Page 44 - Jewish Book Annual Volume 24

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J
e w i s h
B
o o k
A
n n u a l
ducing each writer by a comprehensive evaluation. He also
authored
Yaakov Deenezon
(Buenos Aires, 1956), a study of the
creator of the sentimental novel in Yiddish. A un ique critic is
Gershon Sapozhnikov, also a resident of Buenos Aires, who
writes in Spanish as well as in Yiddish. He is the first Yiddish
critic to use in his studies the teachings of psychoanalysis. His
book
Foon di Teefenishin
(Buenos Aires, 1958), devoted to the
works of five prom inent creators of Yiddish fiction, concludes
with essays on Sigmund Freud, the psychology of Jewish humor,
and the psychology of the Jewish personality.
Paris has for a long time been one of the centers of Yiddish
literature, of book production and of Yiddish literary criticism.
Most of the Yiddish books are in the fields of poetry and fiction.
Only rarely does one of its Parisian critics issue his essays in
book form. A rare exception among the Yiddish critics in France
is Leyzer Domankevitch, whose
Verter un Vertn
(Tel Aviv,
1965) deals mostly with poets and storytellers.
Yiddish literary creativity continues in countries beh ind the
Iron Curtain, with government stimulation as in Rum an ia and
in Poland, and under many strictures, as in the Soviet Union.
In Poland Yiddish criticism has been enriched by Shlomo Beily’s
Portretn un Problemen
(Warsaw, 1964), essays about Yiddish
writers of several generations; and by Lili Berger’s
Essayen un
Skitsn
(Warsaw, 1962), evaluations of Yiddish writers and
essays of a general literary content. Since Yiddish books are
published rarely in the Soviet Union, Yiddish criticism, like
poetry and fiction in the same language, is dependent on what
is agreed to be p rin ted in the Moscow Yiddish monthly
Sovetish
Heymland.
T he Yiddish literary center established in Australia between
both world wars, has been strengthened by readers and writers
who settled there during the last war and after. Yeshaye Rappa-
port, now a resident of Melbourne, was a prom inen t critic in
pre-war Poland. During the past decade he has enriched Yiddish
literature with four new volumes of evaluations, dealing w ith
Yiddish writers of the past and of the present, and including
essays on literary problems and subjects in general. His latest
books of criticism are:
Oisgerissene B letter
(Melbourne, 1957);
Fayerlekh in N ep l
(Melbourne, 1961);
Zoimen in Vint
(Buenos
Aires, 1961);
Mahoos fun D ikh tung
(Tel Aviv, 1963). Australian
Yiddish criticism has been enhanced by a new force in its ranks,
Yitskhok Kahan, whose
Foonken un Flamen
(Melbourne, 1964)
contains for the most pa r t essays about representative figures in
world literature.