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On Yom Kippur eve in 1965, Elie Wiesel found himself in Russia, “in a synagogue crowded with people. The air was stifling. The cantor was chanting . . . Suddenly a mad thought crossed my mind: Something is about to happen; any moment now the Rabbi will wake up, shake himself, pound the pulpit and cry out, shout his pain, his rage, his truth. I felt the tension building up inside me; the wait became unbearable. But nothing happened . . . It was too late. The Rabbi no longer had the strength to imagine himself free.” In Zalmen, or The Madness of God, Wiesel gives his Rabbi that strength, the courage to voice his oppression and isolation, and the result is a passionate cry. This play illuminates not only the plight of the Soviet Jew, but the anguish of individuals everywhere who must survive—and yet long for something more than mere survival. (Adapted for the stage by Marion Wiesel.)
First published in 1936, The People of Godlbozhits depicts the ordinary yet deeply complex life of a Jewish community, following the fortunes of one family and its many descendants. Set in a shtetl in Poland between the world wars, Rashkin’s satiric novel offers a vivid cross-section not only of the residents’ triumphs and struggles but also of their dense and complicated web of humanity. With biting humor and acerbic wit, Rashkin portrays the stratified society—the petty bourgeoisie, artisans, and proletariat—observing the crookedness at every level. The novel’s brisk and oftentimes lively Yiddish prose and its colorful and irascible cast of characters give readers a Yiddish Yoknapatawpha in all its tragic absurdity.
A unique and haunting first-person Holocaust account by Zalmen Gradowski, a Sonderkommando prisoner killed in Auschwitz. On October 7, 1944, a group of Jewish prisoners in Auschwitz obtained explosives and rebelled against their Nazi murderers. It was a desperate uprising that was defeated by the end of the day. More than four hundred prisoners were killed. Filling a gap in history, The Last Consolation Vanished is the first complete English translation and critical edition of one prisoner’s powerful account of life and death in Auschwitz, written in Yiddish and buried in the ashes near Crematorium III. Zalmen Gradowski was in the Sonderkommando (special squad) at Auschwitz, a Jewish prisoner given the unthinkable task of ushering Jewish deportees into the gas chambers, removing their bodies, salvaging any valuables, transporting their corpses to the crematoria, and destroying all evidence of their murders. Sonderkommandos were forcibly recruited by SS soldiers; when they discovered the horror of their assignment, some of them committed suicide or tried to induce the SS to kill them. Despite their impossible situation, many Sonderkommandos chose to resist in two interlaced ways: planning an uprising and testifying. Gradowski did both, by helping to lead a rebellion and by documenting his experiences. Within 120 scrawled notebook pages, his accounts describe the process of the Holocaust, the relentless brutality of the Nazi regime, the assassination of Czech Jews, the relationships among the community of men forced to assist in this nightmare, and the unbearable separation and death of entire families, including his own. Amid daily unimaginable atrocities, he somehow wrote pages that were literary, sometimes even lyrical—hidden where and when one would least expect to find them. The October 7th rebellion was completely crushed and Gradowski was killed in the process, but his testimony lives on. His extraordinary and moving account, accompanied by a foreword and afterword by Philippe Mesnard and Arnold I. Davidson, is a voice speaking to us from the past on behalf of millions who were silenced. Their story must be shared.
First published in a Yiddish edition in 1958, Profiles of a Lost World is a source of information about Eastern Europe before World War II as well as an touchstone for understanding a rich and complex cultural environment. Hirsz Abramowicz (1881-1960), a prominent Jewish educator, writer and cultural activist, knew that world and wrote about it, and his writings provide an eyewitness account of Jewish life during the first half of the twentieth century. Abramowicz was a witness to war, revolution and major cultural transformations in the Jewish world. His essays, written and originally published in Yiddish between 1920 and 1955, document the local history of Lithuanian Jewry in rural and small-town settings, and in the city of Vilna-the "Jerusalem of Lithuania"-which was a major center of East European Jewish intellectual and cultural life. They shed light on the daily life of Jews and the flourishing of modern Yiddish culture in Eastern Europe during the early 20th century and offer a personal perspective on the rise of Jewish radical politics. The collection incorporates local history of Lithuanian Jewry, shtetl folklore, observations on rural occupations, Jewish education, and life under German occupation during World War I. It also includes a series of profiles of leading social and intellectual Jewish personalities of the author's day, from traditional scholars to revolutionaries. Together the selections provide a blend of social and personal history and a window on a lost world.
David Neal Miller's Fear of Fiction is the first book-length study that begins with the understanding that Singer is truly a Yiddish writer in language and culture. With the exception of a handful of articles, American critical examination of Isaac Bashevis Singer's work has been devoted to Singer's work in English—to those pieces he himself has selected for translation. This American Nobel laureate is part of a long tradition of Yiddish literature, and he still writes in that language. Working exclusively with Singer's Yiddish texts—many of the pieces discussed here are not available in English—Miller examines Singer's narrative strategies, his blurring of the distinctions between fiction and reportage. Fear of Fiction captures an intriguing paradox of Singer's writing: Singer fictionalizes the factual and historicizes the imaginative. Miller demonstrates that Singer is no "inspired innocent," but that this blending of genres is the work of a craftsman who uses genre to mediate between the world and the imagination. The book is enriched by Miller's careful and sensitive translations of many illustrative Yiddish passages. Fear of Fiction is both erudite and entertaining. Miller not only examines Singer's skillful undermining of our expectations of different genres, but also draws the reader into Singer's work as a whole. This book will fascinate both the scholar and the sophisticated reader of Singer.
Distinguished psychotherapist and survivor Elhanan Rosenbaum is losing his memory to an incurable disease. Never having spoken of the war years before, he resolves to tell his son about his past—the heroic parts as well as the parts that fill him with shame—before it is too late. Elhanan's story compels his son to go to the Romanian village where the crime that continues to haunt his father was committed. There he encounters the improbable wisdom of a gravedigger who leads him to the grave of his grandfather and to the truths that bind one generation to another.
As an old proverb puts it, "Two Jews, three opinions." In the long, rich, tumultuous history of the Jewish people, this characteristic contentiousness has often been extended even unto Heaven. Arguing with God is a highly original and utterly absorbing study that skates along the edge of this theological thin ice--at times verging dangerously close to blasphemy--yet also a source of some of the most poignant and deeply soulful expressions of human anguish and yearning. The name Israel literally denotes one who "wrestles with God." And, from Jacob's battle with the angel to Elie Wiesel's haunting questions about the Holocaust that hang in the air like still smoke over our own age, Rabbi Laytner admirably details Judaism's rich and pervasive tradition of calling God to task over human suffering and experienced injustice. It is a tradition that originated in the biblical period itself. Abraham, Moses, Elijah, and others all petitioned for divine intervention in their lives, or appealed forcefully to God to alter His proposed decree. Other biblical arguments focused on personal or communal suffering and anger: Jeremiah, Job, and certain Psalms and Lamentations. Rabbi Laytner delves beneath the surface of these "blasphemies" and reveals how they implicitly helped to refute the claims of opponent religions and advance Jewish doctrines and teachings.
Offering snapshots of a pivotal era in which the Jews of Europe made the transition from a traditional to a more modern world, the Yiddish plays translated and collected here wrestle with issues that continue to concern us today: changing gender roles, generational conflict, class divisions, and religious persecution. In their introduction to the volume, Joel Berkowitz and Jeremy Dauber place the plays in the context of the development of modern drama and Yiddish drama and examine their treatment of social, political, and religious issues. The many ways in which the plays address these issues make them transcend their own time, exciting a new generation of readers and theatergoers.