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Over the last one hundred years, the story of Jews in the United States has been, by and large, one of successful and enthusiastic Americanization. Hundreds of thousands of Jews began the twentieth century as new arrivals to a foreign land yet soon became shapers and definers of American culture itself. One of the clearest expressions of this transformation has been the quick linguistic march of those immigrant Jews and their children from Yiddish to English.
In this book, Weingrad presents a counter-history of American Jewish culture, one that tells the story of literature written by a group whose core identity was neither American nor Jewish American. These writers were ardently and nationalistically Jewish and, despite their adopting a new country, their linguistic and cultural allegiance was to the Hebrew language. Producing poetry, short fiction, novels, essays, and journals, writers such as Mordecai Manuel Noah, Shimon Halkin, and Gabriel Preil sought to express a Jewish cultural nationalism through literature.
Weingrad explores Hebrew literature in the United States from the emergence of a group of writers connected with the Hebraist movement in the early twentieth century to the present. Radically expanding and challenging our conceptions of American and Jewish identities in literature, the author offers wide-ranging cultural analysis and thoughtful readings of key works. American Hebrew Literature restores a lost piece of the canvas of Hebrew literature in the twentieth century and invites readers to reimagine Jewish-American writers of our own time.
- Sales Rank: #3462078 in Books
- Brand: Brand: Syracuse University Press
- Published on: 2011-02-07
- Original language: English
- Number of items: 1
- Dimensions: 9.26" h x .96" w x 6.39" l, 1.25 pounds
- Binding: Hardcover
- 275 pages
- Used Book in Good Condition
Review
"Wonderful and thought provoking."-Jewish Ideas Daily --Jewish Ideas Daily
"Fascinating"- Tablet --Tablet
"Wonderful and thought provoking." --Jewish Ideas Daily
"Fascinating" --Tablet
"Through explication of Hebraists poetry, fiction, and essays, Weingrad... charts their opposition to hybrid and highly Americanized forms of Jewish identity and their ardent advocacy of Jewish national renewal through Hebrew language and cultural rather than political activism.... This study expands understanding of American Jewish literary achievement by addressing hitherto neglected writing and demonstrating Hebraists place in American literary history and their countermovement to major Jewish American Voices. ...Recommended. - CHOICE Current Reviews for Academic Libraries --CHOICE Current Reviews for Academic Libraries
Weingrad s book is a very welcome addition to scholarship on the permutations of Jewish culture in modernity, to the cultural history of the United States, and not least, to the development of a self-critical school of thought in American Jewish studies: a subtle but nonetheless edgy assessment of what may be missing in American Jewry s sense of itself as the heir to a larger Jewish heritage. --American Jewish Archives Journal
Michael Weingrads excellent and enthusiastic study introduces the reader to American Hebrew literature: a little-known element of twentieth century American Jewish culture that was neither American nor American Jewish in its identity. Weingrad was attracted to this un-American Jewish tale not only because this noteworthy body of literature is one of the best kept secrets of Jewish American Cultural History, but precisely because it stands in contrast to the success story of Jewish immigration and assimilation in the United States.
These largely unsung Hebrew writers hailed from well-educated backgrounds in Eastern Europe and brought with them to America a strong allegiance to the Hebrew language and Jewish nationalism. Their literary output reveals how they rejected the mainstream culture and exposes their scornful attitudes towards their fellow American Jews who they castigated for ignorance of Judaism, materialism and coarseness and assimilatory values. At the same time, however, these ardent Jewish nationalists had to fight for recognition of their art, particularly from their rather dismissive Israeli counterparts.
Rejecting urban America, New York in particular, American Hebrew writers often turned their literary attention to rural America and to an idealized Native American past. The search for an authentic American subject for their art engendered a curious trend towards writing epic poems about American Indians, modeled on Longfellow s Hiawatha. Yet such a marginalized counter culture could not continue to survive, and it died out after most of the writers moved to Israel.
Weingrad should be congratulated for reinvigorating the study of American Hebrew literature and for adding an important new dimension to our notion of what constitutes American Jewish culture and writing.- Association of Jewish Libraries Reviews --Association of Jewish Libraries Reviews
About the Author
Alan Mintz is Kekst Professor of Hebrew Literature at the Jewish Theological Seminary in New York. His books include Translating Israel: Contemporary Hebrew Literature and Its Reception in America (2001) and The Boom in Contemporary Israeli Fiction (UPNE, 1997) .
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Time Capsule
By Asher Abrams
TIME CAPSULE
They lived in America and wrote in Hebrew. They never came close to achieving the numbers or the cultural impact of their Yiddish counterparts, and you might be tempted to dismiss them as a footnote in the vast and varied archives of twentieth-century literature.
Why did they do it? A hundred years ago, Hebrew was nobody's mother tongue; it was a language still being re-invented. Classical Hebrew education still held sway in the Old World, but America, for literate Jews, was a place of banishment. To write in Hebrew in America, then, was to be a minority within a minority. No normal person would write modern literature in a dead language, for an audience that did not exist.
But these weren't normal guys.
They were people who lived halfway in a world of dreams. Take Shimon Ginzburg (1890-1944). We have from him three long poems about America: "In the Tower" (1912), "On the Temple Mount of Colombia" (1916), and "No-York" (1917). Through a succession of dreams, visions, and nightmares, he gives us America as he sees it. These visions interpenetrate with the concrete world: a museum intrudes in a vision of an edenic Zion; a dream-ship carries immigrants to the rebuilt Jewish nation, and that nation's thanks are returned to the American president; an enormous city ruled by Moloch is overthrown in a "messianic conquest".
Their relationship with modernity was strained and paradoxical; the American Hebrew poets tended to be more conservative in style (p. 30) than the European Hebraists. The last thing Shimon Halkin (1899-1987) wanted to write poetry about was "this mediocre country with its commonplace reality" (p. 34), so he resorted to a "literary schizophrenia" or "double bookkeeping" (p. 36), writing his poetry in an elevated style while his novel 'Yehiel ha-hegri' was "one of the first modernist novels in Hebrew".
They were not immune to the lure of "Going Native" (ch. 3), but they took the 'Hiawatha' tradition in a different direction. Benjamin Nahum Silkiner ("painfully shy" and a polymath) published the 1500+ lines of "Before the Tent of Timura" in 1910. I won't spoil Weingrad's summary (pp. 81-94) of this remarkable poem - you'll have to get the book to read it for yourself - but it's the voice of "a young Jewish poet who had crossed half the world, trying to find a refuge for his people and their traditions" (p. 94). More precisely, Weingrad explains, "What so many of his contemporaries judged as an exploration of aboriginal America was a chronicle of his own soul."
By the time the tri-lingual writer Harry Sackler published "The Flight to Eureka", the final novel of the trilogy "Beween Earth and Heaven", in 1964, American Jews had had many years to reflect on the relationship between their identities as Jews and as Americans. The character of Avner personifies this struggle, and his "exile" to the small town of Eureka encapsulates the temptations and the dangers of this struggle between old and new. But the American Hebrew novels of this period, Weingrad observes, "filled an inescapably memorial function". The gap between American and Jewish national identity, it seemed, would prove unbridgeable.
Gabriel Preil (1911-1993) was one of "the last Mohicans" (ch. 7). His 1954 poem "Waiting for the Atomic Tomorrow" (pp. 229-230) is, "above all, a prophetic elegy for American Hebrew literature", Weingrad explains. The poet perceives the gradual but inexorable extinction of his world - read: American Hebrew literature - and anticipates a future, alien scholar or historian analyzing the remains.
But isn't that what all literature is? A collection of seed-letters etched in the unliving page or stone? A desperate message in a bottle, a time capsule left for future generations? Dead words that will one day be given life again?
Such thoughts might have been in the mind of Robert Whitehill (b. 1947), the North Carolina -born, Texas-raised, self-taught Hebrew poet. His story is remarkable and I won't spoil it for you here - again, get the book! But think about this: Here's someone who learned Hebrew from a Berlitz self-study course and an Israeli Arab roommate, now writing and publishing in Hebrew.
Like I said, they're not normal people.
So who were they writing for, these mad scribblers in an ancient language? They were writing for the future. They were writing for us.
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