly acknowledges that Eybeshitz’s teachings “are complex and demand a great deal of prior knowledge,” this volume is remarkably readable. However, more historical context, annotations, and editorial commentary would help neophytes make headway through Eybeshitz’s most cryptic passages. Those outside Orthodox communities who seek answers to 21st-century issues on topics from sexuality to social justice may also not find many answers here. Additionally, despite the book’s brief biographical materials, readers who are encountering Eybeshitz for the first time may find themselves wanting for more concrete analysis of the legacy and import of his teachings to future generations, a claim that is often made in Gerber’s and Barber’s commentaries but rarely elaborated upon. Though these things may limit the book’s reach, rabbis and scholars of Judaism will find much to admire, and learn from, in this impressive translation.

An often profound, if occasionally abstruse, introduction to the work of a leading 18th-century rabbi.

Pub Date: Feb. 16, 2021

ISBN: 978-0-578-85367-3

Page Count: 286

Publisher: Gerber's Miracle Publishers LLC

Review Posted Online: Nov. 2, 2021

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A WEALTH OF PIGEONS

A CARTOON COLLECTION

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

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The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.

Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

Pub Date: Nov. 17, 2020

ISBN: 978-1-250-26289-9

Page Count: 272

Publisher: Celadon Books

Review Posted Online: Aug. 30, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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CINEMA SPECULATION

A top-flight nonfiction debut from a unique artist.

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The acclaimed director displays his talents as a film critic.

Tarantino’s collection of essays about the important movies of his formative years is packed with everything needed for a powerful review: facts about the work, context about the creative decisions, and whether or not it was successful. The Oscar-winning director of classic films like Pulp Fiction and Reservoir Dogs offers plenty of attitude with his thoughts on movies ranging from Animal House to Bullitt to The Texas Chainsaw Massacre to The Big Chill. Whether you agree with his assessments or not, he provides the original reporting and insights only a veteran director would notice, and his engaging style makes it impossible to leave an essay without learning something. The concepts he smashes together in two sentences about Taxi Driver would take a semester of film theory class to unpack. Taxi Driver isn’t a “paraphrased remake” of The Searchers like Bogdanovich’s What’s Up, Doc? is a paraphrased remake of Hawks’ Bringing Up Baby or De Palma’s Dressed To Kill is a paraphrased remake of Hitchcock’s Psycho. But it’s about as close as you can get to a paraphrased remake without actually being one. Robert De Niro’s taxi driving protagonist Travis Bickle is John Wayne’s Ethan Edwards. Like any good critic, Tarantino reveals bits of himself as he discusses the films that are important to him, recalling where he was when he first saw them and what the crowd was like. Perhaps not surprisingly, the author was raised by movie-loving parents who took him along to watch whatever they were watching, even if it included violent or sexual imagery. At the age of 8, he had seen the very adult MASH three times. Suddenly the dark humor of Kill Bill makes much more sense. With this collection, Tarantino offers well-researched love letters to his favorite movies of one of Hollywood’s most ambitious eras.

A top-flight nonfiction debut from a unique artist.

Pub Date: Nov. 1, 2022

ISBN: 978-0-06-311258-2

Page Count: 400

Publisher: Harper/HarperCollins

Review Posted Online: Oct. 31, 2022

Kirkus Reviews Issue: Dec. 1, 2022

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