Call it Kmart magical realism.-Washington Post Book World

Reproduction of the original: The Jew and Other Stories by Ivan Turgenev

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - In studying the Russian novel it is amusing to note the childish attitude of certain English men of letters to the novel in general, their depreciation of its influence and of the public's 'inordinate' love of fiction. Many men of letters to-day look on the novel as a mere story-book, as a series of light-coloured, amusing pictures for their 'idle hours, ' and on memoirs, biographies, histories, criticism, and poetry as the age's serious contribution to literature. Whereas the reverse is the case. The most serious and significant of all literary forms the modern world has evolved is the novel; and brought to its highest development, the novel shares with poetry to-day the honour of being the supreme instrument of the great artist's literary skill. To survey the field of the novel as a mere pleasure-garden marked out for the crowd's diversion - a field of recreation adorned here and there by the masterpieces of a few great men - argues in the modern critic either an academical attitude to literature and life, or a one-eyed obtuseness, or merely the usual insensitive taste. The drama in all but two countries has been willy-nilly abandoned by artists as a coarse playground for the great public's romps and frolics, but the novel can be preserved exactly so long as the critics understand that to exercise a delicate art is the one serious duty of the artistic life. It is no more an argument against the vital significance of the novel that tens of thousands of people - that everybody, in fact - should to-day essay that form of art, than it is an argument against poetry that for all the centuries droves and flocks of versifiers and scribblers and rhymesters have succeeded in making the name of poet a little foolish in worldly eyes.

Set in 1920s Chicago, the short novel Yudl follows its eponymous protagonist, a middle-aged editor at a left-leaning newspaper called The Yiddish Courier. Yudl and his wife have decided to become landlords, purchasing a vacant lot and hiring an acquaintance—aptly named Mason—to oversee the construction of their future apartment building. However, delays in the construction leave Yudl and his family without a home, forcing them to stay with Mason and his family until the construction is finally complete. Told with wry wit and a masterful sensibility for metaphor, the story explores gender, Zionism, and the immigrant experience in the US. The selection of short stories that follow the novel in this volume were selected by the author from her deathbed during her last weeks and then hours on earth. Silbert's graceful short stories focus on the family, allowing the reader glimpses of a child's happiness, the cripplingly contradictory demands of femininity, the complexity of grief, and a sustained meditation on life and death.

The stories in this collection all relate to the vicissitudes of displaced individuals who are frequently trapped by society's rigid norms. Some, like the Jew with the white beard and the long black overcoat in the title story who steps off the gangplank, are entering a world that is no longer theirs.

Translation of Chana Blankshteyn’s stories depicting the tumultuous interwar years in Europe. Fear and Other Storiesis a translation from Yiddish to English of the collected stories of Chana Blankshteyn (~1860–1939), a woman who may be almost entirely forgotten now but was widely admired during her long and productive life. The mere existence of these stories is itself a remarkable feat as the collection was published in July 1939, just before the Nazis invaded Poland and two weeks before Blankshteyn’s death. Anita Norich’s introduction argues that this is not a work of Holocaust literature (there are no death camps, partisans or survivors of WWII), but anti-Semitism is palpable, as is the threat of war and its aftermath. What could it have felt like to live under these conditions? How might a woman who was a feminist, a Jew, and an activist understand the recent past of war and revolution through which she had lived and also confront the horror that was beginning to unfold? The nine stories in this volume take place primarily in Vilna, as well as various parts of Europe. As if presaging what was to come, World War I and Russian civil wars are the backdrops to these stories, as Jews and non-Jews find themselves under German occupation or caught up in the revolutionary fervor that promised them much and took away almost everything. The young women in Blankshteyn’s stories insist on their independence, on equality with their lovers, and on meaningful work. Like the men in the stories, they study, work, and yearn for love. The situations in which these characters find themselves may be unfamiliar to a contemporary reader, but their reactions to the turmoil, the frighteningly changing times, and the desire for love and self-expression are deeply resonant with today’s audience. The history may be specific, but the emotions are universal. Blankshteyn’s stories are both a view of the final gasp of Eastern European Jewish culture and a compelling modern perspective on the broader world. Students and scholars of history and culture, women’s literature, and translation studies will wonder how they’ve gone this long without reading Blankshteyn’s work.