Russian Pogroms in Arts and Literature
In 1903, Hebrew poet Hayyim Nahman Bialik wrote the poem In the City of Slaughter in response to the Kishinev pogrom.
Elie Wiesel's The Trial of God depicts Jews fleeing a pogrom and setting up a fictitious "trial of God" for His negligence in not assisting them against the bloodthirsty mobs. In the end, it turns out that the mysterious stranger who has argued as God's advocate is none other than Lucifer. The experience of a Russian Jew is also depicted in Elie Wiesel's The Testament.
A pogrom is one of the central events in the play Fiddler on the Roof, which is adapted from Russian author Sholem Aleichem's Tevye the Dairyman stories. Aleichem writes about the pogroms in a story called "Lekh-Lekho". The famous Broadway musical and film Fiddler on the Roof showed the cruelty of the Russian pogroms on the Jews in Anatevka in the early 20th century.
In the film An American Tail, set during and after the 1880s pogroms, Fievel and his family's village is destroyed by a pogrom (Fievel and his family are mice and cats are their Cossack attackers).
The novel The Sacrifice by Adele Wiseman also deals with a family that is displaced after a pogrom in their homecountry and who emigrate to Canada after losing two sons to the riot and barely surviving themselves. The loss and murder of the sons haunts the entire story.
Mark Twain gives graphic descriptions of the Russian pogroms in Reflections on Religion, Part 3, published in 1906.
Joseph Joffo describes the early history of his mother, a Jew in the Russia of Tsar Nicholas II, in the biographical, 'Anna and her Orchestra'. He describes the raids by Cossacks on Jewish quarters and the sometime retribution inflicted by Anna's father and brothers on the Cossacks who murdered and burnt homes at the behest of the tsar.
Read more about this topic: Anti-Jewish Pogroms In The Russian Empire
Famous quotes containing the words arts and literature, russian, arts and/or literature:
“No one is ahead of his time, it is only that the particular variety of creating his time is the one that his contemporaries who are also creating their own time refuse to accept.... For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused in the arts and literature the rapidity of the change is always startling.”
—Gertrude Stein (18741946)
“To be born in a new country one has to die in the motherland.”
—Irina Mogilevskaya, Russian student. Immigrating to the U.S., student paper in an English as a Second Language class, Hunter College, 1995.
“I havent seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the companys behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)
“No state can build
A literature that shall at once be sound
And sad on a foundation of well-being.”
—Robert Frost (18741963)