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Showing posts with label Poet: Yehuda Amichai. Show all posts
Showing posts with label Poet: Yehuda Amichai. Show all posts

Let the memorial hill remember -- Yehuda Amichai

Guest poem submitted by a contributor who wishes to remain anonymous:
(Poem #1548) Let the memorial hill remember
 Let the memorial hill remember instead of me,
 that's what it's here for. Let the par in-memory-of remember,
 let the street that's-named-for remember,
 let the well-known building remember,
 let the synagogue that's named after God remember
 let the rolling Torah scroll remember, let the prayer
 for the memory of the dead remember. Let the flags remember
 those multicolored shrouds of history: the bodies they wrapped
 have long since turned to dust. Let the dust remember.
 Let the dung remember at the gate. Let the afterbirth remember.
 Let the beasts of the field and birds of the heavens eat and remember.
 Let all of them remember so that I can rest.
-- Yehuda Amichai
        from "Songs of Zion the Beautiful"

I like this poem since it exposes our natural wish to get released from
agonizing memories and thoughts by forgetting.  Here Amichai speaks about
sacred memories, of people (friends?) that died in war, for defending the
living, among them Amichai. Another interesting twist of this poem, is that
it describes monuments built for the fallen as a tool for remembering things
for us, so that we can forget. Something along the lines of the electric
monk of Douglas Adams (which believes in things that we don't have time to
believe in).

The Diameter of the Bomb -- Yehuda Amichai

Guest poem sent in by Huat Chye Lim

The Yehuda Amichai poem from a couple of weeks ago [Poem #1437] reminded me of
another poem of his that I really like and isn't in your anthology:
(Poem #1448) The Diameter of the Bomb
 The diameter of the bomb was thirty centimeters
 and the diameter of its effective range about seven meters,
 with four dead and eleven wounded.
 And around these, in a larger circle
 of pain and time, two hospitals are scattered
 and one graveyard. But the young woman
 who was buried in the city she came from,
 at a distance of more than a hundred kilometers,
 enlarges the circle considerably,
 and the solitary man mourning her death
 at the distant shores of a country far across the sea
 includes the entire world in the circle.
 And I won’t even mention the crying of orphans
 that reaches up to the throne of God and
 beyond, making
 a circle with no end and no God.
-- Yehuda Amichai
        (translated by Chana Bloch)

Amichai starts with a recitation of cold, technical facts about the bomb--its
diameter, its range, the number of casualties.  But then, unexpectedly and
rather jarringly, he segues into a personal sketch of one of the victims and
her grieving lover, "the solitary man mourning her death / at the distant
shores of a country far across the sea"--two lines I find especially poignant.
Amichai's conversational, somewhat detached tone ("And I won't even
mention...") throughout the poem serves almost as a foil to the raw emotional
loss that the bomb wreaked, and emphasizes it all the more.

Cheers,
Huat Chye Lim

My Father -- Yehuda Amichai

Guest poem sent in by Raj Palaniswamy
(Poem #1437) My Father
 The memory of my father is wrapped up in
 white paper, like sandwiches taken for a day at work.

 Just as a magician takes towers and rabbits
 out of his hat, he drew love from his small body,

 and the rivers of his hands
 overflowed with good deeds.
-- Yehuda Amichai
I saw this some months ago on the subway I take to work, part of the "Poetry
in Motion" series, that originated in New York and is now in several other
cities.  The first two lines are so powerful, anything said about them would
not do any justice. My father has been, unfortunately, just a memory for
many years, but an extremely alive and significant one. He would have turned
68 a few days ago, and I was reminded of this poem on his birthday.

Poetry in Motion® is a program that was developed by the Poetry Society of
America and the MTA New York City Transit in 1992 to make bus and subway
riding a more pleasurable and enlightening experience. Inspired by a similar
program in the London Underground, the program places poem-placards in the
spaces usually reserved for advertisements in subway cars and buses. Since
its founding 10 years ago, the program has expanded to 14 cities across the
country, reaching 13 million people daily. It is funded by the NEA.

Raj Palaniswamy

A Man Doesn't Have Time In His Life -- Yehuda Amichai

Guest poem sent in by Abhishek Singh
(Poem #1398) A Man Doesn't Have Time In His Life
 A man doesn't have time in his life
 to have time for everything.
 He doesn't have seasons enough to have
 a season for every purpose. Ecclesiastes
 Was wrong about that.

 A man needs to love and to hate at the same moment,
 to laugh and cry with the same eyes,
 with the same hands to throw stones and to gather them,
 to make love in war and war in love.
 And to hate and forgive and remember and forget,
 to arrange and confuse, to eat and to digest
 what history
 takes years and years to do.

 A man doesn't have time.
 When he loses he seeks, when he finds
 he forgets, when he forgets he loves, when he loves
 he begins to forget.

 And his soul is seasoned, his soul
 is very professional.
 Only his body remains forever
 an amateur. It tries and it misses,
 gets muddled, doesn't learn a thing,
 drunk and blind in its pleasures
 and its pains.

 He will die as figs die in autumn,
 Shriveled and full of himself and sweet,
 the leaves growing dry on the ground,
 the bare branches pointing to the place
 where there's time for everything.
-- Yehuda Amichai
Note: From "The Selected Poetry of Yehuda Amichai", translations by Chana
Bloch and Stephen Mitchell.

I was sent this poem by a friend of mine, who adores Amichai. Frankly
speaking, I had not heard of this late Israeli poet, before this poem. But
this one encounter was enough to put me in awe of his art.  What I found out
was that Amichai is the most translated poet in Hebrew after King David!
Like all translations something IS lost from one language to the other.
Amichai's poetry in fact either renders very well or not well at all into
English depending on the point of view taken. His poetry is simple, direct,
colloquial (my friend tells me that he is read by soldiers, shopkeepers...),
while also drawing on history and playing with words and sounds. The wit and
word-play are of course lost in English. In this poem for example, the
second-last stanza seems a bit ackward, with unwieldy words like
'professional' and 'amateur' breaking the flow, but the overall message of
the simplicity of the body and the sophistication of the soul is one that is
powerful beyond words.

Anyway I admit to not knowing a lot more about Amichai, but would love it if
someone told us more about him and his poetry. This write- up has been more
about the poet, because I think the poem itself is amazing enough to speak
for itself! Finally there's nothing more to be said, apart from the final
imagery...

"He will die as figs die in autumn,
Shriveled and full of himself and sweet,
...
the bare branches pointing to the place
where there's time for everything."

Amichai died in 2000...you can light a candle in his memorium and
read more at http://www.ithl.org.il/amichai/

Abhishek

We've run one other poem by Amichai: Poem #1108

Biography: http://www.ithl.org.il/amichai/on.html

Seven Laments for the War-Dead -- Yehuda Amichai

Guest poem sent in by Vidur Bhandari
(Poem #1108) Seven Laments for the War-Dead
        1
 Mr. Beringer, whose son
 fell at the Canal that strangers dug
 so ships could cross the desert,
 crosses my path at Jaffa Gate.

 He has grown very thin, has lost
 the weight of his son.
 That's why he floats so lightly in the alleys
 and gets caught in my heart like little twigs
 that drift away.

        2
 As a child he would mash his potatoes
 to a golden mush.
 And then you die.

 A living child must be cleaned
 when he comes home from playing.
 But for a dead man
 earth and sand are clear water, in which
 his body goes on being bathed and purified
 forever.

        3
 The Tomb of the Unknown Soldier
 across there. On the enemy's side. A good landmark
 for gunners of the future.

 Or the war monument in London
 at Hyde Park Corner, decorated
 like a magnificent cake: yet another soldier
 lifting head and rifle,
 another cannon, another eagle, another
 stone angel.

 And the whipped cream of a huge marble flag
 poured over it  all
 with an expert hand.

 But the candied, much-too-red cherries
 were already gobbled up
 by the glutton of hearts. Amen.

        4
 I came upon an old zoology textbook,
 Brehm, Volume II, Birds:
 in sweet phrases, an account of the life of the starling,
 swallow, and thrush. Full of mistakes in antiquated
 Gothic typeface, but full of love, too. "Our feathered
 friends." "Migrate from us to warmer climes."
 Nest, speckled egg, soft plumage, nightingale,
 stork. "The harbirngers of spring." The robin,
 red-breasted.

 Year of publication: 1913, Germany,
 on the eve of the war that was to be
 the eve of all my wars.
 My good friend who died in my arms, in
 his blood,
 on the sands of Ashdod. 1948, June.

 Oh my-friend,
 red-breasted.

        5
 Dicky was hit.
 Like the water tower at Yad Mordekhai.
 Hit. A hole in the belly. Everything
 came flooding out.

 But he has remained standing like that
 in the landscape of my memory
 like the water tower at Yad Mordekhai.

 He fell not far from there,
 a little to the north, near Houlayqat.

        6
 Is all of this
 sorrow? I don't know.
 I stood in the cemetery dressed in
 the camouflage clothes of a living man: brown pants
 and a shirt yellow as the sun.

 Cemeteries are cheap; they don't ask for much.
 Even the wastebaskets are small, made for holding
 tissue paper
 that wrapped flowers from the store.
 Cemeteries are a polite and disciplined thing.
 "I Shall never forget you," in French
 on a little ceramic plaque.
 I don't know who it is that won't ever forget:
 he's more anonymous than the one who died.

 Is all of this sorrow? I guess so.
 "May ye find consolation in the building
 of the homeland." But how long
 can you go on building the homeland
 and not fall behind in the terrible
 three-sided race
 between consolation and building and death?

 Yes, all of this is sorrow. But leave
 a little love burining always
 like the small bulb in the room of a sleeping baby
 that gives him a bit of security and quiet love
 though he doesn't know what the light is
 or where it comes from.

        7
 Memorial Day for the war-dead: go tack on
 the grief of all your losses--
 including a woman who left you--
 to the grief of losing them; go mix
 one sorrow with another, like history,
 that in its economical way
 heaps pain and feast and sacrifice
 onto a single day for easy reference.

 Oh sweet world, soaked like bread
 in sweet milk for the terrible
 toothless God. "Behind all this,
 some great happiness is hiding." No use
 crying inside and screaming outside.
 Behind all this, some great happiness may
 be hiding.

 Memorial day. Bitter salt, dressed up as
 a little girl with flowers.
 Ropes are strung out the whole length of the route
 for a joing parade: the living and the dead together.
 Children move with the footsteps of someone else's grief
 as if picking their way through broken glass.

 The flautist's mouth will stay pursed for many days.
 A dead soldier swims among the small heads
 with the swimming motions of the dead,
 with the ancient error the dead have
 about the place of the living water.

 A flag loses contact with reality and flies away
 A store window decked out with beautiful dresses for women
 in blue and white. And everything
 in three languages: Hebrew, Arabic and Death.

 A great royal beast has been dying all night long
 under the jasmine,
 with a fixed stare at the world.
 A man whose son died in the war
 walks up the street
 like a woman with a dead fetus inside her womb.
 "Behind all this, some great happiness is hiding."
-- Yehuda Amichai
           (trans. Stephen Mitchell, Chana Bloch)

Note: Amichai is probably the most widely translated Hebrew poet. This
September marked his second death anniversary.

"Seven Laments..." carries Amichai's trademark simplicty, his ability to
bring out the poignancy in the ordinary. Any comment I offer would be
ineffectual. Although the individual sections stand by themselves, the poem
works best as a whole. People I've shared the poem with ask me which lament
I like best, but I refuse to ponder that. I transcribed the poem from the
book "Selected Poetry of Yehuda Amichai" and have tried to faithfully
reproduce the published format, but it is rather lengthy, so it's possible
it isn't perfect.

It is said Amichai is a difficult poet to translate because he used a lot of
clever word play -- he would use similar sounding Hebrew words to bring
subtle (and not so subtle) twists in meaning. Obviously much of this was
lost in translation. "Seven Laments..." was translated by Stephen Mitchell
(who remains my favourite translator of Rilke) and Chana Bloch (who lives
and works in Berkeley, California). Chana Bloch and I exchanged email some
time ago about the work and life of this extraordinary person. She was
fortunate enough to spend extended periods of time with Amichai in Israel,
working on translations.

Vidur

Biography and appreciation of Amichai:
  http://www.ithl.org.il/amichai/on.html