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 in 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 immigrant Jews and their children from Yiddish to English. In this book, Michael 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 adopting a new country, their linguistic and cultural allegiance was to the Hebrew language. Producing poetry, short fiction, novels, essays, and journals, these writers 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 analyses and thoughtful readings of key works. American Hebrew Literature restores a lost piece of the canvas of Hebrew literature and Jewish culture in the twentieth century and invites readers to reimagine Jewish American writers of our own time.

A collection of Jewish-American literature written by various authors between 1656 and 1990.

The effort to create a serious Hebrew literature in the United States in the years around World War I is one of the best kept secrets of American Jewish history. Hebrew had been revived as a modern literary language in nineteenth-century Russia and then taken to Palestine as part of the Zionist revolution. But the overwhelming majority of Jewish emigrants from Eastern Europe settled in America, and a passionate kernel among them believed that Hebrew provided the vehicle for modernizing the Jewish people while maintaining their connection to Zion. These American Hebraists created schools, journals, newspapers, and, most of all, a high literary culture focused on producing poetry. Sanctuary in the Wilderness is a critical introduction to American Hebrew poetry, focusing on a dozen key poets. This secular poetry began with a preoccupation with the situation of the individual in a disenchanted world and then moved outward to engage American vistas and Jewish fate and hope in midcentury. American Hebrew poets hoped to be read in both Palestine and America, but were disappointed on both scores. Several moved to Israel and connected with the vital literary scene there, but most stayed and persisted in the cause of American Hebraism.

This book examines how Israeli and American Jewish literatures share commonalities and affinities.

Jonathan D. Sarna's award-winning American Judaism is now available in an updated and revised edition that summarizes recent scholarship and takes into account important historical, cultural, and political developments in American Judaism over the past fifteen years. Praise for the first edition: "Sarna . . . has written the first systematic, comprehensive, and coherent history of Judaism in America; one so well executed, it is likely to set the standard for the next fifty years."--Jacob Neusner, Jerusalem Post "A masterful overview."--Jeffrey S. Gurock, American Historical Review "This book is destined to be the new classic of American Jewish history."--Norman H. Finkelstein, Jewish Book World Winner of the 2004 National Jewish Book Award/Jewish Book of the Year

Literary Passports is the first book to explore modernist Hebrew fiction in Europe in the early decades of the twentieth century. It not only serves as an introduction to this important body of literature, but also acts as a major revisionist statement, freeing this literature from a Zionist-nationalist narrative and viewing it through the wider lens of new comparative studies in modernism. The book's central claim is that modernist Hebrew prose-fiction, as it emerged from 1900 to 1930, was shaped by the highly charged encounter of traditionally educated Jews with the revolution of European literature and culture known as modernism. The book deals with modernist Hebrew fiction as an urban phenomenon, explores the ways in which the genre dealt with issues of sexuality and gender, and examines its depictions of the complex relations between tradition, modernity, and religion.

Call It English identifies the distinctive voice of Jewish American literature by recovering the multilingual Jewish culture that Jews brought to the United States in their creative encounter with English. In transnational readings of works from the late-nineteenth century to the present by both immigrant and postimmigrant generations, Hana Wirth-Nesher traces the evolution of Yiddish and Hebrew in modern Jewish American prose writing through dialect and accent, cross-cultural translations, and bilingual wordplay. Call It English tells a story of preoccupation with pronunciation, diction, translation, the figurality of Hebrew letters, and the linguistic dimension of home and exile in a culture constituted of sacred, secular, familial, and ancestral languages. Through readings of works by Abraham Cahan, Mary Antin, Henry Roth, Delmore Schwartz, Bernard Malamud, Saul Bellow, Cynthia Ozick, Grace Paley, Philip Roth, Aryeh Lev Stollman, and other writers, it demonstrates how inventive literary strategies are sites of loss and gain, evasion and invention. The first part of the book examines immigrant writing that enacts the drama of acquiring and relinquishing language in an America marked by language debates, local color writing, and nativism. The second part addresses multilingual writing by native-born authors in response to Jewish America's postwar social transformation and to the Holocaust. A profound and eloquently written exploration of bilingual aesthetics and cross-cultural translation, Call It English resounds also with pertinence to other minority and ethnic literatures in the United States.

For more than two hundred years, Jews have played important roles in the development of American literature. The Cambridge Companion to Jewish American Literature addresses a wide array of themes and approaches to the distinct yet multifaceted body of Jewish American literature. Essays examine writing from the 1700s to major contemporary writers such as Saul Bellow and Philip Roth. Topics covered include literary history, immigration and acculturation, Yiddish and Hebrew literature, popular culture, women writers, literary theory and poetics, multilingualism, the Holocaust, and contemporary fiction. This collection of specially commissioned essays by leading figures discusses Jewish American literature in relation to ethnicity, religion, politics, race, gender, ideology, history, and ethics, and places it in the contexts of both Jewish and American writing. With its chronology and guides to further reading, this volume will prove valuable to scholars and students alike.

According to traditional narratives of assimilation, in the bargain made for an American identity, Jews freely surrendered Yiddish language and culture. Or did they? Recovering "Yiddishland" seeks to “return” readers to a threshold where Americanization also meant ambivalence and resistance. It reconstructs “Yiddishland” as a cultural space produced by Yiddish immigrant writers from the 1890s through the 1930s, largely within the sphere of New York. Rejecting conventional literary history, the book spotlights “threshold texts” in the unjustly forgotten literary project of these writers—texts that reveal unexpected and illuminating critiques of Americanization. Merle Lyn Bachman takes a fresh look at Abraham Cahan’s Yekl and Anzia Yezierska’s Hungry Hearts, tracing in them a re-inscription of the Yiddish world that various characters seem to be committed to leaving behind. She also translates for the first time Yiddish poems featuring African-Americans that reflect the writers’ confrontation with their passage, as Jews, into “white” identities. Finally, Bachman discusses the modernist poet Mikhl Likht, whose simultaneous embrace of American literature and resistance to assimilating into English marked him as the supreme “threshold” poet. Conscious of the risks of any postmodern—“post-assimilation”—attempt to recover the past, Bachman invents the figure of “the Yiddish student,” whose comments can reflect—and keep in check—the nostalgia and naivete of the returnee to Yiddish.

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.