Nora Glickman was born in Bernasconi, La Pampa, Argentina, on July 23, 1944. Her grandparents came from Russia and settled as farmers in the countryside. Both her parents were born in Bernasconi—her father, Mauricio Rosembuj, a farmer, in 1912, and her mother, Rosalía Marcus in 1916. Rosalía died in 1999. A sister, Elba Rosembuj de Rotnitzky, was born in 1936. In 1964 Nora married Henry Simon Glickman, a clinical psychologist who was born in Scotland in 1939. They emigrated to the United States in 1965. The couple have three children: Heather Yael (b. 1972), Mark (b. 1974) and Philip Adrian (b. 1981).
Glickman, who left Argentina in 1960, studied in England, Israel and the United States. She completed her M.A. degree at Columbia University in 1972 and her Ph.D. in Comparative Literature at New York University in 1978. She is at present a professor of Comparative and Latin American literature at Queens College of the City University of New York.
Widely recognized as a literary critic, Glickman has published the fruit of her research in over a hundred articles and reviews in major journals and anthologies. A considerable amount of this is devoted to the image of the Jew in Latin American and Brazilian literature. Her non-fiction writings, which center on twentieth-century issues in Latin America and on the Jewish immigration experience, include La trata de blancas: Regeneración (a translation of Leib Malach’s play Regeneración from Yiddish by Nora Glickman and Rosalía Rosembuj, 1984) and The Jewish White Slave Trade: The Untold Story of Raquel Liberman (2000). Since 1989 she has been associate editor (with Joseph Landis) of the journal Modern Jewish Studies/Yiddish, which publishes articles on American and Hispanic Jewish writings, including many on Latin American criticism.
As translator and editor, Nora Glickman (with Gloria Waldman) selected seven major playwrights in Argentine Jewish Theatre (1996). Tradition and Innovation: Reflections on Latin American Jewish Writings with Robert di Antonio (1993) provides a thorough examination of contemporary issues in Latin American fiction. In 2004 she published Crossing Continental Bridges: Cinematic and Literary Representations of Spanish and Latin American Themes, co-edited with Alejandro Varderi (includes notes, glossary and a critical study).
Most of Glickman’s short stories, based on her personal experiences in her land of birth and in the United States, originally appeared in numerous journals and anthologies and are gathered in three collections: Uno de sus Juanes (1983), Mujeres, memorias, malogros (1991) and Puerta entre abierta (2004). In her fiction Glickman explores in depth themes of exile and of cultural identity conflicts, as well as interactions between diverse groups of immigrants. Glickman’s characters struggle to survive and rise above their marginal roles. Her style, at times playful and ironic, can also be introspective and philosophical when dealing with life in academia. The stories include childhood reminiscences of the Argentine-Jewish colonies of the rural Pampas, of adolescence in the provincial city of Bahía Blanca, and of maturity, set in large urban areas, particularly in New York and its suburbs. The figure of “Juan” is a presence in several stories in the three volumes as the object of the heroine’s fantasies.
Nora Glickman’s interest in the theater started at an early age, when she frequently attended the Teatro Independiente of Buenos Aires as well as a variety of Yiddish plays performed during the 1950s. After publishing four plays in Teatro (Noticias de Suburbio, Un día en Nueva York, Liturgias and Una tal Raquel) (2000), her new Bilingual Anthology of Drama (2004) includes her latest play, Two Charlottes. These plays have been produced in Spanish and in English in Europe, Latin America, North America and Israel. A Day in New York reflects the Jewish-Latino experience in the United States, juxtaposing the vicissitudes of Voltaire’s Candide with those of Luisa, the Hispanic heroine. The play was first written and performed as a monologue in 1995 and later developed into a four-character play.
Suburban News, winner of the Jerome Theater Award and first performed in New York City in 1994, deals with women’s relationships and with the plight of illegal residents, while A Certain Raquel examines a sordid chapter of Jewish history in Argentina: pimping and prostitution during the early decades of the twentieth century. Glickman’s interest in the Crypto-Jews of New Mexico became the subject of Liturgies, a play that incorporates her research on a Portuguese-Brazilian martyr of the Inquisition, Branca Dias, who was burnt at the stake in Lisbon in 1743. The Spanish version of this play was performed for two consecutive years in Buenos Aires at the prestigious I.F.T. theater.
Two Charlottes (unedited), based on the lives of the German-Jewish artist Charlotte Salomon and of the French non-Jewish poet Charlotte Delbo (1913–1985), was performed at the International University Theatre Festival held in May 2003 in Jerusalem. It continues to be performed in several countries throughout Europe, North America and South America.
Antología Bilingue/Bilingual Anthology. Buenos Aires: 2004; Bridging Continents: Cinematic and Literary Representations of Spanish and Latin American Themes. Edited by Nora Glickman and A. Varderi. Arizona: 2004; “Dos Charlottes.” In Dramaturgas en la escena del Mundo. Buenos Aires: 2004; Leib Malach y la trata de blancas. Buenos Aires: 1984; Mujeres, memorias, malogros. Buenos Aires: 199l; Puerta entre abierta. Buenos Aires: 2004; Teatro de Nora Glickman. Buenos Aires: 2000; The Jewish White Slave Trade and The Untold Story of Raquel Liberman. New York: 2000.
“Latin American Jewish Literature.” In Encyclopedia of Latin American Literature. Edited by Verity Smith, 479–450. London: 1997; “Discovering Self in History: Aída Bortnik and Gerardo Goloboff.” In The Jewish Diaspora in Latin America: New Studies on History and Literature, edited by David Sheinin and Lois Barr, 53–60. New York: 1996; “Variations on Solitude in the Plays of Diana Raznovich.” Jewish Book Annual 53 (1995–1996): 141–154; “Jewish Women Writers in Latin America.” In Women of the Word: Jewish Women and Jewish Writings, edited by Judith Baskin, 99–322. Detroit: 1994; “The Jewish White Slave Trade in Latin American Writings.” In American Jewish Archives, 39/2 (November 1982): 178–189; “David Viñas’s En la semana trágica: A Novelist’s Focus on an Argentine Pogrom.” Modern Jewish Studies Annual 4 (January 1985): 64–71.
Bausset-Orcutt, Mónica. “Nora Glickman: Diaspora and Identity in Liturgies and Blanca Días.” Modern Jewish Studies 12 (2001): 98–107; Bernstein, Samuel B. “Las dinámicas artísticas de Liturgias de Nora Glickman.” In Recreando la cultura judeoargentina. Buenos Aires: 2002, 267–280; Dellepiane, Angela. “Nora Glickman: Mujeres memorias malogros.” Confluencia 17, (131–134), 2001; Cordones-Cook, Juanamaría. “Liturgias: Máscaras de identidad sefardita.” LATR 37:1 (fall 2003): 2003:105–116; Schneider, Judith Morganroth. “Una lectura femenina y judía de dos escritoras judeo-argentinas: Nora Glickman y Alicia Steimberg.” In Tercer Simposio Internacional de Literatura Crítica Literaria de la Literatura Latinoamericana del Siglo XX, 319–328. Salta: 1984; Idem. “Forjando nuevas alianzas en la diáspora latinoamericana: Nora Glickman y Esmeralda Santiago, dos escritoras hispanas en los suburbios de Nueva York.” In Exilios Femeninos. Huelva: 1999, 293–302; Idem. “Nuevas mestizas: Hibridismo y feminismo en el teatro de Nora Glickman.” Alba de América 39–40 (2002): 181–190.