Translated by Andrew Bromfield

Total Page:16

File Type:pdf, Size:1020Kb

Translated by Andrew Bromfield Translated by Andrew Bromfield REDEMPTION RUSSIAN LIBRARY The Russian Library at Columbia University Press publishes an expansive selection of Russian literature in English translation, concentrating on works previously unavailable in English and those ripe for new translations. Works of premodern, modern, and contemporary literature are featured, including recent writing. The series seeks to demonstrate the breadth, surprising vari- ety, and global importance of the Russian literary tradition and includes not only novels but also short stories, plays, poetry, memoirs, creative nonfiction, and works of mixed or fluid genre. Editorial Board: Vsevolod Bagno Dmitry Bak Rosamund Bartlett Caryl Emerson Peter B. Kaufman Mark Lipovetsky Oliver Ready Stephanie Sandler ɷɸɷ Between Dog and Wolf by Sasha Sokolov, translated by Alexander Boguslawski Strolls with Pushkin by Andrei Sinyavsky, translated by Catharine Theimer Nepomnyashchy and Slava I. Yastremski Fourteen Little Red Huts and Other Plays by Andrei Platonov, translated by Robert Chandler, Jesse Irwin, and Susan Larsen Rapture: A Novel by Iliazd, translated by Thomas J. Kitson City Folk and Country Folk by Sofia Khvoshchinskaya, translated by Nora Seligman Favorov Writings from the Golden Age of Russian Poetry by Konstantin Batyushkov, presented and translated by Peter France Found Life: Poems, Stories, Comics, a Play, and an Interview by Linor Goralik, edited by Ainsley Morse, Maria Vassileva, and Maya Vinokur Sisters of the Cross by Alexei Remizov, translated by Roger John Keys and Brian Murphy Sentimental Tales by Mikhail Zoshchenko, translated by Boris Dralyuk FRIEDRICH GORENSTEIN RE DEMPTION Translated by Andrew Bromfi eld Columbia University Press / New York Published with the support of Read Russia, Inc., and the Institute of Literary Translation, Russia Columbia University Press Publishers Since 1893 New York Chichester, West Sussex cup.columbia.edu Translation copyright © 2018 Andrew Bromfield All rights reserved Library of Congress Cataloging-in-Publication Data Names: Gorenshteæin, Fridrikh, 1932-2002, author. | Bromfield, Andrew, translator. Title: Redemption / Friedrich Gorenstein ; translated by Andrew Bromfield. Other titles: Iskuplenie. English Description: New York : Columbia University Press, 2018. | Series: Russian library Identifiers: LCCN 2018011861 (print) | LCCN 2018017111 (ebook) | ISBN 9780231546027 (electronic) | ISBN 9780231185141 (cloth : alk. paper) | ISBN 9780231185158 (pbk.) Subjects: | LCGFT: Psychological fiction. Classification: LCC PG3481.2.R45 (ebook) | LCC PG3481.2.R45 I713 2018 (print) | DDC 891.73/44—dc23 LC record available at https://lccn.loc.gov/2018011861 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Cover design: Roberto de Vicq de Cumptich Book design: Lisa Hamm CONTENTS Introduction by Emil Draitser vii Redemption 1 INTRODUCTION emingway’s pronouncement about an unhappy child- H hood as the best early training for a writer is especially true for Friedrich Gorenstein. In fact, to call his child- hood merely unhappy is a gross understatement. Gorenstein grew up during the time of two evil historical forces, which deeply affected him and left indelible marks on his character and his outlook. His tragic early life experience informed his future writing. Born in 1932 in Kiev, Ukraine, Friedrich was only three years old when his father, a professor of political economy, fell victim to Stalin’s Great Terror. Arrested by the NKVD (the People’s Commissariat for Internal Affairs, the secret police) and sent to one of the Far East hard-labor camps, two years later he was sentenced to death and shot. This development had a devastating effect on Gorenstein’s fam- ily, now the subjects of deprivation and further persecution, and pigeonholed as the “family of an enemy of the people.” Gorenstein’s mother, Enna Abramovna Prilutskaya, a teacher by training, did everything she could to hide from the watchful eyes of the secret police. First, she changed her surname from her husband’s back to her maiden name. She also managed to replace her son’s papers, not only changing his surname to hers but also giving him the name “Felix” instead of “Friedrich.” Ironically, in the spirit of the time, she and her husband, both ardent believers in the bright future of viii \ Introduction Communist ideas, had given their son the name in honor of the coauthor of The Communist Manifesto, Friedrich Engels. Later on, as an adult, Gorenstein restored both his given name and his father’s surname. In addition, to distance herself and her son from the watchful eyes of the NKVD, Enna Abramovna escaped from Kiev with three- year-old Friedrich. She took refuge in Berdichev, Ukraine, where she and her husband had been born. Jobless for several years, she had no place of her own, and moved from one relative’s or acquain- tance’s home to another. Friedrich was only nine when, on June 22, 1941, the military forces of Nazi Germany, together with their allies, broke the notorious Molotov-Ribbentrop nonaggression pact.1 In the larg- est German military operation of World War II, code-named “Operation Barbarossa,” they crossed the Soviet border on a wide front stretching from the Black Sea in the south to the Baltic Sea in the north. The attack took the Soviet forces by surprise and was thus highly successful. Stalin infamously treated information about a mortal danger to the country as “fake news” for months, dismissing numer- ous reports from the Western press as well as from Soviet intel- ligence about the high concentration of Wehrmacht troops and armament along a broad stretch of the country’s western border. The Soviet dictator treated such reports as malicious disinforma- tion and provocation aimed at breaking up the friendship between the peoples of Germany and the Soviet Union. In the first few hours of the invasion, Luftwaffe planes bombed major Soviet cities. A significant part of the Soviet air force was destroyed on the ground. Unprepared, lacking any direction from high command, the Soviet armies were overwhelmed and retreated en masse. Around four million Soviet soldiers were encircled and captured. The sudden attack had a devastating effect on the civilian popu- lation in general, and on Jews in particular. One of the main reasons for this was that the Soviets blocked information regarding the true intentions of the German troops. After Hitler had come to power and before the signing of the German-Soviet pact of 1939, the policy of the USSR was anti-Nazi. The government produced antifascist films and published books critical of the Nazis’ handling of the German Jews. After the pogroms of Kristallnacht in November 1938, an antifascist rally was organized in Moscow, where the director of the State Jewish Theater, Solomon Mikhoels, spoke. However, in less than a year, Hitler and Stalin, yesterday’s ideological enemies, became allies and partners in the seizure of neighboring countries. The Molotov-Ribbentrop pact was signed a week before the outbreak of World War II. Poland was divided, and Hitler seized the countries of Europe one after another. In the occupied territories, especially in Poland, severe persecution of Jews began. Their property was seized, and they were driven into Nazi-organized ghettos. After the signing of the Molotov-Ribbentrop pact, the Soviets stopped publishing news of Nazi atrocities against Jews. Because of the Soviet information blockade, on the eve of the German invasion the overwhelming majority of the Soviet population was not fully aware of the threat posed by the Germans. As a result of this lack of information and the speed of the German offensive, most Jews in the western regions could not evacuate and were walled off in the ghettos and then killed in the extermination camps. In Mein Kampf, Adolf Hitler wrote that Nazi Germany’s main goal was to enlarge its living space (Lebensraum) at the expense of the eastern territories; in Hitler’s view it was equally important to annihilate members of the Communist Party and Soviet Jews, two components of the Judeo-Bolshevik threat to Germany. Therefore, the first order of business when capturing a Red Army unit was to Introduction \ ix x \ Introduction cull Jews and Communist political commissars and shoot them, often on the spot. Procedures were also in place to deal with Jewish civilians. As the Nazi military advanced deep into Soviet territory, SS and police units followed the troops. The first to arrive were the Einsatzgrup- pen, special mobile killing units of the Wehrmacht security police and the security service. Behind the front lines, they were charged with the task of annihilating Jews, Communists, and other people deemed to be dangerous to the establishment of long-term German rule on Soviet territory. The Einsatzgruppen initiated the mass murder of Jews and Gypsies but also Soviet state and Party officials. Unlike in the Nazi-occupied countries of Western Europe, where Jews had been deported and shipped to death camps primarily in Germany and Poland, Jews in the USSR were taken from their homes and shot on the outskirts of their towns. In the cities with relatively large Jewish populations, such as Lvov, Minsk, and Odessa, Jews were forced into local ghettos and then hauled off in cattle trucks to the death camps.2 Rumors about the deadly treatment of Jewish civilians by the rapidly advancing German troops caused mass panic, as there were no civilian evacuation plans in place. Contrary to the myth that some Americans still believe today, at the outbreak of war with Germany the Soviet government had not made special arrange- ments to save Soviet Jews from the rapidly advancing Nazis.3 The truth is that the Soviet authorities had been fully informed about the systematic extermination of Jews in the Nazi-occupied territo- ries, but at the time of the German invasion, no government evacu- ation instructions of any kind were in place. The orders came from Moscow several days later; the only objec- tive was to relocate to the rear of the country the raw materials, indus- trial equipment, and personnel needed to run the Soviet war machine.
Recommended publications
  • Jewish Issue in Friedrich Gorenstein's Writing
    JEWISH ISSUE IN FRIEDRICH GORENSTEIN’S WRITING Elina Vasiljeva, Dr. philol. Daugavpils University/Institute of Comparative Studies , Latvia Abstract: The paper discusses the specific features in the depiction of the Jewish issue in the writings by Friedrich Gorenstein.The nationality of Gorenstein is not hard to define, while his writing is much more ambiguous to classify in any national tradition. The Jewish theme is undoubtedly the leading one in his writing. Jewish issue is a part of discussions about private fates, the history of Russia, the Biblical sense of the existence of the whole humankind. Jewish subject matter as such appears in all of his works and these are different parts of a single system. Certainly, Jewish issues partially differ in various literary works by Gorenstein but implicitly they are present in all texts and it is not his own intentional wish to emphasize the Jewish issue: Jewish world is a part of the universe, it is not just the tragic fate of a people but a test of humankind for humanism, for the possibility to become worthy of the supreme redemption. The Jewish world of Gorenstein is a mosaic world in essence. The sign of exile and dispersal is never lifted. Key Words: Jewish , Biblical, anti-Semitism Introduction The phenomenon of the reception of one culture in the framework of other cultures has been known since the antiquity. Since the ancient times, intercultural dialogue has been implemented exactly in this form. And this reception of another culture does not claim to be objective. On the contrary, it reflects not the peculiarities of the culture perceived, but rather the particularities of artistic consciousness of the perceiving culture.
    [Show full text]
  • Poetry Sampler
    POETRY SAMPLER 2020 www.academicstudiespress.com CONTENTS Voices of Jewish-Russian Literature: An Anthology Edited by Maxim D. Shrayer New York Elegies: Ukrainian Poems on the City Edited by Ostap Kin Words for War: New Poems from Ukraine Edited by Oksana Maksymchuk & Max Rosochinsky The White Chalk of Days: The Contemporary Ukrainian Literature Series Anthology Compiled and edited by Mark Andryczyk www.academicstudiespress.com Voices of Jewish-Russian Literature An Anthology Edited, with Introductory Essays by Maxim D. Shrayer Table of Contents Acknowledgments xiv Note on Transliteration, Spelling of Names, and Dates xvi Note on How to Use This Anthology xviii General Introduction: The Legacy of Jewish-Russian Literature Maxim D. Shrayer xxi Early Voices: 1800s–1850s 1 Editor’s Introduction 1 Leyba Nevakhovich (1776–1831) 3 From Lament of the Daughter of Judah (1803) 5 Leon Mandelstam (1819–1889) 11 “The People” (1840) 13 Ruvim Kulisher (1828–1896) 16 From An Answer to the Slav (1849; pub. 1911) 18 Osip Rabinovich (1817–1869) 24 From The Penal Recruit (1859) 26 Seething Times: 1860s–1880s 37 Editor’s Introduction 37 Lev Levanda (1835–1888) 39 From Seething Times (1860s; pub. 1871–73) 42 Grigory Bogrov (1825–1885) 57 “Childhood Sufferings” from Notes of a Jew (1863; pub. 1871–73) 59 vi Table of Contents Rashel Khin (1861–1928) 70 From The Misfit (1881) 72 Semyon Nadson (1862–1887) 77 From “The Woman” (1883) 79 “I grew up shunning you, O most degraded nation . .” (1885) 80 On the Eve: 1890s–1910s 81 Editor’s Introduction 81 Ben-Ami (1854–1932) 84 Preface to Collected Stories and Sketches (1898) 86 David Aizman (1869–1922) 90 “The Countrymen” (1902) 92 Semyon Yushkevich (1868–1927) 113 From The Jews (1903) 115 Vladimir Jabotinsky (1880–1940) 124 “In Memory of Herzl” (1904) 126 Sasha Cherny (1880–1932) 130 “The Jewish Question” (1909) 132 “Judeophobes” (1909) 133 S.
    [Show full text]
  • Download This Thesis As
    THE UNIVERSITY OF NICOSIA VISIONS OF SPACE HABITATION: FROM FICTION TO REALITY A THESIS SUBMITED TO THE FACULTY OF ARCHITECTURE FOR THE PROFESSIONAL DIPLOMA DEPARTMENT OF ARCHITECTURE SUPERVISORS PROFESSOR SOLON XENOPOULOS PROFESSOR NIKOLAS PATSAVOS BY FARHAD PAKAN NICOSIA JANUARY 2012 Contents Acknowledgment 3 Abstract 4 Exhibits 5 Abbreviations and acronyms 7 1 Introduction 8 2 Visions of Space Exploration in the Films of Tarkovski and Kubrick 11 3 Life at the Extremes 23 3.1 Habitability and Life on Earth 23 3.1.1 The Halley VI Antarctic Research Centre 25 3.1.2 The Aquarius Underwater Laboratory 27 3.2 Offworld Human Settlements 31 3.2.1 The International Space Station (ISS) 33 3.2.2 The City as a Spaceship (CAAS) 38 4 Formation of a new Settlement 44 4.1 Toward the Earth’s Eight Continent 45 4.1.1 Early Attempts 46 1 4.1.2 HABOT BASE Architecture 52 4.2 Lunar Site Design 58 4.2.1 Perception of Lunar Urbanity 67 4.2.2 Learning from the Romans 70 5 Conclusion 75 References 78 2 Acknowledgments I wish to thank Prof. Xenopoulos, Prof. Patsavos and Prof. Menikou for helping me to outline and structure this paper and for their assistance with grammar and proper citation. 3 Abstract The purpose of this paper is to provide an analytic observation through the visions of space habitation. It will study how the adventurous way of thinking and imagination of the curious human about the future of its life within the extraterrestrial environment, became a stepping stone for studying and challenging of these extreme environments and the initiation of a brave new era in the history of humanity.
    [Show full text]
  • Federal President Frank-Walter Steinmeier at the Congress of the Central Council of Jews in Germany in Berlin on 19 December 2019
    Read the speech online: www.bundespraesident.de Page 1 of 5 Federal President Frank-Walter Steinmeier at the congress of the Central Council of Jews in Germany in Berlin on 19 December 2019 I now know the Hebrew word likrat. It means “to move towards one another”. I learned it from young Jewish people whom I just met with the President of the Central Council before the start of the event. These young people visit schools, where they meet non-Jewish pupils and explain their faith, answer questions and describe what being Jewish means to them. The documentary filmmaker and Grimme Prize laureate Britta Wauer reported on this project last year in one of her wonderful films. A great deal of warmth, enthusiasm, dedication and realism can be felt in this film. I also experience a similarly welcoming atmosphere here with you at the annual gathering of the Jewish community. Josef Schuster, ladies and gentlemen, thank you very much indeed for inviting me! I am delighted to be here with you today! And I am here in the firm conviction that it is the right time to be here! You all know the word likrat, to move towards one another. You will be familiar with this project and I imagine that you have also seen the film. I think it is a wonderful idea. It is both a beautiful and a simple way to put a face to one’s own faith, to move towards people of different faiths, to start a dialogue and to discover common ground. I think many people in our country, Jews and non-Jews alike, wish for likrat! But the path on which we move towards one another has become more arduous in recent years.
    [Show full text]
  • Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
    Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of
    [Show full text]
  • Introduction
    CONNEXE 5 | 2019 Divided Memories, Shared Memories, Poland, Russia, Ukraine: History mirrored in Literature and Cinema >>>>> INTRODUCTION Korine AMACHER & Éric AUNOBLE Korine AMACHER & Éric AUNOBLE — Introduction Divided Memories, Shared Memories, Poland, Russia, Ukraine: History Mirrored in Literature and Cinema In 2017, general-interest magazines illustrated the centenary of the Russian Revolution with stills from Eisenstein’s October [Октябрь] (1927). One strikingly showed soldiers rushing across a square to represent the storming of the Winter Palace by Bolshevik fighters on 7 November 1917. In reality, the actual assault was slow and even laborious. But for Western audiences, this film sequence has become an archive image, a piece of history. This type of substitution of artistic representation for historical reality conflicts with the positive construction of our knowledge of the past. Indeed, historians long refused to include literature and films in their historical research, as well as art in general, which has been mainly analysed from an aesthetic point of view. The opening up of the archives following the fall of the Berlin Wall in 1989 and the collapse of the USSR in 1991 did, however, shake up historians’ research. For example, where once the bibliography on Eisenstein’s October1 mainly contained formal studies about the movie, matters changed with access to Soviet archives in the early 1990s. It emerged then how far the history of the film was actual history, providing valuable lessons for understanding Soviet communism. Frederick Corney has shown how Telling October (Corney 2004, 183) became fixed as a result of institutional constraints and the political balance of power.
    [Show full text]
  • A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment
    A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment Gus Helbock Haverford College Class of 2017 History Thesis Professor Linda Gerstein Professor James Krippner April 21, 2017 Helbock i Acknowledgements First, I would like to thank the professors at Haverford College who guided me through my educational experience, especially in the History Department. Specifically, I am grateful for the help that Professor Linda Gerstein and Professor James Krippner provided as my first reader/advisor and second reader, respectively. The advice they gave me and the historical insight they provided were integral in the completion of this thesis. I would also like to thank my family and friends who have given me love and support throughout the entirety of the thesis process. Helbock ii Abstract During the latter half of the twentieth century, Andrei Tarkovsky received arguably more critical admiration for his films than any Soviet director. During his filmmaking career, the Soviet Union experienced a tumultuous socio-cultural, as well as political, moment. After the death of Stalin, the Khrushchev Thaw of the late 1950s and early 1960s allowed for significantly more freedom of expression. It was at this time that Tarkovsky’s career began. However, through the 1960s and 1970s, a reactionary period in Soviet politics led to a return of stringent censorship, making Tarkovsky’s filmmaking process difficult. In the early 1980s, Tarkovsky emigrated to Western Europe, where he completed his final two films before his death in 1986. Due to his contentious relationship with the Soviet state, this thesis will attempt to analyze Tarkovsky and assess his relationship to the Russian intelligentsia and the dissident movements of the late twentieth century, as well as his relationship with spirituality and religion.
    [Show full text]
  • C:\Faili\DARBI\Daugavpils UNIVERSITATE\Gramatas\Komparativistika\6-35 Literarais Teksts\Literarais Teksts.Pmd
    KomparatÓvistikas almanahs Journal of Comparative Studies LITER¬RAIS TEKSTS: fiANRU MODIFIK¬CIJAS UN NARATŒVA SPECIFIKA LITERARY TEXT: MODIFICATIONS OF GENRES AND SPECIFICITY OF THE NARRATIVE DAUGAVPILS UNIVERSIT¬TES AKAD«MISKAIS APG¬DS ìSAULEî ~ 2014 ~ Burima M., KaË‚ne I. (red.) KomparatÓvistikas almanahs Nr. 6 (35). Liter‚rais teksts: ˛anru modifik‚cijas un naratÓva specifika. Daugavpils: Daugavpils Universit‚tes AkadÁmiskais apg‚ds ìSauleî, 2014, 218 lpp. Burima M., KaË‚ne I. (eds.) Journal of Comparative Studies No 6 (35). Literary Text: Modifications of Genres and Specificity of the Narrative. Daugavpils: Daugavpils University Academic Press ìSauleî, 2014, 218 p. Zin‚tnisk‚ komiteja / Scientific Committee Maija Burima, Dr. philol., Latvija / Latvia Fjodors Fjodorovs, Dr. habil. philol., Latvija / Latvia Rahilya Geybullayeva, Dr. philol., Azerbaid˛‚na / Azerbaijan Asta GustaitienÎ, Dr. hum., Lietuva / Lithuania Natalya Ilyinskaya, Dr. philol., Krievija / Russia Ilze KaË‚ne, Dr. philol., Latvija / Latvia Yordan Lyutskanov, Dr. philol., Bulg‚rija / Bulgaria Eva Maagerø, NorvÁÏija / Norway Malan MarnersdÛttir, Dr. phil., FÁru salas / Faroe Islands Sandra Mekova, Dr. philol., Latvija / Latvia Anneli Mihkelev, Dr. phil., Igaunija / Estonia Irine Modebadze, Dr. philol., Gruzija / Georgia Irma Ratiani, Dr. philol., Gruzija / Georgia Tigran S. Simyan, PhD, ArmÁnija / Armenia Anna StankeviËa, Dr. philol., Latvija / Latvia ElÓna VasiÔjeva, Dr. philol., Latvija / Latvia fiurn‚la izdoana apstiprin‚ta Daugavpils Universit‚tes Zin‚tnes padomes sÁdÁ
    [Show full text]
  • 39Th Annual Conference American Literary Translators Association
    39th Annual Conference American Literary Translators Association October 6–9, 2016 Oakland, CA Join AmazonCrossing editors and translators for a discussion on crime fiction in translation. Translators will share favorite passages from recent translations, discuss their approach, and give away copies of their works. Date: Friday, October 7 Time: 11-12:15pm Location: OCC 210-211 AmazonCrossing is a proud sponsor of The American Literary Translators Association Conference. For more information on AmazonCrossing, please visit www.amazon.com/crossing A powerful novel by one of the most important The first English translation of Muhammad Zafzaf’s novel twentieth-century writers of the Armenian diaspora. of a coastal Moroccan city and its gritty underbelly. “An indelible portrait of a man in transit and a country in transition. “An incandescent translation by Zafzaf writes without indulgence, yet Manoukian and Jinbashian and with sympathy and humor, about life an indispensable afterword by in the coastal town Essaouira, where Nichanian, foremost reader and locals and tourists mingle, mutually critic of modern Armenian litera- exposing their hypocrisies. A gritty, ture, make the publication of The powerful novel by one of Morocco’s Candidate an indisputable event, greatest writers.” as readers of English can finally pay close attention to the words —Laila Lalami, author of The Moor’s Account of Zareh Vorpouni.” “A welcome addition to the canon — Gil Anidjar, Columbia University of works of Moroccan literature in translation.” —William Hutchins,
    [Show full text]
  • The Legacy of Jewish-Russian Literature
    General Introduction: The Legacy of Jewish-Russian Literature By Maxim D. Shrayer DUAL LITERARY IDENTITIES What are cultures measured by? Cultural contributions are difficult to quantify and even harder to qualify without a critical judgment in hand. In the case of verbal arts, and of literature specifically, various criteria of formal perfection and originality, significance in literary history, and aspects of time, place, and milieu all contribute to the ways in which one regards a writer’s contribution. In the case of Jewish culture in Diaspora, and specifically of Jewish writing created in non-Jewish languages adopted by Jews, the reckoning of a writer’s status is riddled with a set of powerful contrapositions. Above all else, there is the duality, or multiplicity, of a writer’s own iden- tity—both Jewish and German (Heinrich Heine) or French (Marcel Proust) or Russian (Isaac Babel) or Polish (Julian Tuwim) or Hungarian (Imre Kertész) or Brazilian (Clarice Lispector) or Canadian (Mordechai Richler) or American (Bernard Malamud). Then there is the dividedly redoubled perspec- tive of a Diasporic Jew: both an in-looking outsider and an out-looking insider. And there is the language of writing itself, not always one of the writer’s native setting, not necessarily one in which a writer spoke to his or her own parents or non-Jewish childhood friends, but in some cases a second or third or forth language—acquired, mastered, and made one’s own in a flight from home.1 Evgeny Shklyar (1894–1942), a Jewish-Russian poet and a Lithuanian patriot who translated into Russian the text of the Lithuanian national anthem 1 In the context of Jewish-Russian history and culture, the juxtaposition between a “divided” and a “redoubled” identity goes back to the writings of the critic and polemicist Iosif Bikerman (1867–1941? 1942?), who stated in 1910, on the pages of the St.
    [Show full text]
  • 27Th International Annual Conference on Jewish Studies
    27th International Annual Conference on Jewish Studies July 11-13, 2021 (Moscow) July 11, Sunday 11:00-12:00 (Moscow time) Opening ceremony. The presentation of the Sefer programs, projects and publications 12.00 – 14.30 Hebrew Manuscripts Chair: Alexander Gordin (National Library of Israel, Jerusalem) 1. Reuven Kiperwasser (Ariel University). Glosses and Notes: Reading Medieval Manuscripts (RUS) 2. Shimon Yakerson (Institute of Oriental Manuscripts RAS, St. Petersburg). Colophons of the 15th century Jewish book. From manuscripts to incunabula (RUS) 3. Alina Lisitsina (RSL, Moscow / Maale Adumim). To the Problem of Identification of Manuscripts which Belonged to the “Schneerson Collection” (RUS) 4. Alexander Gordin (National Library of Israel, Jerusalem). Teaching Astronomy in Hebrew in the Fifteenth-Century Constantinople (RUS) 5. Ekaterina Belkina (Institute of Oriental Manuscripts RAS, St. Petersburg, postgraduate student). Ivanow's "Bukhara collection" at the IOM RAS: Jewish manuscripts and their destiny (RUS) 6. Mikhail Arseniev (Oriental Studies Department, St. Petersburg State University, student). Hebrew Texts of the Tanakh Written in Arabic Letters in the Second Firckovich Collection (RNL) (RUS) Semitic Philology and Epigraphy Chair: Alexey Lyavdansky (HSE University, Moscow) 1. Gaby Abou Samra (Lebanese University, Beirut). Jewish and Christian Features in the Syriac Magic Bowls (ENG) 2. James Nathan Ford (Bar Ilan University). The Evil Eye in the Syriac Magic Bowls (ENG) 3. Alexey Lyavdansky (HSE University, Moscow). Charms Against the Evil Eye in the Later Syriac Tradition of Written Magic (ENG) 4. Matthew Morgenstern (Tel Aviv University). A New Edition of the Mandaic Evil Eye Spells (ENG) 5. Chaya-Vered Dürrschnabel (University of Bern). A Hitherto Unpublished Incantation Bowl from the Wolf Family Collection (ENG) 6.
    [Show full text]
  • 23.1 Conflict &/Or Concord
    Rampike 23/1 __________________________________________________________________________________ INDEX Burroughs Centenary p. 2 Editorial p. 3 Nicholas Jirgens p. 3 Stan Rogal p. 4 Tina Raffell p. 5 Eleanor Catton & Karl Jirgens p. 6 Brian Henderson p. 9 Hal Jaffe p. 10 Brian Edwards p. 12 Frank Davey p. 14 Alan Davies p. 16 Laura Solomon p. 19 Karl Jirgens p. 20 Satch Dobrey p. 21 Abraham Anghik Ruben p. 22 David Groulx p. 25 J. Spencer Rowe p. 26 Osvaldo R. Castillo, H. Brouillet & N. Cornett p. 28 Shane Neilson p. 30 Amin Rehman p. 32 Phillipe Montbazet & Darren Ell p. 34 David Burty p. 35 Keith Garebian p. 36 Alan Lord p. 39 Gary Barwin p. 40 Melody Sumner Carnahan p. 42 Faye Harnest p. 44 Cyril Dabydeen p. 46 Dominique Blain p. 48 Neil Scotten p. 49 Paul Lisson p. 49 Robert Dawson p. 50 Daniel King p. 50 Stephen Emerson p. 51 Elana Wolff p. 52 Louis Armand p. 53 Samuel Andreyev p. 55 Gabor G. Gyukics p. 56 D.M. Aderibigbe p. 56 Honey Novick p. 57 B.Z. Niditch p. 57 Andrejs Kulnieks p. 58 Cliff Fyman p. 58 Daniel Scott Tysdal p. 59 D. Harlan Wilson p. 60 Edward Nixon p. 61 Joe D. Haske p. 62 Karen Hibbard p. 64 Vicky Reuter p. 66 John Tavares p. 68 Jay Smith p. 72 Tina Raffell p. 73 Eric Miles Williamson p. 74 Peter Jaeger p. 80 Front Cover Art: Carol Stetser Back Cover Art: Steven DaGama 1 Rampike 23 /1 __________________________________________________________________________________ WILLIAM S. BURROUGHS CENTENARY (b. FEB.
    [Show full text]