The Hidden Isaac Bashevis Singer

Index

Index Abramovitsh, Sholem Yankev, ,  Adamczyk-Garbowska, Monika, xxv Adorno, Theodor,  African-American Vernacular English,  African languages, – Agnon, Shmuel Yosef, Tmol Shilshom, – Aleykhem, Sholem, xv, xvi, xix, , , ; Ayznban-geshikhtes, ; ‘‘Moshkeganef ’’ (Moshke the Thief), ; Stempenyu,  Allentuck, Marcia, xxvii American culture, xvii, , n., , –, n.,  American literature, xiv, xviii, xix, xx, xxiii, ,  ‘‘Ancient Man Aged One Hundred, An’’ (A zokn fun hundert yor) (Singer),  Animals, xxv, –, , . See also Dogs Anski, S., Der dibuk (The Dybbuk), , – Anthropomorphism, ,  Antokolsky, Mark, xv Aramaic language, , , , ,  Arnim, Achim von, xix Art: and Penitent, The, , –; and Yiddish language and culture, xv, xvii, xxv Asch, Sholem, xvi, xviii, xix, , , ; A shtetl, ; Di kishef-makherin fun kastilien (The Witch of Castille), ; Kidush hashem (Martyrdom), , , , ; Motke ganef (Motke the Thief), ; Shabse Tsvi,  Ashkenazic Jewry: and American reality, xvii; culture of, xiv, xv; and Maysebukh , ; Singer’s vision of, xvi; and Yiddish language, , , –,  Assimilation: and Haskala, , , ; and Polish-Jewish authors, ; and Polish literature, ; Singer’s lack of, ; and Yiddish language and culture, xvii, , ; and ‘‘Zeidlus the Pope,’’  Astro, Alan, xxv Austria,  Autobiographical writings: and folklore , xxvi, , , –; and In My Father’s Court, xviii, xxvi, , ; and Jewishness/Jew dichotomy, , –; and Varshe –, xxvi, – Babel, Isaac, ; Red Cavalry, xvi Bashevis, Yitskhok. See Singer, Isaac Bashevis Bataille, Georges,  Baudelaire, Charles, xxi Beckett, Samuel, Unnamable, The,  Bellow, Saul, xviii, xxii, , n.,  Benjamin, Aba,  Bergelson, Dovid, xvi, ; Opgang (Descent ),  Bernshteyn, Ignats,  ‘‘Betrayer of Israel, The’’ (Singer),  Bialik, Khayim Nakhman, ,  Biegeleisen, Henryk,  Bikl, Shloyme,  Bilgoray, Poland: and autobiographical writings, –; liquidation of ghetto, xxxvi; and Lublin Province, , ; and My Father’s Court [SequelCollection ], , –; and Singer’s Yiddish-speaking milieux, xiv ‘‘Black Wedding, The’’ (Di shvartskhasene ) (Singer), – Bloom, Harold, , , ,   Bosch, Hieronymus, xx Buchen, Irving,  Buchhändler, Yakov,  Buenos Aires, Argentina, xvii ‘‘Cafeteria, The’’ (Di kafeterye) (Singer), , – Cahan, Abraham: family background of, –; and I. B. Singer, xxvi, –, –; and I. J. Singer, –; and Yiddish language, , , n.; and Yiddish writers,  Chagall, Marc, xv, xx Chayefsky, Paddy, xxii Chmielnicki massacres of –, , , –, , , – Chomsky, Noam,  Christianity: and Ashkenazic Jewry, ; and ‘‘Beard, The,’’ ; and Inquisition, ; and Man of Dreams, The, –; and Polish literature, ; and Satan in Goray, ; and ‘‘Zeidlus the Pope,’’ , –, , , , , – Cohen, Nathan, xxvi Collected Stories of I. B. Singer, The (Singer),  ‘‘Considering Yiddish Prose in Poland’’ (Arum der yidisher proze in poyln) (Singer), ,  ‘‘Crown of Feathers, A’’ (Singer),  Cultural imperialism, xx, xxiii ‘‘Dead Musician, The’’ (Der toyter klezmer ) (Singer), xxv, , , , n. Death: and ‘‘Cafeteria, The,’’ ; and ‘‘In the World of Chaos,’’ , ; and Singer’s worldview, xxv; and ‘‘Two Corpses Go Dancing,’’ , – Demons/demonic imps: and ‘‘Black Wedding , The,’’ ; and Eastern European Jewry, ; and ‘‘In the World of Chaos,’’ ; and ‘‘Last Demon, The,’’ –; and Mayse-bukh, , , ; and ‘‘Mayses fun hintern oyvn,’’ ; and My Father’s Court, ; and Penitent , The, ; Singer’s use of, xix–xx; and ‘‘Taibele and Her Demon,’’ xxv, –; and ‘‘Two Corpses Go Dancing ,’’ , –; and yeytser-hore, ; and ‘‘Zeidlus the Pope,’’ , –. See also Yeytser-hore (Evil Inclination) Der Nister, xx, ; Di mishpokhe mashber (The Family Mashber),  Der zindiker meshiekh (Singer), – ‘‘Destruction of Kreshev, The’’ (Singer), – ‘‘Diary of the Evil Inclination, The’’ (Singer), ,  Diaspora: and Jewish identity, , , ; and Lublin Province, ; and Yiddish language, , , ; and Yiddish literature,  Di tsukunft (The Future),  Dogs: and Eastern European Jewry, ; role of, xxv; and shtetl, ; and Slave, The, , –; and soul, , –, ,  Dolega-Mostowicz, Tadeusz, Kariera Nikodema Dyzmy (Nikodem Dyzma’s Career),  Dos naye vort (The New Word),  Dostoevsky, Fyodor, xxii Drama,  Dybbuks: and ‘‘Dead Musician, The,’’ xxv, , , , n.; and Mayse-bukh, , , –; and Satan in Goray, –, , –, –; and ‘‘Two Corpses Go Dancing,’’ xxv,  East Central Europe, map of,  Eastern European Jewry: and assimilationism , ; and demonic imps, ; descendants of, xvii; and dogs, ; and Family Moskat, The, ; and Forverts, ; and gangster novels, –; and Lublin, , ; and massacre of Jews, –, , ; and religion, ; and secularism, xv; Singer’s vision of, xx, ; and Yiddish language, , , ; and Yiddish literature,  Enemies: A Love Story (Singer), xviii,  English language: English-speaking Jewry, xvii–xviii, ; English translations, xviii, xix, , , ; lexical influence on Yid-  The Hidden Isaac Bashevis Singer dish, , –; and Singer’s American characters,  English translations of Singer’s Yiddish texts: and ‘‘Cafeteria, The,’’ ; as commentary on Yiddish original, ; and concealment of Yiddish originals, –; and critical/scholarly articles, xx–xxi; and Family Moskat, The, xviii, , – , ; and ‘‘Gimpel the Fool,’’ xviii, xxii, , n.; implications of differences , xiii, xviii, xxiv, , , , –; Jewish and Slavic allusions eliminated from, xxi; and Nobel Prize of , xix; and Penitent, The, , , , ; and Polish language, –; and Polish translations, ; primacy of, xxi–xxiii, ; and Satan in Goray, xviii, xxi, , ; Singer’s role in, xiv, xx, xxi, , n., ; and Singer’s success, ; and Slave...