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The breach between Asch and his Yiddish readers peaked at the height of the Holocaust and during its aftermath. The raw emotions of that period have somewhat eased in the meantime and a more dispassionate evaluation of his work can now be undertaken. This volume provides just that. It is the first modern appraisal of Asch by some of the most distinguished Yiddish literary critics of our time.
This study is the first critical biography in English of Sholem Asch, who did little in his lifetime to make such a task an easy one. Asch was not a "tidy" writer. He lived in many cities and countries, wrote tirelessly, and kept little record of his numerous novels, stories, and essays--much less of the countless Yiddish, Hebrew, and European periodicals and newspapers (most of them now long defunct), or editions and translations, in which his writings appeared.
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This is a drama written in 1906 that uses subject matter that would have been considered scandalous in many circles of the time. The drama is Yiddish. It involves a loving lesbian relationship, women openly talking about domestic abuse, and a desire to escape arranged marriages, and prostitution. It was first performed in 1923. One scene involves a kiss between the two lesbians - the first ever on Broadway - whereupon the whole cast was arrested.
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Sholem Asch's Underworld Trilogy includes three separate plays by Asch all set in the underworld, the world of the criminals in god of vengeance and Motke Thief and the literal underworld in The Dead Man. All three classic Yiddish dramas had successful and influential debuts on the Yiddish stage. The most famous of the three, god of vengeance, is known worldwide. Motke Thief, a psychological portrait of a gangster is an almost sequel to gov andthe anti-war drama The Dead Man, influenced Hollywood screenwriter Ben Hecht.
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Fictional tribute to modern Jews who went to Palestine and built a new life out of the swampy land.