After the Holocaust's near complete destruction of European Yiddish cultural centers, the Yiddish language was largely viewed as a remnant of the past, tragically eradicated in its prime. In Survivors and Exiles: Yiddish Culture after the Holocaust, Jan Schwarz reveals that, on the contrary, Yiddish culture in the two and a half decades after the Holocaust was in dynamic flux. Yiddish writers and cultural organizations maintained a staggering level of activity in fostering publications and performances, collecting archival and historical materials, and launching young literary talents. Schwarz traces the transition from the Old World to the New through the works of seven major Yiddish writers-including well-known figures (Isaac Bashevis Singer, Avrom Sutzkever, Yankev Glatshteyn, and Chaim Grade) and some who are less well known (Leib Rochman, Aaron Zeitlin, and Chava Rosenfarb). The first section, Ground Zero, presents writings forged by the crucible of ghettos and concentration camps in Vilna, Lodz, and Minsk-Mazowiecki. Subsequent sections, Transnational Ashkenaz and Yiddish Letters in New York, examine Yiddish culture behind the Iron Curtain, in Israel and the Americas. Two appendixes list Yiddish publications in the book series Dos poylishe yidntum (published in Buenos Aires, 1946-66) and offer transliterations of Yiddish quotes. Survivors and Exiles charts a transnational post-Holocaust network in which the conflicting trends of fragmentation and globalization provided a context for Yiddish literature and artworks of great originality. Schwarz includes a wealth of examples and illustrations from the works under discussion, as well as photographs of creators, making this volume not only a critical commentary on Yiddish culture but also an anthology of sorts. Readers interested in Yiddish studies, Holocaust studies, and modern Jewish studies will find Survivors and Exiles a compelling contribution to these fields.

Laughter After: Humor and the Holocaust argues that humor performs political, cultural, and social functions in the wake of horror. Co-editors David Slucki, Gabriel N. Finder, and Avinoam Patt have assembled an impressive list of contributors who examine what is at stake in deploying humor in representing the Holocaust. Namely, what are the boundaries? Clearly, there have been comedy and laughter in the decades since. However, the extent to which humor can be ethically deployed in representing and discussing the Holocaust is not as clear. This book comes at an important moment in the trajectory of Holocaust memory. As the generation of survivors continues to dwindle, there is great concern among scholars and community leaders about how memories and lessons of the Holocaust will be passed to future generations. Without survivors to tell their stories, to serve as constant reminders of what they experienced, how will future generations understand and relate to the Shoah? Laughter After is divided into two sections: "Aftermath" and "Breaking Taboos." The contributors to this volume examine case studies from World War II to the present day in considering and reconsidering what role humor can play in the rehabilitation of survivors, of Jews and of the world more broadly. More recently, humor has been used to investigate the role that Holocaust memory plays in contemporary societies, while challenging memorial conventions around the Holocaust and helping shape the way we think about the past. In a world in which Holocaust memory is ubiquitous, even if the Holocaust itself is inadequately understood, it is perhaps not surprising that humor that invokes the Holocaust has become part of the memorial landscape. This book seeks to uncover how and why such humor is deployed, and what the factors are that shape its production and reception. Laughter After will appeal to a number of audiences-from students and scholars of Jewish and Holocaust studies to academics and general readers with an interest in media and performance studies.

After the Holocaust's near complete destruction of European Yiddish cultural centers, the Yiddish language was largely viewed as a remnant of the past, tragically eradicated in its prime. In Survivors and Exiles: Yiddish Culture after the Holocaust, Jan Schwarz reveals that, on the contrary, Yiddish culture in the two and a half decades after the Holocaust was in dynamic flux. Yiddish writers and cultural organizations maintained a staggering level of activity in fostering publications and performances, collecting archival and historical materials, and launching young literary talents. Schwarz traces the transition from the Old World to the New through the works of seven major Yiddish writers-including well-known figures (Isaac Bashevis Singer, Avrom Sutzkever, Yankev Glatshteyn, and Chaim Grade) and some who are less well known (Leib Rochman, Aaron Zeitlin, and Chava Rosenfarb). The first section, Ground Zero, presents writings forged by the crucible of ghettos and concentration camps in Vilna, Lodz, and Minsk-Mazowiecki. Subsequent sections, Transnational Ashkenaz and Yiddish Letters in New York, examine Yiddish culture behind the Iron Curtain, in Israel and the Americas. Two appendixes list Yiddish publications in the book series Dos poylishe yidntum (published in Buenos Aires, 1946-66) and offer transliterations of Yiddish quotes. Survivors and Exiles charts a transnational post-Holocaust network in which the conflicting trends of fragmentation and globalization provided a context for Yiddish literature and artworks of great originality. Schwarz includes a wealth of examples and illustrations from the works under discussion, as well as photographs of creators, making this volume not only a critical commentary on Yiddish culture but also an anthology of sorts. Readers interested in Yiddish studies, Holocaust studies, and modern Jewish studies will find Survivors and Exiles a compelling contribution to these fields.

Laughter After: Humor and the Holocaust argues that humor performs political, cultural, and social functions in the wake of horror. Co-editors David Slucki, Gabriel N. Finder, and Avinoam Patt have assembled an impressive list of contributors who examine what is at stake in deploying humor in representing the Holocaust. Namely, what are the boundaries? Clearly, there have been comedy and laughter in the decades since. However, the extent to which humor can be ethically deployed in representing and discussing the Holocaust is not as clear. This book comes at an important moment in the trajectory of Holocaust memory. As the generation of survivors continues to dwindle, there is great concern among scholars and community leaders about how memories and lessons of the Holocaust will be passed to future generations. Without survivors to tell their stories, to serve as constant reminders of what they experienced, how will future generations understand and relate to the Shoah? Laughter After is divided into two sections: "Aftermath" and "Breaking Taboos." The contributors to this volume examine case studies from World War II to the present day in considering and reconsidering what role humor can play in the rehabilitation of survivors, of Jews and of the world more broadly. More recently, humor has been used to investigate the role that Holocaust memory plays in contemporary societies, while challenging memorial conventions around the Holocaust and helping shape the way we think about the past. In a world in which Holocaust memory is ubiquitous, even if the Holocaust itself is inadequately understood, it is perhaps not surprising that humor that invokes the Holocaust has become part of the memorial landscape. This book seeks to uncover how and why such humor is deployed, and what the factors are that shape its production and reception. Laughter After will appeal to a number of audiences-from students and scholars of Jewish and Holocaust studies to academics and general readers with an interest in media and performance studies.

Although the reconciliation of Jewish and Polish memories of the Holocaust is the central issue in contemporary Polish-Jewish relations, this is the first attempt to examine these divisive memories in a comprehensive way. Until 1989, Polish consciousness of the Second World War subsumed the destruction of Polish Jewry within a communist narrative of Polish martyrdom and heroism. Post-war Jewish memory, by contrast, has been concerned mostly with Jewish martyrdom and heroism (and barely acknowledged the plight of Poles under German occupation). Since the 1980s, however, a significant number of Jews and Poles have sought to identify a common ground and have met with partial but increasing success, notwithstanding the new debates that have emerged in recent years concerning Polish behaviour during the Nazi genocide of the Jews that Poles had ignored for half a century. This volume considers these contentious issues from different angles. Among the topics covered are Jewish memorial projects, both in Poland and beyond its borders, the Polish approach to Holocaust memory under communist rule, and post-communist efforts both to retrieve the Jewish dimension to Polish wartime memory and to reckon with the dark side of the Polish national past. An interview with acclaimed author Henryk Grynberg touches on many of these issues from the personal perspective of one who as a child survived the Holocaust hidden in the Polish countryside, as do the three poems by Grynberg reproduced here. The 'New Views' section features innovative research in other areas of Polish-Jewish studies. A special section is devoted to research concerning the New Synagogue in Poznan, built in 1907, which is still standing only because the Nazis turned it into a swimming-pool. CONTRIBUTORS: Natalia Aleksiun, Assistant Professor in Eastern European Jewish History, Touo College, New York; Jolanta Ambrosewicz-Jacobs, Head, Section for Holocaust Studies, Centre for European Studies, Jagiellonian University, Krakow; curator, International Centre for Education about Auschwitz and the Holocaust, Auschwitz-Birkenau State Museum; Boaz Cohen, teacher in Jewish and Holocaust Studies, Shaanan and Western Galilee Colleges, northern Israel; Judith R. Cohen, Director of the Photographic Reference Collection, United States Holocaust Memorial Museum, Washington DC; Gabriel N. Finder, Associate Professor, Department of Germanic Languages and Literatures, University of Virginia; Rebecca Golbert, researcher; Regina Grol, Professor of Comparative Literature, Empire State College, State University of New York; Jonathan Huener, Associate Professor of History, University of Vermont; Carol Herselle Krinsky, Professor of Fine Arts, New York University; Marta Kurkowska, Lecturer, Institute of History, Jagiellonian, University, Krakow; Joanna B. Michlic, Assistant Professor, Holocaust and Genocide Program, Richard Stockton College, Pomona, New Jersey; Eva Plach, Assistant Professor of History, Wilfrid Laurier University, Waterloo, Canada; Antony Polonsky, Albert Abramson Professor of Holocaust Studies, Brandeis University and the United States Holocaust Memorial Museum, Washington DC; Alexander V. Prusin, Associate Professor of History, New Mexico Institute of Mining and Technology, Socorro; Jan Schwarz, Senior Lecturer, Department of Germanic Studies, University of Chicago; Maxim D. Shrayer, Professor of Russian and English, Chair of the Department of Slavic and Eastern Languages, Co-Director, Jewish Studies Program, Boston College; Michael C. Steinlauf, Professor of Jewish History and Culture, Gratz College, Pennsylvania; Robert Szuchta, History teacher, Stanislaw I. Witkiewicz High School, Warsaw; Joanna Tokarska-Bakir, Lecturer in Cultural Anthroplogy, Warsaw University; Chair, Department of Cultural Anthropology, Collegium Civitas, Poland; Scott Ury, Post-Doctoral Fellow, Department of Jewish History, Tel Aviv University; Bret Werb, United States Holocaust Memorial Museum, Washington DC; Seth L. Wolitz, Gale Chair of Jewish Studies and Professor of Comparative Literature, University of Texas at Austin.