Thanks to his blond hair and blue eyes and his fluency in several languages, he got roles in many films.
Joanna Lisek’s book on the dramatic history of Yiddish women poets absolutely needs to be translated into English.
The poet explains how writing in the ghetto and forests helped him overcome the psychological toll that the invading Germans had taken on him.
I’m no longer translating these texts for their survival or my pleasure: I’m translating them because our country needs desperately to know what they say.
Sheva Zucker wanted a meaningful way to remember her mother, Miriam, who died last January. She created a blog of Yiddish poetry about mothers.
A version of this post appeared in Yiddish.
“I’m not going to be on Oprah,” said Zackary Sholem Berger matter-of-factly about his new book, “Zog khotsh l’havdil / Not in the Same Breath.” He’s realistic about his completely negligible chances, not because Oprah’s show and book club have just come to an end, but because he knows his work of original Yiddish poetry is not destined for a wide audience.
The Yiddish poet Yirmiye (Jeremiah) Hesheles died on October 16, 2010. When he celebrated his 100th birthday a group of dedicated Yiddishists, myself included, celebrated the occasion by paying him a visit at the New York State Veterans Home in St. Albans, Queens. A herd of geese, as if out of an Eastern European legend, greeted us in the parking lot. The building was big, its corridors cold. Veterans were rolling around in their wheelchairs or lying quietly in bed. We were looking for the last great Yiddish modernist alive. We found him asleep in one of the geriatric wards. The nurse did not let us see him. Showing her a picture of the young Hescheles did not help.
Something happens to the human psyche when an event reaches the 100 year mark, as is the case this month with the Triangle Factory Fire. It’s as if it can finally be relegated to the “dust bin of history” or tales of “long, long, ago.” But we can choose to remember, and we can read the work of poets determined to enshrine the daily life of people in verse. One poem, “Mayn Rue-Platz” by Morris Rosenfeld, captures the dismal world of the modern industrial worker, and continues to remind us of the dark conditions met by America’s new immigrants.
Each Thursday, the Arty Semite features reviews and excerpts of the best contemporary Jewish poetry. This week, however, the poet and poem are contemporary in spirit, if not in fact.