[Mendele] MENDELE Personal Notices & Announcements--Article by Bennett Muraskin on Yiddish Literature in Translation
Victor Bers
victor.bers at yale.edu
Mon Apr 6 13:37:36 EDT 2009
MENDELE Yiddish Language and Literature
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April 6, 2009
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Date: Thu, 02 Apr 2009 18:22:05 -0400
From: Bennett Muraskin <bmuraskin at optonline.net>
Subject: Article on Yiddish literature in English translation
[The untershames regrets that this very useful contribution was lost in
his cybernetic *keler* for several weeks. As penance, he will send anyone
who requests it an aesthetically superior version in Word.]
Yiddish Literature in English Translation: An American Tale
Bennett Muraskin
Modern Yiddish literature is a prime expression of Jewish humanism.
Its creators were typically rebels against authority and proponents of
universal ideals of freedom of thought, social justice and human dignity.
Yiddish authors did not write for the educated elite, but for the average
Jew. They formed a special bond with their readers, which gave Yiddish
literature a popular character. Although rooted in the religious
tradition, they were, with few exceptions, decidedly secular in their
outlook, and often sympathetic to radical movements of the left. It should
therefore come as no surprise that secular Jewish leftists have
historically taken the lead in preserving and translating this literature
and incorporating into it their concept of Jewish culture (yidishkayt). It
can almost be said that Yiddish literature served as the secular Jewish
"Bible."
Leftists were not the first American Jews to produce translations,
however. That honor belongs to Leo Wiener, a Harvard professor and
immigrant from Poland, who was so impressed with Morris Rosenfeld's poetry
that he translated selections and published them as Songs of the Ghetto
(1898). The following year, Wiener's The History of Yiddish Literature in
the Nineteenth Century appeared, with selections from Yiddish writers and
poets.
Most other early translations of Yiddish literature into English in the
U.S. were published by the Jewish Publication Society (JPS), a non-profit
membership organization founded by German Jews that is the oldest Jewish
publisher in the land. JPS's earliest translations were of Peretz's
Stories and Pictures (1904) and Yiddish Tales (1912), both translated by
Helena Frank, a non-Jew from Great Britain. The JPS also issued two Sholem
Asch novels, Kiddush Ha-Shem (1912, translated by Rufus Learsi) and
Sabbatai Zevi (1930); A.S. Sachs' elegy to Jewish life in Lithuania,
Worlds That Passed (1928, translated by Harold Berman); and three books by
Joseph Opatoshu, including the novels In Polish Woods (1938, Isaac
Goldberg) and The Last Revolt (1952, Moshe Spiegel), as well as the short
story collection A Day in Regensburg (1968, Joseph Sloan). In 1967, JPS
published Chaim Grade's The Well (Ruth Wisse); in 1969, the Anthology of
Holocaust Literature, with many excerpts translated from Yiddish; in 1979,
a new edition of Ruth Rubin's Voices of a People: The Story of Yiddish
Folksong; in 1985, I.B. Singer's short story collection, Gifts. Now in its
121st year, JPS has established a distinguished record of publishing
Yiddish literature in translation. This record extends to pre-modern
Yiddish literature as well: In 1934, JPS published the two-volume classic
Ma'aseh (mayse) Bukh, edited by Moses Gaster, consisting of Yiddish
folktales from the Middle Ages.
A less likely promoter of yidishkayt, Emanuel Haldeman-Julius (1889-1951),
was the child of Russian Jewish immigrants who rejected Judaism and became
a free-thinking Debsian socialist. He was best known as editor of
the popular socialist journal, Appeal to Reason, from his base in Girard,
Kansas, hardly a bastion of Yiddishhkayt. To make both literary classics
and socialist tracts available to the "masses" in inexpensive paperback
editions, he founded Little Blue Books, and among the thousands of titles
he published were Asch's God of Vengeance (1918, Isaac Goldberg), Yiddish
Short Stories (1923, edited and likely translated by Goldberg) and Great
Yiddish Poetry (1924).
Before the trauma of World War II, many Yiddish-speaking Jews in North
America were ambivalent about having Yiddish literature translated into
English, for fear that it would discourage younger Jews from maintaining
literacy in the original. Scattered translations of poetry and prose
nevertheless appeared in the Jewish Frontier, the journal of the Labor
Zionist movement; the Menorah Journal, a Jewish humanist journal; the
Jewish Spectator, published and edited by the iconoclastic Trude Weiss
Rosmarin; and Congress Weekly, the magazine of the American Jewish
Congress. After the loss of so many Yiddish writers and readers in the
Holocaust, occasional Yiddish translations and articles about Yiddish
continued to appear in these periodicals and newer Jewish magazines,
notably Commentary, founded as a liberal magazine in 1946, and Midstream,
a Zionist magazine begun in 1955. Many of these writings were about the
Holocaust. Then a major new player joined the translation scene:
pro-Soviet Jewish communists, represented by such institutions as the
Jewish People's Fraternal Order (JPFO), Jewish Currents magazine, the
Yidisher Kultur Farband (YKUF, the Yiddish Cultural Alliance) and the
Zhitlovsky Foundation.
In 1947, for example, the JPFO published a short collection of
translated stories by I.L. Peretz. Yiddish prose and poetry in translation
became a regular feature of Jewish Life, established in 1946, and its
successor, Jewish Currents, which began publication in 1958. The
translators were either Henry Goodman or Max Rosenfeld. In more recent
years, this role has been fulfilled by Gerald Stillman, who has also
translated many of the works of Mendele Mokher-Sforim and is currently
working on translations of two Joseph Opatoshu novels.
YKUF, founded in 1937, published an enormous amount of Yiddish literature
before venturing into English translation in 1961 with The New Country, a
large collection of Yiddish short stories about Jewish life in America.
This was followed by a 1964 collection of Morris Rosenfeld's poetry and
prose, an Isaac Raboy novel, Nine Brothers (1968), and a 1974 collection
of stories by Chaver Paver (Gerson Einbinder). Again, Goodman and
Rosenfeld provided the translations..
Itche Goldberg's Yiddish Stories For Young People (1966, mostly Benjamin
Efron and Henry Goodman) probably remains the best collection of
translated Yiddish short stories for children. Editor of Yidishe Kultur, a
widely admired Yiddish literary journal, until his death in 2006, Goldberg
was long associated with the institutions of the old Jewish left. The
Zhitlovsky Foundation for Jewish Culture, which he headed, helped fund A
Century of Yiddish Poetry (1989), an anthology edited and translated by
Aaron Kramer, who made it a point to include the "Proletpen" poets of the
communist movement. In 1991, the Zhitlovsky Foundation also published a
bilingual collection of Peretz's stories, edited and translated by Eli
Katz.
It should go without saying that all these institutions disavowed Soviet
communism, a process that began in 1956, with Khrushchev's denunciation of
Stalin, and culminated in 1967-68, when the Soviet Union sided with the
Arab states in the Six Day War and Poland launched an anti-Semitic
campaign under the guise of "anti-Zionism." But they retained a left
wing orientation.
In 1967 and 1995 respectively, the Sholem Aleichem Club of
Philadelphia, an educational and cultural organization with roots in the
old Jewish left, published two volumes of Max Rosenfeld's translations of
Yiddish short stories about Jewish life in America, Pushcarts and Dreamers
and New Yorkish, the latter in partnership with the Congress of Secular
Jewish Organizations (CSJO), a network of progressive secular Jewish
Sunday schools and adult societies founded in 1970. The CSJO, a small
entity with meager resources, nevertheless published Apples and Honey:
Music and Readings for a Secular Jewish Observance of the Jewish New Year
Festival (1995), which includes a range of humanistic Yiddish poems in
English translation. In 1997, the CSJO published my pamphlet, A Yiddish
Short Story Sampler, an annotated bibliography of selected Yiddish short
stories in English translation. To the best of my knowledge, no other
resource of this nature exists.
In Canada, the Jewish leftist magazine Outlook, established in 1963 as
Canadian Jewish Outlook, continues to feature Yiddish poetry and prose in
translation and the original Yiddish. Other Canadian periodicals have
published Yiddish translations, but none with the consistency or passion
of Outlook.
Nathan Ausubel broke ranks with the Communist Party only a few years
after the 1948 publication of his classic A Treasury of Jewish Folklore,
much of which came from Yiddish sources. This extraordinarily popular book
is still in print sixty years later. Ruth Rubin, another product of the
old Jewish left, who remained within its orbit her entire life, became
North America's foremost collector of Yiddish folksongs, writing A
Treasury of Yiddish Folksongs (1950) and Voices of a People (1963).
Socialist opponents of the communist movement also played a significant
role. Irving Howe, the greatest anthologist of translated Yiddish
literature (numerous books of short stories, poetry, essays etc.), was a
committed socialist, and his collaborator, Yiddish poet Eliezer Greenberg,
made the transition from communist to socialist by the time he began
working with him. Howe and Greenberg were also responsible for the
publication in 1953 of I. B. Singer's now classic "Gimpel the Fool" story
(translated by a young Saul Bellow) in Partisan Review. Joseph Leftwich, a
British Jew whose anthologies of literary and scholarly translations from
the Yiddish, were published in the US, was also a socialist.
The organized Jewish social democratic left in the U.S., however, was less
active. The Workmen's Circle/Arbeter Ring published very little Yiddish
literature in translation, apart from its noted series of four song books
compiled by Chana and Joseph Mlotek, which includes many Yiddish poems put
to music.
The only other translations published by The Workmen's Circle are a
collection of Sholem Aleichem's plays (1967, reissued in 1989); a singly
published Sholem Aleichem play, "The Jackpot" (Dos Groyse Gevin) published
in 1989; and The Holocaust in Yiddish Literature (1983), a slender volume
edited by Yiddish scholar Elias Schulman.
Individual members of the organization, however, have been prolific
translators of Yiddish literature in other publishing venues. In 2005,
four-time Workmen's Circle President Barnett Zumoff published Songs to a
Moonstruck Lady: Yiddish Poems by and about Women (Tsar Publications) and
in 1993, Zumoff's translations of Jacob Glatstein's Holocaust poems, I
Keep Recalling, was published by KTAV. Marvin Zuckerman, a Workmen's
Circle leader and Yiddish educator and scholar from Southern California,
has translated both Mendele and Peretz.
In 2005 the Workmen's Circle became the publisher of Jewish Currents, in
a grand reconciliation between the old Jewish pro-communist and social
democratic left. Since 2004, this magazine has included a regular
bi-lingual Yiddish poetry column, Mamaloshn, conducted by Zumoff, and
numerous articles about Yiddish. Its special contribution to Yiddish
literature in translation was the publication in 2007 of a new translation
of a Sholem Aleichem story, "Pity for Living Creatures," by Gerald
Stillman, to accompany a Sholem Aleichem bobble-head doll. This story
also appeared in the March/April 2009 issue. For financial reasons,
Workmen's Circle has stopped publishing Jewish Currents. It will
re-emerge as an independent magazine with the May/June 2009 issue, its
devotion to Yiddish culture intact.
YIVO, the Yiddish Research Institute founded in Vilna in 1925 and
relocated to New York in 1940, has published outstanding scholarship in
Yiddish and English, but only two translations of Yiddish fiction: a
bilingual collection of Peretz stories (1947, Sol Liptzin) and Yiddish
Folktales (in collaboration with Pantheon Books, 1988, Leonard Wolf).
Early in its years, YIVO was associated with the socialist Jewish Labor
Bund and its longtime leader, Max Weinreich (1894-1969), the teacher of a
generation of new Yiddish speakers and writers in the U.S., was a Bundist
in his youth and remained the model of a secular Jew.
One of the greatest proponents of Yiddish literature in translation
today is the National Yiddish Book Center (NYBC). Every issue of its
journal, Pakn Treger. includes a bilingual short story. In 1995, in
collaboration with a California public radio station, the NYBC produced
Jewish Short Stories From Eastern Europe and Beyond, nine cassette tapes
(since converted into CDs) that include twenty Yiddish short stories.
Other projects of this nature have followed, including an English CD of
Sholem Aleichem's Motl the Cantor's Son. In his superb book, Outwitting
History, NYBC founder Aaron Lansky reveals that most of the Center's
major zamlers (book collectors) and supporters, at least in its formative
years, were secular leftist Jews. He aptly describes Yiddish literature
as "a counterculture" that presents "a challenge to mainstream values."
Of course, many Jews not identified with the secular Jewish left have
also produced major translations of Yiddish literature into English. Not
to be overlooked, Midstream, devoted its entire July/August 2002 issue to
"Yiddish Culture, Language and Literature," and has since included
Yiddish-related material, including literary translations, in every
July/August issue.
Among commercial publishers involved in translation, Schocken Books
is in a class by itself. Founded by Salmon Schocken (1877-1959), a secular
liberal Zionist, its sole mission has been to promote Jewish studies.
With Inside Kasrilevke (1948, Isidor Goldstick), Shocken became the
third commercial publisher to translate Sholem Aleichem into English. A
year later, it published Mendele's The Travels and Adventures of Benjamin
the Third (Moishe Spiegel). Yiddish folksongs were well represented in
Ruth Rubin's A Treasury of Jewish Folksongs (1950), and Yiddish folktales
in Louis Newman's Hasidic Anthology (1963). Schocken published I.J.
Singer's Family Carnovsky (1969, Joseph Singer), and nearly all of Howe
and Greenberg's translations of Yiddish literature in either hardcover or
soft cover editions, including the first paperback of the seminal A
Treasury of Yiddish Short Stories (1973). Schocken also produced the soft
cover edition of Lucy Dawidowicz's indispensable The Golden Tradition,
Jewish Life and Thought in Eastern Europe (1967).
In 1987, Schocken published softcover versions of Grade's My Mother's
Sabbath Days (Chana Kleinerman Goldstein and Inna Hecker Grade) and Rabbis
and Wives (Harold Rabinowiz and Inna Hecker Grade). In the same year, it
inaugurated its "Library of Jewish Classics" with the issuance of Sholem
Aleichem's Tevye the Dairyman and the Railroad Stories (Hillel Halkin),
followed by The I.L. Peretz Reader (1990, Ruth Wisse) and Ansky's The
Dybbuk and Other Writings (1992, translated mostly by Golda Werman). In
1996, Schocken produced Mendele's Tales of Mendele the Book Peddler (Dan
Miron and Ted Gorelick). In the pre-modern realm, Schocken published a
1977 soft cover edition of the Yiddish classic, The Memoirs of Glckel of
Hameln (translated in 1932 by Marvin Lowenthal).
The New Yiddish Library of the Yale University Press has also issued
editions of the above-cited Peretz and Ansky titles, as well as a new
translation of Sholem Aleichem's Letters of Menakhem Mendel and Motl the
Cantor's Son (2002, Hillel Halkin)) and The World According to Itsik -
Selected Poetry and Prose of Itsik Manger (2002, Leonard Wolf). In 2007,
it published a novel, Everyday Jews, by Yehoshue Perle (Maier Deshell and
Margaret Birstein), and stories by Lamed Shapiro (diverse translators.)
Both the New Yiddish Library and the Library of Jewish Classics series are
joint projects of the National Yiddish Book Center and the Fund for the
Translation of Yiddish Literature, which has received financial support
from Felix Posen, a British Jewish philanthropist who endows American
universities to teach courses in secular Judaism.
Syracuse University has been most active at Yiddish translation among
university presses, publishing works by Mendele, The Wishing Ring (2003,
Michael Wex) and Sholem Aleichem, Nineteen to the Dozen: Monologues and
Bits and Bobs of Other Things, (1998, Ted Gorelnick), and The Further
Adventures of Menachem Mendel, (2001, Aliza Shevrin). Peretz was added to
the mix in Syracuse's 2004 anthology, Classic Yiddish Stories (Ken
Frieden, Ted Gorelick, and Michael Wex). Syracuse has also produced books
by Ansky (2000, Joachim Neugroschel), Dovid Bergelson (1996, Golda
Werman), and Kadya Molodowsky (2006, Leah Schoolnik) as well as two books
by Chava Rosenfarb, Bociany and Lodz and Love (2000, both translated by
the author). In 2001, Syracuse published a new edition of Henry Goodman's
The New Country: Stories from the Yiddish About Life in America
(originally published by YKUF), and in 2003, a bilingual edition of The
Jewish Book of Fables: The Selected Works of Eliezer Shtaynbarg (Curt
Leviant).
In addition to Schocken, Jewish commercial publishers that have left a
mark include Thomas Yoseloff, the son of Russian Jewish immigrants, who
published a significant number of Yiddish translations under multiple
imprints, including Peretz (1958 and 1959, translated by Moshe Spiegel and
Joseph Leftwich, respectively), Sholem Aleichem (1959, Curt Leviant), and
three Mendele novels: The Nag (1955, Moshe Spiegel) The Parasite (1956,
Gerald Stillman), and Fishke the Lame (1960, Gerald Stillman). Yoseloff
also published the original 1963 edition of Ruth Rubin's Voices of a
People, and an updated version of The Golden Peacock (1961), Joseph
Leftwich's famous Yiddish poetry anthology, as well as others of
Leftwich's contributions to Yiddish literature and scholarship. In the
pre-modern realm, Thomas Yoseloff published a translation (Beth-Zion
Abrahams, 1963) of Glckel of Hameln's memoirs, The Life of Glckel of
Hameln.
Alfred A. Knopf, the son of German Jews, published the very first
translation of Sholem Aleichem stories in the U.S., Jewish Children (1920,
Hannah Berman), and all of I.J. Singer's translated novels, beginning with
The Brothers Ashkenazi (1936, Maurice Samuel). Knopf also published the
first I.B. Singer novel that appeared in English, The Family Moskat (1950,
A.H. Gross), as well as Chaim Grade's My Mother's Sabbath Days (Chana
Kleinerman Goldstein and Inna Hecker Grade) and Rabbis and Wives (Harold
Rabinowitz and Inna Hecker Grade) in hardcover during the 1980s.
Farrar, Straus and Giroux, another Jewish-owned literary house, published
nearly the entirety of I.B. Singer's works, while Crown, founded by Nat
Wartels, also Jewish, published in rapid succession Sholem Aleichem's The
Old Country (1946, Julius and Frances Butwin), Tevye's Daughters (1949,
Frances Butwin), and Wandering Star (1952, Frances Butwin), as well as
Nathan Ausubel's A Treasury of Jewish Folklore (1948). Between 1991 and
1996, Joseph Simon/Pangloss Press, a small Jewish publisher from
California, produced a multi-volume series, The Three Great Classic
Writers of Modern Yiddish Literature, consisting of Selected Works of
Mendele Moykher-Sforim (Marvin Zuckerman, Gerald Stillman, Marion Herbst),
Sholem Aleichem's Tevye the Dairyman (Miriam Katz), and Selected Works of
I.L. Peretz (Marvin Zuckerman and Marion Herbst).
Finally, a non-Jewish publisher, G.P. Putnam's Sons, released nearly all
of Sholem Asch's novels (the translators included Willa and Edwin Muir,
Elsa Krauch, A.H. Gross, and Maurice Samuel) and six volumes of Sholem
Aleichem's novels and short stories, from 1969 to 1985, including The
Adventures of Menahem-Mendel (Tamara Kahan), Old Country Tales (Curt
Leviant), and In the Storm (Aliza Shevrin).
Yiddish continues to attract Jewish rebels and outsiders. Feminist, gay
and lesbian Jews, for example, are among today's most passionate advocates
of Yiddish culture. Irena Klepfisz, a Yiddish poet and translator, is the
daughter of a Bundist hero of the Warsaw Ghetto Uprising. She is a
graduate of Workmen's Circle/Arbeter Ring shules and studied under Max
Weinreich at City College where she earned a degree in Yiddish. A lesbian
and a feminist, Klepfisz provided the introduction and some of the
translations for the first anthology of Yiddish women writers, Found
Treasures (1994), and in 1995 she coordinated a conference entitled "Di
Froyen (The Women): Women and Yiddish." The lead editor of Found
Treasures, Frieda Forman, although not secular, considers herself a
progressive Jewish feminist. Bridges: A Jewish Feminist Journal, founded
in 1989, has as its "Yiddish editor" Faith Jones, a lesbian feminist and
secular Jew, who has translated Yiddish poetry into English and is a
frequent contributor to Outlook. Rhea Tregebov, editor of the second and
latest anthology of Yiddish fiction by women, Arguing with the Storm:
Stories by Yiddish Women Writers (2007), is a secular Jewish leftist and
feminist from Canada.
It is clear that these Jews identify with Yiddish as a source of
resistance to mainstream culture and politics. So do the editors of the
three most recent anthologies of Yiddish fiction in translation, Martha
Bark, Beautiful As the Moon, Radiant as the Stars: Jewish Women in Yiddish
Stories (2003), Joachim Neugroschel, No Star Too Beautiful: Yiddish
Stories from 1382 to the Present (2002), and Miriam Weinstein, Prophets
and Dreamers: A Selection of Great Yiddish Literature (1998).
Although literacy in Yiddish is diminishing, there is still considerable
interest in reading the original among academics, college students and
Yiddish book clubs/reading circles (leyen krayzn). The International
Association of Yiddish Clubs, made up mostly of older Jews who read and
speak Yiddish at various levels of proficiency, still thrives, and pockets
of younger Jews have been attracted to mameloshn, the mother-tongue of
their ancestors. Thousands of Yiddish titles can be read free of charge
through the National Yiddish Book Center website: www.bikher.org. Di
Tsukunft (The Future), Afn Shvel (On the Threshold) and Yugntruf (The Call
of Youth) survive as Yiddish literary magazines.
Yiddish literature is our yerushe, our inheritance. As an international
cultural product, it exists independent of religion or territory. This is
its source of strength but also weakness, for it means that the language
requires a lot of nurturing to survive. Translation is part of that
nurture---to which North American secular Jews, most particularly of the
left, have made a profound contribution.
A shorter version of this article appeared in the March/April 2009 issue
of Jewish Currents magazine.
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