To what extent do Yiddish language and literature reflect dominant values of mainstream European culture? How far did this culture shape the self-perception of Yiddish-speaking European Jews? How did the hostile attitude adopted towards Jews over many centuries in Christian Europe shape modern Jewish identity and culture?
Joseph Sherman, winner of the 2002 MLA prize for Yiddish translation, deals with such questions in his close examination of the recurring treatment of the myth of the Jewish Pope in four Yiddish literary texts produced between 1602 and 1958. This myth -- that one day a...

Early in the twentieth century, Yiddish, previously stigmatized as a corrupt jargon, came to be recognized as a language in its own right, and one moreover that was already the vehicle for a rich literature. Many writers in other European languages steadily became aware of the status and richness of the Yiddish language, sometimes by encountering Yiddish-speaking communities in Eastern Europe, and they responded to Yiddish language and culture in their own works, while Yiddish writers adopted, and sometimes anticipated, modern trends in other European literatures known to them. The collection...

Among the finest prose stylists in Yiddish literature, David Bergelson (1884-1952) was caught up in many of the twentieth century's most defining events. In 1909 he emerged as a pioneer of modernist prose, observing the slow decay of the Tsarist empire. In 1917 he welcomed the Revolution, but the bloodshed of the ensuing Civil War and the dogmatism of the Bolsheviks drove him to emigration. For more than a decade (1921-1934), he lived in Weimar Germany, travelling extensively in Europe and the United States. Shocked by the Wall Street Crash of 1929, disheartened by the decline of Yiddish...

Peretz Markish (1895-1952), one of Eastern Europe's most important Yiddish poets in the period between the two world wars, was a fiercely independent maverick who published work in all literary genres. Although emerging from the Kiev literary tradition, Markish always went his own way in a literary career spanning four decades and embracing almost all twentieth-century aesthetic movements. After the Revolution, he settled in Poland, but returned to be integrated more closely into Soviet culture than any other Yiddish writer of his generation, receiving the Order of Lenin. It did not save him...