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In New York in 1907, a group of avant-garde Yiddish poets came together to transform Yiddish literature. Seeking a pure artistic expression, they would rid Yiddish poetry of foreign influences and overbearing political and religious rhetoric. While influenced by their Eastern European heritage, these poets were nonetheless uniquely American in their focus on the exploration of the individual. Calling themselves di Yunge (the Young Ones), this group was led in part by Reuben Iceland. From Our Springtime is Iceland's memoir as well as a reflection on the lives of the di Yunge poets. With its vivid characters, beautifully crafted descriptions, snippets of poetry, and clear analysis of the poems, this book is a work of art in its own right, and an essential resource for anyone interested in Yiddish American poetry.
Translated into English for the first time, From Our Springtime brings this period in New York literary history to life and tells the story of how these poets transformed Yiddish poetry from an expression of workingclass struggles to a form of Yiddish high art.
- Sales Rank: #3368142 in eBooks
- Published on: 2013-02-11
- Released on: 2013-02-11
- Format: Kindle eBook
Review
Marcus's translation is a critical contribution to our appreciation of New York as a global, multilingual literary center in the first decades of the twentieth century, and of ways in which Yiddish writers contributed to the multicultural expansion of American letters. --Justin Cammy, Smith College
Gerald Marcus has done us a great favor in his fine translation of Reuben Iceland, a most important figure in the American Yiddish literary world for decades --Jules Chametzky, coeditor of Jewish American Literature: A Norton Anthology
Reuben Iceland was one of the leaders of Die Yunge, a literary movement that was centered in New York
at the turn of the twentieth century. Die Yunge wanted to purify Yiddish and make it a literary language with
a stature equal to that of other western languages....Gerald Marcus gives the reader a clear, compelling translation of a passionate man surrounded by talents perhaps greater than his, who treated all his fellow poets like family....This memoir is a significant source for research on Yiddish literature in America. --Association of Jewish Libraries Reviews
About the Author
Gerald Marcus is a painter and printmaker who grew up speaking Yiddish in his home.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Poets Unite!
By sheri gottlieb
This is a remarkable memoir! There is so much to learn about these poets and their time spent together on the lower east side.
0 of 0 people found the following review helpful.
Fascinating
By Amaz Tanner
I am not a Yiddish speaker, but i really loved this book. The translation is sensitive and engaging, and gives a fascinating perspective on everyday life in the New York Yiddish poetry scene in the early 1900's.
0 of 1 people found the following review helpful.
A Bit Depressing
By B. Wolinsky
Yiddish literature in the USA is an irony. It was written by men and women who wanted to preserve the language, but at the same time they raised their children to speak English first. They put great effort into their writing, but they encouraged their children to not be writers. My grandmother, for instance, spoke Yiddish and loved all the stories and plays that came with it, but she didn't pass it on to her kids. Few Ashkenazi Jews today speak Yiddish anymore, and the Yiddish theatre companies of the Lower East Side are all gone too. The Satmar Hasids speak Yiddish, but it's totally different from the kind you'd see in plays. I remember the part in Unorthodox, where the author sees the old Yiddish for the first time and gets a shock. She says "boy was I surprised, the Yiddish we spoke was not the Shalom Aleichem Yiddish, that stuff was really naughty compared to what we had." Come to think of it, Shalom Aleichem raised his children to speak only Russian. Yiddish seems to stop at the next generation.
From Our Springtime is a journal written by Reuben Iceland (died in the 1950's) and translated by Gerald Marcus. Some of the essays are bit on the mournful side, like the one where he and I.J. Schwartz meet in Miami and talk about the death of Opotashu. He clearly accepts that Yiddish as he knows it will die out soon, as the next generation of Jewish Americans moves on. His entry on Anna Margolin says that her son became a politician in Israel in 1948, and that says quite a lot about the end of Yiddish; first generation Israelis never, ever, spoke Yiddish. They regarded it as a remnant of the Golah, a relic of their weakling past. There's a famous Israeli story by Aaron Megged called The Name (aka Yad Vashem) where an old man goes to war with his granddaughter because she won't name her son Mendel. He's like "what do you mean the name is embarrassing?" and she says "you can't give an Israeli kid a Yiddish name, he might as well be born with a hump!"
It's a shame that Yiddish didn't last the way other languages did, but then again, it didn't have the strength to survive. Back in the Shtetls, the Jews didn't write lots of plays and stories in Yiddish, and by the time Shalom Aleichem started archiving them, Jews were struggling to integrate. The Yiddish theatre in New York was prominent, but the children of the actors and writers had to learn in English if they wanted to succeed here.
The same thing has happened with lots of other languages worldwide. Gaelic is rarely spoken by young people in Ireland or Scotland, and the Breton language might cease to be spoken in France. Basque might disappear in one or two generations, along with Native American languages. In Cape Town, the Malay language has been lost, and in Louisiana the Cajun language might die out too. Perhaps the life and death of Yiddish in the USA is like that of other minor languages. Once the next generation integrates, the strands of the older language become lost.
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