When she died in 1847 at the age of thirty-one, Grace Aguilar enjoyed a reputation as a poet, historical romance writer, domestic novelist, Jewish emancipator, religious reformer, educator, social historian, theologian, and liturgist.
Anda Pinkerfeld-Amir was born to an anti-Zionist family in Poland but became a committed Zionist who immigrated to Israel as a member of Ha-Shomer ha-Za'ir, abandoning her goal of writing in Polish to become instead a beloved writer of Hebrew poetry and children's literature.
The particular insights of Jewish women writers and their intimate dilemmas of contemporary life throw light on how society and family have changed for this new generation of writers. The novels attract a larger readership than anyone could have predicted.
Antin celebrated the immigrant experience and the boundless opportunity of America, the land in which she, "Mashke, the granddaughter of Raphael the Russian... should be free to fashion my own life, and should dream my dreams in English phrases.”
Women in general and Jewish women in particular have been participating in the artistic life of the Russian Empire and the Soviet Union for over a hundred years.
Although in the writing of history the term “first” must be used with caution, Devorà Ascarelli may have been the first Jewish woman to have had her own book published.
Liliane Atlan is a postwar French Jewish writer whose plays, poetry and narratives display innovative forms at the limit of written and oral literature.
Rose Ausländer was an acclaimed German-language poet, whose poetry reflects her awe for the natural world, her experience during the Holocaust, her travels through Europe, and the close relationships she had with friends and family, particularly her mother. The bulk of Ausländer’s work was published after 1965, when she settled in Düsseldorf, Germany.
Since the beginning of British colonialization of New South Wales in 1788, when between eight and fifteen Jews were among the convicts who arrived with the First Fleet, several waves of immigration have brought the Jewish population up to its present size.
Born in Romania to Hungarian parents, Zsófia Balla has lived in Hungary since 1993. While in the land of her birth her work was often subject to censorship, she is considered one of her adopted nation's greatest women poets.
To encourage her fellow prisoners in the Kaiserwald concentration camp, the young Rivka Basman Ben-Hayim recited a poem of her own composition to them every day for two years. After her arrival in Israel in 1947, she went on to publish nine books of Yiddish poetry, lyrical pieces which hint at the pain of the Holocaust yet are full of calm and comfort: the calm to be found within the natural world, the comfort to be found within friendship and love.
Ora Bat Chaim, who began a new phase of life as a serious composer at the age of fifty-eight, went on to create over four hundred musical compositions.
“The distance that lies/between you and me/I’ll cross completely/and come before you./All of its blueness/I’ll conquer/and like a breath, swallow it,/and come/to tell you something./What shall I say?” These are the opening lines of one of Yokheved Bat-Miriam’s earliest poetry cycles, Me-Rahok (From Afar), a work that differs in form from much of her later poetry but nevertheless presages many of its themes and motifs.
Berthe Bénichou-Aboulker was the first woman writer to have her work published in her country of birth, Algeria, whose generous land and mixed population she praised in Pays de flamme (Land of Flame).
In presenting her plurality as an Ashkenazi Jew, a Mexican, a woman and a playwright, Sabina Berman (b.1954 Mexico) accomplishes far more than simply allowing her readers to identify with her hybridity and search for self. She creates a space where fragmented memories are fleshed out by the imagination and the desire to recreate the past in order to make sense of the present.
The French actress Sarah Bernhardt, named by her fans the “Divine Sarah,” is recognized as the first international stage star.
Miriam Bernstein-Cohen, actor, director, poet and translator, was born in Kishinev in 1895.
This article focuses on the fate of biblical women in post-biblical times.
From 1656, when Jews were allowed to resettle in Great Britain, forming a small community in London until the present, the Anglo-Jewish community has benefited from the relative tolerance toward minorities that the British have displayed, as well as from general economic and political developments. To be sure, Parliament did not fully emancipate Jews until 1858 and social discrimination persisted into the twentieth century. Great Britain did, however, offer haven to successive waves of immigrants, and Jews have prospered on its shores, becoming British and participating in the larger culture of the urban middle classes. The status of Jewish women was affected both by larger social mores and by the nature of the Anglo-Jewish community.
“There are as many kinds of chemistry at work between writers and their subjects as there are between potential lovers,” writes Rosellen Brown, an observation indicative of the passion and insight she brings to the page as a poet, essayist, and fiction writer.
To sum up, the life of Jewish women in the Caribbean and the Guianas differed from that elsewhere in the Jewish world, since Jewish life had to adapt itself to the jungle, to isolated plantations and to small islands, with only limited contact with the outside world.
Ranging from poetry to investigations of women’s eating disorders, from fictional autobiography to the story of a voice, Kim Chernin’s works radiate the “spiritual politics” she considers the essence of her Jewishness.
All of these aspects are clearly reflected in the developmental patterns of Hebrew children’s literature at the end of the eighteenth century; likewise, the ways in which this literature became established serve to illustrate the factors that led to the institutionalization of children’s literature in Europe in general.
A biographical entry on the Jewish-Algerian-French writer Hélène Cixous commands close attention to her work because, in her case, “life writing,” as she calls it, is a key topic for her imaginative and critical enterprise in the fields of poetic fiction, literary theory, feminist analysis, and the theater.