In recent years there has been much interest in the place of Kadya Molodowsky in the canon of Yiddish literature. At the same time, the translation of late nineteenth- and early twentieth-century Yiddish literature has become an imperative—fueled by the Holocaust, the quality and quantity of writing that occurred prior to and even after it, and a heightened awareness of many women writers heretofore underrepresented in translation. Nor can one ignore the tremendous fluctuations in the perceived viability and legitimacy of Yiddish, as either a language or a literary vehicle, that have taken place and are still taking place into the twenty-first century. Into this tumultuous set of circumstances, Molodowsky's poetry has been reborn by virtue of an extensive translation.