In the following excerpt, Ezrahi explores the responses of postwar American writers to the Holocaust, emphasizing a conflict many of them experienced between their creative imagination and obligation to historical truth.

In the following excerpt, Langer explores some ways in which various writers transformed their experience of the Holocaust into art.

In the following excerpt, Ezrahi examines the way several Hebraic writers treat the Holocaust in their works, emphasizing the trauma and great personal and religious cost of turning such an experience into art.

In the following essay, Suleiman discusses Jean-Paul Sartre's Réflexions sur la question juive in the context of French attitudes toward Jews in the 1940s. Suleiman points out anti-Semitic elements in Sartre's language even as he is criticizing anti-Semitism.

In the following essay, Schechter examines the roots of anti-Semitic thought, beginning with François-Marie Voltaire in the Enlightenment and continuing into the nineteenth and twentieth centuries.

In the following essay, Lassner points out ambivalent images of Jews in several works by Virginia Woolf and Stevie Smith, respectively, noting that the coming of World War II was a milestone event in both writers' thinking about Jews.

In the following essay, Ellmann identifies elements of their stance toward Jews in the works of T. S. Eliot and Ezra Pound, concluding that the two poets “projected their own darkness” upon them.

In the following essay, Granofsky traces Lawrence's anti-Semitic attitudes to his ideas about race, culture, and masculinity.

In the following essay, Bernstein suggests that the Jew has not been treated in all his complexity in postwar European fiction, but rather as a representative of a “cemetery culture.”

In the following essay, Girling presents a detailed examination of the character of Leopold Bloom in James Joyce's novel Ulysses, focusing on Joyce's conception of Bloom's typical and atypical Jewish traits.

In the following excerpt, Erdman explores the influence of Jewish stage stereotypes on artists and audiences in the period between 1860 and 1920, showing how various artists both fulfilled and reshaped expectations of their performances.

In the following essay, Nochlin explores the representation of Jews in the visual arts and the underlying assumptions, cultural and literary, that they reflect. She concludes, however, that there are no sweeping generalizations that can be made about how Jews are depicted in art.

In the following excerpt, Fisch explores the treatment of Jewish characters in various twentieth-century literary works and suggests that in these works the Jew emerges as “a symbol of the moral victory of the human spirit.”

In the following excerpt, Isser discusses American drama written about the Holocaust, noting that themes and imagery were often softened and diluted to make them more acceptable to theatergoers.

In the following excerpt, Haynes examines the conception of Jews in the imagination of Christian writers, focusing on what he suggests are largely unconscious attitudes toward them.