Isaac Bashevis Singer

In 1917, because of the hardships of World War I, the family split up. Singer moved with his mother and younger brother Moshe to his mother's hometown of Biłgoraj, a traditional shtetl, where his mother's brothers had followed his grandfather as rabbis.[25] When his father became a village rabbi again in 1921, Singer returned to Warsaw. He entered the Tachkemoni Rabbinical Seminary and soon decided that neither the school nor the profession suited him. He returned to Biłgoraj, where he tried to support himself by giving Hebrew lessons, but soon gave up and joined his parents, considering himself a failure. In 1923, his older brother Israel Joshua arranged for him to move to Warsaw to work as a proofreader for the Jewish magazine Literarishe Bleter, of which the brother was an editor.[28]

In 1935, four years before the Nazi invasion, Singer emigrated from Poland to the United States. He was fearful of the growing threat in neighboring Germany.[29] The move separated the author from his common-law first wife Runia Pontsch and son Israel Zamir (1929–2014); they emigrated to Moscow and then Palestine. The three met again in 1955.

Singer settled in New York City, where he took up work as a journalist and columnist for The Jewish Daily Forward (פֿאָרװערטס), a Yiddish-language newspaper. After a promising start, he became despondent and for some years felt "Lost in America" (title of his 1974 memoir published in Yiddish; published in English in 1981).

In 1938, he met Alma Wassermann née Haimann (1907–1996), a German-Jewish refugee from Munich. They married in 1940, and their union seemed to release energy in him; he returned to prolific writing and to contributing to the Forward. In addition to his pen name of "Bashevis", he published under the pen names of "Warszawski" (pron. Varshavsky) during World War II,[30] and "D. Segal".[31] They lived for many years in the Belnord apartment building on Manhattan's Upper West Side.[32]

In 1981, Singer delivered a commencement address at the University at Albany, and was presented with an honorary doctorate.[33]

Singer died on July 24, 1991, in Surfside, Florida, after suffering a series of strokes. He was buried in Cedar Park Cemetery, Paramus, New Jersey.[34][35] A street in Surfside, Florida is named Isaac Singer Boulevard in his honor; and so is a city square in Lublin, Poland, and a street in Tel-Aviv.[36] The full academic scholarship for undergraduate students at the University of Miami is also named in his honor.

Singer became a literary contributor to The Jewish Daily Forward only after his older brother Israel died in 1944. That year, Singer published The Family Moskat in his brother's honor. His own style showed in the daring turns of his action and characters, with double adultery during the holiest of nights of Judaism, the evening of Yom Kippur (despite being printed in a Jewish family newspaper in 1945). He was nearly forced to stop writing the novel by his editor-in-chief, Abraham Cahan, but was saved by readers who wanted the story to continue. After this, his stories—which he had published in Yiddish literary newspapers before—were printed in the Forward as well. Throughout the 1940s, Singer's reputation grew.

Singer believed in the power of his native language and thought that there was still a large audience, including in New York, who longed to read in Yiddish. In an interview in Encounter (February 1979), he said that although the Jews of Poland had died, "something—call it spirit or whatever—is still somewhere in the universe. This is a mystical kind of feeling, but I feel there is truth in it."

Some of his colleagues and readers were shocked by his all-encompassing view of human nature. He wrote about female homosexuality ("Zeitl and Rickel",[39] "Tseytl un Rikl"), published in The Seance and Other Stories,[40] transvestism ("Yentl the Yeshiva Boy" in Short Friday), and of rabbis corrupted by demons ("Zeidlus the Pope" in Short Friday). In those novels and stories which refer to events in his own life, he portrays himself unflatteringly (with some degree of accuracy) as an artist who is self-centered yet has a keen eye for the sufferings and tribulations of others.

Singer had many literary influences. Besides the religious texts he studied, he grew up with a rich array of Jewish folktales and worldly Yiddish detective-stories about "Max Spitzkopf" and his assistant "Fuchs".[41] He read Russian, including Dostoyevsky's Crime and Punishment at the age of fourteen.[42] He wrote in memoirs about the importance of the Yiddish translations donated in book-crates from America, which he studied as a teenager in Bilgoraj: "I read everything: Stories, novels, plays, essays... I read Rajsen, Strindberg, Don Kaplanowitsch, Turgenev, Tolstoy, Maupassant and Chekhov."[42] He studied the philosophers Spinoza,[42] Arthur Schopenhauer,[23] and Otto Weininger.[43] Among his Yiddish contemporaries, Singer considered his elder brother to be his greatest artistic example. He was also a life-long friend and admirer of the author and poet Aaron Zeitlin.

His short stories, which some critics feel contain his most lasting contributions,[44] were influenced by Anton Chekhov and Guy de Maupassant. From Maupassant, Singer developed a finely grained sense of drama. Like those of the French master, Singer's stories can pack enormous visceral excitement in the space of a few pages. From Chekhov, Singer developed his ability to draw characters of enormous complexity and dignity in the briefest of spaces. In the foreword to his personally selected volume of his finest short stories he describes the two aforementioned writers as the greatest masters of the short story form.

Of his non-Yiddish-contemporaries, he was strongly influenced by the writings of Knut Hamsun, many of whose works he later translated, while he had a more critical attitude towards Thomas Mann, whose approach to writing he considered opposed to his own.[45] Contrary to Hamsun's approach, Singer shaped his world not only with the egos of his characters, but also from Jewish moral tradition embodied by his father in the stories about Singer's youth. There was a dichotomy between the life his heroes lead and the life they feel they should lead—which gives his art a modernity his predecessors did not express. His themes of witchcraft, mystery and legend draw on traditional sources, but they are contrasted with a modern and ironic consciousness. They are also concerned with the bizarre and the grotesque.

An important strand of his art is intra-familial strife, which he experienced when taking refuge with his mother and younger brother at his uncle's home in Biłgoraj. This is the central theme in Singer's family chronicles such as The Family Moskat (1950), The Manor (1967), and The Estate (1969). Some critics believe these show the influence of Thomas Mann's novel Buddenbrooks; Singer had translated Mann's Der Zauberberg (The Magic Mountain) into Yiddish as a young writer.

Singer always wrote and published in Yiddish. His novels were serialized in newspapers, which also published his short stories. He edited his novels and stories for publication in English, which was used as the basis for translation into other languages. He referred to his English versions as his "second original". This has led to an ongoing controversy whether the "real Singer" is the Yiddish original, with its finely tuned language and sometimes rambling construction, or in the more tightly edited American versions, where the language is usually simpler and more direct. Some of Singer's stories and novels have not been translated.[46]

The artists who have illustrated Singer's novels, short stories, and children's books, include Raphael Soyer, Maurice Sendak, Larry Rivers, and Irene Lieblich. Singer personally selected Lieblich to illustrate two of his books for children, A Tale of Three Wishes and The Power of Light: Eight Stories for Hanukkah, after seeing her paintings at an Artists Equity exhibition in New York City. A Holocaust survivor, Lieblich was from Zamosc, Poland, a town adjacent to the area where Singer was raised. As their memories of shtetl life were so similar, Singer found Lieblich's images ideally suited to illustrate his texts. Of her style, Singer wrote that "her works are rooted in Jewish folklore and are faithful to Jewish life and the Jewish spirit."[47]

Singer published at least 18 novels, 14 children's books, a number of memoirs, essays and articles. He is best known as a writer of short stories, which have been published in more than a dozen collections. The first collection of Singer's short stories in English, Gimpel the Fool, was published in 1957. The title story was translated by Saul Bellow and published in May 1953 in the Partisan Review. Selections from Singer's "Varshavsky-stories" in the Daily Forward were later published in anthologies such as My Father's Court (1966). Later collections include A Crown of Feathers (1973), with notable masterpieces in between, such as The Spinoza of Market Street (1961) and A Friend of Kafka (1970). His stories and novels reflect the world of the East European Jewry in which he grew up. After his many years in America, his stories also portrayed the world of the immigrants and their pursuit of an elusive American dream, which seems always beyond reach.

Prior to Singer's winning the Nobel Prize, English translations of dozens of his stories were published in popular magazines such as Playboy and Esquire that published literary works.

Throughout the 1960s, Singer continued to write about questions of personal morality. Because of the controversial aspects of his plots, he was a target of scathing criticism from many quarters, some of it for not being "moral" enough, some for writing stories that no one wanted to hear. To his critics, he replied, "Literature must spring from the past, from the love of the uniform force that wrote it, and not from the uncertainty of the future."

Singer was awarded the Nobel Prize in 1978.[13]

Between 1981 and 1989, Singer contributed articles to Moment Magazine, an independent magazine which focuses on the life of the American Jewish community.[48]

His novel Enemies, a Love Story was adapted as a film by the same name (1989) and was quite popular, bringing new readers to his work. It features a Holocaust survivor who deals with varying desires, complex family relationships, and a loss of faith.

Singer's story, "Yentl, the Yeshiva Boy" was adapted into a stage version by Leah Napolin (with Singer), which was the basis for the film Yentl (1983) starring and directed by Barbra Streisand.

Alan Arkin starred as Yasha, the principal character in the film version of The Magician of Lublin (1979), which also featured Shelley Winters, Louise Fletcher, Valerie Perrine and Lou Jacobi. In the final scene, Yasha achieves his lifelong ambition of being able to fly, though not as the magic trick he had originally planned.

Perhaps the most fascinating[49] Singer-inspired film is Mr. Singer's Nightmare and Mrs. Pupkos Beard (1974) directed by Bruce Davidson, a renowned photographer who became Singer's neighbor. This unique film is a half-hour mixture of documentary and fantasy for which Singer wrote the script and played the leading role.

The 2007 film Love Comes Lately, starring Otto Tausig, was adapted from several of Singer's stories.

Singer's relationship to Judaism was complex and unconventional. He identified as a skeptic and a loner, though he felt a connection to his Orthodox roots. Ultimately, he developed a view of religion and philosophy which he called "private mysticism". As he put it, "Since God was completely unknown and eternally silent, He could be endowed with whatever traits one elected to hang upon Him."[50][51]

Singer was raised Orthodox and learned all the Jewish prayers, studied Hebrew and learned Torah and Talmud. As he recounted in the autobiographical short story "In My Father's Court", he broke away from his parents in his early twenties. Influenced by his older brother, who had done the same, he began spending time with non-religious Bohemian artists in Warsaw. Although Singer believed in a God, as in traditional Judaism, he stopped attending Jewish religious services of any kind, even on the High Holy Days. He struggled throughout his life with the feeling that a kind and compassionate God would never support the great suffering he saw around him, especially the Holocaust deaths of so many of the Polish Jews from his childhood. In one interview with the photographer Richard Kaplan, he said, "I am angry at God because of what happened to my brothers": Singer's older brother died suddenly in February 1944, in New York, of a thrombosis; his younger brother perished in Soviet Russia around 1945, after being deported with his mother and wife to Southern Kazakhstan in Stalin's purges.

Despite the complexities of his religious outlook, Singer lived in the midst of the Jewish community throughout his life. He did not seem to be comfortable unless he was surrounded by Jews; particularly Jews born in Europe. Although he spoke English, Hebrew, and Polish fluently, he always considered Yiddish his natural tongue. He always wrote in Yiddish and he was the last notable American author to be writing in this language. After he had achieved success as a writer in New York, Singer and his wife began spending time during the winters in Miami with its Jewish community, many of them New Yorkers.

Eventually, as senior citizens, they moved to Miami. They identified closely with the Ashkenazi Jewish community. After his death, Singer was buried in a traditional Jewish ceremony in a Jewish cemetery in Paramus, New Jersey.

Singer was a prominent Jewish vegetarian[52] for the last 35 years of his life and often included vegetarian themes in his works. In his short story The Slaughterer, he described the anguish of an appointed slaughterer trying to reconcile his compassion for animals with his job of killing them. He felt that the ingestion of meat was a denial of all ideals and all religions: "How can we speak of right and justice if we take an innocent creature and shed its blood?" When asked if he had become a vegetarian for health reasons, he replied: "I did it for the health of the chickens."

Vegetarianism is a recurrent theme in Singer's novel Enemies, a Love Story. One character, a Holocaust survivor, declares that "God himself eats meat—human flesh. There are no vegetarians—none. If you had seen what I have seen, you would know that God approves of slaughter,"[53] and another character points out "that what the Nazis had done to the Jews, man was doing to animals."[54] In The Letter Writer, Singer wrote "In relation to [animals], all people are Nazis; for the animals, it is an eternal Treblinka,"[55] which became a classic reference in the discussions about the legitimacy of the comparison of animal exploitation with the Holocaust.[56]

In the preface to Steven Rosen's Food for Spirit: Vegetarianism and the World Religions (1986), Singer wrote, "When a human kills an animal for food, he is neglecting his own hunger for justice. Man prays for mercy, but is unwilling to extend it to others. Why should man then expect mercy from God? It's unfair to expect something that you are not willing to give. It is inconsistent. I can never accept inconsistency or injustice. Even if it comes from God. If there would come a voice from God saying, 'I'm against vegetarianism!' I would say, 'Well, I am for it!' This is how strongly I feel in this regard."

Singer described himself as "conservative," adding that "I don't believe by flattering the masses all the time we really achieve much."[57] His conservative side was most apparent in his Yiddish writing and journalism, where he was openly hostile to Marxist sociopolitical agendas. In Forverts he once wrote, "It may seem like terrible apikorses [heresy], but conservative governments in America, England, France, have handled Jews no worse than liberal governments.... The Jew's worst enemies were always those elements that the modern Jew convinced himself (really hypnotized himself) were his friends."[58][12]

The typewriter that Singer used during his visits to Israel in the 1970s

Issac Bashevis was ambivalent on the question of Zionism, and he viewed the immigration of Jews to Palestine critically. As a Polish Jew from Warsaw, he was historically confronted with the question of the Jewish fate during Nazi persecution. He exercised social responsibility towards the immigration of European and American Jewish groups to Israel after World War II. Strictly based on Jewish family doctrine rather than politics and socialism, his former partner Runya Pontsch and his son Israel Zamir emigrated to Palestine in 1938, in order to live a typical kibbutz life there. In his story The Certificate (1967), which has autobiographical character, he fictionalizes this question from a time in the mid-1920s when he was himself considering moving to the British Mandate Palestine. The protagonist of the story decides to leave Palestine, however, to move back into his shtetl. For Singer then, Zionism becomes the "road not taken". However, through his journalistic assignments in late 1955, Singer made his first trip to Israel, accompanied by his wife Alma. Describing the trip to his Yiddish readers, he introduces the world for the first time to the young state of Israel. In a change of mind, he then describes the Land of Israel as a "reality, and part of everyday life." Interestingly enough, he notes the cultural tensions between Sephardic and Ashkenazi Jewish people during the boat trip from Naples to Haifa and during his stay in the new nation. With the description of Jewish immigration camps in the new land, he foresaw the difficulties and socio-economic tensions in Israel, and hence turned back to his critical views of Zionism. He scrutinized the ideology further, as he was advancing his thought of critical Zionism.[59][60]

• Satan in Goray (serialized: 1933, book: 1935)—Yiddish original: דער שטן אין גאריי
• Eulogy to a Shoelace—Yiddish original: די קלײנע שוסטערלעך
• The Family Moskat (1950)—Yiddish original: די פאמיליע מושקאט
• The Magician of Lublin (1960)—Yiddish original: דער קונצנמאכער פון לובלין
• The Slave (1962)—Yiddish original: דער קנעכט
• The Manor (1967)
• The Estate (1969)
• Enemies, a Love Story (1972)—Yiddish original: שׂונאים. געשיכטע פֿון אַ ליבע
• The Wicked City (1972)
• Shosha (1978)
• Old Love (1979)
• Reaches of Heaven: A Story of the Baal Shem Tov (1980)
• The Penitent (1983)—Yiddish original: דער בעל תשובה
• Teibele and Her Demon (1983) (play)
• The King of the Fields (1988)
• Scum (1991)
• The Certificate (1992)[65]
• Meshugah (1994)[65]
• Shadows on the Hudson (1997)

• Gimpel the Fool and Other Stories (1957)—Yiddish original: גימפּל תּם
• The Spinoza of Market Street (1961)
• Short Friday and Other Stories (1963)
• The Séance and Other Stories. 1968a.
• A Friend of Kafka and Other Stories (1970)
• The Fools of Chelm and Their History (1973)
• A Crown of Feathers and Other Stories (1974)—shared the National Book Award, fiction, with Gravity's Rainbow by Thomas Pynchon[15]
• Passions and Other Stories (1975)
• Old Love (1979)
• The Collected Stories. 1982.
• The Image and Other Stories (1985)
• The Death of Methuselah and Other Stories (1988)

• Zlateh the Goat and Other Stories, illustrated by Maurice Sendak (1966) – runner up for the Newbery Medal (Newbery Honor Book)[66]
• Mazel and Shlimazel, illus. Margot Zemach (1967)
• The Fearsome Inn, illus. Nonny Hogrogian (1967) – Newbery Honor Book[66]
• When Shlemiel Went to Warsaw and Other Stories, illus. Margot Zemach (1968) – Newbery Honor Book[66]—Yiddish original: ווען שלימואל איז געגאנגען קיין ווארשע
• The Golem, illus. Uri Shulevitz (1969)
• Elijah the Slave: A Hebrew Legend Retold, illus. Antonio Frasconi (1970)
• Joseph and Koza: or the Sacrifice to the Vistula, illus. Symeon Shimin (1970)
• Alone in the Wild Forest, illus. Margot Zemach (1971)
• The Topsy-Turvy Emperor of China, illus. William Pène du Bois (1971)
• The Wicked City, illus. Leonard Everett Fisher (1972)
• The Fools of Chelm and Their History, illus. Uri Shulevitz (1973)
• Why Noah Chose the Dove, illus. Eric Carle (1974)
• A Tale of Three Wishes, illus. Irene Lieblich (1975)
• Naftali the Storyteller and His Horse, Sus, illus. Margot Zemach (1976)
• The Power of Light – Eight Stories for Hanukkah, illus. Irene Lieblich (1980)
• Yentl the Yeshiva Boy, illus. Uri Shulevitz (1983)
• Stories for Children (1984) – collection
• Shrew Todie and Lyzer the Miser and Other Children's Stories (1994)
• The Parakeet Named Dreidel (2015)

• The Hasidim (1973)

• Singer, Isaac Bashevis (1967) [1963], In My Father's Court, NY: Farrar, Straus & Giroux—Yiddish original: מיין טאטנ'ס בית דין שטוב
• Singer, Isaac Bashevis (1969), A Day of Pleasure, Stories of a Boy Growing Up in Warsaw, New York: Doubleday. National Book Award, Children's Literature[14]
• Singer, Isaac Bashevis (1976), A Little Boy in Search of God, New York: Doubleday.
• Singer, Isaac Bashevis (1978), A Young Man in Search of Love, New York: Doubleday.
• Singer, Isaac Bashevis (1981), Lost in America, New York: Doubleday.
• Singer, Isaac Bashevis (1984), Love and exile, New York: Doubleday.
• Singer, Isaac Bashevis (1999), More Stories from My Father's Court, NY: Farrar, Straus & Giroux

• Singer, Isaac Bashevis (1963), The New Winds, NY: Farrar, Straus and Giroux.
• Singer, Isaac Bashevis (Spring 1968), Mirra Ginsburg transl., "Zeitl and Rickel", The Hudson Review, 20th Anniversary Issue, 21 (1): 127–37, doi:10.2307/3849538, JSTOR 3849538.

• Singer, Isaac Bashevis (2004), Stavans, Ilan (ed.), Stories, vol. 1, Library of America, ISBN 978-1-931082-61-7.
• ——— (2004), ——— (ed.), Stories, vol. 2, Library of America, ISBN 978-1-931082-62-4.
• ——— (2004), ——— (ed.), Stories, vol. 3, Library of America, ISBN 978-1-931082-63-1.

• Enemies, A Love Story (1989)
• Love Comes Lately (2007)
• The Magician of Lublin (1979)
• Yentl (1983)
• Mr. Singer's Nightmare or Mrs. Pupkos Beard[67]
• Fool's Paradise