The Rise And Fall Of Jewish American Literature

Benjamin Schreier argues that Jewish American literature's dominant cliché of "breakthrough"—that is, the irruption into the heart of the American cultural scene during the 1950s of Jewish American writers like Bernard Malamud, Philip Roth, Saul Bellow, and Grace Paley—must also be seen as the critically originary moment of Jewish American literary study. According to Schreier, this is the primal scene of the Jewish American literary field, the point that the field cannot avoid repeating and replaying in instantiating itself as the more or less formalized academic study of Jewish American literature. More than sixty years later, the field's legibility, the very condition of its possibility, remains overwhelmingly grounded in a reliance on this single ethnological narrative. In a polemic against what he sees as the unexamined foundations and stagnant state of the field, Schreier interrogates a series of professionally powerful assumptions about Jewish American literary history—how they came into being and how they hardened into cliché. He offers a critical genealogy of breakthrough and other narratives through which Jewish Studies has asserted its compelling self-evidence, not simply under the banner of the historical realities Jewish Studies claims to represent but more fundamentally for the intellectual and institutional structures through which it produces these representations. He shows how a historicist scholarly narrative quickly consolidated and became hegemonic, in part because of its double articulation of a particular American subject and of a transnational historiography that categorically identified that subject as Jewish. The ethnological grounding of the Jewish American literary field is no longer tenable, Schreier asserts, in an argument with broad implications for the reconceptualization of Jewish and other identity-based ethnic studies.

Benjamin Schreier argues that Jewish American literature's dominant cliché of "breakthrough"—that is, the irruption into the heart of the American cultural scene during the 1950s of Jewish American writers like Bernard Malamud, Philip Roth, Saul Bellow, and Grace Paley—must also be seen as the critically originary moment of Jewish American literary study. According to Schreier, this is the primal scene of the Jewish American literary field, the point that the field cannot avoid repeating and replaying in instantiating itself as the more or less formalized academic study of Jewish American literature. More than sixty years later, the field's legibility, the very condition of its possibility, remains overwhelmingly grounded in a reliance on this single ethnological narrative. In a polemic against what he sees as the unexamined foundations and stagnant state of the field, Schreier interrogates a series of professionally powerful assumptions about Jewish American literary history—how they came into being and how they hardened into cliché. He offers a critical genealogy of breakthrough and other narratives through which Jewish Studies has asserted its compelling self-evidence, not simply under the banner of the historical realities Jewish Studies claims to represent but more fundamentally for the intellectual and institutional structures through which it produces these representations. He shows how a historicist scholarly narrative quickly consolidated and became hegemonic, in part because of its double articulation of a particular American subject and of a transnational historiography that categorically identified that subject as Jewish. The ethnological grounding of the Jewish American literary field is no longer tenable, Schreier asserts, in an argument with broad implications for the reconceptualization of Jewish and other identity-based ethnic studies.

Seminar paper from the year 2007 in the subject English - History of Literature, Eras, grade: keine, University of Freiburg (Amerikanistik), language: English, abstract: Introduction My work will try to deal with three representatives of Jewish American Fiction, Bernard Malamud, Philip Roth and Cynthia Ozick. The common thread among such authors is the fact that all three novels deal with refugees or their descendants and are all based in Europe, struggling with their Jewishness and living it out in various forms, the Yiddish elements in them and maybe also the implicit criticism or appraisal of each author towards the others (e.g. as a striking example for all "The Messiah of Stockholm" itself is dedicated to Philip Roth). Each of the European countries that constitute the geographical as well as the historical background of the novels offer a different perspective and/or attitude towards Judaism and experience it in a different manner. The first novel I will examine in my work will be The Fixer by Bernard Malamud, a novel which recreates the story of Mendel Beilis, an ordinary man living in Czarist Russia (1911), who suddenly finds himself accused of the murder of a young Russian boy and so of a ritual murder, according to the age-old lie that Jews kill Christians to use their blood for Passover matzoth 1 (or די מצח 2, the unleavened bread the Jews ate when fleeing from Egypt in the thirteenth century B.C. since in their perilous flight they could not wait long enough to wait for the dough to rise 3) . Throughout his work Malamud delivers a portrait of anti-Semitism, imprisonment, degradation, torture, and human integrity. At the same time The Fixer works as a resemblance of the Holocaust, which Malamud otherwise deals with only indirectly. 4 Also Ozick in her work The Messiah of Stockholm imagines that the manuscript of Bruno Schulz, a Polish Jew gunned down by the SS in 1942, has resurfaced: an obsessive Swedish critic believing himself Schulz's son announce

In Race, Rights, and Recognition, Dean J. Franco explores the work of recent Jewish American writers, many of whom have taken unpopular stances on social issues, distancing themselves from the politics and public practice of multiculturalism. While these writers explore the same themes of group-based rights and recognition that preoccupy Latino, African American, and Native American writers, they are generally suspicious of group identities and are more likely to adopt postmodern distancing techniques than to presume to speak for "their people." Ranging from Philip Roth’s scandalous 1969 novel Portnoy’s Complaint to Gary Shteyngart’s Absurdistan in 2006, the literature Franco examines in this book is at once critical of and deeply invested in the problems of race and the rise of multicultural philosophies and policies in America. Franco argues that from the formative years of multiculturalism (1965–1975), Jewish writers probed the ethics and not just the politics of civil rights and cultural recognition; this perspective arose from a stance of keen awareness of the limits and possibilities of consensus-based civil and human rights. Contemporary Jewish writers are now responding to global problems of cultural conflict and pluralism and thinking through the challenges and responsibilities of cosmopolitanism. Indeed, if the United States is now correctly—if cautiously—identifying itself as a post-ethnic nation, it may be said that Jewish writing has been well ahead of the curve in imagining what a post-ethnic future might look like and in critiquing the social conventions of race and ethnicity.

For more than two hundred years, Jews have played important roles in the development of American literature. The Cambridge Companion to Jewish American Literature addresses a wide array of themes and approaches to the distinct yet multifaceted body of Jewish American literature. Essays examine writing from the 1700s to major contemporary writers such as Saul Bellow and Philip Roth. Topics covered include literary history, immigration and acculturation, Yiddish and Hebrew literature, popular culture, women writers, literary theory and poetics, multilingualism, the Holocaust, and contemporary fiction. This collection of specially commissioned essays by leading figures discusses Jewish American literature in relation to ethnicity, religion, politics, race, gender, ideology, history, and ethics, and places it in the contexts of both Jewish and American writing. With its chronology and guides to further reading, this volume will prove valuable to scholars and students alike.

A collection of Jewish-American literature written by various authors between 1656 and 1990.

Introduces readers to the new perspectives, approaches and interpretive possibilities in Jewish American literature that emerged in the twenty-first Century.

Jewish Americans have produced some of the most imaginative, provocative, and widely read literary works of the twentieth century. This book gives students and general readers an introduction to ten of the most significant works of Jewish American literarure. An introductory chapter discusses the historical, cultural, social, and political backgrounds of Jewish American literature. This is followed by chapters on ten major works by Abraham Cahan, Anzia Yezierska, Michael Gold, Henry Roth, Meyer Levin, Saul Bellow, Bernard Malamud, Chiam Potok, Philip Roth, and Cynthia Ozick. Each chapter provides a biography, a plot summary, a discussion of character development, an analysis of themes, an examination of narrative style, an exploration of historical context, and suggestions for further reading. The volume closes with a selected, general bibliography. These works reflect the hopes and dreams of Jewish Americans, as well as their challenges and troubles. These works help students understand the cultural and historical events central to Jewish Americans in the twentieth century. This book gives students and general readers an introduction to ten masterpieces of Jewish American literature.