Download Bearing the Unbearable: Yiddish and Polish Poetry in the by Frieda W. Aaron PDF

By Frieda W. Aaron

This ebook is a pioneering research of Yiddish and Polish-Jewish focus camp and ghetto poetry. It finds the influence of the immediacy of expertise as a formative impression on conception, reaction, and literary mind's eye, arguing that literature that's contemporaneous with unfolding occasions deals perceptions varied from these awarded after the fact.

Documented here's the emergence of poetry because the dominant literary shape and fastest response to the atrocities. The authors exhibits that the project of the poets used to be to supply testimony to their epoch, to talk for themselves and in case you perished. For the Jews within the condemned global, this poetry was once a car of cultural sustenance, a way of putting forward conventional values, and an expression of ethical defiance that regularly stored the spirit of the readers from dying.
The explication of the poetry (which has been translated through the writer) provide not easy implications for the sector of severe thought, together with shifts in literary practices--prompted by way of the transforming into atrocities--that exhibit a spectrum of advanced experimental techniques.

"...this publication has singular value as a research of poetry in terms of the Holocaust...[and] genuine advantage as a source within the burgeoning box of serious idea typically, poetics in particular."--Terrence Des Pres

"...a unusual contribution to Holocaust scholarship."--Irving Halperin

"...it is among the top works I ever learn at the subject..."--Miriam Novitch

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Extra resources for Bearing the Unbearable: Yiddish and Polish Poetry in the Ghettos and Concentration Camps (SUNY Series in Modern Jewish Literature & Culture)

Sample text

Hence the cadences of the closing strophes resonate with a blend of self-mockery and bitter irony, as he bids the dial-a-time, the only lady who did not reject his overtures, farewell: II Tak doblze si? , ktos mnie spokojnie wysJucba, cboc po tamtei stronie. ta, te wsp6lnie JQczyJ nas los, i mowic si? ze mnQ nie boi, i tak spokojny ma gJos. Noc ;esienna pluszcze i wiatl nad mUlkami gna, In the Beginning a 25 gwarzymy sobie, marzymy zegarynka i ja . Bgdi zdrowa moja daleka, sg serca, gdzie nic si~ nie zmienia, za pi~c dwunasta-powiadasz masz racj~ ...

For them, Szlengel probably thought, high rhetoric was absurd. Since the world in which they lived could hardly be compared to any other one, metaphors and analogies were highly inappropriate. Catapulted into the enclosed ghetto, Szlengel projects a vision of it, even in its early days (Szlengel did not date his poems, but we can surmise the dates from the poems' contexts), as a planet cast out of the universe. Suddenly separated from the world he once knew, his lyric imagination strains to recapture the lost world.

3 000 Telephone With heart rent and sick, and thoughts on the other side In the Beginning 0 23 I sat one evening by the telephoneAnd so I thought: let me call someone on the other side, when I'm on telephone duty in the eveningSuddenly I realized: by Godthere is actually no one to call, in nineteen thirty nine I turned a different cornerOur ways have parted, friendships have sunk in a swamp and now it's plain to see-there is no one I can reach. Szlengel's bitter intoning of his growing sense of despair and isolation are reminiscent, but ironically so, of the writings of the Polish poet Jan Lechon, whose sense of despair caused him to write the following famous lines: Nie ma nieba ni ziemi, otchJani ni piekJa, Jest tylko Beatrycze.

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