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Avraham B Yehoshua Bibliography De Mariama Ba

What genres do you especially enjoy reading? And which do you avoid?

I am a serious reader, and I read slowly. I deeply respect literature and expect to gain insight from a book and to identify emotionally with its characters. I therefore avoid reading suspense novels or science fiction. Family life and society are so rich and filled with surprises that I have no need of murders solved by clever detectives to better understand the dramas of life all around me. The literary trappings and moralizing of science fiction I find insufficiently compelling. Very possibly I am missing out on important genres. But it’s too late to change my conservatism.

Tell us about your favorite short story.

I only published my first novel at the age of 40. Till then I wrote short stories. I have great admiration for the short story, and my advice to young writers is not to rush to write novels until they have honed their prose in short stories. Two of my favorites are very different in style, but each of them ends with a powerful twist. James Joyce’s “The Dead,” the longest story in his marvelous “Dubliners,” brings tears to one’s eyes precisely because the revelation at the end is unexpected yet very believable: Gretta’s secret memory of a boy she loved who died at 17 of tuberculosis. “A Rose for Emily,” by William Faulkner, is a classic, a staple of anthologies. Although I’ve taught it dozens of times as a university professor, I still marvel at its genius for compression. Faulkner manages to pack 40 years of a town’s history into a short story, gradually unveiling the strange Miss Emily: her personal, neurotic core; the interpersonal milieu of family and society; and the terrible trauma of the Civil War. All these elements lead inexorably to the shock at the end: the decomposed corpse of the poisoned Yankee lover, at whose side she has lain for many years.

And about your favorite poem.

My very favorite comes from the wonderful Hebrew poetry of the golden age of Spanish Jewry, a period that inspired me to write “A Journey to the End of the Millennium,” a novel set in the Middle Ages. The poet is Shmuel HaNagid, who lived in Granada under Muslim rule. I chose the opening line of this poem as the last line of that novel: Hayam beini uveinekha. . . . “Is there a sea between us, that I should not turn aside to visit thee?”

And your favorite play.

From my limited experience as a playwright I’ve learned that writing a good play is much harder than writing a novel. You can easily name 30 outstanding novelists of the 20th century, but it’s hard to find 30 modern playwrights of equivalent quality. The greatest of them all was Chekhov, whose plays are still featured in the repertoire of theater companies around the world. Of his four wonderful plays I’ll choose as my favorite “Uncle Vanya,” which I’ve seen performed in many productions, and each time I am in awe of Chekhov’s ability to create a raging drama within an elegant, intimate family setting.

What moves you most in a work of literature?

What moves me in literature is the interconnection of themes and events. Our lives are a flow of events, and it’s difficult to organize them into a narrative of beginning, middle and end, with a satisfying resolution of all the conflicts in the story. Good literature overcomes the randomness of life by imposing a form that creates meaning from the rushing stream of chaos, making symbolic connections among the various events. For example, when Tolstoy’s Anna Karenina throws herself on the railroad tracks, we recall that her first encounter with Vronsky took place in a train station, when he came to welcome his mother. His relationship with his mother, which aroused Vronsky’s love for her traveling companion, Anna — a married woman and mother — is what in the end destroys that love, culminating with the suicide. The ability of literature to weave long, symbolic threads through a story enables us to see the flow of our lives from a more meaningful perspective.

Who is your favorite fictional hero or heroine? Your favorite antihero or villain?

I’m fascinated by Raskolnikov in “Crime and Punishment.” The student who gives himself permission to murder an old woman moneylender because he believes he is a superior person who can do what is forbidden to others. In the course of Dostoyevsky’s magnificent novel he undergoes a deep moral and ideological change, which leads him in the end to confess to the crime of his own free will. The novel has aspects of detective fiction but is ultimately a work of profound morality.

What kind of reader were you as a child? Which childhood books and authors stick with you most?

When I see how much time my grandchildren spend in front of the television I’m glad I grew up in a period when electronic media were minimal. I read books, visualized the characters, laughed and cried with them. I particularly remember my excitement with two very different books that I read as a child in Hebrew translation. Each in its way shaped my literary world and instilled the urge to do my own writing: “Cuore” (“Heart”), by the Italian author Edmondo De Amicis, a book filled with feeling and moral values; and “The Willoughby Captains,” by Talbot Baines Reed, an amusing account of boarding-school life that taught me the importance of wit and humor in literature.

If you had to name one book that made you who you are today, what would it be?

“Sefer HaMa’asim” (“The Book of Deeds”), by the Hebrew author S. Y. Agnon. He died in 1970, but his influence on Israeli literature continues to grow. This book is a collection of short stories with a surrealistic, grotesque flavor reminiscent of Kafka, even though Agnon claimed he never actually read Kafka but only heard about him from his wife, who was a big fan of the Czech-Jewish writer who died so young.

If you could require the president to read one book, what would it be? The Israeli prime minister?

David Ben-Gurion, the founding prime minister of the state of Israel, was a great lover of books, but preferred reading philosophy and history rather than fiction. His disciple Shimon Peres is a lover of literature and is very friendly with authors and poets. Israel’s current president, Reuven Rivlin, whom I’ve known since our days together in a youth movement, is also a big reader who responds to books with warmth and intelligence. I know nothing about the reading habits of Benjamin Netanyahu. No interesting references from his reading appear in his speeches. But if I were to recommend that the prime minister read one book, it would be “A Savage War of Peace,” by Alistair Horne, about the French colonial war in Algeria, a terrible war with aspects that parallel the conflict he persists in continuing with the Palestinians.

What author living or dead would you most like to meet, and what would you like to know?

I read somewhere that Faulkner’s literary breakthrough in “The Sound and the Fury” was analogous to the breakthrough of Beethoven’s “Eroica” in the world of symphonic music. If I were to meet Faulkner in the world to come I would ask him if he didn’t fear losing his readers by beginning his novel with a jumbled stream-of-consciousness monologue by Benjy, a man of 33 with the mentality of a child, telling us the story of his family. This remarkable literary feat trusts the reader to use his imagination to fill the gaps presented by the author.

Of the books you’ve written, which is your favorite or the most personally meaningful?

I still stand behind all my books, but it’s natural that there are some I’m especially proud of. The foremost of these for me is my novel “Mr. Mani,” which I published in 1990, when I was 54. I am proud of it because of its unique structure, consisting of five conversations, arranged in reverse chronological order from 1982 to 1848. Each conversation is between two people, with only one voice speaking and the other to be inferred by the reader. Although several friends predicted this book would be a failure, I believed that readers would be willing to make the effort to construct the full dialogue in their imagination. And “Mr. Mani” turned out to be my most significant novel.

What do you plan to read next?

I just met with a young literary critic who enthusiastically recommended “A Death in the Family,” by the Norwegian author Karl Ove Knausgaard. Because I have faith in this critic’s taste, this will be my next purchase in the bookstore.

Responses translated from Hebrew by Stuart Schoffman.

Continue reading the main story

Abraham B. Yehoshua (Hebrew: א.ב. יהושע‎, born December 19, 1936) is an Israeli novelist, essayist, and playwright, published as A. B. Yehoshua. The New York Times called him the "Israeli Faulkner."[1]


Avraham ("Boolie") Yehoshua was born to a fifth-generation Jerusalem family of Sephardi origin. His father, Yaakov Yehoshua, was a scholar and author specializing in the history of Jerusalem. His mother, Malka Rosilio, immigrated from Morocco in 1932. He grew up in Jerusalem's Kerem Avraham neighborhood.[2]

Yehoshua served as a paratrooper in the Israeli army from 1954 to 1957. He attended Gymnasia Rehavia.[3] After studying literature and philosophy at the Hebrew University of Jerusalem, he began teaching. He lived in Jerusalem's Neve Sha'anan neighborhood.[4]

From 1963 to 1967, Yehoshua lived and taught in Paris and served as the General Secretary of the World Union of Jewish Students. Since 1972, he has taught Comparative and Hebrew Literature at the University of Haifa, where he holds the rank of Full Professor.[5] In 1975 he was a writer-in-residence at St Cross College, Oxford. He has also been a visiting professor at Harvard (1977), the University of Chicago (1988, 1997, 2000) and Princeton (1992).

Yehoshua is married to Rivka, a clinical psychologist and psychoanalyst. They have a daughter and two sons, and six grandchildren.

Literary career[edit]

From the end of his military service, Yehoshua began to publish fiction. His first book of stories, Mot Hazaken (The Death of the Old Man) was published in 1962. He became a prominent figure in the "new wave" generation of Israeli writers who differed from earlier writers in their focus on the individual and interpersonal rather than the group. Yehoshua names Franz Kafka, Shmuel Yosef Agnon,[6] and William Faulkner as formative influences.[7]Harold Bloom wrote an article about Yehoshua's A Late Divorce in the New York Times,[8] and also mentions it in his The Western Canon.[9]

Yehoshua is the author of eleven novels, three books of short stories, four plays, and four collections of essays, including Ahizat Moledet (Homeland Lesson, 2008), a book of reflections on identity and literature. His best received novel, Mr Mani, is a multigenerational look at Jewish identity and Israel through five conversations that go backwards in time to cover over 200 years of Jewish life in Jerusalem and around the Mediterranean basin.[10] It was adapted for television as a five-part multilingual series by director Ram Loevy. As do many of his works, his eighth novel, Friendly Fire, explores the nature of dysfunctional family relationships [10] in a drama that here moves back and forth between Israel and Tanzania.[11] His works have been published in translation in 28 countries, and many have been adapted for film, television, theatre, and opera.

Views and opinions[edit]

Yehoshua is an Israeli Peace Movement activist. He attended the signing of the Geneva Accord and freely airs his political views in essays and interviews. He is a long-standing critic of Israeli occupation but also of the Palestinians.[10] He and other intellectuals mobilized on behalf of the dovish New Movement before 2009 elections in Israel.[12]

According to La Stampa, before the 2008–2009 Israel-Gaza conflict he published an appeal to Gaza residents urging them to end the violence. He explained why the Israeli operation was necessary and why it needed to end: "Precisely because the Gazans are our neighbors, we need to be proportionate in this operation. We need to try to reach a cease-fire as quickly as possible. We will always be neighbors, so the less blood is shed, the better the future will be. Yehoshua added that he would be happy for the border crossings to be opened completely and for Palestinians to work in Israel as part of a cease-fire.[13]

Yehoshua was criticized by the American Jewish community for his statement that a "full Jewish life could only be had in the Jewish state." He claimed that Jews elsewhere were only "playing with Judaism."[10]"Diaspora Judaism is masturbation," Yehoshua told editors and reporters at The Jerusalem Post. "Here," meaning, in Israel, he said, "it is the real thing." [14]

Recognition and awards[edit]

  • In 1983, A.B. Yehoshua was awarded the Brenner Prize.
  • In 1986, he received the Alterman Prize.
  • In 1989, he was a co-recipient (jointly with Avner Treinin) of the Bialik Prize for literature.[15]
  • In 1995, he was awarded the Israel Prize for Hebrew literature.[16]
  • He has also won the National Jewish Book Award and the Koret Jewish Book Award in the U.S., as well as the Jewish Quarterly-Wingate Literary Prize in the United Kingdom.
  • Yehoshua was shortlisted in 2005 for the first Man Booker International Prize.
  • In 2006, "A Woman in Jerusalem" was awarded the Los Angeles Times Book Prize.
  • In Italy, he has received the Grinzane Cavour Award, the Flaiano Superprize, the Giovanni Boccaccio Prize, and the Viareggio Prize for Lifetime Achievement. In 2003, his novel "The Liberated Bride" won both the Premio Napoli and the Lampedusa Literary Prize. "Friendly Fire" won the Premio Roma in 2008.
  • He has received honorary doctorates from Hebrew Union College (1990), Tel Aviv University (1998), Torino University (1999), Bar-Ilan University (2000), and Scuola Normale Superiore di Pisa (2012).
  • In November 2012, Yehoshua received the Prix Médicis étranger for his novel חסד ספרדי (English: The Retrospective; French: Rétrospective).[17]
  • IN 2017 he received the Dan David Prize Award


....[Diaspora Jews] change [their] nationalities like jackets. Once they were Polish and Russian; now they are British and American. One day they could choose to be Chinese or Singaporean...For me, Avraham Yehoshua, there is no alternative... I cannot keep my identity outside Israel. [Being] Israeli is my skin, not my jacket.[18]

The majority of the public here is telling you this explicitly... It also doesn't want more Jewish immigration. It is crowded enough here.

The Palestinians are in a situation of insanity reminiscent of the insanity of the German people in the Nazi period. The Palestinians are not the first people that the Jewish people has driven insane.

(Subsequent clarification by Yehoshua) I ask myself a question that must be asked: What brought the Germans and what is bringing the Palestinians to such hatred of us? ... We have a tough history. We came here out of a Jewish experience, and the settlements are messing it up.[19]

[W]e are not bent on killing Palestinian children to avenge the killing of our children. All we are trying to do is get their leaders to stop this senseless and wicked aggression, and it is only because of the tragic and deliberate mingling between Hamas fighters and the civilian population that children, too, are unfortunately being killed. The fact is that since the disengagement, Hamas has fired only at civilians. Even in this war, to my astonishment, I see that they are not aiming at the army concentrations along the border but time and again at civilian communities.[20]

Works translated into English[edit]


  • The Lover [Ha-Me'ahev, 1977]. Garden City N.Y., Doubleday, 1978 (translated by Philip Simpson). Dutton, 1985. Harvest/HBJ, 1993. ISBN 978-0-15-653912-8. London, Halban Publishers, 2004, 2007. ISBN 1870015-91-6
  • A Late Divorce [Gerushim Meuharim, 1982]. London, Harvill Press, 1984. Garden City N.Y., Doubleday, 1984. London, Sphere/Abacus Books, 1985. New York, Dutton, 1985. San Diego, Harcourt Brace, 1993. ISBN 978-0-15-649447-2. London, Halban Publishers 2005. ISBN 187-0-01-5959
  • Five Seasons [Molcho, 1987]. New York, Doubleday, 1989. New York, Dutton Obelisk, 1989. London, Collins, 1989. Harmondsworth, Penguin Books, 1990. London, Fontana, 1990, ISBN 978-1-870015-94-3. London, Halban Publishers, 2005, ISBN 1870015-94-0.
  • Mr. Mani [Mar Mani, 1989]. New York, Doubleday, 1992. London, Collins, 1992. London, Peter Halban, 1993, 2002 ISBN 1-870015-77-0. San Diego, Harvest/HBJ, 1993. London, Phoenix/Orion Books, 1994. ISBN 978-1-85799-185-7
  • Open Heart [Ha-Shiv`a Me-Hodu (The Return from India), 1994]. Garden City N.Y., Doubleday, 1995. London, Halban Publishers, 1996, ISBN 978-1-87-001563-9. San Diego, Harvest/HBJ, 1997. ISBN 978-0-15-600484-8[21]
  • A Journey to the End of the Millennium [Masah El Tom Ha-Elef, 1997]. New York, Doubleday & Co., 1999. London, Peter Halban, 1999. ISBN 1-870015-71-1.
  • The Liberated Bride [Ha-Kala Ha-Meshachreret, 2001]. London, Peter Halban, 2003, 2004, 2006. ISBN 1-870015-86-X
  • A Woman in Jerusalem [Shlihuto Shel Ha-memouneh Al Mashabei Enosh (The Human Resources Supervisor's Mission), 2004]. London, Halban Publishers, 2006, 2011. ISBN 978-1-905559-24-4. New York, Harcourt, 2006. ISBN 978-0-15-101226-8
  • Friendly Fire: A Duet [Esh Yedidutit,2007] London, Halban Publishers, 2008, ISBN 978-1-905559-19-0. New York, Harcourt 2008, ISBN 978-0-15-101419-4
  • The Retrospective [חסד ספרדי]. New York, Houghton Mifflin Harcourt, 2013. ISBN 978-0-547496-96-2. London, Halban Publishers, 2013. ISBN 978-1-905559-56-5.
  • The Extra, 2014

Short stories[edit]

  • Early in the Summer of 1970 [Bi-Thilat Kayitz, 1970, 1972]. Garden City N.Y., Doubleday, 1977. London, Heinemann, 1980. New York, Berkley Publishing, 1981. London, Fontana Paperbacks, 1990. ISBN 978-0-385-02590-4
  • Three Days and a Child [Shlosha Yamim Ve-Yeled, 1975]. Garden City N.Y., Doubleday, 1970. London, Peter Owen, 1971. ISBN 978-0-7206-0161-9
  • The Continuing Silence of a Poet. London, Peter Halban, 1988, 1999, ISBN 1-870015-73-8. London, Fontana Paperbacks, 1990. London, New York, Penguin, 1991. Syracuse, N.Y., Syracuse University Press, 1998. ISBN 978-0-8156-0559-1


  • Israel. London, Collins, 1988. New York, Harper & Row, 1988. Jerusalem, Steimatzky/Collins Harvill, 1988.
  • Between Right and Right [Bein Zechut Le-Zechut, 1980]. Garden City N.Y., Doubleday, 1981. ISBN 978-0-385-17035-2
  • The Terrible Power of a Minor Guilt [Kocha Ha-Nora Shel Ashma Ktana, 1998]. New York, Syracuse University Press, 2000. ISBN 978-0-8156-0656-7
  • "An Attempt to Identify the Root Cause of Antisemitism", Azure (Spring 2008).


  • A Night in May [Layla Be-May, 1975]. Tel Aviv, Institute for the Translation of Hebrew Literature, 1974.
  • Possessions [Hafatzim, 1986]. Portsmouth, Heinemann, 1993.
  • Journey to the End of the Millennium, libretto for opera with music by Yosef Bardnaashvili. Premiered at Israeli Opera, May 2005.

See also[edit]


  1. ^Extra strong
  2. ^Golani Motti (2004). ""If I lived there it would crush me" Jerusalem from the Biographical to the Historical and Back: A Conversation with A. B. Yehoshua". Journal of Israeli History. 23: 279–300. doi:10.1080/1353104042000282429. 
  3. ^Alan L. Mintz (October 1, 1997). The boom in contemporary Israeli fiction. UPNE. pp. 127–8. ISBN 978-0-87451-830-6. Retrieved August 29, 2011. 
  4. ^Becker, Avihai (April 24, 2009). "Catch '74". Haaretz. Archived from the original on April 28, 2009. 
  5. ^Feld, Ross. "Restless Souls: The novels of Israeli writer A. B. Yehoshua create their own diaspora." Boston Review, 2000.
  6. ^On Yehoshua's indebtedness to Agnon: “The ‘Double Triangle’ Paradigm in Hebrew Fiction: National Redemption in Bi-generational Love Triangles
  7. ^Wiley, David. ""Talkin' 'bout his generation: Israeli writer A.B. Yehoshua on the waning art of the democratic novel."". Archived from the original on January 18, 2008. Retrieved March 27, 2017. Minnesota Daily, 1997.
  8. ^Bloom, Harold. Domestic Derangements; A Late Divorce, By A.B. Yehoshua Translated by Hillel Halkin, New York Times, February 19, 1984. Retrieved May 5, 2012
  9. ^Bloom, Harold, The Western Canon New York: Harcourt Brace & Co, 1994, 559
  10. ^ abcdA.B. Yehoshua's 'Friendly Fire' – The New York Times
  11. ^Gerald Sorin (November 23, 2008). "Dark continent, dark prophecies". Haaretz. 
  12. ^Benny Morris (December 14, 2008). "Israel's crisis of leadership". Los Angeles Times. 
  13. ^Maya Sela (December 30, 2008). "Amos Oz: Hamas responsible for outbreak of Gaza violence". Haaretz. 
  14. ^http://www.jpost.com/servlet/Satellite?pagename=JPost/A/JPArticle/ShowFull&cid=1047531932327[permanent dead link]
  15. ^"List of Bialik Prize recipients 1933–2004 (in Hebrew), Tel Aviv Municipality website"(PDF). Archived from the original(PDF) on December 17, 2007. 
  16. ^"Israel Prize Official Site – Recipients in 1995 (in Hebrew)". Archived from the original on December 27, 2008. 
  17. ^Yehoshua wins French literary prize for 'The Retrospective', Jewish Telegraphic Agency (JTA), November 7, 2012.
  18. ^from a speech delivered at the opening panel of the centennial celebration of the American Jewish Committee. Jerusalem Post Article, AJN Article at the Wayback Machine (archived September 17, 2008)
  19. ^A. B. Yehoshua at an academic conference, Jerusalem Post, June 21, 2002 http://www.jpost.com/NASApp/cs/ContentServer?pagename=JPost/A/JPArticle/Full&cid=1023716529742Archived May 22, 2011, at the Wayback Machine.
  20. ^A. B. Yehoshua (January 16, 2009). "An open letter to Gideon Levy". Haaretz. 
  21. ^Open Heart

Further reading[edit]


  1. Horn, Bernard. Facing the Fires: Conversations with A. B. Yehoshua (Syracuse: University of Syracuse Press, 1998).
  2. Miron, Dan. A. B. Yehoshua’s Ninth-and-a-Half:An “Ashkenazi” Perspective on Two “Sephardic” Novels [Hebrew]. Tel Aviv: Hakibbutz Hameuhad, 2011.
  3. Balaban, Avraham. Mr. Molcho: In the Opposite Direction: An Analysis of A. B. Yehoshua’s Mr. Mani and Molcho [Hebrew].Tel Aviv: Ha-kibbutzha-meuchad, 1992.
  4. Banbaji, Amir, NitzaBen Dov and Ziva Shamir, eds. Intersecting Perspectives: Essays on A. B.Yehoshua’s Oeuvre [Hebrew]. Tel Aviv: Ha-kibbutz ha-meuchad, 2010.
  5. Ben-Dov, Nitza, ed. In the Opposite Direction: Articles on Mr. Mani [Hebrew]. Tel Aviv: Ha-kibbutz ha-meuhad, 1995.
  6. Morahg, Gilead. Furious Compassion: The Fiction of A. B. Yehoshua [Hebrew]. Tel Aviv: Dvir, 2014.

Journal articles[edit]

  1. Gershon Shaked Interviews A. B. Yehoshua By: Shaked, Gershon; Modern Hebrew Literature, 2006 Fall; 3: 157–69.
  2. A Haifa Life: The Israeli Novelist Talks about Ducking into His Safe Room, Competition among His Writer Friends and Trying to Stay Optimistic about Peace in the Middle East By: Solomon, Deborah; New York Times Magazine, July 30, 2006; 13.
  3. In the Back Yard of Agnon's House: Between The Liberated Bride by A. B. Yehoshua and S. Y. Agnon By: Ben-Dov, Nitza; Hebrew Studies: A Journal Devoted to Hebrew Language and Literature, 2006; 47: 237–51.
  4. Semantic Parameters of Vision Words in Hebrew and English By: Myhill, John; Languages in Contrast: International Journal for Contrastive Linguistics, 2006; 6 (2): 229–60.
  5. Talking with A. B. Yehoshua By: Naves, Elaine Kalman; Queen's Quarterly, 2005 Spring; 112 (1): 76–86.
  6. The Silence of the Historian and the Ingenuity of the Storyteller: Rabbi Amnon of Mayence and Esther Minna of Worms By: Yuval, Israel Jacob; Common Knowledge, 2003 Spring; 9 (2): 228–40.
  7. The Plot of Suicide in A. B. Yehoshua and Leo Tolstoy By: Horn, Bernard; European Legacy: Toward New Paradigms, 2001 Oct; 6 (5): 633–38.
  8. The Originary Scene, Sacrifice, and the Politics of Normalization in A. B. Yehoshua's Mr. Mani By: Katz, Adam; Anthropoetics: The Electronic Journal of Generative Anthropology, 2001 Fall-2002 Winter; 7 (2): 9 paragraphs.
  9. Borderline Cases: National Identity and Territorial Affinity in A. B. Yehoshua’s Mr. Mani By: Morahg, Gilead; AJS Review 30:1, 2006: 167–182.
  10. The Perils of Hybridity: Resisting the Post-Colonial Perspective in A. B. Yehoshua's The Liberating Bride By: Morahg, Gilead; AJS Review 33:2, 2009: 363–378.
  11. Portrait of the Artist as an Aging Scholar: A. B. Yehoshua’s The Liberating Bride By: Morahg, Gilead; Hebrew Studies 50, 2009: 175–183.
  12. Early Warnings: The Grim Vision of The Liberating Bride By: Morahg, Gilead; Mikan 10, 2010: 5–18.
  13. Totem and blindness in Israel 2001: Cultural selection procedures presented in A.B. Yehoshua's novel 'The Liberating Bride' by: Albeck-Gidron, Rachel, Mikan 2005 jan; 4: 5–19.

Book articles[edit]

  1. Horn, Bernard. "Sephardic Identity and Its Discontents: The Novels of A. B. Yehoshua" in Sephardism: Spanish Jewish History and the Modern Literary Imagination, Ed. Yael Halevi-Wise (Stanford University Press, 2012).
  2. Halevi-Wise, Yael. "A. B. Yehoshua’s Mr. Mani and the Playful Subjectivity of History,” IN: Interactive Fictions: Scenes of Storytelling in the Novel. Westport, CT & London: Praeger, 2003. 132–145.
  3. Not Quite Holocaust Fiction: A. B. Yehoshua's Mr. Mani and W. G. Sebald's The Emigrants By: Newton, Adam Zachary. IN: Hirsch and Kacandes, Teaching the Representation of the Holocaust. New York, NY: Modern Language Association of America; 2004. pp. 422–30
  4. Morahg, Gilead. Shading the Truth: A. B. Yehoshua's 'Facing the Forests' IN: Cutter and Jacobson, History and Literature: New Readings of Jewish Texts in Honor of Arnold J. Band. Providence, RI: Program in Judaic Studies, Brown University; 2002. pp. 409–18
  5. Feldman, Yael. Between Genesis and Sophocles: Biblical Psychopolitics in A. B. Yehoshua's Mr. Mani IN: Cutter and Jacobson, History and Literature: New Readings of Jewish Texts in Honor of Arnold J. Band. Providence, RI: Program in Judaic Studies, Brown University; 2002. pp. 451–64
  6. Morahg, Gilead. A Story of Sweet Perdition: Mr. Mani and the Terrible Power of a Great Obsession. IN: Banbaji, Ben-Dov and Shamir, Intersecting Perspectives: Essays on A. B. Yehoshua’s Oeuvre. Hakibbutz Hameuchad (Tel Aviv, 2010), pp. 213–225.

External links[edit]

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