Female Yishuv writers have often been ignored in discussions of Jewish literature from the period. As the sometimes-melancholy tone and escapist themes of their writing show, these women struggled to escape the margins in pre-state Palestine. Nonetheless, the works of these female writers offer important insights into the lives of Yishuv women and paved the way for contemporary women writers.

Women writers faced many obstacles in the early years of modern Hebrew, but by the end of the twentieth century they had overcome marginalization to become a central part of the country’s literature. The achievements of women’s writing in Hebrew rank among the unquestionable triumphs of Israeli feminism.

Hebrew song as a whole, including songs of Erez Israel and the State of Israel, is a unique socio-cultural phenomenon that has developed over time. The dawning of Hebrew song can be traced to the period between 1880 and 1903, and it has grown to reflect the diverse aspects of Israeli society since then. The contribution of women to Hebrew songs, in general, has risen steadily over the years. 

After making Aliyah in 1925, Elisheva Bichovsky (born in Russia as Elizaveta Zhirkova), helped shape the Yishuv’s literary scene as one of Palestine’s first Hebrew poets. Her 1926 Kos Ketannah and 1929 Simta’ot were, respectively, the first poetry collection and first novel written by a woman to be published in Palestine.

Yokheved Bat-Miriam was part of a group of pioneering Hebrew women poets in the 1920s. Her poetry commemorates the religious and emotional lives of Jewish women and frequently focuses on women of the Bible who composed and/or recited poetry.