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A rich and provocative overview of Jewish American poetry.
Call it Kmart magical realism.-Washington Post Book World
A collection of "more than two hundred poems by American Jewish poets on Jewish subjects and themes."--Jacket.
In Yiddish, khurbn is the word for 'total destruction, ' the word for what the English-speaking world calls the Jewish 'Holocaust' of World War II. This is the author's precisely personal, horrifying, tender, and structurally astute masterpiece, it is the great middle-length poem of our times.
With biographical sketch by her sister, Josephine Lazarus, originally published in Century magazine, Oct., 1888. cf. Jewish ency. Part of the poems are reprinted from the Century, Lippincott's magazine, the Critic, and the American Hebrew. CONTENTS.- I. Narrative, lyric, and dramatic.- II. Jewish poems: translations.
Julius's critically acclaimed study (looking both at the detail of Eliot's deployment of anti-Semitic discourse and at the role it played in his greater literary undertaking) has provoked a reassessment of Eliot's work among poets, scholars, critics and readers, which will invigorate debate for some time to come.
Blending history, celebrations, and reconciliation of Jewish traditions with life in New Mexico, the circle of the Jewish year is saturated by the New Mexico experience as tashlich is performed in a desert river, and Passover coincides with Good Friday pilgrims making a holy journey to the Santuario de Chimayo. Includes work by Marjorie Agosin, Yehudis Fishman, Gene Frumkin, Natalie Goldberg, Judyth Hill, Joan Logghe, Consuelo Luz, Carol Moldow, Judith Rafaela, Miriam Sagan, and others.
A probing reading of leftist Jewish poets who, during the interwar period, drew on the trauma of pogroms to depict the suffering of other marginalized peoples. Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth—Palestinian Arabs, African Americans, Spanish Republicans—in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York–based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee’s “God’s Black Lamb,” Moyshe Nadir’s “Closer,” and Esther Shumiatsher’s “At the Border of China.” These poets dreamed of a moment when “we” could mean “we workers” rather than “we Jews.” Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain.