Reading books like Franny and Zooey as a child in California made Jews seem an exotic minority. In New York, they seem like any old hegemony.

For the 50th anniversary edition of Jane Jacobs’ The Death and Life of Great American Cities, her publisher remembers the urban activist

The Sept. 11 attacks altered many people’s convictions. For ultra-Orthodox Jews, they reinforced a strongly held belief in divine authority.

After Sept. 11, artist Aaron Fein began to make national flags out of white fabric; they became symbols not of nations but of community and refuge

Rescue Me, ending a seven-year run on FX, was the best artistic engagement with Sept. 11, and with the wounds New York sustained that day

Standardized testing has destroyed public education. It’s the responsibility of us Jews, who benefited more than anyone from the system, to fix it.

The American Jewish response to Sept. 11 interprets—but doesn’t explain—the anti-Semitism, trauma, and mourning that still linger after the attacks

Jeanette Ingberman—the co-founder of New York’s Exit Art gallery, who died last week—brought a Talmudic sensibility to avant-garde art

Three cemeteries belonging to Shearith Israel, the oldest Jewish congregation in North America, are tucked away in Manhattan, a visible legacy of New York City’s long-ago Jewish past

Baruch Lebovits was a convicted sex offender until another man was accused of tampering with witnesses against him. To some ultra-Orthodox leaders, this justifies a reluctance to go to authorities with charges of abuse.