Mordecai M. Kaplan (1881-1983), founder of Reconstructionism and the rabbi who initiated the first Bat Mitzvah, also produced the longest Jewish diary on record. In twenty-seven volumes, written between 1913 and 1978, Kaplan shares not only his reaction to the great events of his time but also his very personal thoughts on religion and Jewish life. In Communings of the Spirit: The Journals of Mordecai M. Kaplan Volume III, 1942-1951, readers experience his horror at the persecution of the European Jews, as well as his joy in the founding of the State of Israel. Above all else, Kaplan was concerned with the survival and welfare of the Jewish people. And yet he also believed that the well-being of the Jewish people was tied to the safety and security of all people. In his own words, "Such is the mutuality of human life that none can be saved, unless all are saved". In the first volume of Communings of the Spirit, editor Mel Scult covers Kaplan's early years as a rabbi, teacher of rabbis, and community leader. In the second volume, readers experience the economic problems of the 1930s and their shattering impact on the Jewish community. The third volume chronicles Kaplan's spiritual and intellectual journey in the 1940s. With candour and vivid detail, Kaplan explores his evolving beliefs concerning a democratic Judaism; religious naturalism; and the conflicts, uncertainties, and self-doubts he faced in the first half of the twentieth century, including his excommunication by the ultra-Orthodox in 1945 for taking a more progressive approach to the liturgy. In his publications, Kaplan eliminated the time-honored declarations of Jewish chosen-ness as well as the outdated doctrines concerning the resurrection of the dead. He wanted a prayer book that Jews could feel reflected their beliefs and experiences; he believed that people must mean what they say when they pray. Kaplan was a man of contradictions, but because of that, all the more interesting and significant. Scholars of Judaica and rabbinical studies will value this honest look at the preeminent American Jewish thinker and rabbi of our times.

A Room Called Remember brings together some of Buechner's finest writings on faith, love, and the power of words in the form of essays, addresses, and sermons. Here Buechner explores autobiography as theology, offers exhilarating reflections on biblical passages, and leads us into the "room called Remember," that "still room within us all where the past lives on as part of the present,...where with patience, with clarity, with quietness of heart, we remember consciously to remember the lives we have lived."

In what ways do Buddhists recognize, define, and sort waste from non-waste? What happens to Buddhist-related waste? How do new practices of Buddhist consumption result in new forms of waste and consequently new ways of dealing with waste? This book explores these questions in a close examination of a religion that is often portrayed as anti-materialist and non-economic. It provides insight into the complexity of Buddhist consumption, conceptions of waste, and waste care. Examples include scripture that has been torn and cannot be read, or an amulet that has disintegrated, as well as garbage left behind on a pilgrimage, or the offerings of food and prayer scarves that create ecological contamination. Chapters cover mass-production and over-consumption, the wastefulness of consumerism, the by-products of Buddhist practices like rituals and festivals, and the impact of increased Buddhist consumption on religious practices and social relations. The book also looks at waste in terms of what is discarded, exploring issues of when and why particular objects and practices are sorted and handled as sacred and disposable. Contributors address how sacred materiality is destined to wear and decay, as well as ideas about redistribution, regeneration or recycling, and the idea of waste as afterlife.

In The Jewish Museum: History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem Natalia Berger traces the history of the Jewish museum in its various manifestations in Central Europe, notably in Vienna, Prague and Budapest, up to the establishment of the Bezalel National Museum in Jerusalem. Accordingly, the book scrutinizes collections and exhibitions and broadens our understanding of the different ways that Jewish individuals and communities sought to map their history, culture and art. It is the comparative method that sheds light on each of the museums, and on the processes that initiated the transition from collection and research to assembling a type of collection that would serve to inspire new art.