Women From Israel

"At last, the luminous match was struck and the day was lit. But Matti had awakened earlier-before her father rose from his dreamless bed and went, sorrowful, to the sea; before her sister Sofia's blue baby awoke and shook the house with his cough; before her sister Lizzie returned from night shift at the hospital, her high heels clacking on the living room floor, revealing under her white nurse's smock a shimmering low-necked dress and colorless bruises. Matti woke up knowing she'd had a bad dream but could not remember what it was. (first lines, chapter title: "Matti Azizyan's Birthday, five-thirty in the Morning")"

"...my gaze meets the laptop screen and the words I poured out all afternoon. It began yesterday without any particular intent, just a quick reply to my sister. But today when I went back, the email suddenly took on a different form, more feverish, more poetic. I was seized by a storytelling binge, a lucid, cutting clarity, and from page to page the words joined together and frothed and flowed. And it is then that I realize I am not writing to Iris anymore. That the recipient is in fact myself, an as-of-yet unknown self, a me who has long ago gone back to Israel and is living my tomorrow-life in Tel Aviv, a distant me who will one day open up this file and read the words, and perhaps with hindsight have a better understanding of what is occurring inside me now, what I am going through in these mad and beautiful days. She will remember us as we once were, in New York, in Hilmi's Brooklyn studio. She will read the lines and remember how I sat here once on this couch, in December of 2002, like the bird perched on the windowsill all afternoon, and watched myself loving him while I wrote these words. (chapter 14)"

"Quiet hours and long talks, awash in each other... (ch 14)"

"Those frozen December days, the last days of 2002, come back to me years later slightly blurred, shining through the mist, as though preserved in my memory right from the start with a slightly unreal distortion. Or perhaps it's that over time they have lost some of their sharpness and acquired a dreamy afterglow. 14"

"Although I was exhausted, it took a long time to fall asleep. Hilmi had dropped off long ago, but my mind hummed with the sounds of our time together, unready to let go of them yet. (chapter 13)"

"All the Rivers touched a raw nerve in Israeli society. The book tries to address the Jewish fear of losing our identity in the Middle East. And yet that very fear condemned it to official rejection. It was banned from the high-school curriculum on the grounds that “intimate relations between Jews and non-Jews threaten to subvert our distinct identity.” The Minister of Education, Naftali Bennett had claimed that I portrayed Israeli soldiers as sadistic criminals — even though he flatly denied reading the book — and now all the Israeli social networks, news sites and current-affairs programs were discussing All The Rivers."

"Despite the incessant efforts to caricature “the other” as demonic and boorish; despite the attempts to persuade us that the Palestinians are nothing but “shrapnel in the ass”; despite the political deadlock and Prime Minister Netanyahu’s steadfast refusal to engage with the other side — despite all this, All the Rivers is an aperture for dialogue. Far away in New York, Liat and Hilmi, an artist and a student, discover their affinities and their shared fate. Theirs is a complicated love story. But it is suffused with our responsibility to see the other, to be able to recognize ourselves in them. Above all, it rests on the hope that whether we want to or not, whether we shut our eyes or plug our ears, whether we drag our feet or stomp our legs, we will sooner or later admit that we — us and them — sail on the same boat."

"Israel's collective consciousness, which was the cornerstone of the foundation of the Zionist state 53 years ago and which bound the immigrants from all parts of the world into a people, into a nation, is no longer our consciousness. This is the archaic, too idealistic outlook on life of our parents that arouses in us a concealed snigger at the Sabbath-eve family dinners. According to it, the individual has to sacrifice his own good, his freedom, his life, for the common good. This outlook has not succeeded in upgrading itself to a modern, sophisticated version."

"Through all those years Marcelle had confused Yoel with the imaginary heroes that her sad eyes cut out of the romances she read... and she realized that all through the past years she had merely travelled over the road map of the land of love, never in the land itself."

"Someone was at the door. I was vacuuming, with Nirvana on the stereo at full volume, and the polite doorbell chirps had failed to break through, rousing me only when they lost their patience and became long and aggressive. It was mid-November, early on a Saturday afternoon. I'd managed to get a few things done in the morning and was now busy cleaning. I vacuumed the couches and the hardwood floor, my ears bursting with the hollow roar of air and the reverberating music, a monotonous screen of white noise that somehow imbued me with calm. I was free of thoughts as I wielded the suction hose to root out dust and cat fur, entirely focused on the reds and blues of the rug. I snapped out of it when the vacuum's sigh subsided just as the song was whispering its last sounds. In the three- or four-second gap before the next track, I heard the sharp, insistent doorbell chime. Like a deaf person who suddenly regains her hearing, I had trouble finding language. (beginning of chapter 1)"

"The hoarseness of my voice echoes in my ears as if from another era: "I have to leave...." (chapter 7)"

"yesterday, in cafés and bars and streets all over town, thousands of other young couples had met, men and women whose paths had crossed and who had spent the weekend together, taking comfort in each other, salving their loneliness in this vast city. That's all, I thought as I sank down and my breathing grew deeper, aligned with his. Just as quickly as it started yesterday, it could be over tomorrow. It could all end with a big hug and a friendly kiss at the door. (chapter 13)"

"Dorit Rabinyan is a young author of Iranian background who writes beautifully about Iran and Israel."

"Rabinyan's writing is vivid and sensual, physical and intimate and at times, very direct and crude. Dorit Rabinyan is a very likeable woman. She is intense, reflective, and humorous."

"The concept post-Zionism stems from the so-called new historians who in the early '90s came up with new facts, new stories, facts that the nation builders had omitted from textbooks in order to foster a generation that was proud and prepared to join the army and die, a generation fueled by patriotic loyalty. Facts such as the Palestinians being driven from their houses and having to flee in 1948. These new historians were deemed to be very radical, they sabotaged the prevailing views of Zionism and Israel. I personally am a radical and post-Zionist, in the sense that I take into account the fact that what we learned at school was not the absolute truth. At the same time, I live here in Israel, and in this sense I enjoy the fruits of the occupation in 1948. But I totally condemn the occupation in 1967. Israel is my only home. I know that it is built on a crime, and I am willing to pay for that crime, but I'm not willing to let Israel become a two-nation state. I want two states for two people, and I want to see the refugees from 1948 receive compensation for the crime that gave me my home, but I will never agree to creating a joint Jewish-Palestinian state between the River Jordan and the sea. I think that would be a catastrophe for the Jews. I want the Palestinian community to thrive, but not at the risk of becoming a refugee myself. And I say that with the greatest love for those who disagree with me, the sons and daughters of the refugees from 1948. They are welcome to come here and live in Jaffa, just as I sometimes go to live in New York, or my sister lives in London. They will have full rights here, but not citizenship. They will have their Palestine, their own homeland. In order to achieve peace, we have to establish two states alongside one another."

"(In Europe, Amos Oz is often talked about as some kind of modern Israeli prophet.) DR: That's because he can't let go of the old prophetic gestures. It's a nice role and he's comfortable with it, and maybe we need him to open people's eyes. Who knows, maybe it's just me who's cynical. But there's nothing prophetic about the rest of us, particularly the younger writers. Your horoscope can tell you more about the future than we can. I don't see writing as a kind of vocation or destiny, but as the only profession that I've mastered. If someone discovers something greater underlying it all, then I've been lucky. But I don't work an eight-hour day in order to deliver a message. I'm trying to find out something about myself, about my life, trying to control something in all this chaos. For me, writing is the only way to give order to my life. To earn a living by doing something that gives me peace, and that makes me happy"

"The old role for writers was linked to nation building. The country was so young, and we needed someone to speak on behalf of the people, but today, the disparity in opinions is so great that no one can claim to hold the absolute truth anymore. I can't stand and say that I know the truth. I feel confused and at a loss, like most people. That's why I practically never write newspaper articles. Nothing here is black and white, everything is shades of gray. Even my left-wing politics are fluid, because everything in society is fluid. I'm no Amos Oz, who's always ready to take a firm stance. I need someone to talk to me. Personally, I prefer listening to academics rather than authors, because academics analyze reality every day. At a political level, he or she is far better equipped to do this than someone who can write a love story that makes me melt. Authors are best at internalization, having empathy-an author who is good is good at a personal level."

"The problem with Palestinian literature in Israel is that so few of us know anything about it. ("Did you ever read any Palestinian literature in the course of your schooling?") No, they thought it would be more useful for us to read James Joyce than the literature of our neighbors. I think it is in fact an Israeli policy not to translate Arabic literature. There is a hostile attitude that is being transferred from one generation to the next. The truth is that we do not have insight into their personal and cultural life. We have nothing that can be used to bridge the gap. Literature could, of course, be such a bridge, because it helps you to see that other people are human just like us."

"Judaism is a cult religion. There is no evangelizing, newcomers are not welcome. Religious Jews cultivate and practice segregation at all levels. In terms of food, they separate milk and meat. Our weekdays are different. There are various materials that you're not supposed to wear. In fact, there are lots of elements from God's creation that aren't allowed-ranging from certain certain types of fish that you cannot eat to certain types of people you cannot marry. So it's a very isolated position, which means that Jews-wherever they live-often stick together and don't assimilate. I really wish that Judaism could be practiced in the way it deserves, that those who claim to be Jewish could show more respect for the non-Jews around them, for a start. The way I see it, thinking and wisdom are absolutely fundamental to the Jewish attitude. Judaism has been elaborated throughout more than 2,000 years of exile, but now that we've become masters of this country, taken by power, this wisdom has suddenly been forgotten. Look at Jews in Diaspora, in the global society, the fact that they're a minority makes them better Jews...Because they don't see their Jewishness as a passport. For them, Judaism is an obligation to be better people, they don't have a choice. Here in Israel, the Bible is used to suppress other religions, to control other people's lives, to kick people out of their home and subdue an entire nation. Just because you've had this book for so long, and then come back to where the action took place, you feel you can say, 'I'm going to use force, I call on the army!' We're talking here about people who demand land for spiritual reasons, and it's done in such a crude way. That's exploiting the Bible."

"the literature I value the most is those parts of the Bible that I read through choice and love. I am proud of the Bible and carry it with me. I read it as literature, I don't worship it, but I see it as part of who I am."

"Judaism is not something I practice, but something that I carry inside. Being Israeli gives you the privilege of including Jewishness as part of a package, part of yourself. You don't ask any questions unless you want to. I have grown up in a Jewish country and I appreciate that."

"After all, what are we trying to find in a book ? Ourselves. A good book offers you yourself in a more articulate way. Reading is actually plunging into one’s own identity and, one hopes, emerging stronger than before. You see, unconsciously, we are seeking to find an affirmation to our own world -perception and set of values. Since these change as we grow up and develop, our response to books changes as well. I don’t believe there is an objective yardstick by which a book may be evaluated. The “science” of literary criticism is an illusion—it is based on subjective impressions, and no one feels the sting more strongly than I, being a critic myself. The only thing I hope to do in my books, is to open up the reader to a new awareness. There is no logical or speculative message I intend to transmit. The “message” belongs to the realm of intuition, imagination and emotional perception. If I manage to make a reader sensitive to that special awareness which has inspired me to write, I consider myself a lucky writer."

"Each author has a unique style, all his own...I believe every author is unique and every work is too, due to its unique style."

"Style is a part and parcel of the expression. I never “think out” devices. The device is a reflection of my psychic structure. It’s like my own voice. Part of it is the sound, the other part—my intonation."

"A writer is a person who at a certain point in his life has found out that he is bothered by something which those around him seem to take in their stride. He finds out that here the usual modes of talk will not do, and he turns to investigate it the lonely way—on paper. It is doubtful if he is to find a solution to those pestering questions, but giving shape to his probings is itself a kind of solace. And then, something strange happens. The paper gets hold of him. It stimulates him, it becomes a meaning to itself. This person has passed a thin line into a new, a different world, to stay there forever. Forever, because not to obey this call now is tantamount to desertion, or still worse, to exile."

"I think I am mostly concerned with two issues: death-in-life versus life, and chaos versus order. These two are clearly intertwined, of course. I am talking about the individual revolt against the established order of things, the attempt to break through the visible. This attempt brings about an epiphany of a wider order of things which underlies our existence."

"Every story is a breakthrough. Every story is catching a glimpse of some vast, infinite pattern which gives meaning to our lives. Every story is an acceptance, a realization that the all-encompassing pattern is there for a purpose. But the unconscious attempt to disguise the pattern is infinite, so every story comes as a surprise."

"My work is an expression of myself, and I happen to be Jewish, I guess my point of view is affected by a hierarchy of values which is bound up with this point in history, and this place in the world. And I guess there is no escape from my own point of view."

"I have two sons in the military service, one in the Air Force and one in the Army. So nobody can be against war more than myself. But to tell the truth, during the day to day routine, doing the normal things, small or great, war hardly enters our thoughts. It becomes a fact of life. Almost like air pollution."

"Every human encounter is the external embodiment of an attraction between two magnetic fields. The encounter comes suddenly, unexpectedly. It is a moment of truth. It is a moment of revelation, as when the right ray of sun penetrates through the right window pane, and falls with the right slant on one picture in the museum. This is the painfully short moment which shows us just what the artist had in mind. It happened to me once. I walked into a bookstore in Jerusalem. I opened one book after another, when suddenly I found myself reading something breathlessly. It was a book of poems by Pinhas Sadeh. There was a flash, I was touched by something powerful. For some reason, I could not purchase the book right away. A while later, back in Tel Aviv, I went to buy the book. When I opened it this time it was—difficult. The angle had changed. The ray of light passed me by. There was no illumination. The same happens with human encounters. We meet someone, and suddenly we are capable of being ourselves, just like we were supposed to be—ourselves without hiding, without pretending, with no pretexts. We are each a magnetic field. And each attraction, limited as it may appear to be, is a cosmic happening—it occurs within the broader pattern of things, within the endlessly complex structure which underlies our lives."

"(What does the title of the story, “There, The Newsroom” mean?) A. K. -C. The essential news, the news which matters, is not in the newsroom but in the opposite direction. The things which shape our lives are not projected on the television screen."

"Living in a world of flux, subjugated to the indecipherable laws of constant vicissitudes, our encounters cannot but be momentary flashes. The glamor cannot last because we change, the others change, circumstances change. So I wouldn’t call the end of a relationship a failure."

"I wrote about the hard way in which one learns the pain of the break between dream and reality. And you know, in the beginning I tended to write, for lack of a better term, in the “romantic” vein. I was trying to search for human nature through the external order of things. I wanted to touch human misery without getting my hands dirty, out of a peculiar fastidiousness. I think I changed tremendously in this sense. I am not as much of an outsider anymore. I am more capable now of observing the pain, and being part of it at the same time. I have learned to come to terms with the “concrete” and naked reality and not flinch from expressing it in a more direct fashion."

"I write when I cannot hold back any longer. Call it an attack, an ir­resistible impulse. In a way, my writing has almost been clandestine. There was a constant feeling of guilt, and a continuous tension between my duties at home and my literary aspirations."

"Her stories plunge the reader directly into an unmediated world of subjective feeling. Usually the subjects of her novels and stories are young women facing the problems of growing up and contending with romantic attachments. In a later novel, With Her on Her Way Home (1991), she deals with the problems of growing old. Kahana-Carmon's language is carefully shaped and unadorned, but possessing an idiosyncratic subtlety that makes translation difficult."

"Amalia Kahana-Carmon is often described as the Israeli Virginia Woolf. Though she belongs to the age group of the Palmach generation of the fifties, she is normally classified as one of the “New Wave” writers on a par with A. B. Yehoshua and Amos Oz."

"…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..."

"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."

"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."

"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."

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

"(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’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."

"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."

"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."

"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."

"(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."

"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."

"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."

"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."