A gift dedicated to Leonard Bernstein on his 70th birthday (1988). It was signed by the artist, Yossi Stern, and by Teddy Kollek. In addition to the numerous line drawings illustrating the poetry, Stern crafted an original book cover with a colorful drawing of a wedding scene.
This remarkable volume introduces what is probably the most coherent segment of twentieth-century American literature not written in English. Includes a bilingual facing-page format, notes and biographies of poets, and selections from Yiddish theory and criticism.
Originally published in 1966, An Anthology of Modern Yiddish Poetry was the first bilingual anthology to feature the rich, spirited, and passionate Yiddish poetry of the twentieth century Originally published in 1966, An Anthology of Modern Yiddish Poetry was the first bilingual anthology to feature the rich, spirited, and passionate Yiddish poetry of the twentieth century. Nearly thirty years after the original publication, the interest in Yiddish studies continues to grow, making this definitive collection all the more Significant as a study of influences and developments in Yiddish poetry. Ruth Whitman has skillfully translated the diverse, lyric poetry of fourteen Eastern European-born poets, most of whom came to live in the United States. Of the twenty new poems included in the book, two are by Rachel Korn, three by Kadya Molodowsky, four by Anna Margolin, and four by Celia Dropkin. These additions increase considerably the work of the women poets represented, fulfilling an earlier omission. The anthology also highlights the genius and invention of poets Jacob Glatstein, M.L. Halpern, Moyshe Kulbak, Zisha Landau, H. Leivick, Itzik Manger, Leyb Naydus, Melech Ravitch, Abraham Sutzkever, and Aaron Zeitlin. With a new preface and a revised introduction that provides a short history of the development of Yiddish poetry, the third edition presents seventy-two poems in their original Yiddish and in English translation.These poems reflect the chaos and confusion integral to immigrant culture and the fragmentation of living during two world wars and the Holocaust. In addition the poems reflect the influences of American poetry from the Imagists to Robert Lowell, as well as the influence of German, French, and Russian poetry.
Part literary history and part medical sociology, Gilman’s book chronicles the careers of three major immigrant Yiddish poets of the twentieth century—Solomon Bloomgarten (Yehoash), Sholem Shtern, and H. Leivick—all of whom lived through, and wrote movingly of, their experience as patients in a tuberculosis sanatorium. Gilman addresses both the formative influence of the sanatorium on the writers’ work and the culture of an institution in which, before the days of antibiotics, writing was encouraged as a form of therapy. He argues that each writer produced a significant body of work during his recovery, itself an experience that profoundly influenced the course of his subsequent literary career. Seeking to recover the "imaginary" of the sanatorium as a scene of writing by doctors and patients, Gilman explores the historical connection between tuberculosis treatment and the written word. Through a close analysis of Yiddish poems, and translations of these writers, Gilman sheds light on how essential writing and literature were to the sanatorium experience. All three poets wrote under the shadow of death. Their works are distinctive, but their most urgent concerns are shared: strangers in a strange land, suffering, displacement, acculturation, and, inevitably, what it means to be a Jew.
I. L. Peretz (1852–1915), the father of modern Yiddish literature, was a master storyteller and social critic who advocated a radical shift from religious observance to secular Jewish culture. Wisse explores Peretz’s writings in relation to his ideology, which sought to create a strong Jewish identity separate from the trappings of religion.
Acting as an important historical archive for the Jews of eastern Europe, The Rise of Modern Yiddish Culture examines the progress of Yiddish culture from its origins in Tsarist and inter-war Poland to its apex with the founding of the Yiddish Scientific Institute in 1925.