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• Preface: The age of optimists
• Introduction: Passwords
• Yiddish poetry in the age of internationalism
• From the Yangtse to the Black Sea: Esther Shumiatsher's travels
• Angry winds: Jewish leftists and the challenge of Palestine
• Scottsboro cross: translating pogroms to lynchings
• No pasarán: Jewish collective memory in the Spanish Civil War
• My songs, My dumas: rewriting Ukraine
• Teshuvah: Moyshe Nadir's relocated passwords
• Afterword: Kaddish
• mourning words after the Second World War

A probing reading of leftist Jewish poets who, during the interwar period, drew on the trauma of pogroms to depict the suffering of other marginalized peoples. Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth-Palestinian Arabs, African Americans, Spanish Republicans-in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb, " Moyshe Nadir's "Closer, " and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain.
(source: Nielsen Book Data)

• Preface: The optimists
• Introduction: Yiddish passwords in the age of internationalism
• Yiddish poetry in the age of internationalism
• From the Yangtse to the Black Sea: Esther Shumiatsher's travels
• Angry winds: Jewish leftists and the challenge of Palestine
• Scottsboro cross: translating pogroms to lynchings
• No pasarán: Jewish collective memory in the Spanish Civil War
• My songs, My dumas: rewriting Ukraine
• Teshuvah: Moyshe Nadir's relocated passwords
• Afterword: Kaddish
• mourning words after the Second World War

A probing reading of leftist Jewish poets who, during the interwar period, drew on the trauma of pogroms to depict the suffering of other marginalized peoples. Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth-Palestinian Arabs, African Americans, Spanish Republicans-in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed. The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb, " Moyshe Nadir's "Closer, " and Esther Shumiatsher's "At the Border of China." These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain.
(source: Nielsen Book Data)

• Intro; Contents; Note on Selection and Arrangement; Note on Translation; Acknowledgments; Introduction; From Collected Poems, Volume One (1963); Siberia; In the Village; 1; 2; 3; At Dawn; Recognition; 1; 2; Like a Sleigh in Its Wistful Ringing; Fiery Pelt; In a Siberian Forest; 1; 2; 3; To My Father; Irtysh; Snowman; 1; 2; Siberian Spring; 1; 2; Kyrgyz; My Friend Tshanguri; 1; 2; 3; By a Bonfire; 1; 2; North Star; A Haystack; Ant Nest; Poems to a Sleepwalker; 1; 2; 3; 4; Two Bullets; 1; 2; In the Cell; I Lie in a Coffin; From a Lost Poem; Every Hour, Every Day; The Burial

• To the Thin Vein on My HeadThe Woman of Marble in Père Lachaise; From Collected Poems, Volume Two (1963); Deer by the Red Sea; Denkmol nokh a ferd; Blackberries; Trained Animals; A Poem without a Name; [Gather me ...]; From Square Letters and Magical Signs (1968); When the River Overran Its Banks; To Leivick; 1; 2; 3; Poem without a Name; From Ripe Faces (1970); Portrait; Firefighters; From The Fiddle Rose (1974); Granite Wings; From Both Ends of the World; 1; 2; The Full Pomegranate; 1; 2; 3; 4; 5; Collected Treasures; Wonder; Alto Cellos; [Here I am fated to see ...]; From Twin Brother (1986)

• [Who will last ...][Good morning, woodpecker ...]; [Fate-hairy dog ...]; [Who blessed me ...]; [Gone, the green ...]; [Draw a thread ...]; [I remember Pasternak ...]; [And if I go ...]; [It belongs to me ...]; [Death redeems death ...]; [A woman points ...]; [My unborn heir ...]; [Memory of three ...]; [Good morning, young ...]; [When your words ...]; ["How come you don't mention ... "]; [A distant morning's ...]; [Not even the least ...]; [Ever since my pious mother ...]; [Tell me, what did you want ...]; [I am your abyss ...]; [I read texts ...]; [I still owe you ...]; [The murmur-hieroglyphics ...]; [Where are they ...]

• [Not one, not two ...]From In Somewhere-Night of Black Honey; 1; 2; 6; 10; From The Heir of Rain (1992); [Two-legged grasses ...]; Like Sun through a Crevice; Poem about Nothing; I Seek Those Few People Who to This Day Remember My Mother; [Soon it will happen!]; From Shaken Walls (1996); [Just before his bar mitzvah ...]; [A special announcement ...]; [It sometimes seems to me ...]; [All that is past ...]; [I know that nothing remains ...]; [I regret that I was born ...]; Sporadic visitant ... ; Afterword; Notes