Mendele: Yiddish literature and language ______________________________________________________ Contents of Vol. 4.337 February 23, 1995 1) Avrom-Nokhem Shtentsl (part 2) (Leonard Prager) 1)---------------------------------------------------- Date: Tue, 21 Feb 95 14:55:32 IST From: rhle302%uvm.haifa.ac.il@vm.tau.ac.il Subject: Avrom-Nokhem Shtentsl (part 2) Now in theory we might be facing a hostile Hannah. However, the zeitgeist has changed in a generation. The Yiddish heritage generally has now become like the Fulvia eulogized by the adulterous Antony who exclaims, "What our contempt doth often hurl from us. / We wish it ours again.... / The hand could pluck her back that shoved her on."(35) In our multi-cultural society, the concept of "mainstream" has altered. In a world of "ethnic cleansing," the once unrealistic Bundist model of cultural autonomy in a multi-ethnic state suddenly seems highly civilized and immensely topical. Yiddish literature has met with academic recognition; numerous rescue operations to salvage the endangered rain forest of Yiddish culture are in motion. Translators knock at the Yiddish writer's door -- if he is a Sutskever(36), and revive him from the grave -- if he is an An-Ski.(37) The cultural climate has altered drastically. The Ostrovers and the Edelshteins are dead or dying and the Hannahs -- the young people who have somehow taken the trouble to learn Yiddish -- are often eager rather than indifferent, hungry to know the peculiar beauty and charm of _mame-loshn_. Moreover, hardly anybody today can distinguish a puddle from a mainstream -- the puddles have become lakes and the thoroughfares rivulets. Shtentsl could easily become a larger-than-life legend and this would be a disservice. We must try to see him as he was and assess his literary and other contributions as carefully as we possibly can. This will not be easy. Shtentsl lived a remarkable life, notable for its lack of acquisitiveness, great personal warmth, general cheerfulness, a dedication to the ideal of "culture" that would have impressed even Matthew Arnold, and a passion for poetizing that no mere poetaster could long maintain. Looking cursorily at just these attributes of Shtentsl's highly individual character and no less unconventional conduct, we note his lifelong residency in the shabbiest and smallest of lodgings in the poorest part of Whitechapel, his virtual obliviousness to dress, the radical simplicity of his diet, his indifference to owning goods and -- a few romances excepted -- to indulging his senses. He was for almost a half century the central personage of a sizable circle of culturally aware Yiddish-speakers in and beyond Whitechapel. He was the natural leader of this group and acknowledged as such by all. He pondered more deeply than any of its members what the group needed to do and why this mattered. His passion sufficed for his own intense inner life of poet and outer life as communal tone-setter. He was never interested in an ordinary nine-to-five job and he never had much money. He was a kind of flower-child before they were invented. Shtentsl wrote all the time, using any piece of paper or the back of any piece of paper that came to hand. Thanks to Dovid Katz, to Shtentsl's grandniece, Miriam Becker, to SOAS and to Peter Salinger -- to name four of the principal actors -- the great mess that constituted Shtentsl's papers in its received condition comprised, in addition to a certain quantity of neatly arranged mss., piles and piles of nondescript stationery, gas bills, flyers, leaflets, used envelopes, letters received, New Years Greetings, picture postcards. Anything with a few square inches of empty space was game for Shtensl's semi-illegible scrawl of verse, invariably of verse -- thoughts, images, rhythms that came to him in an instant and which he felt impelled to write down, but not necessarily to recopy or file in a recoverable fashion. Many of these fragments have been preserved in what is now the Stencl Archives at SOAS, University of London, but they may be merely drafts of poems he later published, or of which we have proofsheets.(38) We have tried to preserve everything in Shtentsl's hand in the hope that it may help us to understand him and his art better, a belief which rests on the assumption that he is worth trying to understand better. What is the source of this assumption and who shares it? The fact that I am giving this memorial lecture in Shtentsl's honor and that this lecture is an annual event; that Meyer Bogdanski to this day continues the Literary Saturday Afternoons in Whitechapel expressly in recognition of the tradition Shtentsl inaugurated and maintained throughout his life(39); that SOAS (University of London) is planning a Shtentsl memorial volume; that hundreds of persons in Britain and abroad who knew Shtentsl carry his image in their hearts and minds -- all these surely point to a general will to remember Shtentsl and his work. Tributes to him from illustrious persons now dead may also be mentioned. Thomas Mann admired an early volume of Shtentl's verse which he read in German translation, impressed that a Jewish poet could write so feelingly about nature. The great Yiddish critic, Shmuel Niger, wrote that Shtentsl's poems on the motifs of father and mother, which constitute a virtual sub-genre in Yiddish poetry, were the best in all of Yiddish literature.(40) Throughout her years in London, Dora Diamant, the last woman in Franz Kafka's life (and who was generally politely referred to as his widow in the _Loshn un lebn_ circle), looked to Shtentsl as her spiritual mentor.(41) In a community racked by partisanship, he maintained a certain unity and fraternity in his group, which included Communists, Anarchists, Bundists and some Orthodox Jews.(42) This is the stuff legends are made of. But many people who encountered Shtentsl during his many years in London were probably appalled by his bohemian appearance, and shocked by his monolingualism -- his refusal or inability to speak English. Was this part of a grand strategy to assert the rights of Yiddish, or little more than an effort to give a brave face to his failure to learn English on arriving in London at age 37? One could manage reasonably well without English in Whitechapel in the late 1930s. Shtentsl's only employment on his arrival seems to have been as a part-time Yiddish journalist. By 1940 he was already busy issuing his _Heftlekh_ and this did not necessitate contact with the larger Jewish community. However, even in the early years, a knowledge of English could have made life simpler for Shtentsl, and he would not have had to depend so much on others. Anyone who reads the pathetic 1951 one-way correspondence between Julie and Shtentsl will appreciate how humiliating it must have been for him not to be able to communicate in English.(43) As his reputation grew and non-Yiddish-speaking Jews became interested in knowing him and his work, he was at a loss. When he did find interpreters they were never quite adequate. In this matter of linguistic competence, Shtentsl was at radical variance with the great Jewish-American poets, most of whom knew English well and read English books. Shtentsl's knowledge of English literature was based on Yiddish and German translations. His brand of secular humanistic Judaism encouraged contact with all the modern arts, yet he lacked the most important bridge to the great British culture around him. The great Yiddish poets of Poland knew Polish literature well. The monolinguistic Yiddish writer is a relatively rare bird in Yiddish letters. Shtentsl left Poland at a young age and apparently was never drawn to Polish literature. German literature must have attracted him, but after the Shoa he seems to have boycotted most things German as well as Germany itself -- this did not include his old German friend and translator, Elizabeth Woehler, who was devoted to Shtentsl until her last day and left him a small stipend.(44). The largest question we must answer about Shtentsl does not concern his intriguing personality, but his writings. It is no secret that outside of Britain Shtentsl is little known and has not been accorded high ranking by the generally recognized arbiters of Yiddish literary taste. He is represented in few anthologies. The entry for him in the _Nayer leksikon fun der yidisher literatur_ New York, 1981 (vol. 8, cols. 643-644) concludes with an ambiguous quotation from Yankev Glatshteyn which both detracts and commends: "Der gantser mehus fun shtentsls shraybn iz pazrones un nisht opklayberishkeyt, (ober) in der shefe zayner iz fundestvegn a mol do vos oystsuklaybn." ('The essential nature of Shtentsl's writing is extravagance and not selectivity; (however) amidst the abundance there is sometimes something worth picking out.')(45) The poet and critic Meylekh Ravitsh, who knew Stentsl personally, wrote of him with sardonic condescension mixed with affection. He saw him as a geographically isolated staunch Yiddishist and as a naive, excessively prolific, but not untalented poet. He described, with undisguised amusement, how an enthusiatic Yoysef Opatoshu, the famous author of _In Polish Woods_, once spent an evening reading Shtentsl's poems to him and trying to convince him that Shtentsl had found the synthesis of the Zohar and Expressionism. But he is not altogether scornful when he writes: "O -- ven di velt volt zikh tsugehert tsu di poetishe eytses, vos shtentsl git ir in zayne toyznter lider, volt zi haynt shoyn geven mer himl vi erd." ('Oh -- if the world would only listen to the poetic counsel that Shtentsl gives in his thousands of poems, it would today be more heaven than earth.')(46) There is no question that Shtentsl possessed great talent, but we may ask how often this talent found fulfillment in finished works. The poet's mode of life, his choice of being engaged in live issues of the moment, of responding in verse with occasional poems, of the monthly burden to fill the pages of _Loshn un lebn_ and to sell it as well; to prepare for and lead the Literary Saturday Afternoons -- all may help to explain the complaint of Glatshteyn -- that ANS's poetry often gives the impression of riches being scattered helter skelter. There are people who feel Shtentsl has been dealt with unfairly by the Yiddish critics. Do they have a case? The fact that London was not a major Yiddish literary centre can not explain his relative lack of recognition; nor can his lack of political or organizational sponsors. Rather than complain it is more fruitful to pursue the reassessment initiated a decade ago in the First Annual Stencl Lecture by Professor S.S. Prawer.(47) Publication of a bi-lingual annotated edition of Shtentsl's finest verse and prose could go far to winning for him the place that many feel is his by right of his mastery, as well as his love, of Yiddish. Thoreau was not wrong when he wrote, "One generation abandons the enterprises of another like stranded vessels."(48) But from the Hannahs of today, we also learn that one generation can be drawn to and can learn to draw from certain enterprises of their forebears. Translation cannot be the salvation of Yiddish, although it can be one of a number of useful instruments in the larger effort to keep the Yiddish tradition alive. The Harshavs in America have won increased recognition for American Yiddish poetry with their distinguished bilingual anthology, one which will perhaps inspire a few readers to study Yiddish literature in Yiddish. This may seem a narrow path but it is one which leads to wide horizons. Today we know that Isaac Bashevis Singer's translated works often bear little relationship to their Yiddish originals, to which all serious Bashevis readers must inevitably return. As all Talmudists know, there will never be a fully satisfactory substitute for the original Aramaic or Hebrew text. Moreover, an original text, even in the most neglected language, can -- for the right reader -- often prove to be a broad and adventurous thoroughfare. Leonard Prager Endnotes 1. The Annual Stencl Lecture, given at the Oxford Centre of Postgraduate Studies, Oxford, 5 August 1993, by Leonard Prager, University of Haifa. 2. Cynthia Ozick, "Envy; or, Yiddish in America; a Novella," _Commentary_, November 1969 (48:5, 33-53); first published in book form in the much admired _The Pagan Rabbi and Other Stories_ (New York, 1969); reprinted in popular anthologies such as the late Irving Howe's _Jewish American Stories_ (New American Library, 1977). 3. His Yiddish name is Yitskhok Bashevis or Yitskhok Bashevis Zinger. He adopted the name Bashevis (his mother's first name was Basheve, i.e. Bathsheba, to which is added the posessive 's) so as not to be confused with his elder brother, the Yiddish writer Yisroel-Yehoyshue Zinger, generally referred to as Y.-Y. Zinger (English name: Israel Joshua Singer). See footnote 19 below. 4. I.B. Singer is the only Yiddish writer ever to have received the Nobel Prize for Literature. Another Nobel Prize recipient, S.Y. Agnon, wrote Yiddish at the beginning of his career, but only Hebrew afterwards. 5. Yankev Glatshteyn (Jacob Glatstein/Gladstone) (1896-1971). The reputation of this poet and critic has been rising, aided by the high quality (and quantity) of English translations of his work. Note he was still alive when Ozick's story appeared. For a good selection of his verse and an appreciation, see Benjamin and Barbara Harshav, eds. _American Yiddish Poetry; a Bilingual Anthology_, Berkeley/Los Angeles/London: University of California Press, 1986, pp. 204-385 (The Harshavs call him Jacob Glatshteyn). See too _Selected Poems of Yankev Glatshteyn_, Philadelphia: Jewish Publication Society of America, 1987. 6. Khayim Grade (Chaim Grade) (1910-1982). In Irving Howe and Eliezer Greenberg, eds. _A Treasury of Yiddish Poetry_, Grade is represented by three poems, all elegiac. Two of them ("The Coat," and "Elegy for the Soviet Writers") are translated by Cynthia Ozick. Ozick's Hannah had no taste for the Yiddish elegiac mode and preferred the supposed universal art of Singer Bashevis Singer. 7. Hannah represents the generation of native-born grandchildren of immigrant Eastern European Jews in America, the generation which often reacted against its native-born parents' rejection of Yiddish and _yidishkeyt_. The present-day Hannahs may represent fourth- and fifth-generation Jewish-Americans, who could only have learned Yiddish at school or university. 8. Ozick, p. 51. 9. Ibid., pp. 42-43. 10. See Leonard Prager. "Avrom-Nokhem Shtentsl," _Yiddish Culture in Britain_, Frankfurt/Bern/New York/Paris: 1990, pp. 597-599. Unfortunately, several misprints are found in this entry. The second sentence should read: "His father, a fervent chasid, was the son of the dayan of Tshenstochov (Polish: Czestochowa), whose brother was the Head of the Tshenstokhov Yeshiva." ANS arrived in the UK in 1936 and not in 1934 (l. 9). 11. Moris Vintshevski, pseud. (Morris Wintchevsky/Vinchevsky) (1856-1932). "Der meshugener filosof" was one of his pseudonyms. See Prager, 1990, pp. 684-685. 12. Yoysef-Khayim Brener (Jopseph Chayim Brenner) (1881-1921). See Prager 1990, pp. 171-172. 13. Avrom-Nokhem Shtentsl. "Yidish shafn in london" (erster peryod), _Yidish shafn in london_ (November 1942); part of this essay is reprinted in "Undzer yidish shafn in england," the foreward to the _Yoyvl almanakh_ (London, 1956), pp. v-vii. 14. A central part of Dan Miron's fine study of Mendele, _A Traveller Disguised; A Study of the Rise of Yiddish Fiction in the Nineteenth Century_ (New York: Schocken, 1973), deals solely with the problem of language choice faced by the grandfather of Yiddish literature and many others. 15. Their common bonds with the publisher and printer, Yisroel Naroditski (Israel Narodiczky) (1874-1942), who was to print virtually all of Shtentsl's British publications, including _Loshn un lebn_, further strengthened this awareness. Naroditski was a remarkable man; without him the history of Yiddish culture in London would have been much poorer. See _Jewish Books in Whitechapel; a bibliography of Narodiczky's Press_, compiled by Moshe Sanders, edited by Marion Aptroot, London: Duckworth, 1992; Prager 1990, p. 481. 16. Yoysef Khayim Brener. "Mir un zey," _Di idishe folks-literatur_, London: Ferlag "progres," 1909, cols. 28-29. This is Item # 22 in Prager 1969, where "62 pp." should read "62 cols." and the repository JLN shluld be JNL. 17. Sholem Ash (Shalom Asch) (1880-1957). See Prager 1990, pp. 129-130. Shtentsl himself mentioned this break to me when a group of persons close to the family or to Yiddish circles in London gathered in the Asch's home in St. Johns Wood, following the funeral of Matilda Asch in 1962. These are the words I jotted down in a notebook at the time: Standing next to me in Sholem Asch's study, Shentsl reminisced that in that same room he had argued bitterly with the famous novelist before his death. Asch had declared that Goles ('Exile') had not assimilated Jewry but Hebrew would and that Yiddish had no future. Shtentsl, spluttering a cookie out of his mouth as he excitedly recalled the incident, was on the verge of throwing an inkwell at Asch for these words. Shtentsl did not talk to Ash for years, but the two were reconciled a month or so before Ash's death." Shtentsl was capable of fits of anger and his pen,too, could be vitriolic against those he regarded as the enemies of Yiddish; he was also quick to forgive and make peace with opponents. 18. See Chone Shmeruk, _The Esterke Story in Yiddish and Polish Literature_, pp. 66-67. 19. See Leonard Prager, "Israel Joshua Singer," _Encyclopaedia Judaica_ (Jerusalem: Keter, 1971), 14: 1611-1612. Yisroel-Yehoyshue Zinger (Israel Joshua Singer) (1893-1944). 20. Edwin and Wilma Muir translated a number of Ash's works into English, presumably from German. They do not indicate that the works were written originally in Yiddish. Shtentsl was shocked to learn this. See Prager 1990, p. 130. 21. Yitskhok-Leybush Perets. "Monish," _Ale verk_, vol. 1, New York: CYCO, 1947, p. 20. 22. "A huge anthology could be constructed of Yiddish poems to and about Yiddish, which is praised, bewailed, commiserated, cajoled, mocked, extolled, even apotheosized. Whether invoked as person or as mysterious Presence, Yiddish itself is the chief muse of the Yiddish writer...." (from Leonard Prager, "Yiddish in the University," in Joshua A. Fishman, ed. _Never Say Die! A Thousand Years of Yiddish in Jewish Life and Letters_, The Hague/Paris/London: Mouton Publishers, 1981, p. 531. 23. _In zikh; a zamlung introspektive lider_, New York: Max N. Maisel, 1920, pp. 19-20. Cited in Harshav (p. 780) in Anita Norich's translation, which is given here. 24. Cited in Harshav, p. 798, from A. Leyeles, "Whither Yiddish Poetry?," _In zikh_ (August 1923). 25. A. L-S, "Refleksies; inyen: idishe literatur un di velt," _Inzikh_ 33 (March 1937), p. 92. Cited in translation in Harshav, p. 801. 26. Sh. Niger. "A dikhter-grus fun daytshland," _Nayer folksblat_, no. 31 (February 1937), 9. 27. See Hirshe-Dovid Kats, "Shtentsl shel male; tsum tsentn yortsayt," in press. An English translation of this essay, "The Celestial Stencl (On the Tenth Anniversary of His Death)" will appear in the Stencl Memorial Volume (SOAS), in press. 28. Avrom-Nokhem Shtentsl. "Undzer bayshtyayer tsum yidishn shafn," (driter esey, "Yidish shafn in england"), _Loshn un lebn_ Heftl 62 (March 1945) (Issue title: _Yidish-shafn in england_), 4. 29. See Maks Vaynraykh, _Geshikhte fun der yidisher shprakh; bagrifn, faktn, metodn_, Band 1, New York: Yivo, 1973, Chapter III "Di shprakh fun derekh hashas," passim, esp. 248-250. 30. Cited in Harshav, p. 802, from Jacob Glatstein's "By Ourselves," _In zikh_ (May 1938). 31. On the "ghetto" in Eastern Europe, see Max Weinreich, "The Reality of Jewishness Versus the Ghetto Myth; the Sociological Roots," _To Honor Roman Jacobson_, The Hague: Mouton, 1967, pp. 211-221 (reprinted in Fishman 1981). 32. Ozick 1969, p. 33. 33. Ibid., p. 35. 34. Sh., "A shtekele arayn a shtekele aroys," appears on the title page/table of contents of _Loshn un lebn_ no. 480 (May 1979), p. 1. The poem "Politik un sholem," appears on pages 46-47. "Gevidmet tsum 40stn yor _Loshn un lebn_" is on p. 48; it has six stanzas of four lines each, rhyming abcb. The references are to two famous Yiddish ethical works (musar): _Lev tov_ 'Good Heart' was written in Yiddish by Yitskhok ben Elyokim mePozen and first published in Prague in 1620. _Kav hayoshor_ 'Right Measure' was written by Tsvi Hirsh ben Arn Shmuel Kaydenover. The first Hebrew edition was published in Frankfurt in 1705 and the first Yiddish translation in the same city in 1709. The only solely Yiddish edition of this work noted by Dinse is that of Sulzbach 1724. See Helmut Dinse, _Di Entwiklung des jiddischen Schriftums im deutschen Sprachgebiet_, Stuttgart: J.B. Metzlersche Verlagsbuchhandlung, 1974, p. 239. 35. William Shakespeare, _Antony and Cleopatra_, Act One, Scene 2, ll. 127-128, 131. 36. See, for example, (1) A. Sutzkever, _Selected Poetry and Prose_, translated from the Yiddish by Barbara and Benjamin Harshav with an Introdction by Benjamin Harshav. Berkeley/Los Angeles/Oxford: University of California Press, 1991; (2) Abraham Sutzkever, _Griner Akwarium __ Gruenes Aquarium_, Kurze Beschreibungen, Prosastuecke Jiddisch und deutsch. Uebersetzung Jost G. Blum, Michael von Killisch-Horn, Mirjam Pressler, Umscrift und Nachwort Jost G. Blum. Frankfurt am Main: Juedischer Verlag im Suhrkamp Verlag, 1992; (3) Abraham Sutzkever. _Zielone akwarium_ Przelozyl Michal Friedman. Wstepem opatrzyla Ruth Wisse. Wroclaw: Wydawnistwo Dolnoslaskie, 1991; (4) Abraham Sutzkever. _The Fiddle Rose_; Poems 1970-1972: English and Yiddish. Selected and translated by Ruth Whitman. Introduction by Ruth Wisse. Detroit: Wayne State University Press, 1990; (5) Avrom Sutzkever. _Ou gitent les etoiles; oevres en vers et en prose_. Preface de Rachel Ertel. Traduit de yiddish par Charles Dobzynski, Rachel Ertel et le collectif de traducteurs de l'Universite Paris - VII. Paris: Edition de Seuil, 1988; (6) Gregorio Sopoznikow. _Neruda y Sutzkever; Dos poetas rebeldes_. Traduccion del original idish por Itsjok Niborski. Presentation de Avrom Sutzkever por Eliahu Toker. Buenos Aires: Lugar Editorial, 1987. 37. See, for example, S. Ansky, _The Dybbuk and Other Writings_, edited and introduced by David G. Roskies, with translations by Golda Werman. New York: Schocken Books, 1991. 38. There is a Catalogue of the Stencl Archive which may be consulted. Apply to the Archivist, SOAS. 39. Meyer Bogdanski (1912- ) has been a leading figure in Yiddish cultural life in London for many decades. See Prager 1990, p. 167. 40. Niger 1937, p. 9. 41. Prager 1983, pp. 137-138. 42. A very long footnote could be written on the role of the Christian convert and missionary, Arn Krelnboym (Aaron Krolenbaum) (1908-1987), in the Shtentsl ambience. See Prager 1990, pp. 383-384. 43. These can be found in Box 10. Shtentsl was aware of English-language writing. He wrote a poem "Ernest Hemingway; on reading his tale _The Old Man and the Sea_," having probably read a translation. See _Loshn un lebn_ no. 356-7 (June/July 1961), back cover. 44. See Box 16. 45. Noyekh Gris, "Avrom-Nokhem Shtentsl," _Nayer leksikon fun der yidisher literatur_, vol. 8, cols. 643-644, New York, Congress for Jewish Culture, 1981. The original passage appears in Yankev Glatshteyn, "A yidisher dikhter in london," _In tokh genumen_, Buenos-Aires, 1960, p. 267. 46. Meylekh Ravitsh. "A.N. Shtentsl," _Mayn leksikon; yidishe shraybers, kinstlers, aktyorn, oykh klal-tuers, in di amerikes un andere lender_, Band IV, Bukh II, Tel-Aviv: Veltrat far yidish un yidisher kultur, 1982, p. 353. 47. The First Annual Stencl Lecture was held on 4 August 1983. See S.S. Prawer. _A.N. Stencl; Poet of Whitechapel_, Oxford: Oxford Centre of Postgraduate Hebrew Studies, 1984. 48. Henry David Thoreau, "Economy," _Walden, or Life in the Woods_ (1854). References Brener, Yoysef Khayim. "Mir un zey," _Di idishe folks-literatur_, London: Ferlag "progres," 1909, cols. 27-30. Dinse, Helmut, _Di Entwiklung des jiddischen Schriftums im deutschen Sprachgebiet_, Stuttgart: J.B. Metzlersche Verlagsbuchhandlung, 1974, p. 239. Fishman, Joshua A., ed. _Never Say Die! A Thousand Years of Yiddish in Jewish Life and Letters_, The Hague/Paris/London: Mouton Publishers, 1981, p. 531. Glatshteyn, Yankev. "A yidisher dikhter in london," _In tokh genumen_, Buenos-Aires, 1960, pp. 266-8. Gris, Noyekh, "Avrom-Nokhem Shtentsl," _Nayer leksikon fun der yidisher literatur_, vol. 8, cols., 643-644, New York, Congress of Jewish Culture, 1981. Harshav, Benjamin and Barbara. _American Yiddish Poetry; A Bilingual Anthology_, Berkeley/Los Angeles/London: University of California Press, 1986. _In zikh; a zamlung introspektive lider_, New York: Max N. Maisel, 1920. L-S, A. (=3D A. Leyeles), "Refleksies; inyen: idishe literatur un di velt," _Inzikh_ 33 (March 1937), p. 92. _Loshn un lebn_ (London), nos. 1-484/485 (1940-1981) (including _Shtentsls heftlekh_, q.v.) Niger, Sh. "A dikhter-grus fun daytshland," _Nayer folksblat_, no. 31 (February 1937), 9. Ozick, Cynthia. "Envy; or, Yiddish in America; a Novella," _Commentary_ (November 1969 =8D48:5=D9, 33-53). Perets, Y.-L. "Monish," _Ale verk_, vol. 1, New York: CYCO, 1947, p. 20. Prager, Leonard. "A Bibliography of Yiddish Periodicals in Great Britain 1867-1967)," _Studies in Bibliography and Booklore_ 9:1 (Spring 1969), 3-32. Prager, Leonard. "Loshn un lebn (london), 1940-1981," in A.A. Greenbaum and A. Ivry, eds. _Thought and Action; Essays in Honor of Simon Rawidowicz on the 25th Anniversary of His Death_, Haifa and Tel-Aviv: University of Haifa/Tsherikover, 1983, pp. 135-150 {in Hebrew}. Prager, Leonard. _Yiddish Culture in Britain_, Frankfurt/Bern/New York/Paris: 1990, pp. 597-599. Prawer, S.S. _A.N. Stencl; Poet of Whitechapel_, Oxford: Oxford Centre of Postgraduate Hebrew Studies, 1984. Ravitsh, Meylekh. "A.N. Shtentsl," _Mayn leksikon; yidishe shraybers, kinstlers, aktyorn, oykh klal-tuers, in di amerikes un andere lender_, Band IV, Bukh II, Tel-Aviv: Veltrat far yidish un yidisher kultur, 1982, 351-4. Sh., "Gevidmet tsum 40stn yor _Loshn un lebn_," _Loshn un lebn_ no. 480 (May 1979), p. 48. _Shtentsls heftlekh_ (London), nos. 1-71 (1940 - December 1945) (=3D 69 issues). .sh Shtentsl, Avrom-Nokhem. "Yidish shafn in london" (ershter peryod), _Yidish shafn in london_ (November 1942); part of this essay is reprinted in "Undzer yidish shafn in england," the foreward to the _Yoyvl almanakh_ (London, 1956), pp. v-vii. Shtentsl, Avrom-Nokhem. "Undzer bayshtyayer tsum yidishn shafn," (driter esey, "Yidish shafn in england"), _Loshn un lebn_, heftl 62 (March 1945) (Issue title: _Yidish-shafn in england_), 1-6. ______________________________________________________ End of Mendele Vol. 4.337 Mendele has 2 rules: 1. Provide a meaningful Subject: line 2. Sign your article (full name please) A Table of Contents is now available via anonymous ftp, along with weekly updates. Anonymous ftp archives available on: ftp.mendele.trincoll.edu in the directory pub/mendele/files Archives available via gopher on: gopher.cic.net Send articles to: mendele@yalevm.ycc.yale.edu Send change-of-status messages to: listserv@yalevm.ycc.yale.edu a. For a temporary stop: set mendele nomail b. 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