By Stephen A. Sadow, Ilan Stavans
During this choice of fifteen essays, Jewish Latin American writers communicate for themselves approximately their lives, their literary paintings, their formative studies, and the Jewish groups in Latin the USA and the U.S.. incorporated are writers from Argentina, Brazil, Chile, Cuba, Mexico, Guatemala, Peru, and Venezuela, approximately 1/2 whom stay outdoor their kingdom of foundation. except for Alberto Gerchunoff, arguably the daddy of Jewish Latin American writing, the entire writers live and writing actively. King David's Harp is unified by means of a continuing feel of movement. Jos? Kozer and Ilan Stavans, for instance, supply the influence of being in perpetual movement. Many, together with Ariel Dorfman and Alcina Lubitch Domecq, have replaced nations, languages, political platforms; others, like Ricardo Feierstein and Margo Glantz stay of their state of delivery. so much are multilingual. a few, Marjorie Agos?n and Alberto Gerchunoff, for instance spoke Yiddish as their first language, in simple terms to turn into deeply connected to Spanish afterward, or Portuguese, with regards to Moacyr Scliar. these kinds of advanced contributors movement backward and forward between diverse worlds, in situations which may be visible as restrictive, difficult, and unforgiving. but they write with prodigious power of lives that include many surprises.
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Additional info for King David's Harp: Autobiographical Essays by Jewish Latin American Writers (Jewish Latin America series)
And so, bit by bit, my interests led me to journalism and literature. I got to know a number of writers and journalists at public lectures. They grew accustomed to my presence and were quite interested in my views and stories on Jewish life. Soon I became part of the bohemian side of Buenos Aires. This phase lasted for a long time. Happily, neighborhood newspapers and youth magazines began to accept my hesitant essays. Page 11 One fine day in 1903, I was offered the position of editor of El censor in the city of Rosario.
My studies there didn't last long, though. My mother, obsessed with the fatal evening in Moisés Ville, yearned to leave the region altogether, and her pleading was so compelling that the whole family decided to go to Buenos Aires. It was in 1895, and my uncertain and wandering life had begun. My mother insisted that I study, but it wasn't possible at first since someone needed to support the family. But how? None of us knew any trade at all, of course. Eventually, I found work in a Jew's business, kneading dough for Passover's unleavened bread.
The owner didn't keep his word, though, and failed to pay me as promised. So I changed trades once again and became a ribbon and embroidery makera beautiful trade, which I quickly grew to like. I progressed slowly. I spun, learned how to dye silks, knitted random stripes, and became skilled in framing. I was capable of producing a decorated ribbon less than a centimeter wide. Soon I was a first-class worker. The factory owner, a jaundiced Jew, nearsighted and quarrelsome, once told me, in the presence of the Page 9 operators, that I was the most skilled tradesman he had ever known.