7 ‘‘Death Is the Only Messiah’’

Kapitel in diesem Buch

1. Frontmatter i
2. Dedication v
3. Contents vii
4. Acknowledgments ix
5. Introduction xiii
6. I. THE YIDDISH LANGUAGE AND THE YIDDISH CULTURAL EXPERIENCE IN BASHEVIS’S WRITINGS
7. 1 A Canticle for Isaac: A Kaddish for Bashevis 1
8. 2 Bashevis/Singer and the Jewish Pope 13
9. 3 History, Messianism, and Apocalypse in Bashevis’s Work 28
10. 4 Sociolinguistic Views of Isaac Bashevis Singer 62
11. II. THEMATIC APPROACHES TO THE STUDY OF BASHEVIS’S FICTION
12. 5 Bilom in Bashevis’s Der knekht (The Slave) 79
13. 6 Art and Religion in Der bal-tshuve (The Penitent) 93
14. 7 ‘‘Death Is the Only Messiah’’ 107
15. III. BASHEVIS’S INTERFACE WITH OTHER TIMES AND CULTURES
16. 8 Bashevis’s Interactions with the Mayse-bukh (Book of Tales) 119
17. 9 The Role of Polish Language and Literature in Bashevis’s Fiction 134
18. IV. INTERPRETATIONS OF BASHEVIS’S AUTOBIOGRAPHICAL WRITINGS
19. 10 Revealing Bashevis’s Earliest Autobiographical Novel, Varshe 1914–1918 (Warsaw 1914–1918) 151
20. 11 Folk and Folklore in the Work of Bashevis 162
21. 12 Bashevis at Forverts 173
22. V. BASHEVIS’S UNTRANSLATED ‘‘GANGSTER’’ NOVEL: YARME UN KEYLE
23. 13 A Background Note on the Translation of Yarme un keyle 185
24. 14 Yarme and Keyle: Chapter 2 192
25. Appendix. Bashevis Singer as a Regionalist of Lublin Province: A Note 219
26. Glossary 225
27. Notes on Contributors 227
28. Index 231