LOST AND FOUND

This article examines Dovid Bergelson’s modernist writing in relationship to the shifting geography of Yiddish culture after World War I. During the 1920s, a series of debates raged in the Yiddish press about the true centre of Yiddish literature. These discussions about Yiddish literary centres, including Bergelson’s own polemic, “Dray tsentern” (Three centres), were also aesthetic debates regarding the future direction of Yiddish literature in the absence of a national home. In “Three centres” Bergelson envisions the new Jewish writer emerging from the agricultural colonies of the Crimean steppes. Though a surprising vision from a Jewish emigrant writer in Berlin, Bergelson turns to the steppes as a way to break free from Yiddish literature’s attachment to the shtetl. However, a close reading of his interwar fiction illuminates how his modernist aesthetic derives from the irresolvable conflict between the old Jewish landscape of the shtetl and the new spaces of Jewish life in the post‐World War I period.