Jewish-American Literature's Lost-and-Found Department: How Philip Roth and Cynthia Ozick Reimagine Their Significant Dead

1989 ◽  
Vol 35 (2) ◽  
pp. 223-235 ◽  
Author(s):  
Sanford Pinsker
Keyword(s):  
Jewish American ◽  
Philip Roth ◽  
Cynthia Ozick ◽  
Lost And Found

5. Into the mainstream

2021 ◽  
pp. 50-60
Author(s):  
Ilan Stavans
Keyword(s):  
International Literature ◽  
Anzia Yezierska ◽  
Jewish Literature ◽  
Philip Roth ◽  
Saul Bellow ◽  
Abraham Cahan ◽  
Cynthia Ozick ◽  
Isaac Bashevis Singer ◽  
Grace Paley ◽  
Jewish Writers

“Into the mainstream” looks at immigrant Jewish writers in America, such as Abraham Cahan (The Rise of David Levinsky), Anzia Yezierska (Bread Givers), and Isaac Bashevis Singer (Gimpel the Fool and Other Stories), all of whom transitioned from Yiddish into English, and analyzes Henry Roth’s Call It Sleep as a transitional novel. We notice here the transition from “ethnic” to “national” writer in the careers of Bashevis Singer, Saul Bellow, Philip Roth, Grace Paley, and Cynthia Ozick. Much was gained and lost in Jewish literature as a result of Jews becoming a “successful minority” in America. Jewish readers have always been a voracious audience of international literature.

Cross Scripts: Inscribing Hebrew into Jewish American Literature

2020 ◽  
Vol 8 (1-2) ◽  
pp. 90-107
Author(s):  
Hana Wirth-Nesher
Keyword(s):  
American Literature ◽  
Rites Of Passage ◽  
Early 20Th Century ◽  
Jewish American ◽  
Philip Roth ◽  
Jewish American Literature ◽  
Achy Obejas ◽  
Joshua Cohen ◽  
Jewish Immigrants ◽  
Michael Chabon

Abstract Most Jewish immigrants to America during the early 20th century arrived speaking Yiddish or Ladino and using Hebrew and Aramaic for liturgical purposes. When subsequent generations abandoned the first two languages, Hebrew and Aramaic were retained, used primarily for liturgy and rites of passage. Jewish American writers have often inserted Hebrew into their English texts by either reproducing the original alphabet or transliterating into Latin letters. This essay focuses on diverse strategies for representing liturgical Hebrew with an emphasis on the poetic, thematic, and sociolinguistic aspects of these expressions of both home and the foreign. Hebrew transliteration is discussed for its literary (rather than phonetic) rendering, for its multilingual creative contact with the other languages and cultures of each narrative. Among the authors whose works are discussed are Philip Roth, Michael Chabon, Nathan Englander, Joshua Cohen, Achy Obejas, and Gary Shteyngart.

Introduction: American Jewish Writing Today

AJS Review ◽  
2006 ◽  
Vol 30 (2) ◽  
pp. 227-230
Author(s):  
Naomi Sokoloff
Keyword(s):  
Jewish Literature ◽  
Philip Roth ◽  
Cynthia Ozick ◽  
The Holocaust ◽  
Allegra Goodman ◽  
Women's Lives ◽  
Thane Rosenbaum ◽  
American Jewish ◽  
Exciting Time ◽  
Michael Chabon

This is an exciting time for North American Jewish literature. In the past ten years, there has been an explosion of writing by new and established authors. In the field of fiction alone, the shelves have filled with titles by such fine talent as Pearl Abraham, Melvin Jules Bukiet, Michael Chabon, Nathan Englander, Myla Goldberg, Ehud Havatzelet, Dara Horn, Jonathan Safran Foer, Joan Leegant, Tova Mirvis, Jon Papernick, Jonathan Rosen, Aryeh Lev Stollman, and many others, as well as new works by veteran writers such as Allegra Goodman, Thane Rosenbaum, and Steve Stern. Add to these names the preeminent Cynthia Ozick, and don’t forget Philip Roth, whose productivity continues unabated and whose latest novels include some of his strongest work ever. A variety of striking themes has come to the fore in this new wave of literary creativity. Notable trends include an unprecedented attention to religion (especially Orthodox Jewish life); a fascination with women’s lives and with questions of gender and sexual orientation; a concern with the experiences of the second and succeeding generations of the Holocaust; a nostalgia for and rediscovery of the old country; a consideration of new Americans in the 1980s and 1990s; and a rethinking of what it means to be a Jew in Israel and in the Diaspora.

Ghosts

2021 ◽  
pp. 116-168
Author(s):  
Andrew Dean
Keyword(s):  
Hannah Arendt ◽  
The Novel ◽  
Jewish American ◽  
Philip Roth ◽  
Literary Value ◽  
Political Debates ◽  
Political Judgement ◽  
The Holocaust ◽  
Literary Archive ◽  
Ethnic Categorization

This chapter examines how Philip Roth responds to Jewish American readers and contexts in his fiction. Roth exploits the tensions and transitions in Jewish American political aspirations in the period, setting heated political debates about assimilation and particularism against different measurements of value in the novel. By using live cultural debates from the period, Roth courts ethnic categorization, while ultimately relativizing such categories in his attempt to pursue alternative understandings of literary value. In Roth’s earlier ‘Nathan Zuckerman’ fictions, the comedy and intelligence emerge through his practice of contrasting the ‘humble needs’ of a desiring body with the rush either to pass political judgement or to withdraw the novel from the complications of embodied life. The second half of the chapter demonstrates how Roth engages both directly and indirectly with the work of Hannah Arendt and the 1950s context for thinking about the Holocaust. This section of the chapter focuses in particular on an unpublished screenplay housed in Roth’s literary archive.

scholarly journals ‘Why will you Jews not accept our culture, our religion and our language?’: James Joyce’s Jew through the Eyes of Jewish America

2014 ◽  
pp. 119-122
Author(s):  
Dan O’Brien
Keyword(s):  
Twentieth Century ◽  
James Joyce ◽  
Human Being ◽  
Jewish American ◽  
Philip Roth ◽  
Saul Bellow ◽  
Bernard Malamud ◽  
Sense Of Identity

Just as James Joyce is the most important writer since Shakespeare, his Jewish-Irish character, Ulysses’ Leopold Bloom, is the most fascinating fictional Jew since Shylock. All authors must struggle with Joyce’s overwhelming legacy, but what of writers who are themselves Jewish? How do they envisage Bloom and relate to his complex sense of identity—as a Jew, as an Irishman, but most fundamentally as a human being? The three greatest Jewish American writers of the twentieth century, Philip Roth, Bernard Malamud, and Saul Bellow, were all deeply influenced by Joyce. Each of them responded to Joyce’s masterpiece by rewriting it from the perspective of an American Jew—just as Ulysses itself is an Irish rewriting of Homer’s Odyssey. What draws these authors to Joyce? Is it their shared heritage of exile and a lost homeland, or Joyce’s powerful use of language? When asked how one can tell if a novel is Jewish ...

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