Isaac Bashevis Singer

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Singer's first published story "Oyf der elter" ("In Old Age", 1925) won the literary competition of the Literarishe Bletter, where he worked as a proofreader. A reflection of his formative years in "the kitchen of literature" can be found in many of his later works. Singer published his first novel, Satan in Goray, in installments in the literary magazine Globus, which he had co-founded with his lifelong friend, the Yiddish poet Aaron Zeitlin in 1935. It is set in the years following 1648, when the Chmielnicki massacres, considered one of the greatest Jewish catastrophes, occurred. The story describes the Jewish messianic cult that arose in the village of Goraj. It explores the effects of the faraway false messiah, Shabbatai Zvi, on the local population. Its last chapter imitates the style of a medieval Yiddish chronicle. With a stark depiction of innocence crushed by circumstance, the novel appears to foreshadow coming danger. In his later work The Slave (1962), Singer returns to the aftermath of 1648 in a love story between a Jewish man and a gentile woman. He portrays the traumatized and desperate survivors of the historic catastrophe with even deeper understanding.

Singer became a literary contributor to The Jewish Daily Forward only after his older brother Israel died in 1945. That year, Singer published The Family Moskat in his brother's honor. His own style showed in the daring turns of his action and characters, with double adultery during the holiest of nights of Judaism, the evening of Yom Kippur (despite being printed in a Jewish family newspaper in 1945). He was nearly forced to stop writing the novel by his editor-in-chief, Abraham Cahan, but was saved by readers who wanted the story to continue. After this, his stories—which he had published in Yiddish literary newspapers before—were printed in the Forward as well. Throughout the 1940s, Singer's reputation grew.

Singer believed in the power of his native language and thought that there was still a large audience, including in New York, who longed to read in Yiddish. In an interview in Encounter (February 1979), he said that although the Jews of Poland had died, "something—call it spirit or whatever—is still somewhere in the universe. This is a mystical kind of feeling, but I feel there is truth in it."

Some of his colleagues and readers were shocked by his all-encompassing view of human nature. He wrote about female homosexuality ("Zeitl and Rickel", "Tseytl un Rikl"), published in The Seance and Other Stories, transvestism ("Yentl the Yeshiva Boy" in Short Friday), and of rabbis corrupted by demons ("Zeidlus the Pope" in Short Friday). In those novels and stories which refer to events in his own life, he portrays himself unflatteringly (with some degree of accuracy) as an artist who is self-centered yet has a keen eye for the sufferings and tribulations of others.

Singer had many literary influences. Besides the religious texts he studied, he grew up with a rich array of Jewish folktales and worldly Yiddish detective-stories about "Max Spitzkopf" and his assistant "Fuchs". He read Russian, including Dostoyevsky's Crime and Punishment at the age of fourteen. He wrote in memoirs about the importance of the Yiddish translations donated in book-crates from America, which he studied as a teenager in Bilgoraj: "I read everything: Stories, novels, plays, essays... I read Rajsen, Strindberg, Don Kaplanowitsch, Turgenev, Tolstoy, Maupassant and Chekhov." He studied the philosophers Spinoza, Arthur Schopenhauer, and Otto Weininger. Among his Yiddish contemporaries, Singer considered his elder brother to be his greatest artistic example. He was also a life-long friend and admirer of the author and poet Aaron Zeitlin.

His short stories, which some critics feel contain his most lasting contributions, were influenced by Anton Chekhov and Guy de Maupassant. From Maupassant, Singer developed a finely grained sense of drama. Like those of the French master, Singer's stories can pack enormous visceral excitement in the space of a few pages. From Chekhov, Singer developed his ability to draw characters of enormous complexity and dignity in the briefest of spaces. In the foreword to his personally selected volume of his finest short stories he describes the two aforementioned writers as the greatest masters of the short story form.

Of his non-Yiddish-contemporaries, he was strongly influenced by the writings of Knut Hamsun, many of whose works he later translated, while he had a more critical attitude towards Thomas Mann, whose approach to writing he considered opposed to his own. Contrary to Hamsun's approach, Singer shaped his world not only with the egos of his characters, but also from Jewish moral tradition embodied by his father in the stories about Singer's youth. There was a dichotomy between the life his heroes lead and the life they feel they should lead—which gives his art a modernity his predecessors did not express. His themes of witchcraft, mystery and legend draw on traditional sources, but they are contrasted with a modern and ironic consciousness. They are also concerned with the bizarre and the grotesque.

An important strand of his art is intra-familial strife, which he experienced when taking refuge with his mother and younger brother at his uncle's home in Biłgoraj. This is the central theme in Singer's family chronicles such as The Family Moskat (1950), The Manor (1967), and The Estate (1969). Some critics believe these show the influence of Thomas Mann's novel Buddenbrooks; Singer had translated Mann's Der Zauberberg (The Magic Mountain) into Yiddish as a young writer.

Singer always wrote and published in Yiddish. His novels were serialized in newspapers, which also published his short stories. He edited his novels and stories for publication in English, which was used as the basis for translation into other languages. He referred to his English versions as his "second original". This has led to an ongoing controversy whether the "real Singer" is the Yiddish original, with its finely tuned language and sometimes rambling construction, or in the more tightly edited American versions, where the language is usually simpler and more direct. Some of Singer's stories and novels have not been translated.

The artists who have illustrated Singer's novels, short stories, and children's books, include Raphael Soyer, Maurice Sendak, Larry Rivers, and Irene Lieblich. Singer personally selected Lieblich to illustrate two of his books for children, A Tale of Three Wishes and The Power of Light: Eight Stories for Hanukkah, after seeing her paintings at an Artists Equity exhibition in New York City. A Holocaust survivor, Lieblich was from Zamosc, Poland, a town adjacent to the area where Singer was raised. As their memories of shtetl life were so similar, Singer found Lieblich's images ideally suited to illustrate his texts. Of her style, Singer wrote that "her works are rooted in Jewish folklore and are faithful to Jewish life and the Jewish spirit."

Singer published at least 18 novels, 14 children's books, a number of memoirs, essays and articles. He is best known as a writer of short stories, which have been published in more than a dozen collections. The first collection of Singer's short stories in English, Gimpel the Fool, was published in 1957. The title story was translated by Saul Bellow and published in May 1953 in the Partisan Review. Selections from Singer's "Varshavsky-stories" in the Daily Forward were later published in anthologies such as My Father's Court (1966). Later collections include A Crown of Feathers (1973), with notable masterpieces in between, such as The Spinoza of Market Street (1961) and A Friend of Kafka (1970). His stories and novels reflect the world of the East European Jewry in which he grew up. After his many years in America, his stories also portrayed the world of the immigrants and their pursuit of an elusive American dream, which seems always beyond reach.

Prior to Singer's winning the Nobel Prize, English translations of dozens of his stories were published in popular magazines such as Playboy and Esquire that published literary works.

Throughout the 1960s, Singer continued to write about questions of personal morality. Because of the controversial aspects of his plots, he was a target of scathing criticism from many quarters, some of it for not being "moral" enough, some for writing stories that no one wanted to hear. To his critics, he replied, "Literature must spring from the past, from the love of the uniform force that wrote it, and not from the uncertainty of the future."

Singer was awarded the Nobel Prize in 1978.

Between 1981 and 1989, Singer contributed articles to Moment Magazine, an independent magazine which focuses on the life of the American Jewish community.

His novel Enemies, a Love Story was adapted as a film by the same name (1989) and was quite popular, bringing new readers to his work. It features a Holocaust survivor who deals with varying desires, complex family relationships, and a loss of faith.

Singer's story, "Yentl, the Yeshiva Boy" was adapted into a stage version by Leah Napolin (with Singer), which was the basis for the film Yentl (1983) starring and directed by Barbra Streisand.

Alan Arkin starred as Yasha, the principal character in the film version of The Magician of Lublin (1979), which also featured Shelley Winters, Louise Fletcher, Valerie Perrine and Lou Jacobi. In the final scene, Yasha achieves his lifelong ambition of being able to fly, though not as the magic trick he had originally planned.

Perhaps the most fascinating Singer-inspired film is Mr. Singer's Nightmare and Mrs. Pupkos Beard (1974) directed by Bruce Davidson, a renowned photographer who became Singer's neighbor. This unique film is a half-hour mixture of documentary and fantasy for which Singer wrote the script and played the leading role.

The 2007 film Love Comes Lately, starring Otto Tausig, was adapted from several of Singer's stories.

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