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It is unusual for a creative literature to be so much younger than its language, and the story of the development of Hebrew fiction is no less fascinating than the stories that embody it in this collection. The extraordinary revival of Hebrew as a spoken language at the turn of the twentieth century led to an explosion of literary activity that eventually drew a clear line of progression from the Jewish writers of Eastern Europe to their modern descendants in present-day Israel.
From a narrative whose concerns were predominantly historical and religious, Hebrew fiction has grown to embrace the modern world and to deal with subjects such as daily life in a small Jewish town, intellectual disillusionment, and the huge political changes with which Jewish writers have had to come to terms following the establishment of the State of Israel. War inevitably features often in these 33 stories which reflect, more than the literature of any other country, the social and political dilemmas of a multifarious culture. Alongside the grand themes are more intimate explorations of human relationships, and of individual triumph and anguish within the complexities of twentieth-century life.
This anthology demonstrates the astonishing richness and diversity of Hebrew short fiction by including not only established authors of the stature of Amos Oz, A. B. Yehoshua, Yehuda Amichai, and David Grossman, but also less well-known writers whose stories have not been published in translation before: Orly Castel-Bloom and Savyon Liebrecht among the younger women writers, Yitzhak Oren among the more experimental older generation. Glenda Abramson's informative introduction sets the scene for a powerful literary collection, the definitive anthology of a vibrant modern genre.
- Sales Rank: #1770359 in Books
- Published on: 1996-09-26
- Original language: Hebrew
- Number of items: 1
- Dimensions: 8.75" h x 1.23" w x 5.75" l,
- Binding: Hardcover
- 424 pages
From Library Journal
This collection of Hebrew short stories contains the work of the great modern Hebrew prose writers (except for Agnon) in Europe and Israel. With consistently good translations and an excellent introduction and notes by editor Abramson (Jewish Learning & The Academy, Gordon & Breach, 1995), the work begins with Sefarim in the beginning of the 20th century and includes contemporary writers and lesser-known women and Sephardic authors. The sorrows and problems of the Jewish people in their exile and return are combined with works of personal anguish and happiness to reveal the great scope of Hebrew literature. The stories encompass different literary styles and techniques. For example, Dvora Baron's "Sunbeams" is a wonderful story of humanity and redemption set in the shtetl world of European Jewry. The writers of the Palmah generation are ably represented by Yizhar, Megged, and Shahar, among others. Shabtai's "The Visit" recounts beautifully the old days in Tel Aviv. A superb collection; highly recommended.?Gene Shaw, NYPL
Copyright 1996 Reed Business Information, Inc.
From Booklist
This anthology of Hebrew short stories makes an ideal introduction to Israeli fiction. Arranged in rough chronological order, it charts the movement from a naturalistic tradition, heavy with political themes and social commitment, through the emergence of a New Wave--led by A. B. Yehoshua and Amos Oz--that stressed more individualistic themes and even questioned Zionist ideology. The later stories, such as David Grossman's evocative "Cherries in the Icebox," focus almost entirely on individual relationships, assuming a New Yorkerlike tone as men and women attempt to work out the ambiguous emotions that drive their actions. Editor Abramson provides capsule biographies of each author and a valuable introduction that traces the historical and political issues behind the development of Israeli literature. An excellent overview for international fiction collections. Bill Ott
Review
`the most important general anthology of Hebrew fiction in English translation ... the relatively high quality of this anthology, its scope, and its inclusion of an unprecedented number of the best recent Israeli writers, make it a landmark of Hebrew in translation' David Aberbach, Jewish Chronicle
Most helpful customer reviews
9 of 11 people found the following review helpful.
A consitently superb collection!
By mcmonkey@ix.netcom.com
I am the translator of "Cinema," by Yitzhak Ben-Ner, which appears in this anthology. [A collection of powerful stories by Yithak Ben-Ner, RUSTIC SUNSET, also translated by yours truly, has just been published by Lynne Rienner Publishers and is available from Amazon. Try it: you'll become a Ben-Ner fan, I assure you!] The uniqueness of this new Oxford anthology is its consistently high quality. The works it choses are the best short fiction that modern Hebrew literature has to offer, and the translations are readable and idiomatic. the book covers the breadth of modern Hebrew literature from the 19th century into the 1990's. You'll find pivotal wirters such as Uri Nissan Gnessin, who wrote in stream of consciousness years before Joyce; Nobel Prize winner S.Y. Agnon; Amalia Kahana-Carmon, known as the Israeli Virginia Woolf, whose style has been often described as untranslatable -- our translators in this collection do a superb job, but I'm sure that the compulsive Ms. Carmon drove the the translators crazy!; Dahlia Ravikovitch; Aharon Megged and the late David Shahar (both of whose translated works have been especially celebrated in Europe but scandalously ignored by the American literary establishment); Ruth Almog; and more famliar names such as Amos Oz, A.B. Yehoshua, Aharon Appelfeld and David Grossman. By delving into this collection, the English reader will for the first time ever, be able to sample modern Hebrew literature from the same vantage point as that of educated Israelis, who view the writers in this collection as the building blocks of contemporary Israeli culture. Congratulations to the editor of this anothology and to Oxford Books. As we move toward a new century, this volume will surely become for the next two decades the principal survey text for Israeli short fiction in translation. Although an anthology by its nature is stronger in breadth than in depth, the reader of this collection will gain an in-depth view of the modern Israeli intellectual and cultural psyche. Robert Whitehill
3 of 3 people found the following review helpful.
Stunning
By Eric Maroney
This expansive and inclusive collection of Hebrew short stories in English translation provides the reader with a comprehensive overview of the development of the short story in Hebrew from the early days of Mendele Mokher Sefarim's daring experiments in Hebrew fiction, right down to modern Israeli writers, writing Hebrew in a Jewish State. In between we can view the development not only of writing but of a diverse cultural milieu in the making. As Jews moved from Diaspora dwellers writing in a language recently "dead" but suddenly revived, to Jews living in Palestine in an emerging nation, to Israelis in a Jewish State, we can see the normalcy of life and fiction assert itself. From the rather self conscious attempts by early writers to use Biblical models and idioms to tell their stories, we read writers honing their craft according to European and the American models of literary expression, but with a unique local flair, expressing specifically Hebrew or Israeli concerns. And unlike other, older, collections of Hebrew short fiction, this one includes both "canonical" male figures like Sefarim, Brenner, Amichai, Oz, Yehoushua, but also female writers like Katzir and Liebrecht. All in all, this collection is superb.
1 of 1 people found the following review helpful.
More Stars, Less Sky, Please
By Atar Hadari
There are many ways of compiling an anthology, and many ways, perhaps, of considering what a collective voice is. Glenda Abramson, in the introduction to her "Oxford Book of Hebrew Short Stories", gives a fairly history-book account of the development of modern Hebrew letters, with the one note that "throughout the development of Hebrew literature writers have been nominated as representative because they exemplify a political consensus or a dominant ideology and many others have been omitted because they are perceived not to have done so." Her own candidate for greatness, Yitzhak Oren, failed to make this roll-call of social realism because while others were drawing the portrait of the new state he was indulging in "Kafka like fantasies". Off-hand, this does not seem such a unique bias. Kafka was hugged into the bossom of European literature in an era of absurdism and, let us never forget, as a dead saint. His meticulously prosaic depictions of the fantastic, the reports of an insurance man, were fine parables for the shook-up faiths of the post-concentration camp dissenters against ideology. Wherever else in the globe such fantasy has sold, such as South America, there was also a political bias toward resistance in the audience. Abramson's man Oren has suffered, like science fiction writers and other writers of "speculative" fiction in the U.S. and other lands of true believers, by not being taken seriously because he saw through the emperor's clothes.
The trouble with making one's only dissent to received opinion one "revived" writer and a handful of stories which "appear for the first time in an anthology in English translation...chosen primarily for their aesthetic quality, their narrative texture and colour" is that by accepting to an extent the burden of the cannon you become damned by failing to adequately represent it. If you will give an account of a literature consisting of its most famous practitioners - the "Usual Suspects" school of anthologizing - you cannot then simply omit a major figure with the note that to the anthologist's "great regret Agnon is not represented..because the Institute of Hebrew Literature was unable to negotiate terms for the reproduction of his story "The Garment". " This won't do - either construct an argument for certain stories or do not have an argument at all - do not presume to represent the firmament and then announce, by the by, that you could not quite get clearance to use Orion.
The translations, provided one assumes by that same institute, are not stunning. Two of the cannonical stories, by Hayim Hazaz and the father of the Hebrew story Mendele Mocher Seforim, are pieces the present author had to parse out word by word at school and for examinations, hence he has views on their potential in this language. Little things, like translating Mendele's town name which is a play on the word beggar as "Beggarsburgh" and all its citizens subsequently as "Beggarsburghers" - now, this is a solution to a problem which situates the language of the translation in neither England nor the U.S., nor, I suspect, any other English speaking province. If the aim of a translator is to reproduce the given text, brick by brick as it were, convincingly in another language, then the new edifice must be located somewhere in the language - if it has slang it must be the slang of a place and time, if it has references it must have references that make sense somehow within the history and geography of the host language. This invention, as an example, does the worst thing possible by attracting attention to itself as a "translation", thereby undermining the credibility of the narrative voice, and still not solving the problem - if the speaker were American it would be "Beggarsville", if English, perhaps, "Beggarsbrough" - a late twentieth century translator of Hebrew into English is probably aiming at an American market (where most of the world's English speaking Jews are) but, effectively, is writing a trans-Atlantic English, and these are the problems which translating into a language while (presumably in Israel) not living in it, can present.
Such matters aside, Abramson's anthology shines with less than ideological pieces such as Dvora Baron's "Sunbeams" - a heartrendingly simple account of the unremitting darkness of humanity, back in the shtetl, where an orphan girl is passed hand to hand by people who do not want to take responsibility for her eating mouth, winding up an outcast, surviving on scraps and odd jobs, with the only remnant warmth "a few words of endearment that came back to her from the mists of her early childhood" and allow her to pet a cow, just calved for the first time and torn from its off-spring, with whom she forms a bond that leads her to prosperity ad some standing in the community before she dies, alone but no longer unseen. In stories such as these humanity outgrows the confines of a nationality and the shtetl could be a place where something, like nothing, happens anywhere.
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