Posts Tagged ‘Hebrew’
July 31, 2014 | by Peter Cole
A political poem’s ironic new life.
ON THE SLAUGHTER
If you hold a God
(to whom there’s a path
that I haven’t found), pray for me.
My heart has died.
There is no prayer on my lips.
My hope and strength are gone.
How long? How much longer?
Executioner, here’s my neck:
Slaughter! You’ve got the ax and the arm.
The world to me is a butcher-block—
we, whose numbers are small
it’s open season on our blood:
Crack a skull—let the blood
of infant and elder spurt on your chest,
and let it remain there forever, and ever.
If there’s justice—let it come now!
But if it should come after I’ve been
blotted out beneath the sky,
let its throne be cast down.
Let the heavens rot in evil everlasting,
and you, with your cruelty,
go in your iniquity
and live and bathe in your blood.
And cursed be he who cries out: Revenge!
Vengeance like this, for the blood of a child,
Satan has yet to devise.
Let the blood fill the abyss!
Let it pierce the blackest depths
and devour the darkness
and eat away and reach
the rotting foundations of the earth.
Political poems lead strange lives—they often wither on the vines of the events they’re tied to. Old news gives way to new, and the whole undertaking starts to seem, well, an expense of spirit in a waste of shame. For many and maybe most American readers, “poetry and politics just don’t mix.”
But sometimes they do. Quite violently.
On June 12, three Israeli teenagers were kidnapped while hitchhiking home together from their West Bank yeshivas. They were murdered—most likely within hours of being taken—and, eighteen days later, after an extensive search, their bodies were discovered under some rocks in a field near Hebron. Israel mourned, and raged. Emerging from a cabinet meeting convened just after the corpses were found, Prime Minister Benjamin Netanyahu expressed his condolences to the families and quoted the great modernist Hebrew poet Hayim Nahman Bialik: “Vengeance … for the blood of a small child, / Satan has not yet created.” He went on in his own words: “Hamas is responsible—and Hamas will pay.” For good measure, the Prime Minister’s office tweeted the lines as well.
As anyone who hasn’t lived atop a column in the Congo for the past seven weeks knows, a series of violent, retaliatory acts followed. Israel carried out mass arrests on the West Bank, killing six in the process; a Palestinian teenager was beaten and burned alive by a group of Jews; throngs of Palestinians destroyed tracks and stations on the Jerusalem light-rail line; Jewish gangs shouting “Death to the Arabs!” rampaged through Jerusalem in search of victims—and found them; some thirty-five thousand Facebook users “liked” a page called “The People of Israel Demand Revenge”; Hamas fired rockets by the dozen into Israel from Gaza; Hamas officials warned that “the gates of hell” would open if Israel attacked in retaliation for the killings or the shelling. Read More »
May 1, 2012 | by Rebecca Sacks
In 2006, the great book-blurber and novelist Gary Shteyngart called Etgar Keret’s The Nimrod Flipout “the best work of literature to come out of Israel in the last five thousand years—better than Leviticus and nearly as funny.” Keret may indeed be the most loved and widely read Israeli writer working today. He is known for his very short short stories, which are often described as “surreal” and “absurd.” It’s certainly the case that they do not adhere to the laws of the physical universe.
In his most recent collection, Suddenly, a Knock at the Door (published this month by Farrar, Straus and Giroux), a talking fish grants wishes; a woman unzips her boyfriend to reveal the German gentile inside; a middle-aged man is kidnapped and taken to his childhood. But at the heart of Keret’s writing is a deep compassion. His characters may be enmeshed in paradoxes unique to Israel—with its fraught borders, fragmented populations, and newly ancient language—but it’s always their humanity that shines through.
Keret is also a filmmaker. With his wife, Shira Geffen, he directed Jellyfish (2009), which won the Camera d’Or at Cannes, and has had his work adapted to film, including Wristcutters: A Love Story (2006). Over the course of two weeks, during which his father passed away from cancer (he has written about his father for Tablet), Keret generously corresponded over e-mail for this interview.