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The Orthodox discourse is grounded on the observance of halakha (Jewish law). In order to<br />

introduce change into the Orthodox tradition, one must first be able to prove that the proposed<br />

change is in line with halakha. Deep familiarity with the religious texts, primarily Talmud and<br />

subsequent rabbinic writings, and with the process by which they are applied, is essential in this<br />

respect. Historically, women were excluded from the religious study of these texts which was a<br />

central part of their religious world. As Safrai (2007, p. 63) points out, from a feminist perspective the<br />

significance of this exclusion means that women were not only denied information, power and<br />

leadership, but were also ‘‘left lacking the skills needed for essential Jewish experiences, leaving<br />

them rootless, culturally meagre, and at the mercy of male commentators.’’ 10<br />

Ester Kreitman explores these issues in her novel “Brilliants”, published in 1944 in London. This<br />

novel investigates women and men’s social roles as objects, not subjects, in the Hassidic community<br />

in both Poland and the emigrants’ community. The story is written from the perspective of Gedaliah<br />

Berman, a ruthless man, rapacious and morally unscrupulous in his business dealings. He comes from<br />

a Hassidic family in Poland and tradition plays an important role in his family life.<br />

However, “Brilliants” is an important voice in the discussion on women’s loneliness inside a<br />

community created by men for men. Kreytman looked into the generations of women from the XIX<br />

and XX century. Different characters living in different periods of time suffered from the same form<br />

of male oppression. Finally, Granddaughters and daughters of Hassidic women slowly but surely tried<br />

to step out from the orthodox way of life. In “Briliants”, Kreitman investigates the relations between<br />

an orthodox mother from the small shtetl living in Netherlands and her modern daughter Jeannette,<br />

who grew up in Antwerp. Jeanette is a young girl in many ways different to Deborah. The vital<br />

difference is that we observe her when she is about to get married and soon after when she has an<br />

abortion. In the early part of the XX century, women writers, particularly in Weimar Germany were<br />

using fiction as a forum for discussing issues of women’s liberation: female sexuality, free love,<br />

contraception and abortion. In her presentation of all these issues, Kreitman proves herself worthy of<br />

inclusion in the category of an early feminist writer. She does not explicitly campaign for legislation<br />

but in a brief conversation between Jeanette and her mother we see that Kreitman’s opinion was<br />

clearly in disagreement with the general statement of Jewish culture.<br />

Ester Kreitman herself is an enigmatic and elusive figure. The principal non‐fictional sources of<br />

information about her are the memoirs of her male relatives (brothers and son). It’s very interesting<br />

that literary critics often see Deborah as Kreitman’s autobiography but do not with Jeannett in<br />

“Brilliants”.<br />

To what extent can Esther Kreytman's writing be investigated as a useful resource to her<br />

biography? It’s a difficult question, regardless of obvious parallels. But there is no doubt that Ester<br />

Kreytman is unusual among Yiddish female writers. While many wrote poetry, she dedicated herself<br />

to story writing. Unfortunately she didn’t garner much appreciation from her audience at the time of<br />

publishing her novels and short stories. She was successful however in opening doors to female lives<br />

in the orthodox Jewish community. I strongly believe that the result of my research will help to prove<br />

that her novels are a great resource into women’s lives in the male society of the Hassidim, in Poland<br />

in XIX and XX century.<br />

Ester Kreitman chose for herself an active form of protest against the oppression of orthodoxy.<br />

Why did none of her literary characters make the same choice? Perhaps because in modern<br />

Ortodoxy there is a place for women.<br />

Kreytman perhaps wanted to show that through some of the feminist changes taking hold within<br />

modern Orthodoxy at the beginning of the XX century there is a positive chance can take place in the<br />

Orthodox community. A wider perspective of the web of resistance among women in conservative<br />

religious traditions was created. Much of this progress was later destroyed by the Nazis during the<br />

Holcaust, and today new women in different Hassidic communities continue to fight, to learn; to<br />

discover how to change their own world.

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