This book was purchased as part of a study prior to a production of 'A Fiddler on the Roof'. It proved invaluable by providing background to the way of life and conditions during the period of the musical play. Since it is the 'base work' for the musical there can be no better reference for director, actor and all the cast.

A set of short stories - some lifeless, some fairly amusing. Much to my surprise, I found Aleichem's other stories to be livelier than the Tevye stories. I especially liked some of the stories with surprise twists, such as "It Doesn't Pay To Be Good." (If I told you the twist, it would of course spoil the surprise!)

What struck me most about these stories, in addition to the sensitive and thoughtful translation and the wonderful Tevye character, is that they don't really depict the long-lost, static, traditional culture of the Eastern European shtetl (Jewish village). By the time Sholem Aleichem wrote these stories, the life of the shtetl was disintegrating. It was a transitional time, when emigration to America, the influence of Western culture, the pull of socialism and other radical movements, and many other forces were already acting upon traditional Judaism. Tevye, whose knowledge of Jewish sources is picturesque but not very deep, was one of the most knowledgeable people in his town. That pretty much says it all.

The Tevye stories are unforgettable, the "railroad" stories of more mixed quality. That is why I only gave the book four stars. Still, highly recommended.

I really enjoyed the entire book! The ones associated with Fiddler on the Roof as well as all the others. These stories gave a more in depth perspective of the Russian Jews and the pogroms that they as well as other targeted Russians had to endure. It showed their incredible strength, faith and sense of community that helped them survive. Thank you for a really good book! History at its best!!!

I really enjoyed the entire book! The ones associated with Fiddler on the Roof as well as all the others. These stories gave a more in depth perspective of the Russian Jews and the pogroms that they as well as other targeted Russians had to endure. It showed their incredible strength, faith and sense of community that helped them survive. Thank you for a really good book! History at its best!!!

Hillel Halkin is a master translator. His translation of the Sholem Aleichem stories takes out what might be called a 'corny archaic ' element in some other translations.
Sholem Aleichem's humor and pathos, the non- ending dialogue of his Tevye with God, the Yiddish world of Eastern Europe now lost, the questioning ironic often tender tone, are all here.
Read and enjoy.

Picked up this collection after seeing Fiddler on the Roof on Broadway... Very good, especially the Tevye chapters. Typical Eastern-European Yiddish form: mostly serious, often tragic stories written in a humorous, sarcastic tone. Be ware of catch phrases getting stuck in your head... geared towards people with some historic understandind shtetl life in Czarist Russia. Deffinately wets your apetite for more Yiddish literature.

p.s. If you're unsure whether you'll enjoy this type of literature, check out "Gimpel the Fool", a short story by I.B. Singer. Its great, and it will give you an idea of what to expect.

Sholem Aleichem wrote his stories as a modern Mitnagdic Jew about the "old country" twenty to thirty years after the supposed time setting. Aleichem who had never lived the kind of life that Tevye did, far from it at that, used life stories of people as his inspiration. Although I have a personal predeliction for the musical "Fiddler on the Roof", the stories of Tevye the Dairy Man are among the greatest of all Yiddish literature and the musical just does not do it justice. Issues ranging from the changing times in the larger realm of Russia in the late 19th century to Tevye's own personal faith in God are raised in this masterful collection. One must realize that these stories were written years apart and Aleichem's socio/political views are reflected changingly as they were written. The writer was a master of internal monologue where he has Tevye talking the entire time, yet often you forget and feel as if it is another character. The constant usage of Yiddish, Biblical and liturgical phrases might confuse the first time reader, but this edition contains a very helpful notes section in the back of the book. As part of one's own personal education or for provacative literature for enjoyment, this is one that deserves the attention it receives. I highly recomend it.