As with A Friend of Kafka, the characters in A Crown of Feathers are unable to find freedom under the heavy weight of the historical burden they carry. One thing that seems to run throughout his work without too much alternation is the feeling that characters have lost control of their lives, whether due to malevolent beings, malevolent historical burden, or others powers (institutions, family, and ideas).
These carry on elements of that folklore tradition but thrust them onto a global stage. His first stories were all set in Poland and emerged from Jewish folklore. In the same way, the Diaspora becomes more significant. It seems that the Holocaust became a greater part of Singer’s consciousness over time. This was not a strong theme in some of his earlier stories that I looked at months ago in this blog. The stories set in the United States are mostly shrouded by the legacy of the Holocaust. His most common characters are scholars frustrated by profound questions or hedonists without an ultimate purpose. The twenty four stories in Isaac Bashevis Singer’s A Crown of Feathers and Other Stories shift across the Jewish Diaspora creating a network of relationships and themes across Poland, New York, and Palestine.
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