Culture

This summer, K. invites you to rediscover, in each of its weekly issues, a feature consisting of five articles previously published in the magazine. This week with articles by Valeria Solanstein,…

This summer, K. invites you to rediscover, in each of its weekly issues, a feature consisting of five articles previously published in the magazine. This week with five pieces by…

This summer, K. invites you to rediscover, in each of its weekly issues, a feature comprising five previously published articles from the magazine. This week, we have put together a…

Danny Trom’s article “Holy Week on Xanax” sparked numerous reactions. Among the letters, some more constructive than others, one stood out: the response from anthropologist and historian Leopoldo Iribarren, which the editorial staff of K. unanimously decided to publish. Danny Trom, having come to his senses but far from repenting, responds to his colleague’s friendly challenge.

Keith Kahn-Harris, author of Everyday Jews: Why the Jewish people are not who you think they are, questions, with a hint of provocation, this strange and alienating Jewish tendency to want to make themselves indispensable to the world. What if the best response to antisemitism was ultimately to claim the right to frivolity, to allow oneself a perfectly superfluous existence?

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Milena Jesenská was much more than the heroine of the passionate correspondence she had with Kafka: she was a brilliant journalist, a free and committed woman who became a ‘Righteous Among the Nations’ in 1994. With her intelligence and strength of character, she captivated Kafka, inspiring him to write some of his finest letters. She also captivated Margarete Buber-Neumann, with whom she was deported to Ravensbrück and to whom she dedicated a splendid book-portrait. On the occasion of the seventieth anniversary of Milena’s death, Christine Lecerf expressed her admiration for the woman whom Kafka wanted “to carry in his arms out of the world”.

Who, as a child, has never dreamed of discovering a secret lineage, an obscure origin that would answer the nagging question of identity? Ubiquitous in fiction, this trope of the “family saga”, well identified by Freud, sometimes intersects with a semblance of reality. It is from this tenuous junction point that Romain Moor investigates the subject of those who discover themselves to be Marranos long after the fact.

The Brutalist, which has just won three Oscars, offers a romanticized retelling of the career of a famous Hungarian-Jewish architect who survived the Shoah. A brilliant film, it nevertheless takes the risk, through its approximations and exaggerations, of missing one of the dimensions of this story – the one relating to architecture, which is at the heart of the film. An insight by architect Albert Levy.