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Many of us live in the moment, texting and tweeting away as if there’s no tomorrow. But now and again, the long arm of the past casts a hulking shadow over our contemporary lives, compelling us to reckon with the power of history.

Last Books
Last Books: Recovering the East European Jewish Past flyer (click to enlarge)

The recent release of the film, “Monuments Men,” is one case in point. Another is the discovery in Munich of a cache of more than a thousand paintings that had been looted from museums and private Jewish homes by the Nazis. Believed to have been lost or destroyed, these valuable artworks have now resurfaced in what some call a triumph of good over evil. A third case in point is “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937,” a forthcoming exhibition at New York’s Neue Galerie, which provides a context in which to situate the Nazis’ attempts to purge 1930s Germany of modernist art and those who championed it.

And, yes, there’s more. On Tuesday evening, March 25th at 7 p.m., the Embassy of the Republic of Poland, in partnership with GW’s Program in Judaic Studies, will host the Frieda Kobernick Fleischman Lecture in Judaic Studies, whose roster of distinguished speakers over the years has included Pierre Birnbaum, James Loeffler and Alisa Solomon. This year, Jonathan Brent, the executive director of the YIVO Institute for Jewish Research, will do the honors. (To register, please send an email to Washington.amb@msz.gov.pl)

Titled “The Last Books: Recovering the East European Jewish Past,” Mr. Brent’s presentation explores an issue of considerable delicacy: the fate of Jewish books and manuscripts whose readers are no more.

The story he tells -- one of pathos and hope in equal measure -- deserves a wide hearing. I hope you’ll be able to join us for this latest brush with history.

I don’t know about you, but every time I listen to the soundtrack of Fiddler on the Roof, my eyes well with tears and my feet start moving this way and that.

Flickr / savers

In this, I’m not alone.  Arguably one of the most popular of Broadway productions, Fiddler has captured the country’s imagination ever since it made its debut in 1964, firmly embedding “Sunrise, Sunset” and “Tradition” in the American playbook.

What’s more, I suspect that the play and the film that followed have done more to acquaint the American public with the ups and downs of modern Jewish history, as well as with the use of such expressions as mazal tov and l’chayim, than all of the pious references to the Judaeo-Christian heritage combined.

How this tale of East European Jewry, which is based on the writings of Sholem Aleichem, became a staple of American popular culture constitutes a bit of a conundrum.  Its success, after all, was hardly a surefire thing.  But “wonder of wonders, miracle of miracles,” Fiddler did take hold.

Why it did is the compelling subject of Alisa Solomon’s forthcoming presentation, Fiddler’s Fortunes: The Mighty Afterlife of a Broadway Musical, which will take place on Monday, March 19th, at 7 p.m. at the DCJCC.  To register for the event, which is free and open to the public, please go here.

Come one and all.