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" "I also became acutely conscious of the extreme effort, the commitment required to keep a language and culture alive in an environment that, at best, is indifferent. I was particularly stung by the disrespect with which Yiddish is treated by Jews. Historically, of course, this was nothing new. I had always heard stories of the clashes, some of them violent, between the Bund and the komunistn who advocated "normalcy" and assimilation or with the tsiyonistn who pressed for a Jewish homeland and Hebrew as the national language. And in 1963, when I had visited Israel, I myself heard the scorn with which most Israelis regarded Yiddish. To them, Yiddish meant shtetl, and shtetl meant the Holocaust. Never again. We're a new breed here. A different kind of Jew. I consciously thought them anti-Semitic, felt enraged at their lack of understanding and caring. Israel was one place where Yiddish culture might have survived. (The Soviet Union was the other.) But Eastern European Zionists were determined to wipe out the past of all Jews who came to Israel—not unlike the melting pot philosophy in America—and eliminating Yiddish among Ashkenazi was one of the steps toward achieving that goal.
Irena Klepfisz (born April 17, 1941) is a Jewish lesbian feminist author, poet, academic and activist living in the US.
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The Jewish Labor Bund was a non-Zionist organization, so I barely thought about Israel. But if you’re going to be involved with the Left, you’ve got to start thinking about Israel. Melanie and I became very committed to supporting the Women in Black in ‘87. I formed a group here, the Jewish Women’s Committee to End the Occupation (JWCEO) with Clare Kinberg and Grace Paley. We wanted to be identified as Jews protesting.
From the age of twenty, my ego has been invested in poetry. For me, the prospect of expression through poetry transforms solitary silence and an empty page into sheer pleasure. I feel unafraid, knowing I can break all the rules, invent my own forms. No matter what persona I take on, my voice remains accessible and recognizable. There is no artifice, no pose, no sense that I have to transform myself into someone else. As a poet, I remain comfortably disrespectful. I experiment, take risks which sometimes work and sometimes don't. For years I have had no such courage in essay writing. It has seemed an iron-clad genre that I could neither escape nor fit into.
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