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Call It Sleep

Call It Sleep is a 1934 novel by American author Henry Roth, chronicling the psychological and sensory experiences of David Schearl, a young Jewish boy who immigrates to New York City with his mother in 1907 to join his father, set against the backdrop of the immigrant slums of the Lower East Side from 1911 to 1913.^[1]^[2] Published by Robert O. Ballou in the United States, the book was Roth's debut novel and drew initial critical praise for its innovative modernist style and vivid portrayal of immigrant life, though it achieved limited commercial success amid the economic hardships of the Great Depression and was out of print by the end of the decade.^[1]^[3] Rediscovered and reissued in 1960 by Pageant Books and again in paperback by Avon in 1964, it garnered widespread acclaim as a neglected masterpiece, with critics in publications like Commentary and Partisan Review hailing it as one of the great achievements of 20th-century American literature.^[1]^[4] The narrative delves into David's Oedipal conflicts within his tense family dynamics—marked by a protective yet enigmatic mother, Genya, and a volatile, suspicious father, Albert—while exploring broader themes of religious mysticism, cultural dislocation, and the search for identity in a hostile urban environment.^[2] Blending stream-of-consciousness techniques with Yiddish-inflected English and symbolic episodes, such as David's near-fatal encounter with a streetcar rail, the novel culminates in moments of reconciliation and epiphany that underscore its messianic undertones drawn from Jewish and Christian traditions.^[1]^[2] Regarded as a seminal work in Jewish-American literature, Call It Sleep captures the brutal realities of early 20th-century immigration and has been analyzed for its contributions to modernist fiction, influencing subsequent explorations of ethnic identity and psychological depth in American novels.^[5]^[6] Its enduring significance lies in Roth's ability to evoke the sensory chaos of childhood and the immigrant experience, ranking it among the most powerful depictions of American urban life in the 20th century, with continued reissues including a 2024 edition by Penguin Classics.^[5]^[7]

Background

Henry Roth

Henry Roth was born on February 8, 1906, in Tysmenica (also spelled Tysmenitz or Tyszmenicz), Galicia, then part of the Austria-Hungary Empire and now in Ukraine, to Jewish parents Chaim Roth, a leather worker, and Leah Farb Roth. His father emigrated to the United States in 1906 seeking better opportunities, and Roth, along with his mother, followed in 1908, arriving in New York City after an arduous steerage voyage; his sister Rose was born there later that year.^[8] The family initially settled in the Brownsville section of Brooklyn from 1908 to 1910, where Roth was exposed to the vibrant yet impoverished Yiddish-speaking Jewish immigrant community, before moving to the Lower East Side in 1910. In 1914, at age eight, the family relocated again to a predominantly Irish and Italian neighborhood in Harlem, an experience that exposed Roth to anti-Semitic hostility and deepened his sense of alienation and cultural dislocation. Roth's early education reflected the challenges of his immigrant background. He attended public schools in New York, graduating from DeWitt Clinton High School in the Bronx in 1924. That year, he enrolled at the City College of New York (CCNY), initially majoring in biology with the ambition of becoming a teacher, though his interests soon shifted toward literature. He graduated with a Bachelor of Science degree in 1928, supported by his mentor Eda Lou Walton, an English professor at New York University who encouraged his creative pursuits and provided intellectual guidance during his college years. Although some accounts mention brief exposure to Columbia University through Walton's circles, Roth's primary formal education occurred at CCNY. Roth's literary influences were shaped by both modernist innovations and his Jewish heritage. As a student, he encountered the works of James Joyce, particularly Ulysses, which he obtained illicitly from Paris and which profoundly impacted his experimental style, as well as T.S. Eliot's poetic modernism introduced by Walton. He was also exposed to Gertrude Stein's avant-garde techniques through New York theater productions, where he worked odd jobs like scene shifting for plays featuring her works alongside those of Eugene O'Neill and Sean O'Casey. Rooted in the Yiddish literary traditions of the Lower East Side—encompassing oral storytelling, biblical cadences, and communal narratives—Roth blended these with modernist stream-of-consciousness to capture immigrant psyches. In the late 1920s and early 1930s, Roth faced significant career instability, holding a series of menial jobs including manual labor and temporary roles in publishing and education while dedicating himself to writing amid financial hardship. Living with Walton from around 1927 provided some stability, allowing him to focus on his craft despite societal disapproval of their relationship. His personal life was marked by intense family dynamics: a domineering, often abusive father whose leather trade symbolized harsh immigrant labor, contrasted with a nurturing yet emotionally burdened mother whose arranged marriage and hidden past fostered Roth's exploration of guilt and secrecy. Childhood traumas, including bullying in Harlem and internal psychological conflicts over identity and taboo desires, informed the autobiographical depth of his writing, particularly themes of immigrant isolation and the search for belonging. Roth died on October 13, 1995, in Albuquerque, New Mexico.^[9]

Composition

In the late 1920s, Henry Roth decided to craft Call It Sleep as a semi-autobiographical novel, drawing directly from his childhood memories of immigrant life in New York City's Jewish enclaves.^[8] Born in 1906 in what is now Ukraine and arriving in the United States as an infant, Roth mined his early experiences in Brownsville, the Lower East Side, and Harlem to shape the protagonist David's world, transforming personal recollections into a narrative of cultural dislocation and familial tension.^[10] This choice marked Roth's shift toward fiction that prioritized intimate psychological depth over abstract ideologies, as he began drafting in 1930 while in his mid-twenties.^[8] During the early 1930s composition period, Roth incorporated influences from psychoanalysis and modernist experimentation, evident in the novel's exploration of Oedipal conflicts and stream-of-consciousness techniques.^[11] His relationship with poet Eda Lou Walton exposed him to T.S. Eliot and James Joyce's Ulysses, inspiring the fluid, associative prose that captures David's inner turmoil; Walton supplied him with blue examination books from New York University for drafting, which Roth filled over four years before his sister Rose typed the manuscript.^[8] Psychoanalytic elements, such as the boy's fraught dynamics with his parents, reflected broader intellectual currents Roth encountered, including Freudian ideas on repression and desire.^[11] Roth faced significant challenges during and after composition, culminating in severe writer's block that led him to abandon fiction for nearly six decades.^[8] Personal guilt, ideological pressures from his brief involvement with Communism, and the emotional toll of revisiting traumatic memories stalled further work; after burning an attempted proletarian novel manuscript in the 1930s and a sequel draft in 1952, Roth produced no major fiction until 1994.^[12] These obstacles, compounded by the novel's initial commercial failure amid the Great Depression, reinforced his withdrawal from literary ambitions.^[10] Specific inspirations from Roth's notebooks and drafts included Yiddish folklore, biblical allusions, and the raw textures of urban immigrant existence, infusing the work with cultural authenticity.^[8] Yiddish phrases and folkloric motifs evoke the Schearl family's Eastern European roots, while biblical references—such as Isaiah's vision of purification in Book III—symbolize redemption and divine encounter.^[11] Vivid depictions of tenement life, street dialects, and sensory overload in New York's immigrant quarters stemmed from Roth's observational sketches, grounding the narrative in the era's social realities.^[8] The novel's division into four books—"The Cellar," "The Picture," "The Coal," and "The Rail"—plus an epilogue, emerged as a deliberate structural choice to mirror David's psychological maturation from isolation to tentative integration.^[10] This progression, laden with symbolic redemption motifs drawn from Jewish tradition, traces the boy's evolving consciousness amid familial and cultural pressures, culminating in a liminal "sleep" state of unresolved insight.^[13]

Publication History

Initial Publication

Call It Sleep was published in 1934 by the small New York house Robert O. Ballou, with a first edition print run of approximately 2,000 copies priced at $2.50.^[8]^[14] In the midst of the Great Depression, the novel was positioned and received as a proletarian work, emphasizing the struggles of Jewish immigrants on New York's Lower East Side amid widespread economic hardship.^[15]^[16] Sales proved disappointing, with fewer than 2,000 copies sold, resulting in the book going out of print by early 1935.^[8]^[17] This commercial failure exacerbated Roth's financial difficulties, as the low royalties provided little support during a time when he was navigating personal and ideological shifts toward communism.^[8] Post-publication, Roth encountered contract issues stemming from Ballou's precarious finances; the publisher accepted investment from lawyer David Mandel, who acquired partial rights to the novel, though Ballou had already issued the book.^[18] These disputes, coupled with the era's economic pressures, left Roth in ongoing financial straits, forcing him to take various manual labor jobs to sustain himself.^[8] The novel's release coincided with the burgeoning of Jewish-American literature in the 1930s, a movement that captured the immigrant experience, cultural assimilation, and social inequities intensified by the Depression, alongside works by authors like Mike Gold and Nathanael West.^[19]^[16]

Rediscovery and Reissues

After its initial publication in 1934, which saw only modest sales of fewer than 2,000 copies amid the economic pressures of the Great Depression, Call It Sleep fell into obscurity and remained out of print for over two decades.^[8] The novel's revival began in 1960 with a hardcover reissue by the small publisher Pageant Books in Paterson, New Jersey, which included essays on Roth and the work by critics Harold U. Ribalow, Maxwell Geismar, and Meyer Levin; this edition sold a modest 2,100 copies but helped reintroduce the book to a new audience.^[1]^[20] Interest surged in 1964 following the release of an affordable Avon paperback edition, which prompted literary critic Irving Howe to publish a glowing front-page review in The New York Times Book Review on October 25, hailing the novel as a "distinguished" work that captured the "brutal and lyric" essence of immigrant slum life while transcending the limitations of typical ghetto novels through its poetic intensity and psychological depth.^[1] This review, which emphasized the book's status as a neglected masterpiece of 20th-century American literature, propelled Call It Sleep to bestseller status, with the Avon edition spending multiple weeks on The New York Times bestseller list.^[21]^[22] The paperback's success was explosive, selling over one million copies by the 1970s and transforming the novel into a commercial phenomenon that far exceeded its original reception.^[23]^[24] This resurgence aligned with the 1960s cultural shift toward greater appreciation for ethnic and immigrant narratives, particularly those exploring Jewish identity in the wake of the Holocaust and the broader civil rights movements that highlighted marginalized voices.^[1] Subsequent editions sustained the book's momentum, including a 1991 paperback from Noonday Press (an imprint of Farrar, Straus and Giroux) featuring a new introduction by Alfred Kazin, which further cemented its canonical status.^[25] The novel has since appeared in numerous reprints and has been translated into languages such as Spanish, broadening its global reach.^[26]

Plot Summary

Novel Structure

Call It Sleep is formally organized into a prologue, four books titled "The Cellar," "The Picture," "The Coal," and "The Rail," and a short epilogue. This division structures the narrative around symbolic motifs that trace the protagonist David's evolving consciousness amid the immigrant environment of early 20th-century New York.^[27] Book One, "The Cellar," establishes the foundational setting of domestic and subterranean life in the family's tenement, emphasizing confinement and sensory immersion in the urban underbelly.^[28] Book Two, "The Picture," shifts to broader explorations of aspiration and visual symbolism, marking a thematic progression toward external engagement and imagination.^[28] Book Three, "The Coal," intensifies themes of darkness and familial pressure through motifs of labor and opacity, deepening the internal conflicts. Book Four, "The Rail," builds to the narrative's climax, incorporating symbols of motion and illumination to resolve the arc of discovery.^[27] Between the books, four italicized interludes function as poetic transitions, rendering impressionistic vignettes of the city's chaos through David's subjective lens to bridge temporal shifts and heighten thematic continuity.^[29] The overall arc spans approximately two years in David's life, from circa 1911 to 1913, creating cyclical elements that underscore the repetitive rhythms of immigrant existence while culminating in epiphanic resolution.^[28] The novel's structure draws clear influences from modernist literature, particularly James Joyce's Ulysses, in its episodic organization, stream-of-consciousness interludes, and depiction of urban life filtered through personal perception.^[11]

Synopsis

Call It Sleep is set in the early 1900s on New York's Lower East Side, chronicling the experiences of a young Jewish immigrant boy named David Schearl.^[30] In Book One, David and his mother Genya arrive by ship from Europe in 1907 and reunite with David's father, Albert, at the harbor; the family settles into a cramped tenement apartment on Ninth Street amid the bustling Jewish immigrant neighborhood. Albert, a volatile presser facing unemployment, maintains a tense household dynamic marked by his suspicion and occasional rage toward Genya and David. David's aunt Bertha arrives from Austria-Hungary, bringing stories of the family's past that hint at Genya's premarital affair with a gentile lover in the fields back home, which subtly heightens family strains. David begins exploring the chaotic tenement life, venturing into the cellar and streets, where he encounters the vibrant yet intimidating world of pushcarts, peddlers, and playing children, forming his initial impressions of America.^[31]^[30] Book Two focuses on David's entry into formal education and deeper immersion in the community. At age nearly six, David starts public school, struggling with the English language and feeling alienated among his peers, which amplifies his budding fears of the unfamiliar urban environment. He also attends cheder lessons under Reb Yidel, a strict rabbi, where he excels in memorizing Hebrew texts and becomes particularly fascinated by the biblical story of Isaiah, who has a hot coal pressed to his lips as purification. During a Passover outing, David joins neighborhood boys, including Yussie, in a prank of dropping zinc scraps onto a passing trolley rail, producing a blinding electric spark that links in his mind to the divine fire from Isaiah's tale and stirs a mix of awe and terror. These street adventures expose David to the rough play and dangers of the neighborhood, while home remains a refuge with Genya's gentle storytelling contrasting Albert's stern presence.^[31]^[30] In Book Three, escalating home tensions intertwine with David's expanding social world and religious education. Albert secures a job as a milkman, and David accompanies him on routes, witnessing his father brutally assault and possibly kill a thief who tries to steal milk, an act that instills profound fear in David about his father's capacity for violence. At cheder, David's studies continue, but he forms an unlikely friendship with Leo, a tough Catholic boy from the neighborhood, who gives David a rosary for protection in exchange for introducing him to Bertha's daughters, Polly and the younger Esther, after Bertha marries a widower named Nathan and opens a candy store. This introduction leads to a tragic incident when Leo rapes Esther in the store's basement, leaving David wracked with guilt over his role in facilitating the encounter. The family's simmering resentments boil over as whispers of Genya's past affair resurface; during a breakdown at cheder while reciting verses, David confesses a distorted version of the truth to Reb Yidel, claiming Genya is actually his aunt and that he is the illegitimate child of her gentile lover, prompting the rabbi to inform Albert and Genya of the boy's outburst.^[31]^[30] Book Four builds to a climactic confrontation driven by revelations and rage. Albert, tormented by doubts about David's paternity fueled by the affair stories and his own buried guilt over abandoning his abusive father to a bull attack in Austria, explodes in fury upon learning of the cheder confession and the rosary in David's possession, interpreting it as further evidence of betrayal. Tensions peak when Nathan accuses Albert of involvement in the assault on Esther, but David intervenes, admitting his part in the events and handing over the rosary, which incites Albert to beat David savagely with a milk whip in a fit of jealous rage, nearly killing him until neighbors intervene. Overwhelmed and seeking escape from the chaos, David flees to the railroad yards and, in a desperate act, uses a metal milk dipper to touch the deadly third rail, receiving a severe electric shock that leaves him unconscious and presumed dead, but he is revived by passersby and rushed to a hospital. The incident forces a confrontation with the consequences of family secrets, leading to a fragile resolution as Albert restrains his violence and Genya tends to her son.^[31]^[30] In the Epilogue, set several months later, David returns to a somewhat stabilized home life, engaging in quiet reading and reflection on his ordeals, including the rail incident and family upheavals. As he drifts toward sleep one evening, he experiences a tentative sense of peace and release from his accumulated fears, embracing a momentary emotional calm amid the ongoing immigrant struggles.^[31]^[30]

Characters

David Schearl

David Schearl serves as the protagonist and central consciousness in Henry Roth's Call It Sleep, a sensitive and imaginative second-generation Jewish immigrant child whose inner world drives the narrative.^[11] Spanning roughly from age six to eight (or up to nine in some interpretations), David's experiences unfold in the Jewish immigrant enclaves of New York City's Lower East Side and Brownsville, where he grapples with the disorienting clash of cultures and languages.^[32] His character draws directly from Roth's own childhood, functioning as a symbolic stand-in for the alienated psyche of the artist confronting familial and societal fragmentation.^[11] Psychologically, David exhibits acute sensitivity and fear toward the external world, often retreating into imaginative reveries to cope with urban threats like street violence, rats in the cellar, and the cacophony of immigrant life.^[29] His linguistic struggles intensify this alienation, as he navigates the shift from the poetic Yiddish of his home—particularly his mother's affectionate speech—to the harsh, fragmented English of his peers, leading to a profound sense of exclusion and identity crisis.^[33] Oedipal tensions further complicate his psyche, marked by an intense, protective bond with his mother Genya and a deep-seated dread of his volatile father Albert, whom he perceives as a looming threat.^[29] Throughout the novel, David's development traces a path from passive observer—haunted by guilt and repression—to an active seeker of truth and purification, culminating in a near-fatal encounter with electrified streetcar rails that symbolizes a transformative confrontation with mortality and self-understanding.^[32] Specific behaviors underscore his imaginative and fearful nature, such as his fascination with radiant symbols like burning coal from biblical stories or the blinding light produced by metal touching rails, which represent elusive purity amid chaos.^[29] In one instance, he hides in shadowed corners of the home to evade his father's rage, embodying his perpetual quest for safety in an unforgiving world.^[33]

Albert and Genya Schearl

Albert Schearl is a Yiddish-speaking Jewish immigrant from Galicia, part of the Austro-Hungarian Empire, who arrives in the United States ahead of his family to secure work and fund their passage.^[29] His early employment includes low-paying labor marked by constant humiliation from coworkers, which exacerbates his sense of alienation and failure in the New World.^[29] Later, he transitions to a milk route job as a deliveryman, seeking a more stable but still grueling occupation that allows him some autonomy, though it fails to alleviate his bitterness toward immigrant life.^[29] Known for his volatile temper, Albert is paranoid about mockery and perceived slights, often responding with explosive anger that isolates him further from his community and family.^[29] In contrast, Genya Schearl hails from a more cultured background in Poland, where she received some religious education and worked in her family's store before a scandal forced her emigration.^[29] Her past includes a forbidden affair with a Gentile organist, during which she recalls playing piano together, evoking memories of a gentler, more refined life that starkly contrasts with her current existence.^[29] As David's mother, Genya embodies a protective, nurturing love, shielding him from harsh realities and maintaining a close emotional bond through Yiddish conversations and tender care, even as she struggles with limited English and cultural isolation.^[29] This scandalous history, arranged marriage to Albert as a means of redemption, and her lingering sense of displacement from her educated youth contribute to her role as the family's emotional anchor amid ongoing turmoil.^[29] The marriage between Albert and Genya is fraught with strains rooted in jealousy, violence, and unspoken secrets, beginning with their arranged union to cover her premarital affair and doubts over David's paternity that haunt Albert.^[29] Albert's authoritarian presence dominates the household, enforcing rigid control through physical outbursts—such as beatings triggered by perceived betrayals or economic frustrations—while Genya's gentler demeanor often absorbs the abuse, providing quiet stability for the family.^[34] Their relationship reflects broader immigrant tensions, with Albert's rage stemming from unfulfilled ambitions and Genya's unspoken regrets creating a cycle of emotional distance and occasional reconciliation, though the core secrets remain buried in private Yiddish exchanges.^[29]

Supporting Characters

Aunt Bertha, Genya Schearl's sister, serves as a warm and outspoken presence in the novel, residing in the Brownsville neighborhood of Brooklyn and providing a stark contrast to the tense atmosphere of the Schearl household.^[29] Her interactions with David highlight familial affection and cultural reminiscences, as she evokes images of Eastern European Jewish heritage when describing her father, blending medieval folklore with immigrant nostalgia.^[35] Bertha's role underscores themes of community support amid urban isolation, often mediating conflicts with her direct, earthy demeanor during family visits.^[29] Leo, an Irish Catholic boy and David's street companion, embodies the rough, exploratory energy of the Lower East Side's youth culture, drawing David into games and adventures that expose him to mischief and budding sexuality.^[28] Their friendship introduces David to elements outside his Jewish world, including Catholic symbols like a rosary, which Leo uses to exploit David's curiosity and naivety.^[36] Leo's influence shapes David's encounters with the diverse ethnic street life, representing the temptations and peer pressures of immigrant neighborhoods.^[29] Reb Yidel Pankower oversees the cheder, the traditional Hebrew school where David grapples with religious instruction, symbolizing the rigid structures of Jewish orthodoxy amid his personal turmoil.^[28] Classmates like Yussie contribute to David's peer conflicts, highlighting rivalries and bullying in the confined space of religious education that intensify his sense of alienation.^[37] These figures collectively reinforce the novel's exploration of faith as both a refuge and a source of fear for the young protagonist. Neighbors such as Mr. Luter, a building superintendent, and the Mishkin family populate the tenement community, fostering an environment of gossip, solidarity, and ethnic intermingling that envelops David's daily life.^[38] Luter evokes David's unease through his authoritative yet intrusive presence, while the Mishkins offer glimpses of communal warmth and Yiddish-inflected interactions.^[29] Minor characters, including the janitor and diverse street urchins from Irish, Italian, and Jewish backgrounds, illustrate the multicultural chaos of the ghetto, where children form transient alliances amid poverty and play.^[11] These peripheral figures enrich David's world, emphasizing the novel's portrayal of immigrant solidarity and tension without overshadowing the central family dynamics.

Themes and Motifs

Immigrant Life and Identity

In Call It Sleep, Henry Roth vividly portrays the Jewish immigrant experience on New York's Lower East Side during the 1910s, capturing the ghetto's intense overcrowding and pervasive poverty that defined daily life for thousands of Eastern European arrivals. The novel depicts tenement buildings as cramped, stifling spaces where families like the Schearls endure constant noise, dim lighting, and shared facilities, symbolizing the physical and emotional confinement of urban immigrant existence.^[29] Ethnic enclaves emerge as vibrant yet insular communities, with Yiddish-speaking Jews clustering together amid a polyglot mix of Italians, Irish, and Poles, fostering a sense of mutual support while reinforcing isolation from the broader American society.^[32] This setting reflects the historical influx of more than two million Jewish immigrants from Eastern Europe between 1880 and 1920, many funneled into sweatshops and low-wage labor that perpetuated cycles of hardship.^[39] The struggles of Americanization are central to the narrative, illustrated through job instability and deepening generational gaps that fracture immigrant families. Fathers like Albert Schearl, employed in precarious trades such as printing or milk delivery, face chronic underemployment and resentment toward an indifferent economy, mirroring the economic volatility that plagued newcomers in the early 20th century.^[11] Children, exposed to public schools and street culture, accelerate toward assimilation, creating rifts with parents who cling to old-world customs, as seen in the tension between youthful curiosity and parental protectiveness.^[29] These conflicts underscore the broader challenge of adapting to a capitalist society that demanded rapid cultural shifts, often at the cost of traditional values and familial cohesion.^[32] Jewish identity in the novel is depicted through rituals and linguistic divides that both sustain and complicate immigrant life, with subtle hints of anti-Semitism lurking in the urban landscape. Sabbath observances, such as lighting candles, provide fleeting moments of solace and continuity from Eastern European roots, yet they coexist uneasily with the profane chaos of the streets.^[11] The interplay between Yiddish and English highlights the internal alienation of immigrants, where the former serves as a private tongue of heritage and the latter as a gateway to opportunity, often widening gaps within households.^[32] Occasional encounters with hostility, implied in neighborhood dynamics, evoke the pervasive undercurrent of prejudice faced by Jews in early 1900s America.^[29] The Schearl family functions as a microcosm of the larger Eastern European Jewish immigration waves, embodying the transience and resilience of those fleeing pogroms and seeking the "Golden Land" only to confront disillusionment. Their perambulations between Brownsville and the Lower East Side parallel the migratory patterns of millions who navigated unstable housing and informal economies. Motifs of tenement life—dark cellars and rickety stairs—symbolize impermanence and entrapment, while the pushcart economy represents the precarious hustle of street vendors and peddlers, evoking the endless churn of survival in a transient urban frontier.^[32] These elements collectively illuminate the immigrant's dual existence: rooted in tradition yet adrift in modernity.^[29]

Language and Communication

In Henry Roth's Call It Sleep, multilingualism serves as a core element of the protagonist David Schearl's psychological and cultural dislocation, as he navigates the tensions between Yiddish spoken at home, English learned in the streets, and Hebrew encountered in religious settings. David's bilingual confusion manifests in fragmented perceptions, where words from one language bleed into another, creating a sense of linguistic instability that mirrors his inner turmoil; for instance, his initial reliance on Yiddish with his mother Genya gradually erodes as English dominates his interactions with peers, leading to moments of embarrassment and isolation when Yiddish erupts unexpectedly in public. This linguistic flux underscores David's struggle to reconcile his immigrant heritage with American assimilation, as analyzed in Pauline Bleuse's thesis on the novel's portrayal of otherness through language.^[29] Similarly, Hana Wirth-Nesher highlights how David's bilingualism positions him at the "nexus of several cultures," haunted by the ghosts of untranslated words that fragment his sense of self.^[40] The novel's dialect representations vividly capture the immigrant experience through phonetic renderings of Yiddish-inflected English, street slang, and Hebrew phrases, emphasizing barriers to clear communication. Albert Schearl's broken English, such as his exasperated cry "Ah’m khrezzy!" (p. 23), phonetically conveys the frustration of limited linguistic tools, while street children's slang like "Rats on’y come out innuh da’k" (p. 45) illustrates the rough, assimilated vernacular of the Lower East Side. Hebrew appears in religious contexts as untranslated and mystical, taught phonetically at cheder—e.g., "Adonoi elahenoo abababa" (p. 226)—reinforcing its role as an inaccessible sacred tongue that alienates rather than unites. These dialects, as Bleuse notes, highlight how language groups define inclusion and exclusion in a multicultural urban environment.^[29] Roth draws on these elements to portray the cacophony of immigrant New York, where phonetic distortions signal cultural displacement.^[40] Communication breakdowns within the Schearl family further amplify themes of isolation, particularly through Albert's harsh interrogations and Genya's more lyrical, Yiddish-bound speech. Albert's commands, delivered in a "thunder-like voice" such as "Speak!" (p. 28), demand compliance but often escalate into fear-inducing confrontations, using Yiddish to assert patriarchal authority while his limited English exacerbates misunderstandings with David. In contrast, Genya's speech is poetic and intimate, relying on Yiddish phrases that evoke nostalgia but exclude the English-speaking world, as when her "unknown words seemed to sting" David (p. 192), creating emotional barriers tied to her Polish-inflected Yiddish. These dynamics, according to Wirth-Nesher, reflect the novel's exploration of how untranslated maternal tongues foster both comfort and alienation in immigrant households.^[40] Bleuse observes that such familial linguistic divides intensify David's sense of being caught between worlds.^[29] Language functions as a central motif for David's identity crisis, symbolizing the silence into which he retreats amid overwhelming cultural pressures, with "sleep" metaphorically representing a refuge of non-communication and oblivion. As David shifts between languages, his self-perception fractures, culminating in exclamations like "I’m somebody else – else – ELSE!" (p. 371), where linguistic instability embodies his existential dislocation. The title Call It Sleep evokes this metaphorical silence, a withdrawal from the noise of bilingual conflict into a dreamlike state that temporarily resolves the identity schism between Jewish roots and American realities, as Bleuse interprets through the lens of cultural otherness.^[29] Wirth-Nesher extends this by arguing that multilingual puns and border-crossings in the text thematically link language play to David's quest for coherence amid ethnic fragmentation.^[40] Roth's innovative dialogue innovates by capturing immigrant accents and idiolects through meticulous phonetic transcription, immersing readers in the auditory chaos of acculturation without relying on glosses. Examples include Albert's distorted pronunciations like "sawn" for "soon" (p. 54) or confrontational outbursts such as "Yuhv’ll take my milk!" (p. 281), which blend Yiddish rhythms with English syntax to convey individual speech patterns and collective immigrant idiolects. This technique, as detailed in Bleuse's analysis, not only authenticates the voices of the marginalized but also thematizes how accents mark perpetual otherness in dialogue.^[29] Wirth-Nesher praises Roth's approach for making multilingualism accessible yet disruptive, turning linguistic hybridity into a vehicle for exploring identity's precarious borders.^[40]

Fear and the Unknown

In Call It Sleep, fear permeates the protagonist David's consciousness, manifesting as phobias that symbolize the incomprehensible and menacing adult world. David's dread of electricity and the electrified rails of the New York trolley system represents an existential terror of uncontrollable forces, culminating in his deliberate act of touching a live rail with a metal dipper, which delivers a massive shock and propels him into a hallucinatory state. This phobia intertwines with his anxiety over bodily changes, particularly the awakening of sexuality, as encounters with street peers introduce him to physical desires that evoke shame and confusion, blurring the boundaries between innocence and corruption. These fears underscore David's vulnerability as a child navigating an industrial landscape rife with mechanical dangers and moral ambiguities.^[31]^[41] Psychological trauma further amplifies David's sense of the unknown, rooted in family violence and the shadows of hidden pasts. His father's explosive rages inflict physical and emotional wounds, fostering a pervasive dread that fragments David's perception of reality and heightens his isolation within the household. Whispers of his mother's unspoken history in Europe add layers of secrecy, intensifying his paranoia about familial betrayal and his own legitimacy, as these revelations threaten the fragile security of his identity. Such traumas compound David's phobias of darkness, cellars, and rats—stemming from a repressed sexual initiation—transforming everyday spaces into realms of lurking horror and reinforcing his withdrawal from the world.^[29]^[42]^[43] Religious fear emerges through David's experiences in the cheder, where teachings of divine judgment evoke visions of punishment that merge with his personal guilt. The tyrannical melamed and rote Hebrew lessons instill a terror of sin, amplified by biblical imagery such as the burning coal from Isaiah that purifies yet scorches, which David internalizes as a metaphor for his own impure thoughts and actions. These religious apprehensions heighten his fear of the divine unknown, positioning God as both a potential savior and an avenging force amid the chaos of immigrant life. Language barriers in the cheder briefly exacerbate this isolation, rendering sacred texts as enigmatic threats.^[41]^[29]^[42] The novel's fears converge in a climactic epiphany that is simultaneously redemptive and terrifying, as David's electric shock induces a prophetic vision linking industrial peril to divine revelation. In this moment, the rail's flash evokes Isaiah's coal touching his lips, momentarily absolving his sins in a blaze of light and granting a fleeting sense of transcendence over his traumas. Yet this illumination is precarious, dissolving back into exhaustion and unresolved dread, highlighting the limits of epiphany in quelling persistent anxiety.^[31]^[41]^[42] Broadly, these motifs illustrate the immigrant child's vulnerability in early 20th-century industrial America, where ethnic alienation and urban perils render the environment a hostile enigma. David's phobias and traumas encapsulate the precarious existence of Jewish newcomers, exposed to familial strife, religious indoctrination, and mechanical hazards without the buffer of cultural familiarity, evoking a collective dread of assimilation's costs.^[44]^[27]^[29]

Literary Style

Narrative Techniques

Call It Sleep employs a third-person limited narration primarily filtered through the consciousness of its young protagonist, David Schearl, which immerses readers in his fragmented and sensory perceptions of the world. This perspective restricts access to other characters' inner thoughts, emphasizing David's subjective experience as a lens for the narrative.^[29] The technique heightens the novel's focus on psychological immediacy, rendering external events through David's childlike interpretations rather than objective reporting.^[32] Central to the novel's storytelling are stream-of-consciousness passages that blend David's memories, sensations, and hallucinations into fluid, associative sequences, particularly evident in italicized sections during intense moments. These passages capture the rapid flux of his thoughts, often dissolving boundaries between reality and imagination to convey disorientation.^[29] Complementing this is the extensive use of interior monologue, which delves into David's unspoken fears and desires, providing psychological depth without direct exposition; for instance, his internal repetitions underscore emotional turmoil.^[32] Such monologues appear with increasing frequency, building a layered portrayal of his mental landscape.^[29] Temporal shifts and flashbacks integrate backstory organically, triggered by sensory cues in David's present, such as sounds or objects that evoke prior events from his family's European origins. These non-linear interruptions reveal history piecemeal, mirroring the protagonist's incomplete understanding and avoiding linear chronology.^[29] The novel's division into a prologue and four parts facilitates these shifts, allowing backstory to emerge contextually within each section.^[32] Roth's narrative techniques draw comparisons to modernist innovations in James Joyce's Ulysses and Virginia Woolf's works, particularly in their emphasis on subjective interiority and linguistic experimentation, but adapted to the dislocating immigrant experience of early 20th-century New York. While echoing Joyce's associative flows in stream-of-consciousness episodes, Roth grounds these in the protagonist's linguistic and cultural alienation, creating a distinctly American modernist idiom.^[29] Woolf's influence appears in the novel's poetic rendering of personal consciousness, tailored to explore perceptual fragmentation amid urban immigrant life.^[32]

Linguistic Features

Henry Roth's Call It Sleep employs phonetic spelling to capture the immigrant experience, rendering English dialogue with Yiddish inflections to reflect the characters' linguistic hybridity. For instance, words like "noospaper" for "newspaper" and "tord" for "tore" mimic the guttural sounds and phonetic distortions of Yiddish-accented speech, creating a dialect that underscores the tension between old-world roots and new-world adaptation.^[45] This technique extends to terms such as "Englitch" for "English" and "Shabis" for "Sabbath," where Roth distorts standard orthography to evoke the oral rhythms of immigrant conversation, as seen in exchanges like "'You'd a only god one sin if you tord a Englitch noospaper.'"^[45] Roth integrates symbolic wordplay through interlingual puns and layered meanings, particularly evident in the title phrase "call it sleep," which linguistically evokes oblivion via its phonetic and semantic ambiguity, blending English with Yiddish undertones of rest and erasure. Similarly, the word "rail" carries dual connotations in the prose—phonetically sharp and metallic, it symbolizes peril through its hard consonants while suggesting transcendence in its linear imagery, as in descriptions where it resonates with urban peril and mystical elevation. These elements draw from Yiddish-English bilingualism, creating puns like "cunt" echoing "kunt" (art or trickery in Yiddish), which enrich the text's linguistic texture without relying on monolingual norms.^[45] The novel's sensory prose vividly renders urban environments through poetic, onomatopoeic depictions of sounds, lights, and smells, immersing readers in the immigrant sensory world. Roth describes chaotic city noises—factory whistles piercing the air, boat horns booming across the harbor, and children's cries echoing in tenement streets—with rhythmic phrasing that mimics auditory intensity, such as the "hollow click of iron" lingering in the protagonist's ears.^[38] Lights flicker in synesthetic bursts, like "the sun's glare" merging with metallic gleams, while smells of coal smoke and street vendors infuse the narrative with olfactory immediacy, all crafted in dense, evocative sentences that heighten perceptual immediacy. Biblical and folkloric allusions permeate the prose, woven into the language through Hebrew transliterations and idiomatic echoes that evoke Jewish scriptural traditions. Roth incorporates phrases alluding to Sabbath prohibitions, such as defacing writing on holy days, rendered in dialect-inflected English like "'’cause it’s Shabis,'" which draws from Talmudic lore to infuse everyday speech with sacred resonance.^[45] Folkloric elements appear in rhythmic incantations reminiscent of Yiddish folktales, blending with biblical motifs like the sanctity of God's name to create a prose layered with cultural echoes. Roth fuses high literary English with vernacular dialect to mirror cultural hybridity, alternating elevated, poetic narration with colloquial Yiddish-English hybrids. This stylistic blend produces a multilingual tapestry, where formal descriptions of urban vistas give way to raw, phonetic dialogue, as in "'So w’y is id a double sin? ... ’cause it’s Shabis,'" illustrating the negotiation between refined prose and street vernacular.^[45] Such fusion not only captures the immigrant's linguistic duality but also innovates American literary form through its deliberate code-switching.^[40] The novel's stream-of-consciousness elements briefly amplify this hybridity, allowing internal monologues to weave dialects seamlessly.

Reception and Legacy

Initial Reception

Upon its publication in 1934, Call It Sleep received mixed critical reception, with some reviewers praising its vivid realism in depicting Jewish immigrant life on New York's Lower East Side while others criticized its introspective focus and perceived obscurity. John Chamberlain, in a review for The New York Times, lauded the novel's authenticity, stating that Roth "has done for the East Side what James T. Farrell is doing for the Irish in Chicago," highlighting its power in capturing the gritty details of tenement existence. However, proletarian critics, influenced by the era's emphasis on overt social activism, found fault with its psychological depth; a review in New Masses dismissed it as "the sex phobia of this six-year-old Proust," arguing it veered too far into personal introspection rather than collective struggle.^[33] The novel's limited attention stemmed from the broader cultural climate of the Great Depression, when readers and critics prioritized straightforward social realism over modernist experimentation, leaving works like Roth's—blending stream-of-consciousness techniques with immigrant narratives—overshadowed. Sales reflected this marginalization, with fewer than 2,000 copies sold initially, exacerbated by poor marketing and economic hardship that made books a luxury for most.^[8] Despite these challenges, Call It Sleep earned a place in the 1930s Jewish-American literary canon, often compared to Michael Gold's Jews Without Money (1930) for its unflinching portrayal of ghetto life, though Roth's more lyrical style set it apart from Gold's raw proletarianism.^[33] Roth himself expressed deep disappointment over the book's commercial failure and the ideological critiques it attracted, particularly from Communist circles that pressured him to align with more politically direct writing. This led to his withdrawal from fiction for decades, as he grappled with a profound writer's block amid personal and political turmoil following publication.^[8]

Post-Rediscovery Acclaim

Following its 1964 reissue, Call It Sleep experienced a surge in critical acclaim, largely ignited by Irving Howe's front-page review in The New York Times Book Review, where he praised it as "one of the few genuinely distinguished novels written by a 20th-century American" and a "lost American masterpiece."^[1] This endorsement propelled the novel to bestseller status, selling over a million copies and transforming it from obscurity—where initial sales had languished at fewer than 2,000 copies—into a cornerstone of American literature.^[8] The novel's elevated reputation continued through subsequent decades, earning inclusion in Time magazine's 2005 list of the 100 best English-language novels published since 1923, recognized for its vivid portrayal of immigrant life and linguistic innovation.^[46] In 1991, critic Alfred Kazin further solidified its stature in a New York Review of Books essay, declaring Call It Sleep "the most profound novel of Jewish life that I have ever read by an American," emphasizing its artistic depth and emotional resonance.^[11] From the 1970s through the 2000s, the novel attracted substantial scholarly attention for its modernist techniques and ethnic dimensions, with studies exploring its fusion of stream-of-consciousness narration and Yiddish-inflected dialogue to depict cultural dislocation. Key works include Hana Wirth-Nesher's edited volume New Essays on Call It Sleep (1996), which examines its role in Jewish-American literary traditions, and Michaela Weiß's analysis in Ostrava Journal of English Philology (2011), highlighting parallels to T.S. Eliot's The Waste Land in thematic fragmentation.^[3]^[47] These analyses positioned the book as a seminal text in understanding ethnic modernism. As of 2024, scholarly interest persists, with recent studies exploring its subtle engagement with communism and Jewish identity.^[48] Call It Sleep influenced subsequent immigrant literature by modeling the portrayal of linguistic hybridity and psychological turmoil in assimilation narratives, paving the way for works like Philip Roth's explorations of Jewish identity.^[49] Henry Roth's reputation as a "one-book wonder"—due to his decades-long silence after the 1934 publication—only amplified the novel's mythic status upon rediscovery, as detailed in Steven G. Kellman's biography Redemption: The Life of Henry Roth (2005).^[50]

References

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LIFE NEVER LET UP; CALL IT SLEEP. By Henry Roth. With an ...
The central figure la David Behead, an overwrought, phobic and dangerously imaginative little boy. He has come to New York with his east European Jewish parents ...
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An American Messiah: Myth in Henry Roth's <i>Call It Sleep</i>
Jan 1, 2009 · Call It Sleep traces the growth of an immigrant child in Brownsville and the lower East Side of New York City from age six to about age eight.
[3]
New Essays on Call It Sleep (review)
The interest in and admiration for Henry Roth's 1934 masterwork, Call It Sleep, continues unabated-indeed, increases year by year since its legendary ...
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On Being Blocked & Other Literary Matters - Commentary Magazine
Aug 1, 1977 · Henry Roth's 1934 novel, Call It Sleep, which the English critic Walter Allen called one of “the great achievements of American writing in ...Missing: significance | Show results with:significance
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In That Golden Land: The Spiritual Odyssey of Henry Roth's Call It ...
Jul 30, 2009 · Call It Sleep ranks among the most powerful novels of the 20th century, precisely because of the questions it does ask about the conflicts of ...
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[PDF] Call It Sleep Henry Roth call it sleep henry roth
reception and legacy. As such, Call It Sleep ... essays on Henry Roth's Call It Sleep. A. 1996 ... classic Call It Sleep, published in 1934, went on ...
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Writer, Interrupted | The New Yorker
Jul 25, 2005 · In 1993, I went to visit Henry Roth, a man as famous for his decades of silence as for the great novel he had published almost sixty years ...
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When Roth was less than two years old, he and his mother, Leah, traveled in steerage to New York City, part of an unprecedented wave of immigrants from Eastern ...Missing: biography education
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The Symbolic Structure of Henry Roth's "Call It Sleep" | Semantic Scholar
- **Abstract/Key Points**: Bonnie Lyons analyzes the symbolic structure of Henry Roth's *Call It Sleep*, emphasizing redemption as the central theme. The novel is divided into four books and an epilogue, reflecting the protagonist's psychological growth. Lyons highlights the influence of biblical and Yiddish elements in the symbolic framework.
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What's Your Favorite First Book Ever? Henry Roth's 'Call It Sleep'
Aug 16, 2014 · Instead, I call on Henry Roth's Call It Sleep. Begun while Roth, a working-class immigrant, was still an undergraduate at City College, the ...
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... Call It Sleep underwent a critical reappraisal after being republished in 1964. With 1,000,000 copies sold, and many weeks on the New York Times bestseller ...
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In 1907, a young David Schearl and his mother, Genya, find themselves on a steamer, leaving Ellis Island behind as they approach the shores of America.
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Call it Sleep (1934), a realistic fiction novel by Henry Roth, is about a young Jewish boy growing up in a ghetto in New York's Lower East Side in the early ...
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Mar 23, 2006 · The rediscovery of Call It Sleep made a big difference to them. The book went on to sell more than a million copies in paperback, and ...
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Physical and Emotional Family Violence in Henry Roth's Call It Sleep
Roth's novel depicts the impact of physical and emotional violence within immigrant families during the 1930s. Albert Schearl's bitterness stems from socio ...
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Call It Sleep - Book IV: The Rail, Chapters 15-20 Summary & Analysis
Call It Sleep by Henry Roth - Book IV: The Rail, Chapters 15-20 summary and ... At cheder, he is called to read before the rabbi's supervisor and does ...
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The Soundscape of Henry Roth's Call It Sleep - jstor
Call It Sleep depicts many scenes in which David detects others sound, or ... David's instinctive recoil from Luter includes a disjunction of from ...
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... fear of the tyrannical melamed and the cheder he attends. Through his experiences there, his fascination for power and energy takes on a religious dimension.
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[PDF] "the whole world could break into a thousand little pieces": anxieties ...
May 7, 2025 · Call It Sleep (1934). “…Aren't you just a pair of eyes and ears ... In these serene interludes, David experiences not only temporary ...<|control11|><|separator|>
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142 Fear of a Dominant Male in Henry Roth's Call It Sleep and ... - jstor
"Willie looked to Lesser for support and friendship and was profoundly betrayed" (88). Lesser 's desire for Irene should be seen as a fulfillment of his dream ...
[41]
[PDF] A STUDY IN INTRACTABILITY - Columbia Academic Commons
Sep 20, 2011 · Part VI turns to the immigrant's plight through the lens of the most powerful immigrant novel in American literature, Henry. Roth's classic Call ...<|control11|><|separator|>
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Call It Sleep (1935), by Henry Roth | All-TIME 100 Novels
Jan 7, 2010 · A young, painfully sensitive boy named David is growing up in the grimy Jewish slums of the Lower East Side, with his unemployable, rageoholic father.
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Above I suggest that what separated the first publication of Call It Sleep from its dramatic republication was the suc- cess story of Jews in the U.S. And ...
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Aug 21, 2005 · A true multicultural novel avant la lettre, "Call It Sleep" had an epic ambition that was immediately recognized. ... All four books, of ...