Page 188 - Jewish Book Annual Volume 11 (1952-1952)

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rom. During this period, too, he wrote the celebrated comedy,
“The Treasure;” the play cycle “Messiahs;” the historic drama,
“Alexander and Diogenes,” and many other dramatic creations —
realistic as well as those in which he experimented with conflicts
which bore more of an ideological than a psychological character,
and also those in which he succeeded in creating a synthesis of
general ideas and individual types.
During the past quarter-century, after World War I, he has
written, besides stories, novels, such as
The Torn Person
The House
of Noah Edon
When Ways Part.
In these he gives us a broad
picture of the social and religious (or a-religious) psychology of
various — but particularly of the upper — classes of the Jewish
population in America.
He eventually broadened the horizons of his themes both as to
place and time. From the poor Jewish worker’s home, from the
small shop and the student’s attic, out of which he took the
material for his first stories and plays, he carried his readers to
the mansions of rich American “Yehudim,” and from his own
generation he travelled to the generations of the past.
Pinski sought and found new themes, new motifs and new forms
and speech nuances. But fundamentally he, like every writer of
character, remained what he was from the very beginning — a
writer who was not satisfied with an objective portrait of the
person and his environment — which may help or hinder him in
living a full life. His deeper intention was, and remains, not only
to paint the individual and his society but also to remold and
improve them. Even when he shows us life as he sees it he desires
to arouse in us an intense striving for the world he foresees, the
world that is his prophecy. Despite the “alien vineyards” he
has experienced, Pinski remains a deeply Jewish writer, a man
of vision who sees the goals ahead and points the way for their