When a boy loses the notebook of interesting words he collected for school, his extended family supplies a long list of Yiddish words to replace them. Includes pronunciations and definitions.

Recipient of a Sydney Taylor Book Award for Younger Readers An ALA Notable Book A Bank Street Best Book of the Year “Text and illustration meld beautifully.” —The New York Times “Stunning.”​ —Kirkus Reviews (starred review) “Inspired...[a] journalistic, propulsive narrative.” —Publishers Weekly (starred review) “The story comes alive through the bold acrylic and gouache art.” —Booklist (starred review) From New York Times Best Illustrated Book artist Stacy Innerst and author Sue Macy comes a story of one man’s heroic effort to save the world’s Yiddish books in their Sydney Taylor Book Award–winning masterpiece. Over the last forty years, Aaron Lansky has jumped into dumpsters, rummaged around musty basements, and crawled through cramped attics. He did all of this in pursuit of a particular kind of treasure, and he’s found plenty. Lansky’s treasure was any book written Yiddish, the language of generations of European Jews. When he started looking for Yiddish books, experts estimated there might be about 70,000 still in existence. Since then, the MacArthur Genius Grant recipient has collected close to 1.5 million books, and he’s finding more every day. Told in a folkloric voice reminiscent of Patricia Polacco, this story celebrates the power of an individual to preserve history and culture, while exploring timely themes of identity and immigration.

Yiddish—an oft-considered "gutter" language—is an unlikely survivor of the ages, much like the Jews themselves. Its survival has been an incredible journey, especially considering how often Jews have tried to kill it themselves. Underlying Neal Karlen's unique, brashly entertaining, yet thoroughly researched telling of the language's story is the notion that Yiddish is a mirror of Jewish history, thought, and practice—for better and worse. Karlen charts the beginning of Yiddish as a minor dialect in medieval Europe that helped peasant Jews live safely apart from the marauders of the First Crusades. Incorporating a large measure of antique German dialects, Yiddish also included little scraps of French, Italian, ancient Hebrew, Aramaic, the Slavic and Romance languages, and a dozen other tongues native to the places where Jews were briefly given shelter. One may speak a dozen languages, all of them Yiddish. By 1939, Yiddish flourished as the lingua franca of 13 million Jews. After the Holocaust, whatever remained of Yiddish, its worldview and vibrant culture, was almost stamped out—by Jews themselves. Yiddish was an old-world embarrassment for Americans anxious to assimilate. In Israel, young, proud Zionists suppressed Yiddish as the symbol of the weak and frightened ghetto-bound Jew—and invented modern Hebrew. Today, a new generation has zealously sought to explore the language and to embrace its soul. This renaissance has spread to millions of non-Jews who now know the subtle difference between a shlemiel and a shlimazel; hundreds of Yiddish words dot the most recent editions of the Oxford English Dictionary. The Story of Yiddish is a delightful tale of a people, their place in the world, and the fascinating language that held them together.

The Book Smugglers is the nearly unbelievable story of ghetto residents who rescued thousands of rare books and manuscripts—first from the Nazis and then from the Soviets—by hiding them on their bodies, burying them in bunkers, and smuggling them across borders. It is a tale of heroism and resistance, of friendship and romance, and of unwavering devotion—including the readiness to risk one’s life—to literature and art. And it is entirely true. Based on Jewish, German, and Soviet documents, including diaries, letters, memoirs, and the author’s interviews with several of the story’s participants, The Book Smugglers chronicles the daring activities of a group of poets turned partisans and scholars turned smugglers in Vilna, “The Jerusalem of Lithuania.” The rescuers were pitted against Johannes Pohl, a Nazi “expert” on the Jews, who had been dispatched to Vilna by the Nazi looting agency, Einsatzstab Reichsleiter Rosenberg, to organize the seizure of the city’s great collections of Jewish books. Pohl and his Einsatzstab staff planned to ship the most valuable materials to Germany and incinerate the rest. The Germans used forty ghetto inmates as slave-laborers to sort, select, pack, and transport the materials, either to Germany or to nearby paper mills. This group, nicknamed “the Paper Brigade,” and informally led by poet Shmerke Kaczerginski, a garrulous, street-smart adventurer and master of deception, smuggled thousands of books and manuscripts past German guards. If caught, the men would have faced death by firing squad at Ponar, the mass-murder site outside of Vilna. To store the rescued manuscripts, poet Abraham Sutzkever helped build an underground book-bunker sixty feet beneath the Vilna ghetto. Kaczerginski smuggled weapons as well, using the group’s worksite, the former building of the Yiddish Scientific Institute, to purchase arms for the ghetto’s secret partisan organization. All the while, both men wrote poetry that was recited and sung by the fast-dwindling population of ghetto inhabitants. With the Soviet “liberation” of Vilna (now known as Vilnius), the Paper Brigade thought themselves and their precious cultural treasures saved—only to learn that their new masters were no more welcoming toward Jewish culture than the old, and the books must now be smuggled out of the USSR. Thoroughly researched by the foremost scholar of the Vilna Ghetto—a writer of exceptional daring, style, and reach—The Book Smugglers is an epic story of human heroism, a little-known tale from the blackest days of the war.

You don’t have to be Jewish to get back at the shmendriks* of the world Yiddish. It’s the most colorful language in the history of mankind. What other language gives you a whole dictionary of ways to tell someone to drop dead? That schmuck who got promoted over you? Meigulgl zol er vern in a henglaykhter, by tog zol er hengen, un by nakht zol er brenen. (He should be transformed into a chandelier, to hang by day and to burn by night.) That soccer mom kibitzing on her cell phone and tying up traffic? Shteyner zol zi hobn, nit keyn kinder. (She should have stones and not children.) If You Can’t Say Anything Nice, Say It in Yiddish is the perfect glossary of Yiddish insults and curses, from the short and sweet to the whole megillah (Khasene hobn zol er mit di malekh hamoves tokhter: He should marry the daughter of the Angel of Death.) Complete with hundreds of the most creative insults for the putzes** and kvetchers *** of the world, this is an indispensable guide for Jews and Gentiles alike. When it comes to cursing someone who sorely needs it, may you never be at a loss for words again. *Idiots **More idiots ***Complainer; a pain in the tuchas**** **** One’s rear end

A delightful excursion through the Yiddish language, the culture it defines and serves, and the fine art of complaint Throughout history, Jews around the world have had plenty of reasons to lament. And for a thousand years, they've had the perfect language for it. Rich in color, expressiveness, and complexity, Yiddish has proven incredibly useful and durable. Its wonderful phrases and idioms impeccably reflect the mind-set that has enabled the Jews of Europe to survive a millennium of unrelenting persecution . . . and enables them to kvetch about it! Michael Wex—professor, scholar, translator, novelist, and performer—takes a serious yet unceasingly fun and funny look at this remarkable kvetch-full tongue that has both shaped and has been shaped by those who speak it. Featuring chapters on curse words, food, sex, and even death, he allows his lively wit and scholarship to roam freely from Sholem Aleichem to Chaucer to Elvis. Perhaps only a khokhem be-layle (a fool, literally a "sage at night," when there's no one around to see) would care to pass up this endearing and enriching treasure trove of linguistics, sociology, history, and folklore—an intriguing appreciation of a unique and enduring language and an equally fascinating culture.

A gift dedicated to Leonard Bernstein on his 70th birthday (1988). It was signed by the artist, Yossi Stern, and by Teddy Kollek. In addition to the numerous line drawings illustrating the poetry, Stern crafted an original book cover with a colorful drawing of a wedding scene.

No detailed description available for "No Joke".

When Flory's ancestors are forced to leave Spain during the time of the Spanish Inquisition, they take with them their two most precious possessions—the key to their old house and the Ladino language. When Flory flees Europe during World War II to begin a new life in the United States, she carries Ladino with her, along with her other precious possessions—her harmoniku and her music. But what of the key? Discover the story of Ladino singer Flory Jagoda.

What do George and Laura Bush have in common with Dick and Jane? Well, both hail from prototypical WASP families. And, perhaps more to the point, both exhibit a natural resistance to moral complexity (i.e., reality). That's the premise of this hilarious new primer-style book in which George, Laura, and the entire Bush family communicate with uncharacteristic expressiveness, conveying shades of of feeling and nuances of meaning that plain old English can't deliver -- by peppering their conversatuon with Yiddishisms. See George's mother. Her name is Bar. She wears a lot of pearls and is a farbisseneh. "You are late, George," Bar says. "Of course I am late," George says. "I am the President of the United States. I am a big macher." Like all good primers, Yiddish with George and Laura tells a simple story -- and, in the end, important life lessons are imparted.