Yiddish is most firmly established as a vernacular . . . and as such, its association with radio, theatre, and even daily press is not hard to fathom. . . .

post-Holocaust Yiddish literature, which according to David Roskies is built on two pillars: utopian faith and collective lamentation.

linguistic acrobatics that Yeshurun performed in his poems—e.g., multilingualism, neologism, formal hybridity—also characterized Yiddish modernism of the early twentieth century, so arguably a Yiddish poetics or poetic sensibility shaped his very approach to writing Hebrew.

Yung Yisroel, which consisted of refugees and immigrants situated within an emerging social and cultural backdrop indifferent or even hostile to their activities.

The evocative name Yung Yisroel signified the “youth” and newness of the group, its desire to be part of the newly forming Israeli culture, and its links to the modernist Yiddish literary movements that blossomed throughout the first half of the twentieth century in Europe and America.

The development of nostalgia for the Soviet past and the Soviet space coincided with the largest migration of east European Jews to the Western Hemisphere since the turn of the twentieth century.

even those who published before made drastic changes in their writing after their immigration.

modernization, migration, and the Holocaust drastically transformed and displaced Yiddish language, literature, and culture. The newly established State of Israel also displaced Yiddish, even as it served as a site for the displacement of Yiddish-speaking immigrants in the postwar period.

his poetry, like theirs, maps not only the linguistic shifts and transformations that occurred within modern Hebrew itself but also the long-standing tension between a “revived” Hebrew vernacular and native, diasporic languages, Yiddish in particular.