A Mondoweiss Collage (With Songs From A Bob Dylan Setlist In Tel Aviv)

“I hereby acknowledge the remarkable rise of Jews inside the U.S. establishment in the last generation. Let’s just look in my field of law. Three Jews sit on the Supreme Court. A Bush Administration attorney general was an Orthodox Jew, and another Jew ran the Bush OLC. Jews are around 25% of all law professors, and are among the most influential professors on the far left (e.g., Brian Leiter), liberal left (e.g., Cass Sunstein), and libertarian right (e.g., Richard Epstein). Some of the most influential lower court judges, including the liberal Stephen Reinhardt, the conservative libertarian Alex Kozinski, and the eclectic Richard Posner are Jews. And of course most of the contributors to the leading law professors’ legal blog are Jews. Jews are doing very well in the United States. Yay! Good for American Jews, and good for America.

But my post wasn’t about denying that Jews have joined and thrived in the American establishment (heck, even the founder of a leading American anti-Jewish hate site is a Jew).” (http://wapo.st/1HLXIYW)


“Mondoweiss is an independent website devoted to informing readers about developments in Israel/Palestine and related US foreign policy. We provide news and analysis unavailable through the mainstream media regarding the struggle for Palestinian human rights. Founded in 2006 as a personal blog of journalist Philip Weiss, Mondoweiss grew inside the progressive Jewish community and has become a critical resource for the movement for justice for Palestinians.” (http://bit.ly/1MDkqKY)

“Philip Weiss is an American journalist who co-edits Mondoweiss (“a news website devoted to covering American foreign policy in the Middle East, chiefly from a progressive Jewish perspective”[3]) with journalist Adam Horowitz.[3][4] Weiss describes himself as an anti-Zionist and rejects the label “post-Zionist.”[5]

[3 ]About: Mondowiess

[4] Phil Weiss at Mondoweiss.


“It’s normal for members of a community – imagined or not – to attend to the facts and stories of their daily lives and the lives of people who are like them. The broadening and fragmentation of the media landscape enables and encourages the phenomenon. Sites like this one even help drive the development of new communities.

Yet, one consistent and durable criticism of the Jewish-Israeli left goes to its bewilderingly myopic perspective. It’s not so much an inability to see other people. Rather, it’s the tendency to see others as objects (or rarely, agents), situated within a narrative of self. A preening egoism adorns every “humane” pronouncement about the need to end the occupation. Don’t you see? Apartheid undermines the very essence of our whatever and etc…

Fine, one group of people is painfully self-involved and grandiose. Why is that important?

In other circumstances it wouldn’t matter: like a whole culture dedicated to bathroom selfies. But in the apartheid context it matters a lot. The dehumanization of other people occurs through the extraordinary status we afford ourselves or through the denigration of others. For the Jewish-Israeli left it’s the former, for the right it’s both.”(http://bit.ly/1VxY2G6)


“Taylor: “When responsibly understood, the implications of deconstruction are quite different from the misleading clichés often used to describe a process of dismantling or taking things apart. The guiding insight of deconstruction is that every structure – be it literary, psychological, social, economic, political or religious – that organizes our experience is constituted and maintained through acts of exclusion. In the process of creating something, something else inevitably gets left out.”Leiter: This isn’t an insight, it’s a tautology. Necessarily, every X excludes not-X, else it would not be X. As even Professor Taylor notes: “something else inevitably [i.e., necessarily] gets left out.” (Whether as an hypothesis about the fundamental workings of language–as Saussure originally conceived it–it is a more substantial hypothesis is a different question, not implicated in Taylor’s formulation.)” (http://bit.ly/1SpPdx5)https://www.youtube.com/watch?v=uSN1ZD1geE0&list=PL6C92A468FAF94250&index=8″Jews are around 25% of all law professors, and are among the most influential professors on the far left (e.g., Brian Leiter), liberal left (e.g., Cass Sunstein), and libertarian right (e.g., Richard Epstein).” (http://wapo.st/1HLXIYW)


Derrida on Levinas on Israel

But today
is also,
still in relation
to the singular
of Israel,
a name
from modern
ity. Sinai,
the Sinai:
a metonymy
for the border
or frontier
Israel and
the other nations,
a front and a frontier
war and
a provocation
to think
the passage between
the eth­
ical, the messianic,
the political,
at a mo­
in the history
of humanity
and of the Nation-State
the persecution
of all these
the immigrant
or without
, the exile,
refugee, those
a country
, or a State, the
or popula
(so many
that call for
on every
to a
his eyes
from this violence
and this distress,
of it directly
or not, in one way or another.

Bob Dylan-Bobby Fischer-Tobey Maguire-Collage

Dylan’s performance of «With God on Our Side» on the album Bob Dylan Unplugged, released in 1995, significantly omits verses about the Germans and the Holocaust, and the Russians and the Cold War, for unspecified reasons.

film animated GIF

Art about Israel And Palestine – ‘Ad de’lo Yoda’ And ‘Summer Camp’

Still from “Ad de’lo Yoda” by Yael Bartana (One channel video installation, 3 min.)

‘Ad de’lo Yoda’ captures a traditional Jewish parade through a crack in a door. Positioning the viewer as an outsider to the celebrations, dancing and colorful costumes are glimpsed momentarily as participants move past the camera. Rather than attempting to explain the ritual’s significance, Bartana’s footage works with theunknowability of identity and heritage that is not our own.


Still from “Summer Camp / Awodah” by Yael Bartana (from 2007. Two channel video and sound installation, 12 min.)

‘Summer Camp’ shows the activities of ‘The Israeli Committee Against House Demolitions’ (ICAHD); their actions consist amongst others of rebuilding Palestinian houses in the occupied territories. In the summer of 2006 Bartana filmed a group of ICAHD volunteers consisting of Palestinians, Israeli and various other nationalities, assisted by Palestinian construction workers, who were trying to rebuild in the village of Anata (east of Jerusalem) the former house of Abu Ahmed Al Hadad at exactly the same location where it was demolished by the Israeli authorities at the end of 2005. The result is a phenomenally edited 12 minutes image and sound composition in which Bartana uses the same stylistic devices as the Zionist propaganda films from the first half of the twentieth century. It refers directly to Helmar Lerski’s film ‘Awodah’ from 1934-’35, proclaiming the dream of a Zionist state, which is projected on a second screen.

And that’s partly why I believe Yael Bartana’s art has more potential for reaching out to people than that of provocative artists like Natali Cohen Vaxberg, who shits on the Israeli flag and stages provocative Holocaust monologues at Yad Vashem in her performances. Bartana’s works talks more to emotions and aesthetic moods than the unavoidable simplification of an harsh argument.

Vijay Prashad, editor, Letters to Palestine: Writers Respond to War and Occupation:

“I would like this book to be carried in backpacks, placed on bedside tables, carried to festivals, read aloud at gatherings. This is a book to be used, a book to start conversations with. These are letters to Palestine—although the book could very well have been titled Letters about Palestine for a world that needs to reawaken its active solidarity through Boycott-Divestment-Sanctions (BDS) actions. I would like to see this book define the way we talk about Palestine—not through the fake legalese of the Oslo process, but as a land whose people have unfulfilled national aspirations, and as an idea for a people who remain as permanent refugees. Robin Kelley’s essay is titled, “Yes, I Said National Liberation.” We would like that kind of language to return to our framework—the language of liberation and national self-determination (which is right there in Article 1 of the UN Charter).

My colleague from LeftWord Books, Sudhanva Deshpande, was recently in Palestine to work with the Freedom Theatre. While at a bookstore in Jerusalem, he saw Githa’s From India to Palestine prominently displayed. Perhaps those letters from India, which Raja Shehadeh hoped would “bring about close understanding between the Indian and Palestinian peoples,” will be a model for these letters from the United States. Perhaps someday Letters to Palestine will find its way to bookstores in Jerusalem, Ramallah, Beirut, Amman, Detroit, Berlin, London, New Delhi, Beijing….Sahar Mandour, who edits the Palestine supplement of As-Safir, will be running the “letters” in Arabic. There is already a Korean edition to come. Others will surely follow.

There is a poem by Samih al-Qasim that I had in mind as I edited this book:

On the day you kill me
You’ll find in my pocket
Travel tickets
To peace,
To the fields and the rain,
To people’s conscience.
Don’t waste the tickets.
(translated by Abdullah al-Udhari).

These “letters,” I hope, are like those tickets. Don’t waste them.”