authors-from-israel

"A Pause Between Disasters (2013)"

"The Invention of Life (2021)"

""There is nothing in our early childhood that even begins to resemble a normal childhood. In the orphanages, we experienced and were exposed to sexual abuse and violence. We were devoid of identity, growing up with a deep sense of rejection. They adopted us, and in an instant, I became Shay of whom? Of Golden. I will forever roam the world with this shiny name that I was given. I truly was given it, and above all, I was given my parents." — on his adoptive parents"

"The Good Son (2008)"

"To me, life is a series of courage tests."

"I consciously chose to be authentic and real. This has many controversial aspects, but I told myself that if I'm already putting myself out there, it's better to tell the truth. To be a poster figure that rewrites itself and checks how everything it says will look and affect it—how can one live such a life? It's better to die. The tragedy of people who avoid life's pleasures, their thoughts, the actions they want to do. We have gatekeepers who maintain social order."

"I think a very cynical generation of journalists has grown in Israel, deeply believing that the public is stupid, that the readers are Neanderthal baboons. I reject this notion. They are given sensationalistic and loud tabloids with subpar headlines and subheadings, texts at a high school level with wit, irony, and knowledge that wouldn't pass a first-year journalism course. The front pages of the newspapers look like they were written by a horny, childish, uneducated teenager lacking historical sense and a complex worldview."

""It is an exile mentality rooted in the Jewish complex that is ashamed of itself and wants to please the non-Jews to survive in a universal space. Here lies the paradox; they suppress Jewish symbols from a survivalist standpoint. They are willing to erase Judaism but forget that a nation without a national identity cannot exist." — on those fighting against 'religious coercion'"

""Overall, I would say our situation is not bad. And if we just move aside the entire government, the media, the army, the security services, the court, the families of the kidnapped, the Americans, the protesters, and Hamas and Hezbollah, then absolute victory is really just a matter of time." — June 20, 2024"

"If the Bible is the cornerstone of Judaism, then the Talmud is the central pillar, soaring up from the foundations and supporting the entire spiritual and intellectual edifice. In many ways the Talmud is the most important book in Jewish culture, the backbone of creativity and of national life. No other work has had a comparable influence on the theory and practice of Jewish life, shaping spiritual content and serving as a guide to conduct. … The Talmud is the repository of thousands of years of Jewish wisdom, and the oral law, which is as ancient and significant as the written law (the Torah), finds expression therein. It is a conglomerate of law, legend, and philosophy, a blend of unique logic and shrewd pragmatism, of history and science, anecdotes and humor."

"Once upon a time, under pressure of censorship, printers would inscribe in the flyleaves of volumes of the Talmud: "Whatever may be written herein about gentiles does not refer to the gentiles of today, but to gentiles of times past." Today, the flyleaves of our books bear a similar inscription, albeit an invisible one: "Whatever may be written herein about Jews does not refer to the Jews of today, but to Jews who lived in other times." So we are able to sit down and study Torah, Talmud, books of ethics, or books of faith without considering their relevance to our lives. Whatever is written there does not apply to us or to our generation, but only to other people, other times. We must expunge from those invisible prologues the notion that the words are written about someone else, about others, about anyone but us. Whether the book is a volume of Torah, a tractate of the Talmud, or a tract of faith, the opposite must be inscribed: "Whatever is written herein refers only to me; is written for me and obligates me. First and foremost, the content is addressed to me.""

"Home is collecting stories, writing them down, and retelling them. Home is writing, and it grounds, sustains, and nourishes me. Home is the page. The one place I always, always come back to."

"Leaving, I discovered, did not cure my displacement, but rather reinforced it."

"Home became the liminal space in between-between identities, between cultures, between languages- and I was content claiming that space as my own, pleased to be different."

"The sky cracked open like an eggshell"

"I would wish that I was the one leaving because that would be better than being left behind"

"I know about death…Our country is haunted by its dead, weighed down by loss and remembrance."

"I delight in the sound of Yemeni rolling out of my mouth, rejoice in accentuating the letters in that deep, melodic way, feeling as though in my own small way I'm keeping something alive-an endangered language, yes-but also more personally, our past, my childhood, as though in using these words I am channelling my ancestors."

"Writing in a second language...is like wearing someone else's skin, an act akin to religious conversion."

"Being away from home and its prejudice toward the Arabic language allowed my body to remember Arabic, lament what was lost, and reclaim my own Arabness."

"Mizrahi Jews, some of whom came later than Ashkenazi, faced prejudice and inequity in Israel. Their need to assimilate required an erasure of their past, a denial of their heritage and language, which wasn't just foreign, or diasporic, but also associated with the enemy. Yiddish and other European languages were also lost, but Arabic was more politically charged. Despite sharing roots with Hebrew, which should have made it feel familial, it became viewed as dangerous, and hearing it instilled fear."

"There are two Arabics I long for-my ancestral tongue and the language of this place-or is it really one? Arabic existed alongside my mother tongue for generations, a sister language whose words are often recognizable: bayit and beit, yeled and walad. They share many words, a similar ring, an etymological root, a lingual family, and yet they are estranged. If this is not a parable about the state of this region, I don't know what is."

"Some days I feel a physical ache for Arabic, a tug in my heart. How do you miss something you've never known? Can a language be lodged inside your body, folded into your organs, the same way we inherit memories from our ancestors, like trauma? How else can you explain the warmth that spreads inside my body when I hear it? The yearning?"

"Celebrating Yemeni Jews and Mizrahi stories has been one of my goals with this book and my work, in general. I think what you describe here is a common misconception in North America, because Ashkenazi Jews are a majority there. Not so in Israel, obviously. We’re talking 50-50 [population split], which is another thing people in North America are surprised to hear. But despite this, disparities in higher education and income still persist. And Mizrahi authors have still not made it into the canon in Israel, so most Israeli literature that is being read in Israel and abroad is written by Ashkenazi authors. I wanted to grant my community a place in literature. (2025)"

"(Do you think things are getting better here in terms of people’s understanding about the differences between Jews from different cultures?) AT There definitely seems to be more in the media now, and more books by Jewish authors whose background isn’t Ashkenazi. It’s improving, for sure. I feel like there’s more awareness about Mizrahi and Sephardi inclusion within Jewish spaces. But I still have to be that person who says things on social media, like, when there’s a post about Jewish food and the entire conversation is Ashkenormative, “Actually, that is not Jewish food. That is Ashkenazi Jewish food.” (2025)"

"I returned to Israel after 20 years in Canada because I wanted to see if I belonged here. The jury is still out. I’ve been gone for so long that I feel a little bit like an immigrant here, in Israel, too. This may be a case of the immigrant predicament: you no longer belong anywhere, or maybe you belong everywhere? I think my writing tries to make sense of that question (2022)"

"(Is her memoir consciously undergirded by feminist assertions of agency, and standing up to patriarchy?) I think this is an essential element of my memoir that is rarely discussed. As a young woman, it absolutely felt subversive and defiant in a way, wishing to break free from patriarchal expectations of me. But also, the fact that it felt so radical was on its own a testament to how oppressed women still are. It really shouldn’t be such a big deal, you know, to want to be free, to follow your heart. (2022)"

"The revolution of Mizrahi artists in Israel is really exciting and something I craved as a child, growing up without seeing myself portrayed in literature or history classes. I find the idea of what it means to be Jewish to be pretty narrow also outside of Israel. The majority of the books translated from Hebrew have been mostly by Ashkenazi authors, and so hopefully this book might contribute just a tiny bit to the act of complicating Jewish identity and showing that there’s more to Jewishness and more to the Israeli story. (2016)"

"I think there is an expectation when writing about Israel for it to be political, to be about the conflict, the situation (“hamatzav”) and this can be frustrating for someone not inclined to focus specifically on war stories. I’m interested in many conflicts: cultural clashes and dynamics within families and romantic relationships. I also wanted to capture how the political situation is always in the background: the way we live our lives with the sense of contention that is always present but not always on the forefront. The question is also what is political, because to me the book is political. My decision to write strictly Mizrahi characters was a political decision for me. To shed light on characters who are marginalized in Israeli society was also a political choice. Whenever I watch news from other places these are the things I want to know too: I want to see the family dynamics and love stories, and how people live amidst tragedy and war. This is one of the things I think fiction does best. (2016)"

"I never read Mizrahi writers or writers of color growing up, and never found myself or my family reflected in the books they assigned to us in school. I actually believed that there were no published Yemeni writers in Israel (of course they existed but I didn’t know that, because they had not received media attention, and were not taught in schools). It made me feel as though our stories weren’t worth telling and as though my dream of becoming a writer myself was far-fetched. The exclusion of Mizrahi writers (and Palestinian writers) in the school curriculum, to me, is an act of erasure that has yet to be rectified, and one which puts limitations on children’s dreams. It infuriates me. So as a result, my favorite poets growing up were all male and Ashkenazi, like Yehuda Amichai (whom I still love), Natan Zach, David Avidan. (2016)"

"maybe the best place is the in-betweeness, or the search for a home and a belonging, which is a very Jewish theme, or the act of wandering, the movement between places. In my twenties I wanted to believe that. I romanticized wandering and wore my nomadic lifestyle on my head like a crown, but it wasn’t a sustainable choice and eventually I got tired of travelling and living without some stability. So what is the best place on earth, then? Ultimately, the place where you feel most at home. In my case, it might have to be wherever my husband and child are. And other times, or actually at the same time, it is the page. (2016)"

"You’ve been writing your whole life, having published your first poem at age ten. What drives you to write? AT I can’t explain it. It’s like love. I feel like it chose me, not the other way around. (2015)"

"you write what you have to write. Life is too short to censor yourself. (2015)"

"…So much of the writing process is done in the privacy of your own home, often in your pajamas, so I love that research forces me to get out of the house, try new things, meet new people. It keeps me from getting too comfortable and pushes me outside my comfort zone. Despite writing about places I know and communities I'm familiar with, there was still a lot of research to be done, and thank God for that! It would be really boring to write only about stuff I know so well that I never have to leave my desk to explore..."

"I've always been a storyteller. Before I could write, I used to make up stories and tell them to my friends and family. They were always really dramatic, with ghosts and people falling into holes in the ground, and ships lost at stormy seas. Then, I started drawing comic strips and I would show them to my mom and narrate them. As soon as I learned the alphabet I started writing stories and poems. I wrote every day, usually in the afternoons, when my parents were napping. My sister (who is seven years older) and my father recognized my love of storytelling and writing early on, and they fostered and encouraged it…"

"I often tell students that I understand the need to write something right after it happens, but if you’re trying to craft it into an actual piece of art, a memoir or a creative nonfiction, I always say it’s best to wait...You need some distance to really make sense of it, I think, in writing."

"I think a lot of women who have experienced sexual assault have the same story. It’s like an ulcer in our bodies. There is something positive about the experience of letting it out and telling the story."

"Israel is a very small place, as you know, there’s something that can feel very familial about it, which is both positive and not so positive at different times and different instances."

"(Do you think there’s been increased awareness of Mizrahi Jewish culture in English-language speaking communities?) I sure hope so. I do my part. It’s a small part. But every time I get to speak in front of people, I correct misconceptions, which happens often. People saying things like “Mizrahi Jews didn’t come to Israel until the founding of the country, so that’s maybe why …” And I’m like, “Actually, my great-grandmother came in 1907, and the first Yemeni immigration was at the same time as the Bilu immigration of the European Jews, exactly the same years, it just hasn’t been told.” So yeah, you have to do what you have to do."

"When you write your first book, you get to write it in a bit of a bubble. You don’t know if it will be published, as much as you hope and wish for it, you don’t really know that. It’s kind of a safer place to write. And then when you write the second book, you’re aware of readership, you’re aware of views, of an audience out there, of expectations, and it’s more work to shut that down."

"The sea is the setting for many of my formative memories: I spent many Saturdays there with my family, fell in love, had my first kiss, broke up with my first boyfriend. Later on I worked as a waitress on a Tel Aviv beach and got to work barefoot, watch hundreds of sunsets and sunrises, swim late at night. When I moved to Vancouver, I found myself living by water again. In Toronto where I now live, the lake doesn’t feel the same. It doesn’t offer the same promise, the same fantasy as the sea. It doesn’t satisfy my longings."

"Jewelry is an important part of Yemeni Jewish heritage. In Yemen, jewelry making was strictly a Jewish profession; the majority of the Jewish men were silversmiths and they were known for their fine craftsmanship. In fact, after the Jews went to Israel, Yemeni culture suffered a huge loss because they took their craft with them."

"I’ve never believed in “write what you know.” I believe in “write what you must.” So I tried, knowing that I very well might fail. When writing fiction, you need to find that kernel of truth within you and superimpose it onto your character."

"(Describe your female characters, their sexual aggressiveness.) AT: I like to think my women are badasses. The first person to point that out to me was one of my teachers at Guelph who said he appreciated that my female characters were sexually aggressive, that they wanted sex and went for it. It wasn’t something that I did consciously. I just wrote the kind of female characters I like to read. A part of it stems from my interest in gender dynamics in Israel, in particular the mandatory nature of the army service and how it shapes young men and women. I feel that being forced at such a young age to go into the army—still a male dominated environment—contributes to young Israeli women possessing what’s considered stereotypically male characteristics. It probably also has something to do with growing up and living in a warzone, a place where survival is an issue and the need to defend oneself is so instilled in our minds that people—regardless of gender—feel they need to develop a certain toughness, be on the offensive, even in everyday life."

"I was a terrible soldier. That’s the thing with mandatory service—it’s not for everyone, yet everyone has to go."

"For a long time I didn’t write about Israel at all. It’s such a volatile place and people have such strong opinions and everything you write about Israel is perceived as political. It is a double edged sword—some people may find your writing more alluring because of it while others may not want to go anywhere near it. At some point I had to stop worrying. I had to resign myself to the fact that I was going to piss people off, and that people are going to read the book and interpret it any way they like, and there is nothing I can do about it."

"Mizrahi literature has been overlooked in Israel—it’s getting better now, but when I was growing up I never read characters or authors that represented me. It made me feel invisible. There are more Mizrahi authors published nowadays, but Mizrahi literature is still underrepresented in the education system and in the Israeli canon. Unfortunately, Mizrahi authors have been translated a lot less than Ashkenazi authors."

"Perhaps Tsabari’s greatest attraction as a global storyteller is her absolute veracity— no holds barred, she has her reader in thrall with her art of fashioning her tellings with a refreshing turn of phrase. And like the burgeoning tribe of diasporic and postcolonial writers whose mother tongue is not English, she employs the once colonizer’s language to tell her stories in her own voice, that are being read by hundreds of thousands of immigrants who live in English-speaking countries which are their adopted homeland. Thus, the narrative is studded with unexpected gems — visual, audial, culinary and cerebral: “The sky cracked open like an eggshell”; “I would wish that I was the one leaving because that would be better than being left behind”; “I know about death…Our country is haunted by its dead, weighed down by loss and remembrance”...Tsabari’s creativity spins on the unique fulcrum of provoking the reader to think outside the box, and insidiously works to make the global reader understand the urgency to celebrate diversity with the art of acceptance."

"…Obviously Israel will always be home. I feel it most intensely when I'm there for a long enough period. When I first arrive, I'm not so sure about it, but once I stay for a few weeks, it feels like I could easily move back and live there. It's beyond the fact that my entire family lives there: It's a visceral thing, an attachment to the physicality of the place, to how the place smells and tastes. I also have an intense connection to the sea in Israel; I actually have to say goodbye to it whenever I leave and it's always a difficult parting…"

"I'm just about to cross the street to Café Rimon when I see Natalie sitting on the shaded patio and my heart skips, trips and falls over itself."