Sholem Asch

Sholem Asch (1 November 1880 – 10 July 1957), was a Polish-born American Jewish novelist, dramatist, and essayist in the Yiddish language.

This article on an author is a stub. You can help out with Wikiquote by expanding it!

• Not the power to remember, but its very opposite, the power to forget, is a necessary condition for our existence.
  • The Nazarene, 1939, p. 3.

• Suffering, my son, is the fount of love. Suffering is the grace, the great grace, which our Father in heaven pours down upon us. For suffering gives men submissive hearts. He that does not suffer thinks that he stands upon a mighty rock which he himself has raised. He does not see his brother; he sees only himself. He believes in no one; he believes only in his own strength. His heart becomes a swamp which swarms with reptiles: pride, obstinacy, and self-love. And when his footstool is rolled away from under him, he sinks, together with all the reptiles, into the depths of hell. But he to whom God has granted suffering shall find his pains like ropes which bind him to his Father in heaven. His heart is awake to feel the pains of his brother in need. He sends afflictions upon you and makes you small on earth that you may be great in heaven.
  • The Nazarene, 1939, p. 512.

in New Masses

• When an idea, summoned by need and discontent, fails to be realized, an alien dark force, conceived by the devil, arrives and bestially throws itself into the void left by the ideal. It utilizes the despair created by the unrealized ideal, often operates with the same phrases, sows the same hopes until it wins over the deceived masses to its side. Like Satan, it stands upon the structure erected by the ideal, to usurp power. A clear example of this is the rise of Hitlerism in Germany. Nazism was made ripe by the leadership of German Social Democracy which had failed to fulfill its duty towards the embittered German masses. If German Social Democracy had used the power which bankrupt German Junkerdom so completely delivered over to it, if German Social Democracy had realized the revolutionary program which it had preached for generations, Hitler could not have deceived the German masses with a promise that he would realize the program in his own manner.

• Considering the world scene in this light, one can say with certainty that if Lenin had not succeeded in carrying through the Bolshevik Revolution in 1917, and power had remained in the weak, half-traitorous hands of Russian Social Democracy, a Russian Hitler and a Russian Nazism would have arisen a decade earlier than in Germany. There would have been no Red Army to destroy Nazism and fascism today. The world is only now beginning to enjoy the fruit of the Bolshevik Revolution of 1917. It is thanks only to the Bolshevik Revolution that the world will arise cleansed of Hitler, even if wounded and bloody.

• The masses have learned the great lesson of what happens to an ideal when traitors abandon it to the enemy. German Social Democracy, Noske and Hitler, will forever stand before the eyes of the people like black shadows to teach them in whose hands to entrust power.

• The joy and hope which the Red Army marching forward calls forth in the hearts of the tortured masses, also throws fear and dread into the enemy's heart, into the hearts of the fascists of all colors, into the hearts of all the debased human worms who have the sorry courage to aid fascism, to give it comfort, to whitewash it and to deliver into its hands the fate of the Jewish masses. Woe to such misleaders!

• In the terrible revolutionary upheaval in the Jewish towns of Russia at the beginning of this century, when the entire Jewish youth was drawn into the vortex and confusion of strife, Asch remained loyal to his art. Not that he was indifferent to the momentous events, not that those terrible days failed to stir his soul and heat his blood. Nay, he saw all, he absorbed and responded. But this he did not as a worker, not as a participant in the struggle, not as a zealot, or a believer or soldier; but as the artist, as the dreamer, philosopher and interpreter and painter of emotions and impressions.
  
  This is also true of his attitude to the agitation over the Jewish problem that shook Russian Judaism in those days of storm and unrest. The questions of Zionism, nationalism, cosmopolitanism, the revival of Palestinism, the amalgamation of national and revolutionary principles, the neo-chassidism, these and many other creeds that sprang into life during those memorable days influenced Asch not as a crusader for one cause or the other, but as an interpreter of them all, as an artist purely and faithfully.
  • Harry Rogoff, "Sholom Ash" in Nine Yiddish Writers (1916), page 99-100

• Sholem Asch and Isaac Bashevis Singer reflected through the prism of their personalities and unique talents the soul of the jew as a human being, and in this way they became universal writers.
  • Chava Rosenfarb "Sholem Asch and Isaac Bashevis Singer" (1992) in Confessions of a Yiddish Writer and Other Essays, translated from the Yiddish with Goldie Morgentaler

• the great Sholem Asch never sees women as they really are, but rather as he would like them to be, that is, saintly and self-sacrificing. Her heart overflowing with love, the Yiddish literary heroine is ready to throw away her life for the man she loves and the people she loves. Asch's favourite female type is the mother. As is well-known, Asch suffered from a mother-fixation, a fixation that leads him to the apotheosis of all mother figures in the novel Mary, the third volume of his Christian trilogy. Even in earlier work - for instance, Kiddush-Hashem and "The Sorceress of Castille" - Asch describes his heroines, Dvora and Jephta, as if they were Jewish versions of the Virgin Mary. But Asch never shows us the human complexity that troubles his heroines' souls. In fact, in the course of the entire narrative of "The Sorceress of Castille," Jephta does not utter a single word.
  • Chava Rosenfarb "Feminism and Yiddish Literature: A Personal Approach" (1992) in "Confessions of a Yiddish Writer and Other Essays" edited and translated from the Yiddish by Goldie Morgentaler (2019)

• The only famous Yiddish stories from Latin America I'm able to make people invoke are the handful of ones by the masters Sholem Aleichem, Sholem Asch, and Isaac Bashevis Singer. They are set in, or at least refer to, Argentina (and on occasion in an eternally rainy Brazil) and invariably deal with the Jewish prostitution ring-la trata de blancas.
  • Ilan Stavans Introduction to Yiddish South of the Border: An Anthology of Latin American Yiddish Writing edited by Alan Astro (2003)

Wikipedia has an article about:

Sholem Asch