Cynthia Ozick has asserted a dominant voice in Jewish-American literature for the past fifteen years. Pinsker places Ozick in the context of such writers as Philip Roth, Bernard Malamud, and Saul Bellow, showing how her literary vision and scope of topic differ significantly. Pinsker argues that, more than any other contemporary Jewish-American writer, Ozick deals in her work with the difficulties of non-assimilation to her literary heritage, which she insists has become threadbare, and that she has expanded the possibilities of what Jewish-American fiction can be. Through a chronological survery of works, from her initial unpublished fiction and her first published work, Trust (1966), to The Cannibal Galaxy (1983), Pinsker details Ozick's energy and wide-ranging intellect, her deep sense of moral passion, and her way of generating fictions that have a life of their own beyond the text. In addition, Pinsker shows how Ozick's essays, principally those collected in Art & Ardor, substantiate the style and intention of her fictions. Ozick is often a difficult and demanding writer. This study will offer help to both those readers of Ozick's work already familiar and its contours and those encountering her for the first time.
The certainty that deep down we are all schlemiels is perhaps what makes America love an inept ball team or a Woody Allen who unburdens his neurotic heart in public. In this unique, revised history of the schlemiel, Sanford Pinsker uses psychological, linguistic, and anecdotal approaches, as well as his considerable skills as a spritely storyteller, to trace the schlemiel from his beginnings in the Old Testament through his appearance in the nineteenth-century literature of Mendele Mocher Seforim and Sholom Aleichem to his final development as the beautiful loser in the works of Isaac Bashevis Singer, Bernard Malamud, Saul Bellow, Philip Roth, and Woody Allen. Horatio Alger might have once been a good emblem of the American sensibility, but today Woody Allen's anxious, bespectacled punin (face) seems closer, and truer, to our national experience. His urban, end-of-the-century anxieties mirror--albeit in exaggeration--our own. This expanded study of the schlemiel is especially relevant now, when scholarship of Yiddish and American Jewish literature is on the increase. By sketching the family tree of that durable anti-hero the schlemiel, Pinsker proves that Jewish humor is built upon the very foundations of the Jewish experience. Pinsker shows the evolution of the schlemiel from the comic butt of Yiddish jokes to a literary figure that speaks to the heart of our modern problems, and he demonstrates the way that Yiddish humor provides a sorely needed correction, a way of pulling down the vanities we all live by.
Sanford Pinsker's reading of the catcher in the Rye goes through the novel chronologically, in a manner perfectly conducive to side-by-side reading, and provides helpful chapters on historical background and critical reception.
Critic and poet Pinsker offers 11 essays exploring such topics as the decline of formative reading, unifying themes in American literature, the cultural value of humor (but not vice versa), and the place of the college novel. No bibliography or index. Annotation copyrighted by Book News, Inc., Portland, OR
Critic and poet Pinsker offers 11 essays exploring such topics as the decline of formative reading, unifying themes in American literature, the cultural value of humor (but not vice versa), and the place of the college novel. No bibliography or index. Annotation copyrighted by Book News, Inc., Portland, OR
The certainty that deep down we are all schlemiels is perhaps what makes America love an inept ball team or a Woody Allen who unburdens his neurotic heart in public. In this unique, revised history of the schlemiel, Sanford Pinsker uses psychological, linguistic, and anecdotal approaches, as well as his considerable skills as a spritely storyteller, to trace the schlemiel from his beginnings in the Old Testament through his appearance in the nineteenth-century literature of Mendele Mocher Seforim and Sholom Aleichem to his final development as the beautiful loser in the works of Isaac Bashevis Singer, Bernard Malamud, Saul Bellow, Philip Roth, and Woody Allen. Horatio Alger might have once been a good emblem of the American sensibility, but today Woody Allen's anxious, bespectacled punin (face) seems closer, and truer, to our national experience. His urban, end-of-the-century anxieties mirror--albeit in exaggeration--our own. This expanded study of the schlemiel is especially relevant now, when scholarship of Yiddish and American Jewish literature is on the increase. By sketching the family tree of that durable anti-hero the schlemiel, Pinsker proves that Jewish humor is built upon the very foundations of the Jewish experience. Pinsker shows the evolution of the schlemiel from the comic butt of Yiddish jokes to a literary figure that speaks to the heart of our modern problems, and he demonstrates the way that Yiddish humor provides a sorely needed correction, a way of pulling down the vanities we all live by.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.