Page 84 - Jewish Book Annual Volume 7 (1948-1949)

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his affiliation with the Communist Party and subsequent dis-
illusionment. Singer’s works were all translated by Maurice
Zalman Shneour won a new audience with Joseph Leftwich’s
translation of
Noah Pandre
(1936) and
Noah Pandre s Village
(1938), novels dealing with Jewish life in White Russia, mainly
in its earthy aspects.
Isaac Goldberg’s translation of Joseph Opatoshu’s
In Polish
(1938) brought to the English reader a tale of life among
the Hassidim in Poland in the 18th and 19th centuries.
Shmarya Levin continued his autobiographical works.
in Revolt
(1930) took the author through his university years, and
The Arena
(1932) covered the period of his political activity in
the Zionist organization and the Russian Duma.
In 1936, Jacob Adler’s
, a picture of Jewish
life, primarily in New York, seen from its humorous side, was
published in a translation by Abraham London. Leo Koenig’s
A Week After Life
(1934) translated by Joseph Leftwich, furnishes
a picture of Jewish life in London revolving about a crisis in
a family.
In addition to the aforementioned
Great Yiddish Poetry
, and
Samuel J. Imber’s
Modern Yiddish Poetry
(1927), the only attempt
at making Yiddish poetry available to the English reader on a
comprehensive scale came in 1939, with the publication (under
the editorship of Joseph Leftwich) of
The Golden Peacock
, an
anthology covering the entire field of Yiddish poetry. Earlier,
in 1935, Z. Weinper’s
At the Rich Man's Gate
, poems of social
protest, was published. The book was translated by Morton
World War II had a retarding effect upon the publication of
English translations from the Yiddish. In the 1940’s, Sholem Asch
continued to hold the center of interest. Similar in conception
and execution to
The Nazarene
The Apostle
(1943), rendered
into English by Maurice Samuel, a poetic and somewhat idealized
version of the life of Paul of Tarsus. In
East River
(1946), trans-
lated by A. H. Gross, we have a picture of interracial relations
in a waterfront section of New York. Parenthetically, one should
make mention of his
What I believe
(1941), in the translation of
Maurice Samuel, an attack on anti-Semitism as destructive of
both the Jewish and the Christian world.
Zalman Shneour was represented with
(1944), a novel
of Jewish life in Poland during World War I, and the
Song of the
(1945), the story of Noah Pandre, the hero of his former
books, in an unabridged form, translated by Joseph Leftwich.
A cross section of Jewish life in Eastern Europe, in a humorous