In 1942, YIVO held a contest for the best autobiography by a Jewish immigrant on the theme “Why I Left the Old Country and What I Have Accomplished in America.” Chosen from over two hundred entries, and translated from Yiddish, the nine life stories in My Future Is in America provide a compelling portrait of American Jewish life in the immigrant generation at the turn of the twentieth century. The writers arrived in America in every decade from the 1890s to the 1920s. They include manual workers, shopkeepers, housewives, communal activists, and professionals who came from all parts of Eastern Europe and ushered in a new era in American Jewish history. In their own words, the immigrant writers convey the complexities of the transition between the Old and New Worlds. An Introduction places the writings in historical and literary context, and annotations explain historical and cultural allusions made by the writers. This unique volume introduces readers to the complex world of Yiddish-speaking immigrants while at the same time elucidating important themes and topics of interest to those in immigration studies, ethnic studies, labor history, and literary studies. Published in conjunction with the YIVO Institute for Jewish Research.
A study of Ben Shahn’s New Deal murals (1933–43) in the context of American Jewish history, labor history, and public discourse. Lithuanian-born artist Ben Shahn learned fresco painting as an assistant to Diego Rivera in the 1930s and created his own visually powerful, technically sophisticated, and stylistically innovative artworks as part of the New Deal Arts Project’s national mural program. InBen Shahn’s New Deal Murals: Jewish Identity in the American Scene author Diana L. Linden demonstrates that Shahn mined his Jewish heritage and left-leaning politics for his style and subject matter, offering insight into his murals’ creation and their sometimes complicated reception by officials, the public, and the press. In four chapters, Linden presents case studies of select Shahn murals that were created from 1933 to 1943 and are located in public buildings in New York, New Jersey, and Missouri. She studies Shahn’s famous untitled fresco for the Jersey Homesteads—a utopian socialist cooperative community populated with former Jewish garment workers and funded under the New Deal—Shahn’s mural for the Bronx Central Post Office, a fresco Shahn proposed to the post office in St. Louis, and a related one-panel easel painting titled The First Amendment located in a Queens, New York, post office. By investigating the role of Jewish identity in Shahn’s works, Linden considers the artist’s responses to important issues of the era, such as President Roosevelt’s opposition to open immigration to the United States, New York’s bustling garment industry and its labor unions, ideological concerns about freedom and liberty that had signifcant meaning to Jews, and the encroachment of censorship into American art. Linden shows that throughout his public murals, Shahn literally painted Jews into the American scene with his subjects, themes, and compositions. Readers interested in Jewish American history, art history, and Depression-era American culture will enjoy this insightful volume.
In 1921 and 1924, the United States passed laws to sharply reduce the influx of immigrants into the country. By allocating only small quotas to the nations of southern and eastern Europe, and banning almost all immigration from Asia, the new laws were supposed to stem the tide of foreigners considered especially inferior and dangerous. However, immigrants continued to come, sailing into the port of New York with fake passports, or from Cuba to Florida, hidden in the holds of boats loaded with contraband liquor. Jews, one of the main targets of the quota laws, figured prominently in the new international underworld of illegal immigration. However, they ultimately managed to escape permanent association with the identity of the “illegal alien” in a way that other groups, such as Mexicans, thus far, have not. In After They Closed the Gates, Libby Garland tells the untold stories of the Jewish migrants and smugglers involved in that underworld, showing how such stories contributed to growing national anxieties about illegal immigration. Garland also helps us understand how Jews were linked to, and then unlinked from, the specter of illegal immigration. By tracing this complex history, Garland offers compelling insights into the contingent nature of citizenship, belonging, and Americanness.
Assesses the current state of American Jewish life, drawing on the research and thinking of scholars from a variety of disciplines and diverse points of view.
A look at the process of entering America a hundred years ago—from both an institutional and a human perspective. Outstanding Academic Title, Choice America is famously known as a nation of immigrants. Millions of Europeans journeyed to the United States in the peak years of 1892–1924, and Ellis Island, New York, is where the great majority landed. Ellis Island opened in 1892 with the goal of placing immigration under the control of the federal government and systematizing the entry process. Encountering Ellis Island introduces readers to the ways in which the principal nineteenth- and early twentieth-century American portal for Europeans worked in practice, with some comparison to Angel Island, the main entry point for Asian immigrants. What happened along the journey? How did the processing of so many people work? What were the reactions of the newly arrived to the process (and threats) of inspection, delays, hospitalization, detention, and deportation? How did immigration officials attempt to protect the country from diseased or “unfit” newcomers, and how did these definitions take shape and change? What happened to people who failed screening? And how, at the journey's end, did immigrants respond to admission to their new homeland? Ronald H. Bayor, a senior scholar in immigrant and urban studies, gives voice to both immigrants and Island workers to offer perspectives on the human experience and institutional imperatives associated with the arrival experience. Drawing on firsthand accounts from, and interviews with, immigrants, doctors, inspectors, aid workers, and interpreters, Bayor paints a vivid and sometimes troubling portrait of the immigration process. In reality, Ellis Island had many liabilities as well as assets. Corruption was rife. Immigrants with medical issues occasionally faced a hostile staff. Some families, on the other hand, reunited in great joy and found relief at their journey's end. Encountering Ellis Island lays bare the profound and sometimes-victorious story of people chasing the American Dream: leaving everything behind, facing a new language and a new culture, and starting a new American life.