From 1955, his works began appearing in Moldovan and Russian translations. He became known as one of the best stylists in post-Holocaust Soviet literature, a master of short prose works. He contributed to the Moscow Yiddish journal Sovetish heymland (Soviet Homeland) from itsinaugural issue in August 1961, later joining the journal's editorial board. This was the most productive period in his creative life, especially considering that Shraybman was the leading Yiddish writer in Moldova, where Yiddish was more widely spoken than in the Slavic republics of the Soviet Union. Many of Shraybman's works were written as first-person narratives. This de- vice underscored their autobiographical character and the writer's desire to justify his idiomatic Yiddish when he applied it to non-Yiddish-speaking settings. He argued that any linguistic setting could become a Yiddish one as a result of his idiosyncratic perception and creative interpretation. Topically, his prose-particularly as exhibited ni Yorn un reges (Years and Moments; 1973), devoted to Jewish life in Bessarabia after World War I-continued the tradition of Moyshe Altman's writings. Shraybman encouraged a number of writers from Moldova, born after the Holocaust-most notably Boris Sandler, Mikhail Felzenbaum, and Moyshe Lemster-to write in Yiddish, and he helped them publish their first works in Sovetish heymland.