Band 18, Heft 1 - Special Issue: Jewish Wit, Zionist Satire, and Humane Humor in Sammy Gronemann’s Life and Work; Guest Editor: Jan Kühne

This essay, based on Prof. Hessing’s keynote lecture delivered at the opening of the Gronemann-conference in 2022, explores notions of “Jewish wit” in Sammy Gronemann’s German novel Tohuwabohu (translated as Utter Chaos). It focuses on the incongruities and comic potential of the tensions between German and Yiddish in the novel, questioning notions of “original” and “translation” as applied to the interrelationships between Eastern European and German Jewish cultures. By highlighting the linguistic and cultural shifts experienced by these Jewish communities, Gronemann’s novel serves as a focal point for dissecting the nuances of multilingual Jewish humor and the underlying tragedies of Jewish life, especially amidst historical upheavals like World War I and the Holocaust. The essay concludes with insights into Gronemann’s ironic perspective on Zionism and the thematic significance of “Tohuwabohu” as a metaphor for the modern Jewish experience.

Reflecting on her English translation of Sammy Gronemann’s novel Tohuwabohu (originally published in German in 1920), which was released under the title Utter Chaos in 2016, Penny Milbouer’s essay reconstructs the enthusiastic reception of the novel by Albert Einstein, a discerning and knowledgeable reader. Milbouer explores the resonance between Gronemann’s and Einstein’s perspectives on modern German Jewish identity, nationalism, and antisemitism. Her essay examines Einstein’s disillusionment with American Jews’ assimilationist tendencies and analyses reasons for the failure to recognize Gronemann’s satire. Delving into Einstein’s experiences with antisemitism in America, Milbouer describes his evolving views on Zionism, contrasting American and European Jewish identities in the “little mirror” of Gronemann’s novel. Her conclusion highlights the contemporary relevance of Gronemann’s satire and Einstein’s warnings about the persistence of antisemitism, confirming that American Jews cannot escape confronting their identity or responding to discrimination and persecution.

This essay explores the evolution and resilience of the shlemiel, a central figure in two millennia of Jewish culture. Rooted in biblical narratives, the shlemiel transitions eventually into a symbol of Yiddish and Eastern European diasporic life, embodying both comedic and tragic elements. Tracing his journey through cultural history, from German to Yiddish and modern Hebrew and American literature, theater, and film, the essay delves into the complexities of his character, rooted in folklore and revolving around mistaken identity. Themes of gender and sexuality, along with interpretative acrobatics add layers of ambiguity and complexity, shaping the shlemiel’s narrative in various literary and cultural contexts. Through a detailed analysis of works by authors ranging from Heinrich Heine through Sholem Aleichem, Franz Kafka, Saul Bellow, Philip Roth, to Sammy Gronemann, the essay demonstrates the shlemiel’s versatility and enduring presence in Jewish comedy. Moreover, it examines his role as both a pariah and an agent for social change, reflecting on his significance in different cultural landscapes, as he lands eventually in America and Palestine/Israel in the 20th century. By exploring adaptations and interpretations across time and place, this essay highlights the shlemiel’s resilience amidst shifting societal norms across the globe, offering insights into the enduring relevance of this iconic figure in Jewish literature and culture.

The essay delves into the intricate German-Jewish authorship and enduring legacy of the iconic Israeli musical, “King Solomon and Shalmai the Cobbler,” which premiered in Tel Aviv in 1943. Following its success, a contentious debate arose, overshadowing Sammy Gronemann’s rightful credit as the playwright, subsequently replaced by the prominence of his Hebrew translator, Nathan Alterman. This essay meticulously examines Gronemann’s pivotal contribution, illuminating his collaborative journey with Alterman from the vibrant cabaret scene of pre-state Tel Aviv to their lasting impact on contemporary Israeli culture and theater. By dissecting their creative partnership, it becomes evident that while Gronemann’s playwright prowess shone brightly and set new standards, Alterman’s adept translation skills bolstered the play’s success, thereby etching its indelible mark in Israeli theatrical history.

The essay explores the multifaceted career of Sammy Gronemann, emphasizing his overlooked role as a lawyer within the context of his better-known identities as a Zionist and a man of letters. Gronemann’s professional life, particularly his work as a lawyer and judge, is examined in detail, shedding light on his significant contributions to Zionist legal institutions such as the Court of Honor. The paper highlights the evolving trends in scholarly research on Gronemann, which primarily focuses on his literary achievements while neglecting his legal career. Through Gronemann’s own writings and historical documents, the paper delves into his self-perception, revealing a complex interplay between his identities as a lawyer and a writer. Ultimately, it argues that Gronemann’s passion and success spanned across his various roles, challenging conventional categorizations and underscoring the interconnectedness of his legal, literary, and Zionist endeavors.

This article explores the history of the pre-state Zionist judiciary, focusing on Sammy Gronemann’s instrumental role as its high judge and chief architect from 1911 to 1946. In doing so, it addresses a significant gap in existing research. Despite extensive attention that has been paid to his contributions to German and Hebrew literature, Gronemann’s legal profession and judicial endeavors within the World Zionist Organization (WZO) have been largely overlooked in academic discourse. To provide context and illuminate Gronemann’s influential role, the first section of this article offers a concise historical account of the pre-state Zionist judiciary’s genesis. The second section delves into Gronemann’s disillusionment and suppressed critique of the WZO’s democratization initiatives. This is evident in his private writings, including a hitherto unknown letter correspondence with Theodor Heuss, the first president of West Germany. The exploration undertaken unveils the moral authority of Gronemann as representative of the institutionalized Zionist conscience, a role he embodied as the chief judge and architect of the Zionist pre-state judiciary.

Portrait photography is a fixed element in the history of German Jewry. This article asks what we can learn about a Jewish biography like that of the German–Jewish writer Sammy Gronemann by seeking to follow his life’s trajectories through the images he and others created of him and the appearances he coined. It argues that photography not only represented but also actively shaped his work as a writer and a Zionist politician and that it influenced the worlds he inhabited. It does so by situating Gronemann, the German Jew, in the history of German portrait photography, Gronemann, the Western Zionist, in the history of international Zionist image politics and Gronemann, the writer in the history of the creation of a visible cultural scene in the Yishuv and later Israel. Pondering Gronemann’s relationship with visual arts offers insights into the ways public visibility shaped German–Jewish realities both in Europe and in Palestine, both before and after the foundation of the State of Israel.