1945 Jewish YIDDISH CHILDREN BOOK Anthology NYC MATONES YIVO Judaica LITERATURE

Description: DESCRIPTION : Up for sale is a rare copy of the Jewish-Hebrew -Yiddish book "KINDER YAREN FON YIDDISHE SCHRIBER" ( Childhood Years of Yiddish Writers ) . The book was published in 1945 ( Dated ) in NYC USA by "FARLAG MATONES" ( Publishing House Matanot-Gifts ) which was related to YIVO Institute for Jewish Research ( (YIDDISH: ייִוואָ), established in 1925 in Wilno, POLAND (now VILNIUS LITHUANIA) as the Yidisher Visnshaftlekher Institut ( YIDDISH: ייִדישער װיסנשאַפֿטלעכער אינסטיטוט, Yiddish Scientific Institute ) . It's an ANTHOLOGY which consists of CHILDHOOD CHAPTERS of 10 of the most popular, gifted, acclaimed YIDDISH POETS and writers ( List hereunder enclosed which includes Sholem Aleichem , Bialik, Avraham Lesdin, David Pinski, Avraham Reizen , Mani Leib , Joseph Opatoshu to name only a few) . A short biography and PHOTO are dedicated to each of these important Yiddish poets. Written in YIDDISH. ORIGINAL cloth HC . Magnificently illustrated. Around 8 x 6". 200 pp. Excellent condition . Tightly bound. Entirely clean. A few marks of erased stamps of a previous owner. ( Pls look at scan for accurate AS IS images ) Book will be sent inside a protective packaging . PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : Shipp worldwide via registered airmail is $ 29 . Will be sent inside a protective rigid packaging . Will be sent around 5-10 days after payment . The dynamic development of Yiddish poetry in Eastern Europe charts a complex interplay between ideological approaches, cultural factors, and literary models profoundly influenced by historic events. For instance, each generation of Yiddish poets had at its disposal the diverse forms of the Yiddish folk song with its broad range of themes and genres: love songs with their ostensibly naive language; lullabies sung largely in a mother’s voice; children’s songs; songs about soldiers and conscripts; songs about the underworld; ballads; and songs with religious, mystical content. However, Yiddish poets differ in the extent to which they used this creative source; this is one of the keys to understanding the changes in literary sensibilities and cultural attitudes. 1919, by Leyb Kvitko (Berlin: Idisher literarisher farlag, 1923). Illustrated by Iosif Chaikov. (YIVO) For Yiddish Haskalah poetry, the Yiddish folk song, with its apparent simplicity and naiveté, could only serve as a very limited source of inspiration. The maskilic approach relegated Yiddish primarily to those literary genres that would reach a broad readership and fulfill the mission of depicting contemporary Jewish life in a critical, realistic manner. Thus narrative prose and the comedy became the primary genres of Yiddish Haskalah literature; Yiddish poetry played a secondary role during this period. Shloyme Ettinger was the only outstanding Yiddish Haskalah writer whose corpus featured a significant body of poetry, but even he focused mainly on the fable and epigram, genres with a clearly didactic intention. Yehudah Leib Gordon, the most important Hebrew poet of the Haskalah, published only a single slim volume in Yiddish under the telling title of Sikhes khulin (Mundane Conversation; 1886), which creates the impression that Yiddish poetry takes its strength from verbal communication, and that its form and language must evoke an everyday conversation. The Haskalah movement did not develop the lyric poem in Yiddish. It was the satirical poems of Mikhl Gordon, Velvl Zbarzher (Benjamin Wolf Ehrenkranz), and others that became popular and beloved as songs and thereby helped to disseminate maskilic values among the masses. Some of them were crafted as dramatic monologues in a humorous vein, assigned to characters whose “old-fashioned” ideas the Haskalah sought to deride. The tendency to generalize is evident in the maskilic poem: some texts seek to paint a broad canvas of contemporary Jewish society and its faults, while others depict the universal human way of life from a remote perspective that is often ironic and resigned. In the late 1870s and 1880s the Yiddish poem in Eastern Europe entered a new phase. The operetta became the chief genre of the Yiddish theater that Avrom Goldfadn founded in 1876, and the songs performed on his stage enjoyed very wide influence. To some degree, they followed the approach of maskilic satire, but quickly became infused with a national, romantic sensibility and a folksy tone while also expressing the ideals of Ḥibat Tsiyon. Elyokem Tsunzer’s badkhonim poetry falls into a similar category. Its declamatory tone interweaves pathos with irony and humor. Lider (Poems), by Leyb Naydus (Warsaw: Kinderfraynd, 1938). Yiddish poems published in a series of literary works for young readers. (YIVO) The three classical writers of Yiddish literature gave primacy to prose, but poetry played a significant role in Y. L. Peretz’s work. He made his debut as a Yiddish writer with a long poem, “Monish” (1888), which should be considered as the significant beginning of modern Yiddish poetry. With a playful folksy tone employing balladic elements, the poet depicts the ironic fate of the hero whom love and sensuality lure away from the traditional Jewish world. The penchant for romantic irony that characterizes “Monish” is also apparent in Peretz’s poetry of the 1890s, and it becomes even more scathing when his poetry touches upon social themes. Sometimes the passionate tone creeps to the fore in these poems, which became especially popular in radical Jewish circles. A concrete indication of the higher status of Yiddish literature in general, and Yiddish poetry in particular, in the 1880s is the fact that it attracted the Hebrew writer David Frishman and the Russian Jewish poet Shimen Frug. From his Russian poetry writing, Frug introduced the syllabotonic meter into Yiddish, which became the leading prosodic norm in Yiddish poetry until World War I and beyond. The nationalist theme that dominated his poetry resonated widely among Jewish readers at the turn of the twentieth century. In the period until World War I, Avrom Reyzen was the most popular Yiddish poet. In most of his poems, the poet assumes the posture of an average person trapped in the limited confines of a world he is unable to escape. The sentimental potential of Reyzen’s poem is often checked by the terseness of his lines and the simplicity of his language, and his love poems stand out for their delicate irony. Reyzen’s poetry exudes an atmosphere of resigned pessimism, of shattered hopes and ideals. However, in spite of this, he was widely accepted in radical Jewish circles because of his depictions of the life of the poor, found throughout his poetry as well as in a small number of poems that call for social struggle. The close association of Yiddish poetry with the ethos of popular Jewish folk life at the turn of the twentieth century is evident in the enormous popularity of Mark Varshavski’s poems, which appeared in book form under the title Yidishe folkslider mit notn (Yiddish Folk Songs with Musical Notes) in 1901. That same year marked the publication of Sha’ul Ginsburg and Peysekh Marek’s extensive collection of authentic folk songs, Yidishe folkslider in Rusland (Jewish Folk Songs in Russia). Varshavski’s poems immediately met the objection that their melodies were far removed from the folk song, and an analysis of their content would reach similar conclusions. They were, however, accepted as “folk songs” in the sense that they celebrated traditional Jewish popular life and created the impression that they represented the voice of the average folk-person. Vokhnteg (Weekdays), by Perets Markish (Moscow, Kharkov, Minsk: Tsentrfarlag, 1931). Illustration by L. Radniev. (YIVO) Bialik’s Yiddish poems, written between 1899 and 1915, attest to the expanded stylistic and thematic range of Yiddish poetry. Bialik was initially attracted to Yiddish poetry because he perceived it as a potential means to evoke his childhood experiences. Soon, however, he crafted a prophetic style with elevated diction in his poem “Dos letste vort” (The Last Word; 1901), a style that he brought to new heights in his own Yiddish translation of his Hebrew poem “Be-‘Ir ha-haregah,” under the title “In shkhite-shtot” (In the City of Slaughter; 1906). Bilingual Yiddish–Hebrew texts by a single author were an accepted reality in prose but not in poetry. In this sense, Bialik’s own translation was an exception that sheds light on the dominant literary norm: the significant stylistic and thematic distance that separated Yiddish from Hebrew poetry. The multifaceted Yiddish literary output that followed the failed Russian Revolution of 1905 emerged out of a deep struggle between conflicting trends: the dream of a national-cultural revival, and concerns of a deep spiritual crisis. Peretz’s two dramatic poems, Di goldene keyt (The Golden Chain; 1907–1912) and “Bay nakht afn altn mark” (A Night in the Old Marketplace; 1907–1914) herald Yiddish poetic modernism. Di goldene keyt captures the characteristic atmosphere of a Hasidic court where the desire for the continuity of traditional yidishkayt clashes with the lure of the modern world. The focal point of the work is the dramatic monologue of the Hasidic rebbe: a vision of redemption that links Jewish and secular concepts in using an elevated poetic diction. In “Bay nakht afn altn mark,” Peretz has intertwined familiar literary and cultural motifs in a new artistic configuration whose main features are linguistic compactness, an apocalyptic atmosphere, vivid grotesque elements, and the unrealistic merging between the worlds of the living and the dead that pushes the hero to the brink of madness. During the years before and during World War I, Yiddish poetry was characterized by a feeling of resignation and decadence concurrent with an increased sense of individuality covering a broad emotional gamut. At the center of Dovid Eynhorn’s poetry lies the sentimentalization of traditional yidishkayt as a vanishing way of life, with the emptied besmedresh as its tangible symbol. In Galicia, the development of modern Yiddish poetry began with a tendency toward neoromanticism, with Shmuel Yankev Imber as its outstanding figure. Leyb Naydus, who died young in 1918, strove to introduce a new model to Yiddish poetry: rich musicality and complex poetic forms in an atmosphere of emotional and cultural colorfulness. He also undertook many translations, in particular from Russian and French. Osher Shvartsman’s nature and love poetry are characterized by an impressionist technique and folksy tone, but by virtue of the revolutionary romanticism of his final poems written just prior to his death in 1919, he was later regarded as a forerunner of Soviet Yiddish poetry. World War I marked the end of an era for purely biographic as well as literary reasons: Avrom Reyzen’s emigration to America, Peretz’s death (1915), and the fact that both Eynhorn and Imber’s short-lived poetic impetus was diminishing by the end of the first decade of their writing. After World War I, a productive group of Yiddish poets embarked on literary careers under radically different historic and literary circumstances. Poem by Perets Markish, “Tsum hafn: 'Ruh,'” (To the Harbor: "Rest") n.d. "Day after day, the wandering ship caravans. . . ." Yiddish. Permission courtesy of David Markish. RG 108, Manuscripts Collection, F46.14. (YIVO. Published with permission.) The first poetry collections by Dovid Hofshteyn, Perets Markish, and Leyb Kvitko published in 1919 mark the symbolic beginnings of a new era in Yiddish poetry. These writers did not constitute a literary group with a shared poetic credo per se, but for the first time in the development of Yiddish poetry, critics could point to a pleiad of young and promising writers rather than mere individuals. The explosive development of Yiddish literature rapidly rendered Hofshteyn’s impressionist poetry into an exemplary model due to its controlled emotionality and restrained dynamics, its compact style and melodious sound. His poetry creates simultaneously a sense of harmony between disparate elements and a heightened tension between the concrete sensuality that characterizes the world of the individual and his feeling of facing a blind and indifferent wheel of fortune. Markish, in contrast, crafts a poetic “I” that sees no boundary to its expansive emotional power. The beginnings of Kvitko’s poetic career are marked by a synthesis between a prosaic tone and poetic refinement, most striking in the representation of the gruesome Ukrainian pogroms in his book of verse, 1919 (1923). The map of Yiddish literary creativity in general, and Yiddish poetry in particular, changed radically after World War I. In the years 1917–1920, Kiev became a dynamic center until, spurred by the difficult conditions due to the revolution and pogroms, most of its key figures left the city. Yiddish writing in the Soviet Union began to develop simultaneously in several centers: Moscow, Kiev, and Minsk. In these cities, poetry reached a position of primacy due to the work of groups of new writers, among them Shmuel Halkin, Lipe Reznik, Itsik Fefer, Izi Kharik, Arn Kushnirov, Zelik Akselrod, Ezra Fininberg, and others. Nascent Soviet Yiddish poetry developed, stemming from the tension between concrete and original imagery on the one hand and clichéd generalities on the other. It was trapped between the poets’ desires to present themselves as self-conscious participants in the surrounding social and historical process, and their yearnings to set aside a place for their own personal worlds. In these poems, a virtually univocal affirmation of the revolution coexists with ambivalent feelings vis-à-vis the crisis of the shtetl in particular, and the destruction of the traditional Jewish way of life in general. In the beginning of the 1920s, Warsaw became the focal point of Yiddish modernism in Eastern Europe. Its most important figures were Uri Tsevi Grinberg, Markish, and Melech Ravitch, all of whom were drawn to Warsaw from different geographic regions and who brought with them varied cultural baggage. Grinberg and Ravitch came from Galicia; their poetic debut in the years before World War I was influenced by neoromanticism, which served as a dialectic point of departure for their new modernistic phase with its conspicuous elements of German expressionism. In contrast, Markish was influenced by Russian futurism. These poets engaged in frenetic literary activity: they published journals and literary almanacs that were fated to be short-lived (Khalyastre, Albatros, Di vog); they formulated provocative manifestos; and they came into close contact with a wide reading public at countless literary events. From Meyer Shternberg in Bucharest to J. Gruder in America, 5 February 1936, asking him to arrange for the sale of his brother Yankev Shternberg's new book of poems, Shtot in profil (City in Profile), in America, and reporting that the political situation in Romania is worsening. Yiddish. Romanian and Yiddish letterhead: Di Vokh, Bucharest, with names of editorial board: M. Altman, Y. Shternberg, Dr. Sh. Bikel. RG 107, Letters Collection. (YIVO) During this period, Łódź also grew into a hub of Yiddish modernist culture, thanks to Moyshe Broderzon’s dynamic initiatives. These brought together writers, painters, and theater people, first in Broderzon’s journal Yung-yidish (1919) and later in his theater troupes, notably Ararat (1926 and beyond). In the 1920s and 1930s, Romania—especially the city of Czernowitz (Rom., Cernăuți)—became a Yiddish literary center where significant poetic figures were active during different phases of their literary careers: among them were Itsik Manger, Eliezer Shteynbarg, Yankev Shternberg, and Yankev Fridman. The lives of most Yiddish poets during the 1920s and 1930s were marked by peripatetic wanderings that had a concrete impact on their writing. In 1923, Grinberg relocated to Berlin and shortly thereafter immigrated to Palestine, where he almost entirely stopped writing in Yiddish. Markish left Warsaw for the Soviet Union in 1926, a decision that closed the modernist period of his writing. Moyshe Kulbak made the transition from late neoromanticism to modernism during his Berlin years (1920–1923). After World War I, poetry became, more than prose, the locus of innovation in Yiddish literature, in particular due to the dynamic surge of modernism. Its spiritual world was marked by a complex synthesis of the Jewish spiritual heritage and leanings toward cultural cosmopolitanism and religious syncretism. The dramatic events of World War I, the Russian Revolution, and the Ukrainian pogroms drove Yiddish authors to shape in their writing an apocalyptic atmosphere that links elements of destruction, violence, and fear of death with ambivalent hopes for a new world order. Most of the modernist works in Yiddish poetry do not emphasize any concrete object, but depict a kaleidoscope of themes: bittersweet memories of childhood and of the traditional Jewish world; eroticism and violence; a highly charged emotional relationship with the emblem of Jesus on the cross; and an ambivalent stance on modern ideologies. This wide thematic and poetic range is particularly manifest in Markish’s poetry, which paints a broad canvas of traditional Jewish life with a sharp and at times ironic intensity alongside his expressionist poems. The drive to express this multifaceted thematic gamut as a single poetic cluster led modernist Yiddish poets to an expansive textual form: the long poem or the poem series whose parts are not connected by any apparent principle. In Markish’s “Di kupe” (The Heap; 1921–1922), the mound of corpses that awaits burial after the pogrom is depicted as the epicenter of blasphemy and of destructive powers that vies with the established world order. Grinberg’s Mefisto (1921–1922) portrays the innermost world of the poet as an emptied void from which God has turned away and that is being ruled by cosmic evil. His second central poem, “In malkhes fun tseylem” (In the Kingdom of the Cross; 1923), marks a breakthrough in his writing and an exception to contemporary Yiddish modernism, which had declaratively avoided espousing open ideological commitments: the point of departure in Grinberg’s poem is the Jewish destruction in Europe presented in its apocalyptic dimension, but it concludes with his postulating Zionism as a portent of salvation. The fact that Yiddish modernists stressed cultural cosmopolitanism elicited strong opposition from those writers who maintained that Yiddish literature must emphasize its Jewish character. Arn Zeitlin attempted to express this approach in his poetry and to create a synthesis between modernism and Jewish tradition through his extensive use of kabbalistic and mystical motifs. Yisroel Shtern’s poems, which remained uncollected through his lifetime, create a highly original poetic synthesis of the central tendencies of Jewish modernism: a sharply apocalyptic atmosphere and a spiritual affinity with the marginal merge with a pantheistic attitude that emphasizes elements of religiosity. In the 1930s, this tendency also found clear expression in Khayim Semyatitski’s poems: using a minimalist language, he conveys a feeling of cosmic harmony where the passage of time is presented as a revelation under the supervision of divine providence. Yankev Fridman’s first poetic attempts are characterized by a pantheistic worldview and a mystic quest. Portrait of Avrom Reyzen from the frontispiece of Shriftn (Writings), the first volume of his Gezamelte lider (Collected Poems; Kraków: Yosef Fisher, 1908). Reyzen has inscribed the book in Yiddish to Dr. Shmul Ellisberg in New York, “a good friend, a comrade, and lover of Yiddish literature.” (YIVO) Even during the highpoint of modernism, Yiddish poetry developed along several streams; in the second half of the 1920s and in the 1930s, it became impossible to point to any one poetic school, style, or movement that was dominant. The connection with the lives of the masses and the desire to express the creative power of spoken Yiddish is one of the most manifest tendencies in Yiddish poetry in Eastern Europe, and it was expressed through several distinct models. The wide popularity of Mordkhe Gebirtig’s songs made him a symbolic folk poet. Miryem Ulinover’s first and only book of poems, Der bobes oytser (My Grandmother’s Treasure; 1922), portrays the world of the traditional Jewish woman in a poetic language that reveals obvious traits of a stylized folksiness. Yekhiel Lerer’s long poem, Mayn heym (My Home; 1937), employs dense descriptiveness with an idyllic undertone to depict the world of the Polish Jewish shtetl in the clash between tradition and the modern world. Shteynbarg’s Mesholim (Fables), which appeared posthumously in book form (1932), represents a unique phenomenon in contemporary Yiddish poetry: his strivings to lend a more Jewish character to the international motifs and topics of the fable helped make the richness and idiomatic features of Yiddish along with its traditional sources into the most distinguished feature of his poetic style. Another aspect of the closeness of East European Yiddish poetry to the life of the folk lies in the ample room it grants to motifs of village life intimately connected with nature. This particular subject matter permitted the shaping of a poetic Yiddish diction that approximated spoken Yiddish, with a noticeable proportion of Slavicisms coupled with an intense vividness. Kulbak’s poem Raysn ([Jewish] Belorussia; 1922) demonstrates how important a role this subject played for the poets who interwove neoromanticism and modernism in their writing. Rokhl Korn’s books of poems, Dorf (Village; 1928) and Royter mon (Red Poppies; 1937), present daily village life as a difficult prosaic struggle with deeply conflicting dimensions. Manger was the central figure in the interwar period among those who sought to place a stylized and refined folksiness at the heart of their poetry: his writing links neoromantic and modernist influences and his lyric songs, ballads, and sonnets introduce Hasidic motifs alongside Christian ones. The idiomatic language of his ballads along with their connection to the world of Yiddish folklore create an intimate atmosphere for the Yiddish reader, but their characters move in a nonrealistic demonic world of nightmares, terror, and madness. His Khumesh-lider (Bible Poems; 1935) and Megile-lider ([Purim] Megillah Poems; 1936) evince an altogether different character: these works place their biblical heroes in the background of an East European landscape and transform them into folksy types. During the second half of the 1920s, Yiddish critics began to regard Yiddish women’s poetry as a distinct corpus with shared features. Awareness of this corpus was prompted by Kadia Molodowsky’s first volume of verse, Kheshvndike nekht (Nights of Heshvan; 1927): one of its most vivid series of poems, “Froyenlider,” creates the impression that the emotional world of the Jewish woman and her struggle with tradition and the modern world lie at the core of Molodowsky’s writing. However, from its beginnings and in particular in the 1930s, Molodowsky’s poems depict a broad range of motifs. The same holds true for the other female poets who lack obvious common ground. Dvora Vogel’s poems stand out in their striving to avoid open emotionality; they highlight the relationship between poetry and art in general, and painting in particular. Reyzl Zhikhlinski’s minimalist modernism borrows its motifs from the prosaic everyday, but she also tackles portraying episodes from the biblical topics using the same poetic technique. The urban motif is one of the markers that link Molodowsky’s and Vogel’s poetry with that of their contemporaries. In portraying the human panorama of the big city in its moments of loneliness and hardship, a group of young poets in Poland sought to connect their personal lyricism with their political engagement and social protest. Some of these poets identified with the radical left camp, including Borukh Olitski, Binem Heller, Yoysef Kirman, Moyshe Knapheys, and Ber Shnaper. Vogel’s picturesque technique, in contrast, aims to portray the urban theme in a modernist context that emphasizes moments of static and anonymous alienation. Cover of In shotn (In Shadow), a book of poetry by Ben-A. Sochachewsky (Warsaw: A. Gitlin, 1923), cover illustration by Moshe Apelboym. RG 409 Jehiel Meir Ben-Abraham Sochachewsky Papers. (YIVO) The depiction of the big-city panorama indeed offered the Yiddish poets wide creative possibilities. Moyshe Kulbak’s poem Disner Tshayld-Harold (Childe Harold from Disna [a town now in Belarus]; 1933), written in Soviet Minsk, brings to life the full cultural spectrum of Berlin during the Weimar era as refracted through the eyes of a young member of the Jewish intelligentsia who has come to the big city to broaden his intellectual horizons. The poetry from Yankev Shternberg’s Romanian period, collected in his book Shtot in profil (City in Profile; 1935), stands out in the colorfulness of its spiritual landscape and the richness of its literary and cultural associations. Shternberg’s poetic horizons span the traditional world of the shtetl through the urban landscape as evoked by the unique atmosphere of Bucharest, a city on the margins of the Jewish map. It is this segment of his poetic world that reveals Shternberg’s virtuosity in its interplay of lyric and grotesque elements. The interwar period also marked the rapid development of Yiddish children’s poetry, a significant branch of children’s literature that was closely associated with the modern Yiddish school. Y. L. Peretz laid the foundation for this genre and devoted the final years of his life to writing poetry for small children. Der Nister’s children’s poems highlight elements of the fantastic and evoke motifs of Yiddish folklore. Molodowsky’s children’s poetry, penned in interwar Poland, blends the fantastic with a clear social message. Yiddish children’s poetry achieved great stature in the Soviet Union, and Kvitko gained wide renown thanks to his translations into Russian and other languages. In the 1930s and beyond, historic circumstances left their stamp on Yiddish poetry in Eastern Europe, as evidenced first and foremost in the Soviet Union. Many books of Yiddish verse published in the Soviet Union are filled with flat, propagandistic poetry. Personal lyric poetry generally portrays poets in full command of their thoughts and feelings, with a self-conscious awareness of their vocation. The drive to attain intellectual equanimity is also evident in Halkin’s love poems, collected in his book Erdishe vegn (Earthly Roads; 1945). Soviet Yiddish poetry devoted itself largely to the long poem, written mostly against the background of the revolution or contemporary themes, including Jewish colonization or the building projects in the Soviet Union. Within the confines of this genre, poets such as Markish, Fefer, and Kharik were forced to meet specific requirements: they had to place positive characters who embodied Soviet Communist values at the center of their works. In many cases, the background that depicts the shtetl way of life is artistically much more successful than the portrayal of “positive” characters. Translations of nineteenth-century Russian literature or of world literature often served as a creative refuge for Soviet Yiddish poets such as Hofshteyn, Halkin, and others. These translations met the Soviet requirement that poets demonstrate constant productivity and also introduced major works from world literature to Yiddish. Rokhl Korn, ca. 1930s. (YIVO) The most visible group of writers to appear on the Yiddish literary scene in Poland in the 1930s was Yung-Vilne. Its participants, mostly poets, espoused diverse literary models. Chaim Grade’s poetry interweaves autobiographic elements with a sharply apocalyptic tone. The spiritual break with Jewish tradition plays a pivotal role in the first stage of his writing and forms the focal point of his long poem Musernikes (Musarists; 1939). Leyzer Volf’s poems seek to shape motifs of the grotesque fantastic filtered through refined irony and an ostensibly light folksiness. The neoromantic concept of nature and an aestheticized approach to the character of poetry itself lie at the foundations of Avrom Sutzkever’s early poems, especially in his autobiographical poem “Shtern in shney: Sibirer poeme” (Stars in Snow: Siberia Poem; later reworked under the title Sibir [Siberia]) and in his second book of poetry, which appeared on the eve of the Holocaust, Valdiks (Of the Forest; 1940). Many writers trapped in the grip of Nazi occupation in Poland and Lithuania continued to write under extreme circumstances, in the ghettos and even in the camps. In the Warsaw ghetto and in the camps, Yitsḥak Katzenelson (who also wrote in Hebrew) primarily composed dramatic long poems in Yiddish that evoke the beginnings of modern Yiddish poetry in their direct communicativeness. His last Yiddish work, Dos lid fun oysgehargetn yidishn folk (The Poem about the Murdered Jewish People), blends a lamentation for the Jewish life of yore with a first-person account of the horrors of mass murder, and a call for revenge. A range of diverse elements are at work in Sutzkever’s poetry penned in the Vilna ghetto and in the woods: an intimate modernist confessional poem; an epic portrayal of Jewish fate in the Holocaust era; and an elevated poetic diction that calls for spiritual and physical resistance. These widely varied rhetorical modes express one central motif: the struggle of the poet face-to-face with death. At the onset of the World War II, a significant number of Yiddish writers joined the wave of refugees who fled to the Soviet Union, and they had to conform to the norms of Soviet Yiddish literature in whatever writing they managed. During the years of the German–Russian war (1941–1945), Soviet cultural politics were more liberal, and this permitted the Yiddish poets extensive expression of national sentiments. However, their charged language, imbued as it was with pathos, was a stumbling block to their efforts to depict the exceptional horror of the Holocaust, a problem that is acutely manifested in Markish’s sweeping epic poem Milkhome (War; 1948). The end of the war marked the termination of the political policy that had permitted relative artistic freedom. The liquidation of the final vestiges of official Jewish culture in the Soviet Union at the end of 1948 sealed the fate of Yiddish poetry in that country. Gerangl (Struggle), by Leyb Kvitko (Kharkov: Tsentral farlag, 1929). (YIVO) After liberation, Poland briefly served as a center for rescued Yiddish writers, but most of them permanently left their East European homelands in the second half of the 1940s: Grade, Reyzl Zhikhlinski, Sutzkever, Korn, and others. During the years of the Soviet Union’s imposed prohibition of the Yiddish printed word, Yiddish poetic creativity nonetheless continued. Halkin’s poems, written both in a Soviet penal camp and after his liberation, stand out for their intellectual rigor. At their center lies a striving for harmony between opposing spiritual inclinations. The founding of the journal Sovetish heymland (1961) presented Yiddish writers in the Soviet Union with new possibilities for publication. The poetry that filled the journal’s pages strives to be communicative and cultivates a simple and easily comprehensible language with a tendency toward an ostensibly stylized folksy tone. Soviet Yiddish poetry from the 1960s and 1970s derives its material from the emotional and intellectual mundane and exhibits a tendency towards clichéd optimism. It avoids profound depictions of the exceptional experiences that might set poets apart from ordinary surroundings. The combined factors of waves of emigration from Poland, the immigration to Israel of a large number of renowned Soviet Yiddish writers in the 1970s and beyond, and the collective aging process all served to reduce the remnants of Yiddish poetic creation in Eastern Europe. In the 1980s and 1990s, only a few individual Yiddish poetic voices were left attempting to maintain the tradition of Yiddish literature in Eastern Europe. Suggested Reading Justin D. Cammy, “Tsevorfene bleter: The Emergence of Yung Vilne,” Polin 14 (2001): 170–191; Irving Howe, Ruth R. Wisse, and Chone Shmeruk, eds., “Introduction,” in The Penguin Book of Modern Yiddish Verse, pp. 1–50 (New York, 1987); Benjamin Hrushovski, “On Free Rhythms in Modern Yiddish Poetry,” in The Field of Yiddish, ed. Uriel Weinreich, pp. 219–266 (New York, 1954); Avraham Novershtern, “Yung Vilne: The Political Dimension of Literature,” in The Jews of Poland between Two World Wars, ed. Yisrael Gutman, Ezra Mendelsohn, Jehuda Reinharz, and Chone Shmeruk, pp. 383–398 (Hanover, N.H., 1989); Avraham Novershtern, Kesem ha-dimdumim: Apokalipsah u-meshiḥiyut be-sifrut yidish (Jerusalem, 2002/03); David Shneer, Yiddish and the Creation of Soviet Jewish Culture, 1918–1930 (Cambridge, 2004), pp. 179–213; Seth Wolitz, “Between Folk and Freedom: The Failure of the Yiddish Modernist Movement in Poland,” Yiddish 8.1 (1991): 25–51. Vilna - The "Jerusalem of Lithuania" in my Time Vilna was a thriving Jewish city. There were higher institutes of learning, most of them with a strong Zionist influence. At the Epstein School the spoken language was Hebrew. The language of teaching at the Teachers Seminarion (Academy) was Yiddish. There was a Jewish theater. Yiddisher Gas (Street) had numerous synagogues. The most famous synagogue was the Big Synagogue. Jews were active in the textile industry and banking. Near my school there was Rom, a printing house, where the Babylonian Talmud and other Holy Books were printed. The Jewish community was very well organized. There were many Charitable Institutions. Poor people could get support through the "Matan Baseter" (Anonymous Donations), and there was even a free Soup Kitchen. Many Vilna people liked doing "Mitzvot" (good deeds). For example, if you asked for directions, they would walk with you all the way to the requested address. This was known as the "Upper Vilna". However there was also the ugly side of Vilna. It was a gray, drizzly day. One of the girls suggested we take a short walk. On the way, we met three hooligans. One of them said, "Yangelevich, here is your beast" and they began chasing us. We escaped as fast as we could. Later we found that certain areas of the city had plenty of "Vilner Ganovim" (Vilna thieves), "Vilner Julikes" (Vilna hooligans) and drunkards. Some of them were Jewish, too. In contrast to the "Upper Vilna", this was known as the "Lower Vilna". "Hechalutz" Movement in Vilna During my first days in Vilna I felt as if I had arrived at "Gan Eden" (paradise). My brother knew the city very well and he introduced me to all the Jewish activities. The Zionist youth movements were very active. There were the "Hechalutz Hatzair" (young pioneer), "Hechalutz Haboger" (adult pioneer), "Hashomer Hatzair" (young guard) and "Beitar" (Trumpeldor Alliance). Even the "Bondists" movement was there. Since I have been a Zionist from birth, I was very pleased to find such variety. Following my brother's advice, I chose the "Hechalutz Hatzair". It was located at 9 Komertzeine Street. The local branch leader was Moshe Basok. His brother, Chaim Basok, later became the Vice- Mayor of Tel Aviv. The most famous new Zionist leader at that time was Moshe Sneh (Tenenboim). When he gave a speech, hundreds of young people would come to listen. Yehoshua Rabinovich was very active, too. He studied then in the Teacher's Seminarion, and was leading youth groups in his free time. There was huge political Jewish infighting between the Communists and the Zionists. One time I went to listen to Moshe Sneh. When I arrived I found the place surrounded by Police. I left quickly. The next day a friend told me that all attendees were arrested and then released in the morning. It seems the communists were giving the police false allegations in order to prevent the rapid development of the Zionist movement. Although I was very busy studying and actually practicing Sewing, I participated in the "Hechalutz" activities almost every evening. I loved my friends. I was devoted to the Zionist cause of establishing a Jewish State in Eretz Israel. In our meetings we were given various lectures. Moshe Basok used to lecture about the condition of Jewish youth in the Diaspora and the need for Zionist fulfillment. I'll never forget watching an impressive production of the poem "Massada" (written by the great poet Yitzhak Lamdan). The show was acted jointly by "Chevreh" (members) from the "Hechalutz" and "Hashomer Hatzair". These two movements were in the process of uniting at that time. Yitzhak Lamdan, himself, was lecturing after the show. I was impressed by his assertion that "The sky is so low in Eretz Israel that one can touch heaven…". Our Friday night "Kabalat Shabbat" meetings were filled with joy reading, acting, singing and dancing. We were up to date on all the new Zionist Hebrew songs of that time, such as "Havu Levenim..." (Bring us the bricks…there is no time for rest…we'll build our country…) and more. The gates of Eretz Israel (Palestine) were almost hermetically sealed to Jewish immigration by the British. However, on the rare occasion when a friend got a "Certificate" (immigration visa) there was a great celebration. This was an excellent group of people to be associated with. Everything was attractive and interesting. I was fully involved and very popular. These were the happiest years of my life. Synagogue Generally, we used to meet at the "Hechalutz" branch. However, in very important events, the whole community would gather at the Big Synagogue on Yidisher Gas. I remember one of these events. I think it was in 1929, but I'm not sure. Yeshiva Students were murdered in the Arabs Riots in Jerusalem *. The son and daughter of Israelov were murdered too. There was a very sad memorial service. People were crying. I remember the deep painful atmosphere, the common feeling of a great tragedy, and the strong bonding tying all of us together. * The most infamous atrocity of the 1929 Arab Riots in Palestine was the massacre of the Jewish community of Hebron. I'm not an Orthodox Anymore - I'm "Oys" (out) Religious When I began going to the "Hechalutz" two girls told me "Du Bist A Ferd,Vu Du Bist A Frume". This meant : "You are as dumb as cattle by being religious". At that time I was very orthodox. Coming from a small shtetl, I was a strictly observant Jew. For example, I followed the ceremony of hand washing and food blessing before each meal. I participated in all religious events. Initially, I was very upset with these girls and let them know my opinion. I told them, "If we did not keep our religion, the Jewish people would be long gone. If not for Judaism, you girls would not even be existing now." I was absolutely convinced that I was right. However with the passing of time, and with more discussions, I became less convinced. Finally I decided to take an easier route. It began with Shabbat observance. Being orthodox I did not work and did not schedule any clients on Shabbat, but I allowed myself to complete the leftover work on some client's dress. I did not rebel and did not do it on purpose. I just took the easier way. When I first realized what I was doing I began trembling. I thought God was watching me. My Mother later said, "Oy Vey, I thought you'll become a Rebetze (Rabbi's wife), and at the end you became a Goya (female gentile)." Then I became scared. I was afraid God would punish me. My girlfriends helped me overcome it and continue in my way. I adapted an old gentile saying: "Make sure your wagon joins a convoy." I consider the following event as my turning point with regard to orthodoxy. One Friday night, I saw the Chief Rabbi of Vishnive, Rabbi Weinshtein, in Vilna attending the same lecture as I was. This lecture was given by Dr. Shmeterling concerning certain elections. I made sure not to make any eye contact with the Rabbi as I did not want each of us to see the other desecrating the Shabbat. To my great surprise I later learned from my brother that when the Rabbi returned to Vishnive the Rabbi said he had seen me. And he was not afraid at all to tell my brother that both of us were attending the same particular lecture on Shabbat. This was amazing considering that the Rabbi was a member of the ultra-orthodox "Agudath Israel" party. I think "he had a soul of a human being, not of an angel". My First Concert The first time in my life that I attended a high level professional concert was in "Bernadiner Gorten" (Garden). The park is beautiful. At the entrance there is a picturesque Gothic church. The park is big, with big lawns, tall trees, and colorful bushes and flowers. A creek is flowing, meandering through the park, with swans floating around. A big stage was erected in the middle of the park for the performing orchestras. They used to bring guest musicians from abroad, too. We went to the concert in a big group including Estherke, Stemler, Liske and more "Chevreh" from school and from "Hechalutz". This was not only my first concert, but it was also the first time I saw a female violinist. She played solo pieces by Beethoven. For me it was the miracle of miracles. I could not believe what I saw. A female playing a violin? And her music sounded so good to my ears that I felt as if angels were playing. Although I do not know much about music, I immediately absorbed and felt the music as it was really great. I could not relax for a long time after this concert. It was like a dream. The beauty of the garden, the group of people I came with, the soloist and the orchestra, caused me a high level of excitement. When the soloist played her violin, I looked at the flowing creek, and at the flowers and trees moving with the light wind. It felt as if the whole world were playing one big piece of music. After this concert I attended other concerts and shows. I also went to see many silent movies. However for me this first concert was the most special. With the generous and dedicated assistance of translators in four countries – Australia, France, England, USA – we present the first offerings of this Anthology, which has been in preparation for nearly two years now. It is designed to be of interest to a variety of readers – including lovers of poetry with no Yiddish at all. Translations are shown line on line with the original. Above the Yiddish you can click open an audio file so that, while you read either the poem itself, or its translation, you can hear it being read as well, so long as an audio file reader is installed on your computer. Among the readers are Yiddish speakers wellknown in their communities, like former actor Janek Lewin of Los Angeles and former radio broadcaster Danielle Charak of Melbourne. So far, apart from a single Polish translation of a Miriam Ulinover poem, only translations into English and French are available. It is planned to add Hebrew and Polish as well. It is not expected that every poem will find an adequate translation into each language. But most of the anthology is expected to be available in one or another translation. Essays will be added as the site progresses. Suitable contributions are welcomed. The pleasant responsibility of selection of poems has been the editor's. Poems have been chosen for their interest to today's Yiddish readers, without regard to their significance or otherwise in their own day. However, right away we have wanted to convey both the quality and the breadth of Yiddish Poland's "golden age." Great poets already well-known in translation, like Sutzkever and Manger, may be added later in the project. Acknowledgements This project was conceived during a month of research on poetry anthologies, spent at the Medem Library in Paris, with encouragement and assistance from the leaders of that vital institution: Professor Yitzhok Niborski, Director Gilles Rozier, and the chief librarian Natalia Krynicka. All three rendered valuable assistance with the poets each had studied intensively: Niborski with Aron Tsaytlin, Rozier with Broderzon, Krynicka with Ulinover. Miriam Koral of CIYCL suggested the sound files, and recorded the Ulinover poems herself. Later in 2008 research on poets' books, at the Charles E Young Research Library of UCLA in L A, was facilitated by subject librarian David Hirsch. My home institution, the Kadimah Library in Melbourne, is a rich source of material. Szymel's volume Mir iz Umetik was found here, and nowhere else so far. Library Director Rachel Bornstein has been unfailingly helpful. Our weekly reading group at the Kadimah Library has been patient with all the poems put before it and has been of great assistance in selection. As with previous projects Romek Mokotow has been an invaluable mentor. His readings of the poems have been most informative and he has served as a bulwark against translation blunders. Generous funding support has been provided for 2009 - 2010 by Irene Kronhill-Pletka in honour of her late father Jack (Kuba) Kronhill. Andrew Firestone 2009 This website contains the complete collection of poems from the Warsaw Ghetto's Ringelblum Archives with English translations by Sarah Traister Moskovitz, emeritus professor at California State University Northridge: "Poetry in Hell is a web site dedicated to the poets, both in the Warsaw Ghetto and elsewhere whose poetry, under the leadership of Emmanuel Ringelblum, was secretly collected by the members of the “Oneg Shabbat Society“, preserved and buried in the Warsaw Ghetto during the Nazi occupation. The efforts of the Oneg Shabbat Society were to document life in the ghetto for future generations. The poetry in this website was found postwar, burried in milk cans and photographed onto microfiche by the Jewish Historical Institute of Poland in conjunction with support from the United States Holocaust Museum. I am grateful to both of these institutions for making these documents and the microfiche available to me for translation to English. The poems are divided into five thematic groups: · Nature · Home, Love, Life · Ghetto, Hunger, Struggle · Death, Anger, Mourning · Tradition, Faith, Protest The poems offer insight into the daily actions, emotions, and wisdom of people living in the ghetto. They capture a wide range of topics, presented with sensitivity, beauty, longing and raw angst. While the Yiddish language is particularly beautiful, the English translations are easy to read and will make the poems accessible to a far wider group of readers and to future generations." Description: Administrative reports, 1939-1960. Correspondence, minutes, clippings, bills, posters relating to the Anniversary Committee, 1932-1960. Correspondence, 1920s-1960s with individuals and organizations, including Shalom Asch, Shlomo Bickel, Aaron Glanz-Leieles, Jacob Glatstein, Chaim Grade, H. Leivick, Shmuel Niger, Joseph Opatoshu, Lamed Shapiro, I.J. Singer, Isaac Bashevis Singer, Malka Heifetz Tussman, Max Weinreich, Aaron Zeitlin, Chaim Zhitlowsky. *Kinder zhurnal* records: manuscripts of poems, plays, stories, songs and drawings. Authors include David Bridger, Bella Gottesman, Itzik Kipnis, Rivke Kope, Kadia Molodowsky, Mates Olitsky, Malka Heifetz Tussman. Financial documents. An unpublished bibliography of Hillel Zeitlin's Yiddish articles.Administrative/Biographical History *Kinder zhurnal* and Farlag Matones were both founded by the Sholem Aleichem Folk Institute, an organization established in New York in 1918 to coordinate a secular Yiddish school system. *Kinder zhurnal*, a children's magazine, was in existence from 1920 to 1981. Its first editor, Shmuel Niger, served from 1922 to 1948. The magazine published works by writers such as Mani Leib, Aleph Katz, Jacob Glatstein, Kadia Molodowsky. Farlag Matones was established in 1925 as a publisher of children's books but became a leading publisher of Yiddish literature and of well-known authors such as Menahem Boraisha, Jacob Glatstein, Chaim Grade, Moses (Moyshe) Leib Halpern, Leibush Lehrer, Isaac Bashevis Singer, Hillel Zeitlin, Aaron Zeitlin. Lippa Lehrer was the manager and leading figure of both organizations, and was editor of *Kinder zhurnal* for a number of years. The records of *Kinder zhurnal* and Farlag Matones were combined by Lippa Lehrer, and reflect primarily the years of his involvement. Subjects (links to similar collections) Children Education Literature Press, Jewish United States Writers Yiddish secular movement Forms of Material (links to similar genres) Documents - Records Finding Aid Information Inventory: English, 16 pp.; Yiddish, 26 pp., typed Administrative Information Access Notes: YIVO Archives collections are open to researchers only by appointment with an archivist. To inquire about papers and records, write to Chief Archivist, archives. To inquire about photographs and films, write to Photo and Film Archivist Rights: The images, documents, film footage, audio materials, and texts displayed in any portion of this web site may be copyrighted. Permission to use this web site is given on condition that the user agrees to follow U.S. copyright laws. The user agrees that she or he assumes liability for any copyright violations resulting from unauthorized use of items appearing on this web site and to hold YIVO harmless from any action involving copyright infringement. It is the responsibility of the user to carry out a due diligence search under U.S. c opyright laws to determine the copyright status of items displayed on this web site. The materials on this web site may be used for personal, research and educational purposes only. Publication (including posting on the Internet and online exhibitions) or any other use without prior authorization is prohibited. To request permission for use of these materials, please apply in writing to: YIVO Archives, YIVO Institute for Jewish Research, 15 West 16th Street, New York, NY 10011 The YIVO Institute for Jewish Research was founded by scholars and intellectuals in Vilna, Poland, in 1925 to document and study Jewish life in all its aspects: language, history, religion, folkways, and material culture. YIVO had a special focus on the Jews of Eastern Europe, but collected books, manuscripts and other artifacts from Jewish communities around the world. It grew to be a beloved communal institution with active members from Buenos Aires to Shanghai. Read more about YIVO's establishment and early years. World War II and the Holocaust forced YIVO’s relocation to New York in 1940. Its collections in Vilna were looted by the Nazis. With the help of the U.S. Army, YIVO was able to recover some of these materials and begin its work anew in America. Read more about the destruction of YIVO during World War II. Today, YIVO’s collections are the primary source of the documentary history of East European Jewry and the surviving record of millions of lives of Jewish victims of the Holocaust. YIVO brings treasures from its library and archives to broad audiences via a rich array of programs, including lectures, concerts, and exhibitions; adult education and Yiddish-language programs and courses; books and scholarly publications; and fellowships for scholars. Read more about the history of YIVO in America. YIVO (Yiddish: ייִוואָ), established in 1925 in Wilno, Poland (now Vilnius, Lithuania) as the Yidisher Visnshaftlekher Institut (Yiddish: ייִדישער װיסנשאַפֿטלעכער אינסטיטוט, Yiddish Scientific Institute[1]), is an organization that preserves, studies, and teaches the cultural history of Jewish life throughout Eastern Europe, Germany and Russia, as well as orthography, lexicography, and other studies related to the Yiddish language. (The word yidisher means both "Yiddish" and "Jewish".) The English name of the organization was changed to the Institute for Jewish Research subsequent to its relocation to New York City, although it is still primarily known by its Yiddish acronym. YIVO is now a member of the Center for Jewish History. Contents 1 Activities2 History3 Publications4 See also5 References6 Further reading7 External links Activities YIVO preserves manuscripts, rare books, and diaries, and other Yiddish sources. The YIVO Library in New York contains over 385,000 volumes[1] dating from as early as the 16th century.[2][3] The YIVO Archives holds over 24,000,000 documents, photographs, recordings, posters, films, and other artifacts.[1] Together, they comprise the world's largest collection of materials related to the history and culture of Central and East European Jewry and the American Jewish immigrant experience.[1] The Archives and Library collections also hold many works in twelve major languages,[4] including English, French, German, Hebrew, Russian, Polish, and Ladino .[4] YIVO also functions as a publisher of Yiddish-language books and of periodicals including YIVO Bleter[5] (founded 1931), Yedies Fun YIVO (founded 1929), and Yidishe Shprakh (founded 1941). It is also responsible for such English-language publications as the YIVO Annual of Jewish Social Studies (founded 1946). History YIVO was initially proposed by Yiddish linguist and writer Nochum Shtif (1879–1933). He characterized his advocacy of Yiddish as "realistic" Jewish nationalism, contrasted to the "visionary" Hebraists and the "self-hating" assimilationists who adopted Russian or Polish. Other key founders included philologist and theater director Max Weinreich (1894–1969) and historian Elias Tcherikover (1881–1943).[6] Founded at a Berlin conference in 1925, but headquartered in Wilno – a city then in Eastern Poland with a large Jewish population – the early YIVO also had branches in Berlin, Warsaw and New York City. Over the next decade, smaller groups arose in many of the other countries with Ashkenazic Jewish populations. In YIVO's first decades, Tcherikover headed the historical research section, which also included Shimon Dubnow, Saul M. Ginsburg, Abraham Menes, and Jacob Shatzky; Leibush Lehrer (1887–1964) headed a section including psychologists and educators Abraham Golomb, H. S. Kasdan, and A. A. Roback; Jacob Lestschinsky (1876–1966) headed a section of economists and demographers Ben-Adir, Liebman Hersh, and Moshe Shalit. Weinreich's language and literature section included Judah Leib ("J.L.") Cahan, Alexander Harkavy, Judah A. Joffe, Selig Kalmanovitch, Shmuel Niger, Noah Prilutzky, and Zalman Reisen.[7] YIVO also collected and preserved ethnographic materials under the direction of its Ethnographic Committee.[8] In 1925, YIVO's honorary board of trustees or "Curatorium" consisted of Simon Dubnow, Albert Einstein, Sigmund Freud, Moses Gaster, Edward Sapir and Chaim Zhitlowsky. From 1934–1940, YIVO operated a graduate training program known as the Aspirantur. Named after Zemach Shabad, YIVO’s chairman, the program held classes and guided students in conducting original research in the field of Jewish studies. Many of the students' projects were sociological in nature (reflecting the involvement of Max Weinreich) and gathered information on contemporary Jewish life in the Vilna region.[9] The Nazi advance into Eastern Europe caused YIVO to move its operations to New York. A second important center established as the Fundacion IWO in Buenos Aires, Argentina.[10] All four directors of YIVO's research sections were already in the Americas when the war broke out or were able to make their way there.[11] For their own reasons, the Nazis carried the bulk of YIVO's archives to Berlin, where the papers survived the war intact, and eventually were moved to YIVO in New York The Chicago YIVO Society is a third active center today .[12] Publications YIVO has undertaken many major scholarly publication projects, the most recent being The YIVO Encyclopedia of Jews in Eastern Europe, published in March 2008 in cooperation with Yale University Press.[13] Under the leadership of editor-in-chief Gershon David Hundert, professor of history and of Jewish Studies at McGill University in Montreal, this unprecedented reference work systematically represents the history and culture of Eastern European Jews from their first settlement in the region to the present day. More than 1,800 alphabetical entries encompass a vast range of topics including religion, folklore, politics, art, music, theater, language and literature, places, organizations, intellectual movements, and important figures. The two-volume set also features more than 1,000 illustrations and 55 maps. With original contributions from an international team of 450 distinguished scholars, the encyclopedia covers the region between Germany and the Ural Mountains, from which more than 2.5 million Jews emigrated to the United States between 1870 and 1920. The first complete English-language edition of Max Weinreich's classic book History of the Yiddish Language,[14] edited by Dr. Paul (Hershl) Glasser, was published in two volumes in 2008. See also Academy of the Hebrew Language, for HebrewAutoridad Nasionala del Ladino, for LadinoDina Abramowicz (long-time YIVO librarian) ebay1354

Price: 75 USD

Location: TEL AVIV

End Time: 2024-09-29T10:34:57.000Z

Shipping Cost: 29 USD