A Quote by Howard Fast

Yiddish for gall, nerve, arrogance-whatever — © Howard Fast
Yiddish for gall, nerve, arrogance-whatever
Even though I loved the song [My Yiddish Momme] and it was a sensational hit every time I sang it, I was always careful to use it only when I knew the majority of the house would understand Yiddish. However, you didn't have to be a Jew to be moved by 'My Yiddish Momme.' 'Mother' in any language means the same thing.
Yiddish is the voice of exile, the tongue of ghettos, but I'll shed a tear when it joins ancient Greek and dead Latin. For gossip and insult, you can't beat Yiddish.
One can find in the Yiddish tongue and in the Yiddish spirit expressions of pious joy, lust for life, longing for the Messiah, patience and deep appreciation of human individuality.
My sister and I used to act as maids and waitresses at my great aunt and uncle's cocktail parties, which were very much sort of retired, minor stars of the Yiddish theater and the Yiddish opera.
When Truman Capote wrote from the perspective of condemned murderers from a lower economic class than his own, he had some gall. But writing fiction takes gall.
There is a quiet humor in Yiddish and a gratitude for every day of life, every crumb of success, each encounter of love... In a figurative way, Yiddish is the wise and humble language of us all, the idiom of a frightened and hopeful humanity.
Whatever that thing is that white people like in blacks, I don't have it. Maybe it's my arrogance or my self-assurance or the way I carry myself, but whatever it is, I don't have it.
In another project I worked on just a few years ago, a staging of Peter and the Wolf, which I translated into Yiddish and sang on a stage in New York City. Thank God very few people knew I was doing it! But the kids in the audience loved it - even though it was all in Yiddish.
I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.
Yiddish, originally, in Eastern Europe was considered the language of children, of the illiterate, of women. And 500 years later, by the 19th century, by the 18th century, writers realized that, in order to communicate with the masses, they could no longer write in Hebrew. They needed to write in Yiddish, the language of the population.
My hand moves because certain forces--electric, magnetic, or whatever 'nerve-force' may prove to be--are impressed on it by my brain. This nerve-force, stored in the brain, would probably be traceable, if Science were complete, to chemical forces supplied to the brain by the blood, and ultimately derived from the food I eat and the air I breathe.
On a crowded bus in Israel, a mother was speaking to her son in Yiddish. An Israeli woman reprimanded her. "You should be speaking Hebrew. Why are you talking to him in Yiddish?" The mother answered, "I don't want he should forget he's a Jew."
I wish that strife would vanish away from among gods and mortals, and gall, which makes a man grow angry for all his great mind, that gall of anger that swarms like smoke inside of a man's heart and becomes a thing sweeter to him by far than the dripping of honey.
I know that you don't know, but you don't know that you don't know! By that I mean there are three reasons why individuals and businesses fail: 1. Arrogance 2. Arrogance 3. Arrogance.
I do believe, whenever this is all said and done, we won't talk about Mickey Gall, the guy that beat CM Punk; we'll just talk about Mickey Gall, the guy who is a top 10 fighter, a good welterweight or maybe a great welterweight.
I love playing women who have the nerve to do things that I don't have the nerve to do, and Berta is certainly one of those.
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