Great Jewish Short Stories, Edited by Saul Bellow – January, 1978 [Unknown Artist]

Like Great Chinese Short Stories, I’m presenting Great Jewish Short Stories far more for virtue of its content that its cover.  The latter is nice enough and entirely appropriate, but nothing that too dramatic, thus, leaving not-too-much to discuss. 

The content, of which there is very much, taking precedence, I’ve included links to a variety of websites for eighteen of the nineteen authors whose works appears in the book, as well as to the Apocrypha and Aggadah.    

Contents

Tobit, from the Apocrypha

The Lord Helpeth Man and Beast, from the Aggadah

Hadrian and The Aged Planter, from the Aggadah

The Rabbi’s Son, by Reb Nachman of Bratzlav

The Judgement, by Martin Buber

The Rabbi of Bacherach, A Fragment, by Heinrich Heine

On Account of a Hat, Hodel, by Sholom Aleichem

Cabalists, by Isaac Loeb Peretz

Bontsha the Silent, by Isaac Loeb Peretz

If Not Higher, by Isaac Loeb Peretz

The Golem, by Isaac Loeb Peretz

The Kerchief, by Samuel Joseph Agnon

Buchmendel, by Stefan Zweig

Horse Thief, by Joseph Opatoshu

Repentance, by Israel Joshua Singer

The Story of My Dovecot, by Isaac Babel

Awakening, by Isaac Babel

Gimpel the Fool, by Isaac Bashevas Singer

The Old Man, by Isaac Bashevas Singer

The Marked One, by Jacob Picard

My Aunt Daisy, by Albert Halper

The Magic Barrel, by Bernard Malamud

The Solitary Life of Man, by Leo Litwak

King Solomon (published in Harpers, July, 1956), by Isaac Rosenfeld

Epstein, by Philip Roth

Goodbye and Good Luck, by Grace Paley

A Ghetto Dog, by Isaiah Spiegel

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References, References, and yet more References!

The Apocrypha, at…

Wikipedia

Chabad.org

Jewish Encyclopedia

My Jewish Learning

Aggadah, at…

Wikipedia

Jewish Virtual Library

Rabbi Nachman of Breslov, at…

Wikipedia

Chabad.org

NanachNation

The Essential Rabbi Nachman (Wayback Machine)

Martin Buber, at…

Wikipedia

Heinrich Heine, at…

… Wikipedia

… Internet Archive

Sholem Aleichem, at…

Sholem Aleichem.org

Isaac Leib Peretz, at…

Wikipedia

Shmuel Yosef Agnon, at…

Wikipedia

Stafan Zweig, at…

Wikipedia

The Spectator (“Stefan Zweig: the tragedy of a great bad writer”)

Joseph Opatoshu, at...

Wikipedia

Jewish Virtual Library

Yiddishkayt.org

Israel Joshua Singer, at…

Wikipedia

Yivo

Geni.com

FindAGrave

Isaac Babel (Исаак Эммануилович Бабель), at…

Wikipedia

GoodReads

MyJewishLearning

Internet Movie Database

Lib.ru (prose, in Russian)

Isaac Bashevas Singer, at…

Wikipedia

BashevisSinger.com

Internet Movie Database

GoodReads

Jacob Picard, at…

de.Wikipedia (in German)

Encyclopedia.com

Center for Jewish History

Albert Halper, at…

Wikipedia

WikiZero

Internet Movie Database (My Aunt Daisy)

The New York Times (Obituary: “Albert Halper Is Dead at 79; Was Novelist and Playwright”, January 20, 1984)

Bernard Malamud, at…

Wikipedia

GoodReads

Jewish Virtual Library

Book Series In Order

Internet Movie Database (Filmography)

Leo E. Litwak, at…

Wikipedia

SFGate (“Leo Litwak, World War II combat medic turned English professor, dies at 94”, by Sam Whiting, July 28, 2018)

Isaac Rosenfeld, at…

The New York Times (“The Literary View”, by Richard Locke, mentioned in passing, July 10, 1977)

Commentary (“Isaac, with Love and Squalor”, by Joseph Epstein, July-August, 2009)

Philip Roth, at…

Wikipedia

GoodReads

GoodReads (Philip Roth Best Books)

Web of Stories

Isaiah Spiegel, at…

Encyclopedia.com

Vimeo (A Ghetto Dog (HQ))

Henderson The Rain King, by Saul Bellow (II) – 1983 (1958) [Roy Ellsworth]

Here’s a second, later (1983; Penguin Books) version of the cover of Saul Bellow’s Henderson the Rain King, by Roy Ellsworth. 

It’s a very different from Bill Preston’s 1972 cover, which was stylistically a little more traditional, relying on the use of brighter colors and not at all on the direct representation of the novel’s characters. 

The manner in which the two artists visually depicted Bellow’s animating idea in such a different manner is an interesting – albeit ironically wordless! – commentary on the rapidity of change in artistic style over a short period of time. 

“The glorious, spirited adventures of an eccentric American millionaire who finds a home of sorts in deepest Africa”. (Cover blurb)

______________________________

This is how I became the rain king
I guess it served me right for mixing into matters that were none of my damned business
But the thing had been impossible,
one of those drives which there was no question of fighting.
And what had I got myself into?
What were the consequences?
On the ground floor of the palace,
filthy, naked, and bruised,
I lay in a little room
The rain was falling, drowning the town,
dropping from the roof in heavy fringes, witchlike and gloomy
Shivering, I covered myself with hides and stared with circular eyes,
wrapped to the chin in the skins of unknown animals
I kept saying, “Oh, Romilayu, don’t be down on me.
How was I supposed to know what I was getting myself into?”
My upper lip grew long and my nose was distorted;
it was aching with the whiplashes and I felt my eyes had grown black and huge
“Oh, I’m in a bad way
I lost the bet and am at the guy’s mercy.” – Saul Bellow (p. 203)

 

Henderson The Rain King, by Saul Bellow (I) – March, 1972 (1958) [Bill Preston]

Here is the first of “two takes” on Saul Bellow’s Henderson the Rain King.

This post illustrates Viking Press’ 1972 paperback edition of Bellow’s novel, with cover art by Bill Preston.  You can view Roy Ellsworth’s strikingly different 1983 cover art – combining elements of symbolism, humor, and irony – here.  

Seize the Day, by Saul Bellow (II) – 1958 (1985) [Roy Ellsworth]

Roy Ellsworth, who created cover art for the 1977 edition of Mr. Sammler’s Planet, and the 1983 release of Henderson the Rain King, was also the artist for the 1985 publication of Seize the Day – all authored by Saul Bellow; all published by Penguin Books.  

His cover for the latter novel – shown in this post – is strikingly different from the simple, somewhat impressionistic illustration featured on the cover of the novel’s 1958 Fawcett Crest edition, which I first posted in April of 2019.  In the latter, the emphasis is on an un-named New York City street, with the protagonist and his father, Tommy Wilhelm and “Dr. Adler”, appearing as diminutive, nondescript figures. 

For the book’s 1985 edition, Ellsworth rendering of father and son shows them as distinct individuals, with a notable resemblance.  Curiously, as he did for Henderson the Rain King, his cover coveys a mood of lightheartedness and whimsy, more than a little at variance (!) with the novel’s utter seriousness. 

References

The Day Seized, at…

… Rotten Tomatoes

… Internet Movies Database

… Wikipedia

Seize the Day, by Saul Bellow (I) – 1958 [Unknown Artist]

I labor,
I spend,
I strive,
I design,
I love,
I cling,
I uphold,
I give way,
I envy,
I long,
I scorn,
I die,
I hide,
I want.

On Broadway it was still bright afternoon
and the gassy air was almost motionless under the leaden spokes of sunlight,
and sawdust footprints lay above the doorways of butcher shops and fruit stores.
And the great, great crowd,
the inexhaustible currents of millions of every race and kind pouring out,
pressing round, of every age, of every genius,
possessors of every human secret, antique and future,
in every face the refinement of one particular motive or essence –

______________________________

Faster, much faster than any man could make the tally. 
The sidewalks were wider than any causeway;
the street itself was immense,
and it quaked and gleamed and it seemed to Wilhelm to throb at the last limit of endurance. 
And although the sunlight appeared like a broad tissue,
its actual weight made him feel like a drunkard. 

– Saul Bellow –

Adapted for film by Fielder Cook and Robert Ribman, “Seize The Day” was released on September 9, 1986 at the Toronto International Film Festival, as a made-for-television film for PBS’ Great Performances series, with the late Robin Williams starring in the role of Tommy Wilhelm. 

A caveat:  I’ve neither (yet) read the book, nor (just yet) fully viewed the movie – though after the creation of “this” post, I well may.  I do recall sitting down to view the film on PBS, but – due to the sheer pathos of the story, particularly Tommy’s repellent, if not loathsome father, “Dr. Adler” (played by Joseph Wiseman), and his entirely unsympathetic wife, “Margaret” (played by Katherine Borowitz) – I gave up early:  I couldn’t bring myself to watch the production in ts entirety.

The video below, a composite of different scenes from the film (at the YouTube channel of hannahskaye) gives a glimpse of the power and intensity of Williams’ performance. 

Tommy’s life is a series of walls, which can neither be surmounted nor demolished.   He is left with one thing only: Himself.   

If the story is not a happy one, well, somehow, it nonetheless is a tale that can be appreciated.   

References

Seize the Day – at Rotten Tomatoes

Seize the Day – at Internet Movies Database

Seize the Day – at Wikipedia

A Theft, by Saul Bellow – 1989 [Amy Hill]

When you were down, busted, blasted, burnt out, dying, you saw the best of Clara.

So it was odd that she also should have become an executive,
highly paid and influential. 
She could make fashionable talk,
she dressed with originality,
she knew at lot at first hand about decadence,
but at any moment she could set aside the “czarina” and become the hayseed,
the dupe of travelling salesmen or grifters who wanted to lure her up to the hayloft. 
In her you might see suddenly a girl from a remote town,
from the vestigial America of one-room schoolhouses,
constables,
covered-dish suppers,
one of the communities bypassed by technology and urban development. 
Her father, remember, was still a vestryman,
and her mother sent checks to TV fundamentalists. 
In a sophisticated boardroom Clara could  be as plain as cornmeal mush,
and in such a mood, when she opened her mouth,
you couldn’t guess whether she would speak or blow bubble gum. 
Yet anybody who had it in mind to get around her was letting himself in for lots of bad news. 

– Saul Bellow –

______________________________

Amy Hill’s cover painting for A Theft.  An untitled copy of A Theft – bearing her own (the above) illustration, is tossed from a window above Park Avenue.  A closer view reveals that this illustration appears – ad infinitum? – inside each iteration within the painting. 

______________________________

Portrait of Saul Bellow by Thomas Victor.

The Victim, by Saul Bellow – 1958 (1975) [Barbra Bergman]

In a general way, anyone could see that there was great unfairness
in one man’s having all the comforts of life while another had nothing.
But between man and man, how was this to be dealt with?
Any derelict panhandler or bum might buttonhole you on the street and say,
“The world wasn’t made for you any more than it was for me, was it?”
The error in this was to forget that neither man had made the arrangements,
and so it was perfectly right to say,
“Why pick on me?
I didn’t set this up any more than you did.”
Admittedly there was a wrong, a general wrong.
Allbee, on the other hand, came along and said, “You!” and that was what was so meaningless.
For you might feel that something was owing to the panhandler,
but to be directly blamed was entirely different.

“Why?” Leventhal involuntarily repeated.  He was bewildered.
“Because you’ve got to blame me, that’s why,” said Allbee.
“You won’t assume that it isn’t entirely my fault.
It’s necessary for you to believe that I deserve what I get.
It doesn’t enter your mind, does it –
that a man might not be able to help being hammered down?
What do you say?
Maybe he can’t help himself?
No, if a man is down, a man like me, it’s his fault.
If he suffers, he’s being punished.
There’s no evil in life itself.
And do you know what?
It’s a Jewish point of view.
You’ll find it all over the Bible.
God doesn’t make mistakes.
He’s the department of weights and measures.
If you’re okay, he’s okay, too.
That’s what Job’s friends come and say to him.
But I’ll tell you something.
We do get it in the neck for nothing and suffer for nothing,
and there’s no denying that evil is as real as sunshine.
Take it from me, I know what I’m talking about.
To you the whole thing is that I must deserve what I get.
That leaves your hands clean and it’s unnecessary for you to bother yourself.
Not that I’m asking you to feel sorry for me,
but you sure can’t understand what makes a man drink.”

Mr. Benjamin shrugged his shoulders.
“We have to live today,” he said.
“If you had a son, Harkavy, you’d want him to have a college education.
Who’s going to wait for the Messiah?
They tell a story about a little town in the old country.
It was out of the way,
in a valley,
so the Jews were afraid the Messiah would come and miss them,
and they built a high tower and hired one of the town beggars to sit in it all day long.
A friend of his meets this beggar and he says, ‘How do you like your job, Baruch?’
So he says, ‘It doesn’t pay much, but I think it’s steady work.’”

– Saul Bellow –

Mr. Sammler’s Planet, by Saul Bellow – 1969 (1977) [Roy Ellsworth]

And since he had lasted –
survived –
with a sick headache –
he would not quibble over words –
was there an assignment implicit? 
Was he meant to do something?

______________________________

“During the war I had no belief, and I had always disliked the ways of the Orthodox.
I saw that God was not impressed by death.
Hell was his indifference.
But inability to explain is no ground for disbelief.
Not as long as the sense of God persists.
I could wish that it did not persist.
The contradictions are so painful.
No concern for justice?
Nothing of pity?
Is God only the gossip of the living?
Then we watch these living speed like birds over the surface of a water,
and one will dive or plunge but not come up again and never be seen any more.
And in our turn we will never be seen again,
once gone through that surface.
But then we have no proof that there is no depth under the surface.
We cannot even say that our knowledge of death is shallow.
There is no knowledge.
There is longing, suffering, mourning.
These come from need, affection, and love –
the needs of the living creature, because it is a living creature.
There is also strangeness, implicit.
There is also adumbration.
Other states are sensed.
All is not flatly knowable.
There would never have been any inquiry without this adumbration,
there would never have been any knowledge without it.
But I am not life’s examiner, or a connoisseur, and I have nothing to argue.
Surely a man would console, if he could.
But that is not an aim of mine.
Consolers cannot always be truthful.
But very often, and almost daily, I have strong impressions of eternity.
This may be due to my strange experiences, or to old age.
I will say that to me this does not feel elderly.
Nor would I mind if there were nothing after death.
If it is only to be as it was before birth, why should one care?
There one would receive no further information.
One’s ape restiveness would stop.
I think I would miss mainly my God adumbrations in the many daily forms.
Yes, that is what I should miss.
So then, Dr. Lai, if the moon were advantageous for us metaphysically, I would be completely for it.
As an engineering project, colonizing outer space,
except for the curiosity, the ingenuity of the thing,
is of little real interest to me.
Of course the drive, the will to organize this scientific expedition must be one of those irrational necessities that make up life –
this life we think we can understand.
So I suppose we must jump off, because it is our human fate to do so.
If it were a rational matter, then it would be rational to have justice on this planet first.
Then, when we had an earth of saints, and our hearts were set upon the moon,
we could get in our machines and rise up …”
(236-237)

Margotte had much to say.
She did not notice his silence.

By coming back, by preoccupation with the subject,
the dying, the mystery of dying, the state of death.
Also, by having been inside death.
By having been given the shovel and told to dig.
By digging beside his digging wife.
When she faltered he tried to help her.
By this digging, not speaking, he tried to convey something to her and fortify her.
But as it had turned out, he had prepared her for death without sharing it.
She was killed, not he.
She had passed the course, and he had not.
The hole deepened, the sand clay and stones of Poland, their birthplace, opened up.
He had just been blinded, he had a stunned face,
and he was unaware that blood was coming from him
till they stripped and he saw it on his clothes.
When they were as naked as children from the womb,
and the hole was supposedly deep enough, the guns began to blast,
and then came a different sound of soil.
The thick fall of soil.
A ton, two tons, thrown in.
A sound of shovel-metal, gritting.
Strangely exceptional, Mr. Sammler had come through the top of this.
It seldom occurred to him to consider it an achievement.
Where was the achievement?  He had clawed his way out.
If he had been at the bottom, he would have suffocated.
If there had been another foot of dirt.
Perhaps others had been buried alive in that ditch.
There was no special merit, there was no wizardry.
There was only suffocation escaped.
And had the war lasted a few months more, he would have died like the rest.
Not a Jew would have avoided death.
As it was, he still had his consciousness, earthliness, human actuality –
got up, breathed his earth gases in and out, drank his coffee,
consumed his share of goods, ate his roll from Zabar’s, put on certain airs –
all human beings put on certain airs – took the bus to Forty-second Street
as if he had an occupation, ran into a black pickpocket.
In short, a living man.
Or one who had been sent back again to the end of the line.
Waiting for something.
Assigned to figure out certain things, to condense, in short views,
some essence of experience, and because of this having a certain wizardry ascribed to him.
There was, in fact, unfinished business.
But how did business finish?
We entered in the middle of the thing and somehow became convinced that we must conclude it.
How? 

– Saul Bellow –