“To Hell with Futurism, Too!”

The Metamorphoses of Western and Eastern European Modernism in Yiddish Manifesto

After World War I, Yiddish poets and artists in Lodz, Warsaw, Kiev, Vilna, Moscow, Paris, London, and New York created a number of short-lived publications such as Yung-idish, Khalyastre, Albatros, Di vog, Ringen, Milgroym. The editors spoke different languages beside Yiddish, were familiar with numerous cultural and literary traditions and, while living all over the world, created common networks of cooperation. Their artistic programs as formulated in the manifestos opening the magazines are complex hypertexts referring to the Torah and the Talmud in the same breath as to futurist and expressionist images. These manifestos form the core of the multilayered and polycentric Yiddish modernist culture. The article traces the threads connecting the Yiddish modernist magazines to various cultural traditions with special attention to the processes of cultural translation and hybridization.

issue 17 / September 2020 by Daria Vakhrushova

In August 1935, a group of intellectuals who gathered in Vilna at a jubilee conference of the Jewish Scientific Institute, YIVO, announced the founding of a movement called the Yiddish Culture Front (YCF), whose aim would be to ensure the preservation of Yiddish culture. The article focuses on the congress convened by the YCF in Paris. The congress, a landmark in the history of Yiddishism, opened on September 17, 1937, before a crowd of some 4,000 attendees. 104 delegates represented organizations and institutions from 23 countries. Radically anti-Soviet groups boycotted the convention, considering it a communist ploy. Ironically, the Kremlin cancelled the participation of a Soviet delegation at the last moment. From the vantage point of the delegates, Paris was the only logical center for its World Yiddish Cultural Association (IKUF or YIKUF) created after the congress. However, the French capital was not destined to become the world capital of Yiddish intellectual life. Influential circles of Yiddish literati, still torn by ideological strife rather than united in any common cultural ‘Yiddishland,’ remained concentrated in America, Poland, and the Soviet Union.

issue 17 / September 2020 by Gennady Estraikh