SUNY series in Contemporary Jewish Literature and Culture

A dynamic dialogue of poetry and art that reimagines the ancient, biblical concept of sacrifice. A collaboration between poet Alisha Kaplan and artist Tobi Aaron Kahn, Qorbanot-the Hebrew word for "sacrificial offerings"-explores the concept of sacrifice, offering a new vision of an ancient practice. A dynamic dialogue of text and image, the book is a poetic and visual exegesis on Leviticus, a visceral and psychological exploration of ritual offerings, and a conversation about how notions of sacrifice continue to resonate in the twenty-first century. Both from Holocaust survivor families, Kaplan and Kahn deal extensively with the Holocaust in their work. Here, the modes of poetry and art express the complexity of belief, the reverberations of trauma, and the significance of ritual. In the poems, the speaker, offspring of burnt offerings, searches for meaning in her grandparents' experiences and in the long tradition of Orthodox Judaism in which she was raised. Kahn's paintings on handmade paper, drawn from decades of his career as an artist, have not previously been exhibited or published. They reflect his quest to distill a legacy of trauma and loss into enduring memory. With a foreword by James E. Young and essays by Ezra Cappell, Lori Hope Lefkovitz, and Sasha Pimentel, the book presents new directions for thinking about what sacrifice means in religious, social, and personal contexts, and harkens back to foundational traditions, challenging them in reimagined and artistic ways. Alisha Kaplan is a poet and educator who lives in Toronto, Canada. This is her first book. Tobi Aaron Kahn is a painter, sculptor, and Professor of Fine Arts at the School of Visual Arts. His art is the subject of several books, including Objects of the Spirit: Ritual and the Art of Tobi Kahn (authored by Emily Bilski). He lives in New York City.

Combines powerful first-person accounts with incisive scholarly analysis to understand the phenomenon of ultra-Orthodox Jews who leave their insular communities and venture into the wider world. In recent years, many formerly ultra-Orthodox Jews have documented leaving their communities in published stories, films, and memoirs. This movement is often identified as "off the derech" (OTD), or off the path, with the idea that the "path" is paved by Jewish law, rituals, and practices found within their birth communities. This volume tells the powerful stories of people abandoning their religious communities and embarking on uncertain journeys toward new lives and identities within mainstream society. Off the Derech is divided into two parts: stories and analysis. The first includes original selections from contemporary American and global authors writing about their OTD experiences. The second features chapters by scholars representing such diverse fields as literature, history, sociology, psychology, anthropology, religion, and gender studies. The interdisciplinary lenses provide a range of methodologies by which readers can better understand this significant phenomenon within contemporary Jewish society. Ezra Cappell is Professor of Jewish Studies and English at the College of Charleston. He is the author of American Talmud: The Cultural Work of Jewish American Fiction, also published by SUNY Press. Jessica Lang is Professor of English and Director of the Wasserman Jewish Studies Center at Baruch College, City University of New York. She is the author of Textual Silence: Unreadability and the Holocaust.

An in-depth look at Elie Wiesel's writings, from his earliest works to his final novels. Elie Wiesel (1928—2016) was one of the most important literary voices to emerge from the Holocaust. The Nazis took the lives of most of his family, destroyed the community in which he was raised, and subjected him to ghettoization, imprisonment in Auschwitz and Buchenwald, and a death march. It is remarkable not only that Wiesel survived and found a way to write about his experiences, but that he did so with elegance and profundity. His novels grapple with questions of tradition, memory, trauma, madness, atrocity, and faith. The Struggle for Understanding examines Wiesel's literary, religious, and cultural roots and the indelible impact of the Holocaust on his storytelling. Grouped in sections on Hasidic origins, the role of the Other, theology and tradition, and later works, the chapters cover the entire span of Wiesel's career. Books analyzed include the novels Dawn, The Forgotten, The Gates of the Forest, The Town Beyond the Wall, The Testament, The Time of the Uprooted, The Sonderberg Case, and Hostage, as well as his memoir, Night. What emerges is a portrait of Wiesel's work in its full literary richness. Victoria Nesfield is Research Coordinator in the Humanities Research Centre at the University of York, in the United Kingdom. Philip Smith is Professor of English at the Savannah College of Art and Design Hong Kong.

Comprehensive analysis of 220 hours of outtakes that impels us to reexamine our assumptions about a crucial Holocaust documentary. Claude Lanzmann's 1985 magnum opus, Shoah, is a canonical documentary on the Holocaust-and in film history. Over the course of twelve years, Lanzmann gathered 230 hours of location filming and interviews with survivors, witnesses, and perpetrators, which he condensed into a 9½-hour film. The unused footage was scattered and inaccessible for years before it was restored and digitized by the United States Holocaust Memorial Museum. In An Archive of the Catastrophe, Jennifer Cazenave presents the first comprehensive study of this collection. She argues that the outtakes pose a major challenge to the representational and theoretical paradigms produced by the documentary, while offering new meanings of Shoah and of Holocaust testimony writ large. They lend fresh insight into issues raised by the film, including questions of resistance, rescue, refugees, and, above all, gender-Lanzmann's twenty hours of interviews with women make up a mere ten minutes of the finished documentary. As a rare instance of outtakes preserved during the pre-digital era of cinema, this unused footage challenges us to establish a new critical framework for understanding how documentaries are constructed and reshapes the way we view this key Holocaust film. To view the book trailer on YouTube, please go to: https://www.youtube.com/watch?v=bBjUWyAn55g Jennifer Cazenave is Assistant Professor of French at Boston University.

An authoritative biography of the dean of American proletarian writers during the interwar years. Jewish American Communist writer and cultural figure Michael Gold (1893—1967) was a key progressive author of his generation, yet today his work is too often forgotten. A novelist, essayist, playwright, poet, journalist, and editor, Gold was the leading advocate of leftist, proletarian literature in the United States between the two world wars. His acclaimed autobiographical novel Jews without Money (1930) is a vivid account of early twentieth-century immigrant life in the tenements of Manhattan's Lower East Side. In this authoritative biography, Patrick Chura traces Gold's story from his impoverished youth, through the period of his fame during the "red decade" of the 1930s, and into the McCarthy era, when he was blacklisted and forced to work menial jobs to support his family. In his time as a radical writer-activist, Gold courageously helped strikes, protested against war and fascism, worked for the Unemployed Councils, walked in hunger marches and May Day parades, got arrested in support of Sacco and Vanzetti, raised money for workers' cooperatives and leftist journalism, and demonstrated against nuclear weapons and in support of fair housing, the Rosenbergs, and civil rights. This biography welcomes Gold back into cultural conversations about art, literature, politics, social change, and Jewish American life in the twentieth century.

Analyzes audio recordings of interwar Hebrew plays, providing a new model for the use of sound in theater studies. Possessed Voices tells the intriguing story of a largely unknown collection of audio recordings, which preserve performances of modernist interwar Hebrew plays. Ruthie Abeliovich focuses on four recordings: a 1931 recording of The Eternal Jew (1919/1923), a 1965 recording of The Dybbuk (1922), a 1961 radio play of The Golem (1925), and a 1952 radio play of Yaakov and Rachel (1928). Abeliovich traces the spoken language of modernist Hebrew theater as grounded in multiple modalities of expressive practices, including spoken Hebrew, Jewish liturgical sensibilities supplemented by Yiddish intonation and other vernacular accents, and in relation to prevalent theatrical forms. The book shows how these recorded performances provided Jewish immigrants from Europe with a venue for lamenting the decline of their home communities and for connecting their memories to the present. Analyzing sonic material against the backdrop of its artistic, cultural, and ideological contexts, Abeliovich develops a critical framework for the study of sound as a discipline in its own right in theater scholarship.

Looks at how sexual aggression relates to Zionism, gender, ethnicity, and disability in the modern Hebrew literature.

Examines the place of Paris in French Jewish literary memory, a memory that, of necessity, grapples with the aftermath of the Holocaust. The essays in Shadows in the City of Light explore the significance of Paris in the writing of five influential French writers-Sarah Kofman, Patrick Modiano, George Perec, Henri Raczymow, and Irene Nemirovsky-whose novels and memoirs capture and probe the absences of deported Paris Jews. These writers move their readers through wartime and postwar cityscapes of Paris, walking them through streets and arrondissments where Jews once resided, looking for traces of the disappeared. The city functions as more than a backdrop or setting. Its streets and buildings and monuments remind us of the exhilarating promise of the French Revolution and what it meant for Jews dreaming of equality. But the dynamic space of Paris also reminds us of the Holocaust and its aftermath. The shadowed paths traced by these writers raise complicated questions about ambivalence, absence, memory, secularity, and citizenship. In their writing, the urban landscape itself bears witness to the absent Jews, and what happened to them. For the writers treated in this volume, neither their Frenchness nor their Jewishness is a fixed point. Focusing on Paris's dual role as both a cultural hub and a powerful symbol of hope and conflict in Jewish memory, the contributors address intersections and departures among these writers. Their complexity of thought, artistry, and depth of vision shape a new understanding of the impact of the Holocaust on Jewish and French identity, on literature and literary forms, and on the development of Jewish secular culture in Western Europe. Sara R. Horowitz is Professor of Humanities and Comparative Literature at York University and the author of Voicing the Void: Muteness and Memory in Holocaust Fiction, also published by SUNY Press. Amira Bojadzija-Dan is Research Associate at the Israel and Golda Koschitzky Centre for Jewish Studies at York University. Julia Creet is Professor of English at York University and the author of The Genealogical Sublime. Together, they are also coeditors of H. G. Adler: Life, Literature, Legacy.

Argues that first- and second-generation Jewish American writers had an ambivalent relationship with educational success. Jewish American immigrants and their children have been stereotyped as exceptional educational achievers, with attendance at prestigious universities leading directly to professional success. In College Bound, Dan Shiffman uses literary accounts to show that American Jews' relationship with education was in fact far more complex. Jews expected book learning to bring personal fulfillment and self-transformation, but the reality of public schools and universities often fell short. Shiffman examines a wide range of novels and autobiographies by first- and second-generation writers, including Abraham Cahan, Mary Antin, Anzia Yezierska, Elizabeth Gertrude Stern, Ludwig Lewisohn, Marcus Eli Ravage, Lionel Trilling, and Leo Rosten. Their visions of learning as a process of critical questioning-enlivening the mind, interrogating cultural standards, and confronting social injustices-present a valuable challenge to today's emphasis on narrowly measurable outcomes of student achievement.

Surveys the current state of Jewish American and Holocaust literatures as well as approaches to teaching them. What does it mean to read, and to teach, Jewish American and Holocaust literatures in the early decades of the twenty-first century? New directions and new forms of expression have emerged, both in the invention of narratives and in the methodologies and discursive approaches taken toward these texts. The premise of this book is that despite moving farther away in time, the Holocaust continues to shape and inform contemporary Jewish American writing. Divided into analytical and pedagogical sections, the chapters present a range of possibilities for thinking about these literatures. Contributors address such genres as biography, the graphic novel, alternate history, midrash, poetry, and third-generation and hidden-child Holocaust narratives. Both canonical and contemporary authors are covered, including Michael Chabon, Nathan Englander, Anne Frank, Dara Horn, Joe Kupert, Philip Roth, and William Styron.

A portrait of Israeli literature in its full transnational and multilingual complexity. Toward the end of the twentieth century, an unprecedented surge of writing altered the Israeli literary scene in profound ways. As fresh creative voices and multiple languages vied for recognition, diversity replaced consensus. Genres once accorded lower status-such as the graphic novel and science fiction-gained readership and positive critical notice. These trends ushered in not only the discovery and recovery of literary works but also a major rethinking of literary history. In Since 1948, scholars consider how recent voices have succeeded older ones and reverberated in concert with them; how linguistic and geographical boundaries have blurred; how genres have shifted; and how canon and competition have shaped Israeli culture. Charting surprising trajectories of a vibrant, challenging, and dynamic literature, the contributors analyze texts composed in Hebrew, Yiddish, and Arabic; by Jews and non-Jews; and by Israelis abroad as well as writers in Israel. What emerges is a portrait of Israeli literature as neither minor nor regional, but rather as transnational, multilingual, and worthy of international attention. Nancy E. Berg is Professor of Hebrew and Comparative Literature at Washington University in St. Louis. Her previous books include Exile from Exile: Israeli Writers from Iraq, also published by SUNY Press. Naomi B. Sokoloff is Professor of Near Eastern Languages and Civilization at the University of Washington. Her previous books include Imagining the Child in Modern Jewish Fiction. Together, Berg and Sokoloff are the coeditors of What We Talk about When We Talk about Hebrew (and What It Means to Americans).

Argues that Jewish writers used depictions of Jews as animals to question prevalent notions of Jewish identity. The Infrahuman explores a little-known aspect in major works of Jewish literature from the period preceding World War II, in which Jewish writers in German, Hebrew, and Yiddish employed figures of animals in pejorative depictions of Jews and Jewish identity. Such depictions are disturbing because they sometimes rival common anti-Semitic stereotypes, and have often been explained away as symptoms of Jewish self-hatred. In this book, Noam Pines shows how animality emerged in Jewish literature not as a biological or conceptual category, but as a theological figure of exclusion from a state of humanity and Christianity alike. By framing the human-animal question in theological terms rather than in racial-biological terms, writers such as Heinrich Heine, S. Y. Abramovitsh, Hayim Nachman Bialik, Uri Zvi Greenberg, Franz Kafka, S. Y. Agnon, and Paul Celan subjected the pejorative designations of Jewish identity to literary elaboration and to philosophical negotiation. Noam Pines is Assistant Professor in the Department of Jewish Thought at the University at Buffalo, State University of New York.

A Marxist history of Israeli literature, tracing the relations between economic, social, and aesthetic transformations. Signatures of Struggle offers a unique perspective on Israeli literature, bringing Marxist cultural critique to bear on a field from which it has hitherto been absent. Oded Nir moves beyond the dominant interpretive horizon of Israeli literary criticism: the relation of literature to national ideology. Rather than reproducing the usual narrative in which fiction resists the nation's goals, Nir demonstrates how, in each historical moment, literary engagement with national ideology is a means to think through social tensions or contradictions internal to Israeli society-to solve in imagination problems that threaten the social order. Focusing on moments of transformation, Nir argues that the 1950s crisis of realism was the result of the failure, rather than the success, of the collective transformative project of the haluzim, the settler vanguard of Zionism. In the 1980s, the postmodern turn expressed a crisis of social imagination, whose origin was the incorporation of Palestinians into the Israeli economy after the 1967 war. Finally, he shows that the ways in which history is imaginatively reworked in contemporary Israeli fiction can only be understood through the context of 1950s and 1980s literature. Authors analyzed include Yigal Mossinsohn, Nathan Shaham, Hanoch Bartov, Yehudit Hendel, Orly Castel-Bloom, Yehudit Katzir, David Grossman, Yehoshua Kenaz, and Batya Gur. Oded Nir is Visiting Assistant Professor of Judaic Studies at Franklin & Marshall College.

Examines how Jewish women have used poetry to challenge their historical limitations while rewriting their potential futures. Jewish women have had a fraught relationship with history, struggling for inclusion while resisting their limited role as (re)producers of the future. In Queer Expectations, Zohar Weiman-Kelman shows how Jewish women writers turned to poetry to write new histories, developing "queer expectancy" as a conceptual tool for understanding how literary texts can both invoke and resist what came before. Bringing together Jewish women's poetry from the late nineteenth century, the interwar period, and the 1970s and 1980s, Weiman-Kelman takes readers on a boundary-crossing journey through works in English, Yiddish, and Hebrew, setting up encounters between writers of different generations, locations, and languages. Queer Expectations highlights genealogical lines of continuity drawn by authors as diverse as Emma Lazarus, Kadya Molodowsky, Leah Goldberg, Anna Margolin, Irena Klepfisz, and Adrienne Rich. These poets push back against heteronormative imperatives of biological reproduction and inheritance, opting instead for connections that twist traditional models of gender and history. Looking backward in queer ways enables new histories to emerge, intervenes in a troubled present, and gives hope for unexpected futures.

Three stageworthy plays and nine individual scenes that offer an introduction to Yiddish theater at its liveliest. Yiddish theater was first and foremost fine theater, with varied repertory and actors of high quality. The three stage-ready plays and nine individual scenes collected here, most of them well-known in Yiddish repertory but never before translated, offer an introduction to the full range of Yiddish theater. Fresh, lively, and accurate, these translations have been prepared for reading or performance by award-winning playwright and scholar Nahma Sandrow. They come with useful stage directions, notes, and playing histories, as well as comments by directors who have worked in both English and Yiddish theater. In the three full-length plays, a matriarch battles for control of her business and her family (Mirele Efros; or, The Jewish Queen Lear); two desperate women struggle over a man, who himself is struggling to change his life (Yankl the Blacksmith); and, in a charming fantasy village, a poetic village fiddler gambles on romance (Yoshke the Musician). The nine scenes from selected other plays are shaped to stand alone and range in genre from symbolist to naturalist, operetta to vaudeville, domestic to romantic to avant-garde. In her preface, Sandrow contextualizes the plays in modern Western theater history from the nineteenth century to the present. Yiddish Plays for Reading and Performance is not nostalgia-just a collection of good plays that also serves as an informed introduction to Yiddish theater at its liveliest. Nahma Sandrow, a playwright and librettist, is Professor Emerita at City University of New York. Her books include Vagabond Stars: A World History of Yiddish Theater and God, Man, and Devil: Yiddish Plays in Translation. Many of her translations have been produced professionally, and the award-winning shows she developed out of Yiddish material (Kuni-Leml, Vagabond Stars) enjoyed long off-Broadway runs before touring, receiving rave reviews in the New York Times and other major New York newspapers, as well as Variety and the Associated Press.

The veteran contributors to this volume take as their central drama, and their essential task for analysis, the enduring literary and political legacy of Israel Prize laureate Amos Oz (1939—2019). Born a decade prior to the establishment of the state of Israel, in what was then Palestine under British rule, Oz's life spanned the country's entire history, and both his fiction and nonfiction restlessly probe and illuminate its fraught conflicts, contradictions, and ambivalences. Throughout his career, Oz grappled frankly with the often-painful realities of Israeli life while also celebrating the ebullience of the Israeli spirit, and his sophisticated understanding of the sociopolitical turmoil of his society was always accompanied by intensely lyrical language and deep penetrations into the vulnerabilities of the human psyche. The volume's twenty contributors bring an exciting diversity of concerns and perspectives to Oz's most celebrated novels (including his powerfully resonant final novel, Judas) as well as to overlooked facets of his oeuvre, illuminating the breathtaking scope of his literary legacy. Together, they offer gripping analyses of his urgent and profoundly universal works about political and romantic dreamers whose heartfelt struggles with both their own human frailties and those of the state ultimately resonate far beyond Israel itself.

Yiddish and Hebrew writer I. L. Peretz (1852—1915) was a major leader of Eastern European Jewry in the years prior to World War I and was deeply involved in Jewish politics and communal life throughout his lifetime. In “The Radical Isaac”, Adi Mahalel examines a central part of his life and art that has often been neglected, namely, his close alignment with the needs of the Jewish working-class and his deep devotion to progressive politics. Although there have been numerous studies of Peretz and his work, this very central component of his life nonetheless remains severely understudied. By offering close readings of the "radical" Peretz, Mahalel recasts the way political activism is understood in scholarly evaluations of the writer's work. Employing a partly chronological, partly thematic scheme, Mahalel follows Peretz's radicalism from its inception and then through the various ways in which it was synchronically expressed during this intense period of history.

Jewcy: Lesbian Queer Jewish Feminisms for the Twenty-First Century presents the rich diversity of Jewish life from perspectives that center lesbian and queer Jewish feminist people and issues. Blending scholarship with poetry, memoir, and other genres, it reopens the field of Jewish lesbian writing that has been largely dormant since the early 2000s. The contributors illustrate the diversity of Jewish lesbian experience through a range of topics, voices, and genres and explore how this experience intersects with Black, Mizrahi, Sephardi, Indigenous, and trans identities. Opening timely new dialogues between the various fields of Jewish, feminist, queer, trans, de-colonial, and critical race studies, Jewcy encourages readers both inside and outside the academy to rethink narrow conceptions of Jewishness.

A comprehensive survey of the most important writing to come out of the Holocaust. Finalist for the 2019 National Jewish Book Award in the Anthologies and Collections Category presented by the Jewish Book Council Silver Winner for Anthologies, 2018 Foreword INDIES Book of the Year Awards Writing in Witness is a broad survey of the most important writing about the Holocaust produced by eyewitnesses at the time and soon after. Whether they intended to spark resistance and undermine Nazi authority, to comfort family and community, to beseech God, or to leave a memorial record for posterity, the writers reflect on the power and limitations of the written word in the face of events often thought to be beyond representation. The diaries, journals, letters, poems, and other works were created across a geography reaching from the Baltics to the Balkans, from the Atlantic coast to the heart of the Soviet Union, and in a wide array of original languages. Along with the readings, Eric J. Sundquist's introductions provide a comprehensive account of the Holocaust as a historical event. Including works by prominent authors such as Primo Levi and Elie Wiesel, as well those little known or anonymous, Writing in Witness provides, in vital and memorable examples, a wide-ranging account of the Holocaust by those who felt the imperative to give written testimony. Eric J. Sundquist is Andrew W. Mellon Professor Emeritus of the Humanities at Johns Hopkins University, and the editor of many books, including (with David Cesarani) After the Holocaust: Challenging the Myth of Silence.