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YIVO digitizes writer Chaim Grade’s archive, a Yiddish treasure with a soap opera backstory
(JTA) — Years ago, when I worked at the Forward, I had a cameo in a real-life Yiddish drama.
A cub reporter named Max Gross sat just outside my office, where he answered the phones. A frequent caller was Inna Grade, the widow of the Yiddish writer Chaim Grade and a fierce guardian of his literary legacy. Mrs. Grade would badger poor Max in dozens of phone calls, especially when a Forward story referred kindly to the Nobel laureate Isaac Bashevis Singer. Grade’s widow described Singer as a “blasphemous buffoon” whose fame and reputation, she was convinced, came at the expense of her husband’s.
As Max explains in his 2008 memoir, “From Schlub to Stud,” Mrs. Grade “became a bit of a joke around the paper.” And yet in Yiddish literary circles, her protectiveness of one of the 20th century’s most important Yiddish writers was serious business: Because Inna Grade kept such a tight hold on her late husband’s papers — Chaim Grade (pronounced “Grah-deh”) died in 1982 — a generation of scholars was thwarted in taking his true measure.
Inna Grade died in 2010, leaving no signed will or survivors, and the contents of her cluttered Bronx apartment became the property of the borough’s public administrator. In 2013, Chaim Grade’s personal papers, 20,000-volume library, literary manuscripts and publication rights were awarded to the YIVO Institute for Jewish Research and the National Library of Israel. They are now stored in YIVO headquarters on Manhattan’s W. 16th Street.
This week YIVO and the NLI will announce the completion of the digitization of “The Papers of Chaim Grade and Inna Hecker Grade,” making the entire archive publicly accessible online. When the folks at YIVO invited me to come and look at the Grade collection, I knew I had to invite Max, not just because of his connection to Inna Grade but because he has become a critically acclaimed novelist in his own right: His 2020 novel “The Lost Shtetl,” which imagines a Jewish village in Poland that has somehow escaped the Holocaust, is in many ways an homage to the Yiddish literary tradition.
We met on Thursday with the YIVO staff, who were tickled by the T-shirt Max was wearing, which had a picture of Chaim Grade and the phrase “Grade is my homeboy.” (Max said his wife bought it for him, although neither could imagine the market for such a shirt.)
Stefanie Halpern, director of the YIVO archives, and novelist Max Gross discuss a thick file containing news clippings relating to the late Yiddish novelist Chaim Grade at YIVO’s Manhattan offices, Feb. 2, 2023. (New York Jewish Week)
The Grade papers — manuscripts, photographs, correspondence, lectures, speeches, essays — are stored in folders in gray boxes, whose neatness belies the years of effort that went into putting them in order. Jonathan Brent, executive director and CEO of YIVO, described for us the Grades’ apartment, which he visited shortly after Inna’s death.
“It was like a combination of my grandmother’s apartment and a writer’s home,” he said. “Everything was books, books to the ceiling. You open a drawer in the kitchen where you think there’ll be knives and forks, there are books, there are manuscripts. You open the cabinet in the bathroom, there are more manuscripts and books and books…. But the thing I remember most is that at the top of a shelf there was that much dust.” He held his fingers about two inches apart.
Inna Grade was Chaim Grade’s second wife. The writer was born in Vilna (now in Lithuania) in 1910. He was able to flee east during the Nazi occupation, leaving behind his mother and his first wife under the assumption that the Germans would only target adult men. It was a tragic miscalculation, and their deaths would haunt Grade the rest of his life. Inna Hecker was born in Ukraine in 1925, and met Grade in Moscow during the war. Married in 1945, they immigrated to the United States in 1948.
Chaim Grade had already established a reputation as a poet, playwright and prose stylist before the war; English translations of his novels “The Agunah” and “The Yeshiva” and serial publication of his novels in the Yiddish press brought him recognition in America for what the Yiddish scholar Ruth Wisse calls a “Dostoyevskian talent to animate in fiction the destroyed Talmudic civilization of Europe.” Columbia University professor Jeremy Dauber, in a YIVO release, says that Grade was possessed “by the spirit of the yeshiva world he’d left behind; then possessed by the spirits and memories of those who’d been murdered by the Nazis.”
Stefanie Halpern, director of the YIVO archives, showed us the physical evidence of that possession: Grade’s notebooks, in which he wrote down ideas and inspiration in a careful Yiddish script; manuscripts for at least two unpublished dramatic works, “The Dead Can’t Rise Up” and “Hurban” (“Sacrifice”); a photograph of Grade standing amidst the ruins of Vilna during his only visit after the war; pictures of the Bronx apartment taken when the couple was still alive, book-filled but still tidy.
Halpern also showed us the Yiddish typewriter recovered from the apartment, with what is believed to be the last page he worked on still rolled in its platen.
Chaim Grade’s typewriter, preserved in the condition it was found when the Yiddish author died in 1982, contains what are apparently the last lines he ever wrote. (New York Jewish Week)
The archivists are also careful to give Inna her due. After arriving in America she studied literature and received a master’s degree from Columbia, and often translated her husband’s work. Thanks to her, hundreds of clippings of Grade’s work and articles about him have survived.
Her correspondence reflects the lengths she went to protect her husband’s legacy during and after his lifetime, including a bizarre and lengthy letter to the Vatican complaining about Singer. “She was a brilliant and creative person, devoted in a way only a widow can be,” said Brent. “And perhaps devoted to a maddening extent.”
If all that sounds like the stuff of Jewish fiction, it is: In 1969, Cynthia Ozick wrote a novella called “Envy; or, Yiddish in America,” about Yiddish writers very much like Grade consumed with envy for a writer very much like Singer. “They hated him for the amazing thing that had happened to him — his fame — but this they never referred to,” wrote Ozick. “Instead they discussed his style: his Yiddish was impure, his sentences lacked grace and sweep, his paragraph transitions were amateur, vile.”
Halpern showed us a mailgram from Inna to the Forward that makes it clear that she and her husband read and hated the story. In it she describes Ozick as “no less grotesque than evil.”
For all of the gothic Yiddish aspects of its retrieval, “this is probably the single most important literary acquisition in YIVO’s postwar history,” Brent said of the archive. He described publishing projects already underway with Schocken Books and other publishers that will draw on the material.
Max and I discussed what it felt like to see what had become “a bit of a joke” around the Forward office placed at the center of an epic exercise in literary preservation. Max was struck by the way Inna’s personality came through in the papers. “This was her,” he said. “Her obsession, her struggle, all these things. It was definitely remarkable to see that.”
I recalled overhearing his conversations with Inna, and how her behavior could seem funny and exasperating, but also admirable and more than a little sad — in that her devotion to her husband’s reputation may also have prevented scholars from doing the work that would have made him better known.
“Exactly, but that’s one of the reasons why you get into Yiddish literature, because all of these things are true at the same time,” said Max. “Those kinds of scores, rivalries, feuds within Yiddish literature is what is so great about it. It is great to see that somebody really cared and that literature was taken so seriously. And the pettiness was something you couldn’t quite divest from the rest of it.”
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In the history of a family’s pianos, a glimpse of a disappearing New York history
Not that long ago, many homes had pianos. Few do now, and a sad sight is a piano left out on the street. Two years ago we moved a Steinway into our home, and until recently, we had two grands in our living room, the Steinway and the Chickering, which I grew up with. There is also a mini Schoenhut, along with a full-size Casio keyboard upstairs.
The Chickering first resided at my grandparents’ apartment on Central Park West. Under it sat a Schroederesque Schoenhut grand. I would sit on the bench in front of the Schoenhut and tinkle the keys while my grandmother Anna played above. The Chickering, a five-foot, seven-inch quarter grand, came to my childhood home in Forest Hills after she died in 1966. There my brother David and I took lessons from our teacher Fred Kahn. Mr. Kahn was easily in his 70s, and a former student of the concert virtuoso Arthur Friedheim who had studied with Franz Liszt. He performed at Carnegie Hall when he was just eight, and later Steinway Hall had him play at their showroom across 57th St. as a way to attract customers. I fondly recall my lessons with him, especially his improvisations, how he effortlessly switched tempo and rhythm so a piece by Bach morphed into a country & western or klezmer tune.
I first heard my wife Lillie play on the Chickering. It was Beethoven’s Piano Sonata No. 10. Lillie studied at Queens College’s Aaron Copland School of Music when we lived in Kew Gardens, and we had her Sargent grand in our apartment. She also had a Baldwin spinet at her mom’s in Manhattan. We moved the Sargent to Lillie’s sister Yuri’s apartment when I had a fellowship at Northwestern in 1994. Then when my mom and dad sold the house the following year, Lillie and I had the Chickering hauled up a steep stoop in Park Slope. I remember it being so heavy that it cracked one of the brownstone risers, though the piano was thankfully not damaged. Even better, our landlord had been planning to restore the stoop, so we didn’t have to chip in for the chip.
Soon after, Lillie took a teacher-training program at the School for Strings in Manhattan to learn the Suzuki Method. In 2001, we moved to Glen Ridge, New Jersey, and in 2006 spent a summer in Chicago. One of the first things we did was buy the Casio. Early one morning we were awakened by the sound of Chopin coming from the front room. Lillie and I rushed out to find our four-year-old Emma at the keyboard. Alas, we quickly realized that she was not the reincarnation of Clara Schumann after whom her older sister was named. Instead she had somehow pressed the right series of keys, and it played the programed piece.
Back home, Emma had cello lessons in nearby Montclair, and while Lillie taught in our living room, Clara, Emma and I would drive to Manhattan where Clara would spend up to two hours with her piano teacher, Barbara Herman. During Clara’s lesson, Emma and I would roam the halls of the nearby Natural History Museum. We all would then go to Ottomanelli and have chicken pot pies and then ice cream next door at Emack & Bolio’s.
The Chickering filled our home with much music. Clara practiced on it, and Lillie would go over music with her. I enjoyed it when they played together, especially a duet from Schubert’s “Trout Quintet.”Lillie would also help Emma prepare for her cello recitals, and later went over pieces with her when she took up the clarinet and joined the high school marching band.
Since the early ‘90s, Lillie has been studying on the Upper West Side with her teacher Denise Kahn. She and Denise’s other students regularly gather at their various Manhattan apartments to perform their pieces for each other, and as Lillie practices at home she is always amazed that I can soundly nap on the couch just a few feet away during her most fortissimo playing.
The Steinway made it to our home from the country house of one of those pianist friends. In 2024, Lillie and I spent a cool spring afternoon at her place in Stockbridge, Mass. so Lillie could test out the piano; while there she Zoomed her piano technician back in New Jersey to ask questions. The Steinway is a rebuilt six-foot, model O from 1910. Until it arrived, it was on the Chickering that Lillie’s students had their lessons for the past two decades.
Four days a week, our home is filled with the sounds of a wide variety of pieces, from “Frog on Logs” to sonatinas by Friedrich Kuhlau, rags by Scott Joplin, even the “Linus and Lucy” Peanuts tune by Vince Guaraldi. Some of the younger ones can’t sit still, but it is always satisfying to see those who stick with it and then one day start to see their lesson as more than a chore imposed on them by their parents, and come to love playing music. Each June, they all perform in a recital at the Congregational Church up the street.
Hundreds of piano makers once thrived in New York and Boston. Chickering started in Boston in 1823, became one of the nation’s finest manufacturers, and had a hall on 57th St. that rivaled Steinway’s just a block to the west. The firm moved to East Rochester, NY in 1927 and stopped producing instruments in 1983. Sadly, most American piano makers are now gone. On bulk days in our town, we have seen a few pianos sitting on the curb, and Lillie has alerted others of their presence in the hope that someone would rescue them.
Two years ago, I was out for a walk. Along the curb sat a diminutive Schoenhut upright. I have no idea what happened to my grandmother’s Schoenhut grand, and happily hoisted and adopted this homeless one. Not surprisingly, Lillie’s students have embraced the mini-me piano, and during their lessons, some of the younger ones like to hop over and play on it, with the instrument offering up its chime-like, glockenspiel sounding versions of their pieces while Lillie accompanies them on the piano.
We only need one main piano, though, and the last thing we were going to do was toss out the Chickering. I do realize that the piano is but an object, one fashioned from mahogany, rosewood, ebony, ivory, metal wires, and felt. But the Chickering had a real presence and voice in our home, one that brought joy. Quite simply, it was part of our family. I am therefore not surprised that I got teary eyed as we said goodbye to it on June 15. I am glad to say that movers ferried it to a new home up the road. And while the spot where it stood, one filled with much meaning, seems quite empty now, we do hope that the Chickering will create fond memories for another family.
Before it left our home, Lillie played on it that Beethoven sonata that she first performed for me.
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Lively Yiddish Forward columnist Miriam Hoffman has died
The Yiddish writer, Forverts columnist, playwright and Yiddish lecturer Miriam Hoffman passed away July 29 in Coral Springs, Florida. She was 90 years old.
Hoffman was a talented storyteller, as seen in the 2017 Forverts video about her, one of ten episodes in its documentary series, Yiddish Writers Monologues. In the 55-minute clip, she describes in dramatic detail her family’s journey from Siberia to a forced labor camp to a displaced persons camp and finally, to New York. The video is in Yiddish with English subtitles.
In a book, also published in 2017, A Breed Apart: A Miraculous Escape from Russia, she tells her life story again, this time in English.
For many years, Hoffman penned a lively column for the Forverts, where she commented, often with biting humor, on certain character types in Jewish society she disapproved of — like American-born Jews snubbing their noses at fellow Jews who had recently arrived from Europe, something she experienced first-hand.
She also wrote about the blatant sexism she encountered in the 1960s and ’70s among the leadership of Yiddish organizations like the Workmen’s Circle and the Congress for Jewish Culture.
But other essays had a serious, softer voice, like the one she told about her decision as a young teen to suddenly cut off her curly locks in order to look more “American” — and how her mother reacted to her daughter’s “rebellion.”
She also hosted a popular Yiddish radio program on the Forward station WEVD.
Hoffman loved the Yiddish theater and began writing plays herself. She and fellow playwright Rena Borow wrote the book for the musical, Songs of Paradise, based on the biblical poetry of Yiddish troubadour Itzik Manger. The show ran at NYC’s Public Theater and the Shakespeare Festival in 1989, drawing a rave review from The New York Times. Her plays were also staged in Montreal and in several European countries.
For 23 years, Hoffman was a popular Yiddish lecturer at Columbia University. In 2011, she published a Yiddish textbook, Key to Yiddish, that included not only lessons in grammar, but also passages on Eastern European Jewish history, customs, songs and holiday content.
I was personally most impressed with her dogged determination to preserve Yiddish as a spoken language with younger generations. In the 1960s, while teaching at the Sholem Aleichem Shul 21, an afternoon Yiddish school in the Bronx, she and three fellow Yiddish cultural activists — educator Gella Schweid Fishman, pianist-composer Malka Gottlieb and artist Tsirl Waletzky — published a series of Yiddish children’s books through a publishing house they created themselves, called Oyfgang (Sunrise).
As Hoffman and Schweid Fishman told me years later, the mood in the Yiddish world then was so pessimistic, and the attitude towards women so dismissive, that none of the Yiddish cultural organizations — including the Workers Circle and the Congress for Jewish Culture — showed any interest in publishing the books.
But Hoffman and her colleagues didn’t give up. An example of this concerned a musical Purim play they wrote and published in 1968, “Purim iz a shpil aza” (“Purim is a time to play”). On the book cover it gives the male name Gavriel Tolyes as the author. But this was a pseudonym; the real author was Hoffman.
“We understood that no one would take our book seriously if they found out that four women published it,” Hoffman told me. “So we took my mother’s name Tolye, and came up with the name Gavriel Tolyes.”
Years later, Hoffman translated the Purim play into English where it was performed and made into a video. This time, the author’s name was her own.
Hoffman was born Miriam Shmulevitsh in Tobolsk, Siberia in 1936. In 1950, her family immigrated to the United States where she studied Yiddish pedagogy at the Jewish Teachers Seminary until 1957. Years later, she finished her bachelor’s at the University of Miami and received a master’s from Columbia University in 1983.
During the 1970s she and her husband Mendl and two young sons, Avrom (Avi) and Binyomin, lived in Israel for several years where she hosted the first Yiddish television program in the Jewish state, together with the popular comedian Shimon Dzigan.
Hoffman often said that one of her main goals in life was to help instill Jewish pride among Jews of all ages in order to stem the tide of assimilation. In 2015 she, along with her son — the renowned Yiddish actor, director and producer, Avi Hoffman — launched the Yiddishkayt Initiative, an organization dedicated to bringing Jews back to their roots through lectures and performances that portray Jewish values and cultural traditions. For Hoffman, this was exactly what she had been waiting for.
Miriam Hoffman is survived by her two sons, Avi and Benjamin, four grandchildren and one great-grandchild.
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Are you there Hashem? It’s me, Clara
“I can complain no more of what brutal tongue-abuse I suffered today. I have exhausted all manners of expression for my grievances.”
I wish I could tell you I don’t recognize those words. I wish I could say they were written by a beleaguered 19th-century governess, or a soldier in the Continental Army afflicted with gangrene. Unfortunately, they were written by me. The day was May 20, 2016. I was 12 years old and full of spite.
I am not sure what, exactly, provoked me that day (since I had exhausted all manners of expression for my grievances), but judging from other angry rants found in this deceptively cute, panda-covered journal, it probably had something to do with: A) My obsession with school, B) My enemies, let’s call them Kyle and Reese, C) My parents’ attempts to discipline me, and D) My conviction that the whole world was conspiring against me. These were heavy burdens for a sixth-grader to bear. Fortunately, the school year was almost over. Reform Jewish summer camp was just around the bend, and I was praying for change. Literally.
“God, if you can hear me, please let me have an amazing camp-experience,” I wrote a few weeks before the session started. “It’s my only escape.” Also, while I had His ear, could He make sure I got a really good part (preferably Belle) in the summer musical, Beauty and the Beast? The previous year, in Aladdin, I’d been relegated to some sadsack ensemble role that clearly did not make use of my incalculable dramatic potential. Please, Hashem!!
But God had His work cut out for Him.
During my first summer, I had established a reputation for myself as a puritanical hardass thanks to my clashes with the popular girls of Bunk 15. Let’s call them Samantha, Madison and Lindsey. Lindsey slept in the bunk bed next to mine, and every night she would amuse the other girls by pretending that she was singing Taylor Swift hits in her sleep. This enraged me. I hung up towels around my bed so I could silent-scream in private. Soon, the trio began to whisper that I was “gossiping” about them. I don’t think the counselors bought that story, though, since successful gossiping requires you to spread lies to many people, and I knew around three. I spent seven weeks in non-stop kvetch mode, writing pathos-ridden letters home, crying a lot, and making petty demands on God in a prior journal that I am scared to open. It got so bad that the camp director had to call up my parents on vacation.
Yet when the long-awaited last day came and my parents loaded up the car with all my musty-smelling camp stuff to take me home, something inexplicable happened: On my first night back in my own bed, I cried that I missed camp. Maybe I had been wrong all along! Send me back!
I don’t know how I got sucked back into another year. Maybe I’d been hoodwinked by ritual — the s’mores, the songs, the tie-dyed shirts, the crying around the lake as we promised to come back — or the fantasy that next year, I would finally be accepted. In any case, nostalgia had caused me to keep secrets from myself. “When does the memory keep secrets?” the Italian writer Alda Merini asks cryptically in her 1989 book Delirio amoroso, or Amorous Delirium, a collection of poems inspired by her experiences with love-induced madness. “When it forgets.”
I had forgotten, and now I was going to pay the price.
On my first day back, I arrived to find that all my complaining to the camp director had backfired: I’d earned an exile worthy of Napoleon, except instead of Elba, I was going to Bunk 20, where I knew nobody. I had no foes, and also no friends.
According to 12-year-old me, I spent the next seven weeks fighting back an unstoppable tide of hostilities. In reality, I probably spent just as much time swimming, kayaking, trying to play volleyball, hanging out with my new friends Lana, Hannah and Sabrina, painting clay pots, and pretending I wasn’t spending Shabbat services writing installments of a bleak tale called “Gertrude’s Life,” about a long-suffering Victorian girl with a mangled left leg. But 12-year-old me was fluent exclusively in “kvetch.” A couple of times a week, a cadre of rabbis with guitars tried to counteract my natural crankiness by teaching us key principles of Reform Jewish wisdom: Shalom (keeping calm), Tikkun Olam (repairing the world), and Hineini (present awareness). Unfortunately for the rabbis, I was too far gone. I had braces on my teeth and eczema on my skin, an intimidating combination of blood and steel.
You probably won’t be shocked to learn that I didn’t get Belle. Instead I got cast as something more fitting, the wicked crone who turns the Prince into the Beast to begin with. It seemed unfair to me that such an important catalyst didn’t have any lines, just menacing gestures. Later in the summer, our bunk went on a camping trip where I broke a glow-stick on myself and my sleeping mat, and I became convinced that I was going to die. I briefly developed “enamorous feelings” for a young fellow before concluding that “he was really into cursing and being a general idiot.” On the bus back from some field trip, a kid named J.T. said he wanted to kiss me, which was repugnant and secretly flattering.
And of course, I somehow still managed to scrap with my tormenters from the year before. On a visit to Bunk 18, the lair of my enemies and also a few friends, Madison told the counselors that she felt “uncomfortable” changing out of her swimsuit in front of me. For my part, I felt uncomfortable that she was framing me as a pervert.
Looking back on this journal, I may have had myself to blame for the isolation I spent so much time complaining about. How would anyone make friends with a 12-year-old nudnik who wrote things like “I had to go to the compost bin thrice during breakfast” and “I started off the morning by crying the equivalent of Taghaza, the city made of salt”? Even Job would not have had the patience.
One way or another, by summer’s end, I was ready to leave camp forever. Or so I claimed. “At the moment, our bunk is creating a plaque to commemorate the summer. Everyone’s laughing, sharing inside jokes I’ll never be a part of,” I wrote. “To be honest, I’m rather sick of this camp thing and going home in two days is perfectly fine with me. Camp days are too frivolous. I need something with which to occupy the mind.”
But if I wanted “something with which to occupy the mind,” I was about to get it. Two days later, I was back home. Camp was no longer tormenting me with its frivolity, and I missed it. Memory had worked its hazy rearview magic on my mind once again. I thought about my friends, about singing the evening prayer and swaying back and forth, about the wooden float we’d burned in the middle of the pond like a Viking ship to commemorate the summer. I thought about ice cream sandwiches. “It’s been so fun, and now it seems like it had all been a dream,” I wrote.
A day or so later, missing camp had become a dream, too. I never went back.
It’s been ten years since I was twelve. That time of life is increasingly dream-like. When I reread the cursed document that is my camp journal, I feel the misery. I feel it churn in my stomach sure as suspicious falafel. Yet in photos taken at camp, I see myself smiling, entwined with other girls, my braces glinting in the sun. I cannot tell which person is real. Both girls — the one in the journal and the one in the pictures — seem unknowable.
I don’t know if I’ll ever figure out what I really thought. Memory is made of such blobby, malleable stuff that you can’t touch it without changing it, reshaping it in some way. And since memories make up our “sense of self,” whatever that is, this must mean that we are constantly morphing, too.
The last thing I wrote about camp at the summer’s end was that it seemed like another life, “as if it had all happened to someone else.”
Maybe it did.
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