Short Story Writers From Poland

"I have often been asked what message I, a survivor of the Lodz ghetto, of Auschwitz, Sasel, and Bergen-Belsen, want to transmit to those who have not been there and to their children? The question confounds me. From which bag of highfalutin, well-sounding, hollow phrases do I take my response? What response exactly will satisfy my interrogators' expectations? Would not any answer tarnish the memory of those who did not survive the bondage of the darkest Egypt that ever existed? The only answer I am capable of giving is to echo the passage in the Passover haggadah, which says that, in every generation, each individual must regard him or herself as having personally come out of Egypt. I would say that, in every generation, each individual must regard him or herself as having personally survived the Holocaust, and each individual should transmit this awareness to the sons and daughters of the next generation."

"I am not a card-carrying feminist, but the intellectual baggage that I bring to the act of writing is certainly coloured by my femininity."

"modern Yiddish literature came to maturity with the writing of the three classical writers, Mendele Mokher Sforim, Sholem Aleichem, and I. L. Peretz, whose influence served as both guide and catalyst for the generation of Yiddish writers who came after them. But all the members of this generation were male. It was only in the early-twentieth century that Yiddish women writers began to be published."

"We Jews have every right to be proud of our Yiddish literature, which flowered in such a short time, and which explored both the heights and the depths of Jewish thought and feeling. But the depiction of Jewish women is, with some exceptions, not among our literature's finest accomplishments...some male Yiddish prose writers did faithfully and realistically describe the situation of women in the late-nineteenth century. They depicted their female characters with great tenderness and understanding. But as a general rule, they avoided looking deeper into the more complicated qualities that make up a woman's individuality. The male writer sympathized with the woman's plight; he idealized her, sang her praises, wondered at her, but he knew nothing about who she really was. He did not illuminate her from within."

"What intrigues me in human nature is precisely the thing that defies gender and sexual difference, heredity and upbringing. If my character is male, then I must try to immerse myself in his masculinity in order to inhabit him completely. The same is true if my character is female...I believe that in a successful literary work the writer rises above her inner censor and transcends the confines of gender; that in such a work it makes little difference if the female characters are depicted by a male or a female writer. In such a work the writer, whatever his or her actual gender, is a feminist. In such a work the female writer is faithful to her own essence and the male writer sees his female characters as autonomous beings, similar to himself and yet different. Such a work would make us realize that we all have an equal share in our common humanity. That, at least, would be my ideal."

"It seems to me that there is an inherent difference between being a Yiddish writer and being a writer of any other language. The difference is both psychological and linguistic. The Yiddish language, written with the Hebrew letters of the Bible, automatically places every Yiddish text within the context of Jewish history, of Jewish national and religious experience, and so endows it with a near-sacred quality. The mystical power that Jews ascribe to the Hebrew letters seems to influence the texture of even the most secular Yiddish works, endowing them with an additional lustre. As a result, the relationship between the Yiddish writer and her public is imbued with a sense of spiritual and intellectual connection."

"I do not see myself primarily as a translator, although I have in fact, with the help of my daughter, translated much of my own work. Nevertheless, when I reflect more deeply on this subject, I realize that my entire life has been a process of translation. I have been translated from my birthplace in Europe to my present home in North America. I have written three novels, one collection of short stories, four books of poetry, three plays, many essays and travelogues. Yet, without translation, all of these would have been relegated to the graveyard of those few libraries that still contain books in my language, or to the bottom drawer of my own desk. This is because the language in which I write, Yiddish, has fewer and fewer readers and writers. Translation represents to me my literary future. It makes me think that not everything I write will be totally lost, even if things do inevitably get lost in translation."

"What happened after this - that is, after the amazing flowering of Yiddish culture and literature between the two world wars - was a tragedy of unimaginable proportions, when the world experienced the trauma of the Second World War and the Jews of Europe faced mass extinction. Sadly, this too is the history of Yiddish - and it is my own personal history as well. Because my own fate as a writer was so closely dependent on the fate of that beautiful, piquant, tragic language, Yiddish."

"I was entranced by the kind of magic that went into the act of transposing words from one language into another."

"I will say no more about the horrors of the concentration camps. They are indescribable and untranslatable."

"Montreal in the 1950s was a marvel as far as Yiddish culture was concerned. It bustled with a lively intellectual and social life, was home to several important Yiddish writers, and boasted a Yiddish library and a system of private Yiddish-language day schools, to which I sent my children. But while I found in Canada a Jewish community that still spoke Yiddish, the focus of this community had turned away from the universalism of my European past to more specifically Jewish concerns, such as supporting the state of Israel. It was in Montreal that I wrote my novels, and I wrote them in Yiddish. I wrote in Yiddish because it was the language in which I was most at home; it was the language that I knew like the map of my own heart. I could create in no other language. And I wrote in Yiddish out of a sense of loyalty to the vanished world of my youth, out of a sense of obligation to a world that no longer existed. And yet, I hardly knew how it happened, but I gradually became aware that Yiddish was in trouble in Montreal and in the world at large, that the number of its speakers and readers was decreasing."

"Writing is a lonely profession, and after the Holocaust, Yiddish writers were doubly lonely."

"Like most writers, I wanted to be read. But I also wanted the rest of Canada to know what I and millions of other Jews like me had lived through during those terrible war years. I wanted the non-Jewish world to recognize our pain, and I wanted to memorialize our vanished past and our lost communities. And so, I found myself once again face to face with the need to find a translator."

"Translation, I believe, is about interaction, interaction between one language and another, between one form of writing and another. It is the most optimistic of literary endeavours, because it suggests that everything may be transposed, and once transposed, comprehensible. Even idioms, phrases, and sayings that have no equivalents in other languages can, in one approximation or another, be somehow transmuted, so that those who speak an entirely foreign language and belong to an entirely different culture may nevertheless understand one another through the medium of translation."

"The process of translation, of moving from one language to another, closely mirrors my own experience as a writer, driven from one country to another and from one language to another. I am so grateful to translators, to all translators, for making the literature of the world available to me and to all the peoples of the world, no matter what language they speak, because I do still believe that literature is the primary way in which we may come to understand one another. When translators sit down to their work, they are engaged in more than a mere transposing of thoughts and phrases from one language into another. Sometimes, as in the case of Yiddish, there is much more at stake: it is not merely that translation allows literary works to exist in languages in which they never existed before, but also that translators are engaged in snatching from the jaws of oblivion that which is in danger of disappearing. It is a most honourable calling; it is a preservation of the past in the present. I thank all translators for the fact that they exist and have devoted their lives to breaking down the barriers between peoples and alleviating the curse of the Tower of Babel."

"Yiddish is my own language, as near to me as the skin on my body. In my youth, when I voraciously read the works of the great European writers, they all spoke to me in Yiddish, because I read them in Yiddish translation. Yiddish was my Esperanto, my key to understanding the lives of other peoples. It established the affinity between them and me, giving me an entree into the obscurest corners of the human soul. To me, Yiddish was never a parochial language. On the contrary, Yiddish literature was a splendid edifice, with open doors and windows."

"“People," Geralt turned his head, "like to invent monsters and monstrosities. Then they seem less monstrous themselves. When they get blind-drunk, cheat, steal, beat their wives, starve an old woman, when they kill a trapped fox with an axe or riddle the last existing unicorn with arrows, they like to think that the Bane entering cottages at daybreak is more monstrous than they are. They feel better then. They find it easier to live.”"

"The sword of destiny has two edges. You are one of them."

"During his life, the witcher had met thieves who looked like town councillors, councillors who looked like beggars, harlots who looked like princesses, princesses who looked like calving cows, and kings who looked like thieves."

"In all of nature, a male belongs to a female that he fancies and who fancies him. And so among the animals there are no idiots. But with us!... I'm a Jew, so I musn't love a Christian woman... He's a merchant, so he's got no right to a countess... And you who've got no money, you've no rights to any woman at all..."

"Money really is a great power, only one must know how to use it."

"Pity is an emotion equally unpleasant to the bestower as to the recipient."

"There are neither graves nor death in Nature; there are various forms of existence, some of which enable us to be chemists, others only chemical substances."

"‘There are two men in me,’ he thought, ‘one quite sensible, the other a lunatic. But I am not concerned with that any longer... What shall I do, though, if the sensible man wins?’"

"Your true Pole starts to sweat at the second decimal place, at the fifth he runs a temperature, and at the seventh has a stroke..."

"Nature has done well and wisely, in not permitting a man to live forever and in bringing into the world ever new generations. An old person is a used-up machine [... He] has too many dogmas to [...] easily [...] believe in a new truth [...]; too many sympathies and antipathies [...] for him to come to love something unfamiliar; [...] too many habits to be able to settle on new ways. Let us add suspiciousness — the fruit of bitter experiences; a pessimism inseparable from all manner of disappointments; and finally, a general decline of powers from exhaustion [...]."

"A life whose beginning we do not remember, and whose end we do not know."

"Folly is as great as the sea, it will compass anything."

"And is there no war on today? It is the weapons that have changed, that's all. Instead of an axe or scythe or scimitar, they fight with roubles."

"For human nature is strange: the less we are inclined to self-sacrifice, the more we insist on it in others."