Acknowledgments
So many have helped me think through the issues in this book that I can only mention a few friends and colleagues who read through some of the chapters or drafts on which they were based: Aviad Hacohen, Rachel S. Harris, Dani Kranz, Naomi Rokotnitz, Tanja Seidel, Karen E. H. Skinazi, David Sperber, Leonard Stein, Katja Stuerzenhofecker, Linda Weinhouse, and Yael Halevi-Wise. Gratitude is also owed to my erstwhile legal advisor Kate Pool in London, as well as to Joshua Holo, Erika Mandarino, and all the team at Brill for their guidance and assistance. I would also like to extend a special thank you to artists Hadassa Goldvicht, Sarah Lightman, and Siona Benjamin for their generosity of spirit and time. Last but not least, Paulette Schuster did a fantastic job of indexing and proofing.
I have written these chapters over many years. An earlier version of chapter 1 first appeared as Efraim Sicher and Shuly Eilat, “Inception of a Nation and the Birth of the Hero: Magic Realism in Meir Shalev’s A Pigeon and A Boy and Salman Rushdie’s Midnight’s Children,” Symbolism: An Annual of Critical Aesthetics 12–13 (2013): 108–20. I am grateful to Shuly Eilat for her assistance, guidance, and wisdom, as well as her permission to use this material. Different versions of some sections of chapter 2 have appeared in “Sir Salman Rushdie Sails for India and Rediscovers Spain: Postmodern Constructions of Sepharad,” in Sephardism: Spanish Jewish History in the Modern Literary Imagination, ed. Yael Halevi-Wise (Stanford: Stanford University Press, 2012), and in Efraim Sicher and Linda Weinhouse, “Diaspora and Hybridity: Women Writers Write the Caribbean,” in Caribbean-Jewish Crossings: Atlantic Literature and Theory, ed. Heidi Kaufman and Sarah Casteel (Charlottesville: University of Virginia Press, 2019). Parts of chapter 4 originally appeared in Journal of Modern Jewish Studies © Taylor and Francis 2019