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" "I think Yiddish is something the Ashkenazi Jews really turn to to help them define themselves in terms that existed before the war rather than in relationship to the Holocaust or Israel. They're pointing to the issues of language and what language can express and mean and especially if it's a language that is a national language. I think writers have an important function here, and I think some of them are accepting it. (GP: Writing in Yiddish?) IK: Well, at least talking about Yiddish or using a little bit of Yiddish even to make their English less mainstream, to make their English more Jewish. People are beginning to study. I think these small steps are significant. (GP: So in some way you're memorializing that tradition.) IK: I'm hoping that I'm not so much memorializing it as taking it into the present…Through my writing and through encouraging other people-not just writers. I want to "activate it," so that Jews will feel that they're connected to this culture, that they can claim it as their legacy, their heritage. It's what shaped their parents-well, at this point, I'd have to say their Eastern European grandparents and ancestors.
Irena Klepfisz (born April 17, 1941) is a Jewish lesbian feminist author, poet, academic and activist living in the US.
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I feel I was very lucky, though, because when I came out, which was in 1973, New York was just hopping. It was exploding. It was after Stonewall. Lesbians started getting organized. I belonged to a group of lesbian writers. There were four of us who decided to start Conditions magazine, for example, and before that we had a group called Di Vilde Chayas [the wild animals], which was a group that had Adrienne Rich, Melanie Kaye/Kantrowitz, Gloria Greenfield, and Evelyn Torton Beck, who did Nice Jewish Girls.
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in July, 1983-thirty-seven years after having left-I returned to Poland with my mother on the occasion of the fortieth anniversary of the varshever geto oyfshtand, Warsaw Ghetto Uprising. Though I had been raised in almost a khurbn kultur, a Holocaust culture, I was totally unprepared for the experience. In Poland I saw the shadows of Jewish-Polish culture and was able to infer from them the magnitude of what had taken place. It was like stepping into a negative rather than a photograph. I was overcome by the sudden realization of the scale of the loss.