Poets From Israel

"and that's not what' ll satisfy my hunger no that's not what 'll ease my mind no that's not it."

"The iconoclastic poet, the most eccentric and colourful that Israeli literature ever knew"

"Yona Wallach, beyond immersing herself in the immediate and palpable, evokes a near-hallucinatory world of the inner self. She rejects any suggestion of influence from the Hebrew tradition. "I hated Hebrew poetry and literature. It seemed like one big deception. I loved Baudelaire and Walt Whitman. It seems to me that Hebrew poetry misses the point...it conceals everything from us. They didn't speak to us about suffering. They spoke about Bialik, that fat self-satisfied man adored by the entire nation, but they didn't speak to us about madness. Everything was fat, everything was national...I hated Shlonsky and Alterman and all the poetry. I hated Amichai..." And although Dahlia Ravikovich, one of Israel's leading confessional poets and Wallach's contemporary, has used Biblical echoes of spoken Hebrew to dramatize personal struggles, even distorting the sacred to mythologize the self, much of her early lyrical poetry is characterized by classical restraint, Biblical conciseness, and female stereotypes. Wallach dismissed her, saying: "Dahlia isn't involved enough with sex. She's not revolutionary enough...She isn't a feminist.""

"The revolutionary poet who paved the way for the poets of the 1980s was Yonah Wallach. She dared to present a provocative woman with blatant sexuality and expressed a wounded and rejected female soul which turned towards madness and mystery."

"Place a large dam by the wellsprings of the pain gather with it like water watch over it so it doesn't disperse for it is your life."

"Though Wallach died in 1985 at the age of forty-one, her work still exerts a major influence not only on poets writing in Hebrew today but also on the Israeli cultural imagination."

"I weep and strive, strive and weep"

"She lived close to the senses and wrote often of the ruthlessness of poetry as a way out of the inner chaos. "I saw that I haven't a defense. That's what rescued me...that's simply life itself...I don't live without poetry. Poetry is natural bread. You also need music. But what saved me was the need to understand life. The thinking about life saved my life. I wanted to decode for myself what I saw, the riddle of the world. That's the way I wrote my understanding.""

"My body was wiser than I its ability to suffer was less than mine it said enough when I said more"

"...the most cosmopolitan artist that Israel ever produced without ever having gone out of the country. She preceded her time in her intuitions, with no terminology, in understanding and phrasing cultural, social and political processes."

"Yona Wallach was one of Israel’s most important poets and had a profound effect on Israeli culture. Wallach's poetry is characterized by breaking conventions regarding gender, sexuality, and religion, among others."

"The hypnotist was here she spoke of the body tired from all the years serving and doing things for us and I went out from the body and sat on the edge of the bed looked at it and climbed up to lick it stroke it take care of it."

"They draw from each other life and brain remain like burnt out eyeholes long and empty surrounded by lines markings contours of what was once life"

"one of the most important women in contemporary Hebrew literature...At her peak, Goldberg wrote beautifully and sadly about thwarted love"

"Leah Goldberg, as well as Anda Pinkerfeld-Amir, wrote verse for children, but she is best known for her modernist poetry. In line with contemporary European modernist poetry, she often expressed the poet's inner struggle during the act of writing, and the difficulties in overcoming this inherently artificial medium. Leah Goldberg was active in the field of literary criticism and translation, especially from Russian, and was in search of revolutionary techniques. She experimented with prose as well as drama. Her play "Ba'alat Ha'armon' ('The Castle Owner') introduced the difficult theme of the Holocaust to women's writing."

"Leah Goldberg expanded the spectrum of lyricism, her poems speaking of a search for love, contact and attention, and she inspired hordes of young poets, mostly women. But she became an easy target for the new rebellious generation of poets and critics, who feared to attack the male figureheads like Shlonsky and Alterman. She complained to Tuvia Ribner, 'What do they want from me, I was never at the centre of the stage. Why do they pick on me?'"

"How the passing of Time tries me, its double reckoning my duty and my right: Every day it constructs and ruins me completing thus my life and my death."

"Although she became the Head of Comparative Literature Studies, she remained alien in the academic establishment. 'Being both an artist and a woman, the male colleagues belittled her academic achievements, and she had a hard struggle to be nominated as a professor', recalls Esther Tishbi, a friend."

"Jerusalem, adorned with the memories of the past, appealed to her more than the 'white cardboard boxes', which she associated with Tel Aviv."

"'Leah Goldberg felt herself kin with Dante, Kafka, Beethoven, who also had imaginary loves, which were the muses that ignited their great works', concludes Professor Amiya Leiblich: "First and foremost, she was a poet, willing to let go of life for art's sake. The woman who experienced a miserable love life, succeeded in producing gentle love poems, and remains Israel's High Priestess of Love, who couples quote in moments of the most intense emotional harmony.""

"She was a fascinating university lecturer, who loved to stand on the pedestal, her eternal cigarette in her hand, and read poetry in her deep, rough, unpleasant voice, that nevertheless drew crowds into over-stuffed auditoriums."

"She was always guarding her secrets behind walls, and her love poems were covered under seven veils of mystery; among her most beautiful is the sonnet sequence, 'The Love of Theresa De-Mon'"

"Goldberg lived the bohemian life, debating for days on end with her poet friends in the Tel Aviv cafés."

"Professor Amiya Leiblich: " 'She suffered from emotional deficiency...She had a permanent guilt towards all the men she was in love with, as well as an inferiority complex. Even in poetry, where her value and superiority were unmistakable, she always thought she was lacking, and not as good as Ben-Yitzhak. As a feminist, I am indignant that a poet as great as Goldberg, erased herself, not just as a woman, but as an artist.'"

"The world is heavy on our eyelids"

"My days are engraved in my poems like years in the rings of a tree like the years of my life in the furrows of my brow"

"A young poet suddenly falls silent for fear of telling the truth. An old poet falls silent for fear the best in a poem is its lie."

"preeminent, versatile, and prolific writer of modern Hebrew letters"

"biographer Professor Leiblich: "...from an early stage, she felt herself old, heavy, too serious. She had a sense of guilt about all her loves, she perceived love as a nuisance, something to beware of.""

"The poet, Tuvia Ribner, a close friend for dozens of years, and the executor of her literary estate said: "The memory of the father and her fear accompanied Leah to adulthood. This is the reason, I believe, that she chose the stricter poetic forms, such as a sonnet, which has 14 lines, meticulous rhyming scheme and fixed rhythm, and avoided loose rhythms. Her poetics emerge from a strong need for self-control, every single one of her poems having a rational basis, meant to guard the poem and herself."

"'At times of lack of inspiration in writing, she turned to painting. She often made sketches of the literary protagonists who furnished her life, as she visualized them in her imagination', remembers her friend, the poet T. Carmi."

"death. Its weight is not great. How lightly and with what casual grace we carry it with us everywhere we go."

"The years have made up my face with memories of loves and have adorned my hair with light silver threads making me most beautiful. In my eyes are reflected the landscapes. And paths I have trod have straightened my stride – tired and lovely steps. If you should see me now you would not recognize your yesterdays – I am walking toward myself with a face you searched for in vain when I was walking toward you."

"The Hittite woman would not give up. Each time Salu came, she clutched desperately at the threads of his life as if at a garment she could pull him by. (p 171)"

"Sometimes it rained a little. Sometimes they went thirsty. They knew that God was far away. Perhaps he was in the mountains, the place of the priests and the tabernacle. (p 133)"

"The peace must not be seen as a peace of industrialists and yuppies; it must not be seen as a peace between people in suits who have Philippine maids, on the backs of, and over the heads of those who are referred to too clinically as the “lower tenth percentiles”—in simple Hebrew, the have-nots."

"In a small stone hut, not far from the Valley of Zin, lived a young man whose father had sought to kill him. Ever since then his eyes blinked rapidly, as if fending off a strong light. The villagers kept away from him and he from them, their speech brief and halting, no more room in it for good or evil than the space between a cloud and a lone thorn tree in the desert. (first lines)"

"And yet, thought many of the camp dwellers without saying it, and yet we should have had a god to show them. So as not to be shamed. (p 32)"

"The boundaries which will determine our future are not geographic...The true boundary is, rather, the knowledge that there is a limit to power. The respect which we need will not come through conquest by the sword: it can be obtained only through respect for others. Our ultimate hope is not for the undivided land of Israel, but for an Israel which is undivided in spirit and at peace with itself."

"Here in Israel, of course, every generation backs away from its parents. Rebels against the old. That has always been the case, and not here alone. Take, for example, Dylan Thomas, now largely ignored. You may be sure that in a few years some Yale professor will rediscover his genius. But I've always kept away from the so-called literary scene, from current fashions. Really, I write for my own pleasure, for my own enjoyment. It's been that way from the very beginning. I have never been involved in any circle or group. In a sense, my politics is in my poetry; it is my poetry. Slogan poetry, the kind written out of guilt, is bad poetry. It just coddles the poet's ego, makes him think that he's done something. But my politics are, in reality, involved in my every poem."

"An immense freedom, vast beyond human measure, hung over everything. The days had no rules and the laws of nature themselves seemed suspended. There was no longer any need to rise for work in the morning. There were no masters and no slaves. There was only the desert, which held no threat, and the gullies among the rocks. And the fresh, boundless mornings with the thinnest of mists rising from the thorn trees and from the flowering star thistles in the plain. The silence was palpable. There was no end of sky. (p 16)"

"They kept leaving all the time. One from a town, two from a family, they fled the settled districts of the land of Egypt to join those who had left before them. They did not go far: no further than the nearest oasis or the first gully that had a spring. They sought only to put the sand between themselves and Egypt, to get away from its lords and officials. No more than that. (first lines)"

"Amichai’s poems about Jerusalem give us Jerusalemites the ability to lead an almost normal life in a place that always seems on the verge of collapse from the weight of so much history and holiness."

"The ways of the world began to turn upside down about one hour after sunrise. (first line of "Prophet")"

"If people visit books as they do tourist sites, looking for the famous passages they have heard about, looking for the best-seller they were told about, just to be able to say "I was there," then we have missed the whole point of literature."

"Our history is not only the history of a people, but also the history of a language...Some parts of our tradition are widely known; others are less known because it is so difficult to translate from Hebrew. Whole theories were built upon incorrect translations from Hebrew. The commandment "Thou shalt not kill," as most translations have it, does not exist in the Bible. The original commandment is "Thou shalt not murder," which is entirely different. A whole ethos has been created in other cultures because of a fallacious translation of a commandment written originally in Hebrew."

"She no longer sought fortune-tellers, but relied on herself, on her own two arms, as if she had only now discovered their true strength to support. To sustain. (chapter 9 p180)"

"Yehuda Amichai and Haim Gouri, both poets, also wrote memorable fiction."

"Language has two functions. One is to make communication between people possible. The other is the preservation of knowledge. Without language it would be impossible to prove any scientific truth or to learn from the experience of the past. All languages fulfill these two functions. And yet different languages have developed in such ways that each one represents the peculiar mind-set of those who speak it. A child who learns a language-that is, learns to speak at about the age of one-is already learning subconsciously the system of thinking peculiar to his language, and also its mental categories."

"When I was eighteen, I joined the British army for four years. I served in Egypt and the western desert: Palestinian [Jewish!] units were kept distant from combat zones. After that came a year in the Hagana [pre-State Israeli army], mainly smuggling arms. Such experience makes one wonder how someone like Reagan, who has never been under fire, can order others to fight and shoot. It's crazy! Immoral!"