Hold It All

Category: Jewish Tradition

The Ideal Text

“My idea of the ideal text is still the Talmud. I love the idea of parallel texts, with long, discursive footnotes and marginal commentary, texts commenting on texts.”

–Noam Chomsky, Mother Jones, 1987

Advertisements

Scholem on Buber

Today I was rereading Gershom Scholem’s From Berlin to Jerusalem: Memoirs of My Youth, and came across this criticism of Martin Buber: The laconic brevity of those rabbis, their absolute precision of expression, attracted me even more than the same quality in the Latin writers. Added to this was the dialogue of the generations, uninterrupted for so many centuries, whose protocol is the Talmud. Here truly prevailed that “dialogic” life which the later Buber so emphatically placed at the center of his philosophy, although, paradoxically enough, he remained incomprehensibly blind to this, the most genuine evidence that Jewish tradition offered to him. The continuum of the Torah onto which all remarks of the “sages” and their disciples were projected was, in the final analysis, not a truly historical medium—the religious and metaphysical assumptions on which it was based, and with which I was later to concern myself extensively, were too evident for that—but it did have a dignity and, as I was soon to find out, problems of its own.

Letter from Israel Shahak

    —Israel Shahak performed a vital service for many years with his translations “From the Hebrew Press,” which gave an accurate picture of Israel’s oppression of the Palestinians. A survivor of Bergen-Belsen, he was a professor of chemistry at Hebrew University and a prophetic dissident for decades.

Jew-in-the-Library, Jew-in-the-Streets

Jill Krementz, The Jewish Writer, Henry Holt and Company, 1998

Portraits, bios, occasionally quotations form this coffee table book collection of Jewish writers, poets, novelists, scholars. Wiesel is here, as is his nemesis Hannah Arendt, as is Norman Finkelstein’s nemesis, Daniel Jonah Goldhagen.

Chava Rosenfarb touched me most.

The book’s a testimony to Jewish empowerment, making it (Podhoretz is included), with some occasional sentimentality. The Holocaust survivors are here, a few Yiddish writers, a few Israelis (no women), the young and the ancient, many New Yorkers.

I don’t think the word “Palestinians” is in the whole book, and why should it be? This is a feel-good tribute to the tribe’s success stories. Why muck it up with notice of Israel’s ethnic cleansing program? (But then, if Krementz had done a similar book on “American Writers” in 1982, you wouldn’t be surprised if no one mentioned the recent Indochina cataclysms, compliments of the United States.) Thus, I.B. Singer’s line doesn’t appear to apply to many of these writers: “Life itself is a permanent crisis.” In the Promised Land of American Success, Academy of Arts and Letters, Holocaust and Lower East Side Memorials, how could it be?

What follows is a list of those writers I’d be happy to read (or in some cases, get reacquainted with): Read the rest of this entry »

Present Moment, Only Moment

The soothsayers who found out from time what it had in store certainly did not experience time as either homogeneous or empty. Anyone who keeps this in mind will perhaps get an idea of how past times were experienced in remembrance–namely, in just the same way. We know that the Jews were prohibited from investigating the future. The Torah and the prayers instruct them in remembrance, however. This stripped the future of its magic, to which all those succumb who turn to the soothsayers for enlightenment. This does not imply, however, that for the Jews the future turned into homogeneous, empty time. For every second of time was the strait gate through which Messiah might enter.

–Walter Benjamin, Illuminations

A Feat of Reading and Writing

1.

[T]he sheer enormity of what took place between 1933 and 1945 beggars our powers of description and understanding. The more one studies this period and its excesses, the more one must conclude that for any decent human being the slaughter of so many millions of innocents must, and indeed should, weigh heavily on subsequent generations, Jewish and non-Jewish…. there is no reason at all, in my opinion, not to submit oneself in horror and awe to the special tragedy besetting the Jewish people. As an Arab in particular I find it important to comprehend this collective experience in as much of its terrible concrete detail as one is capable: this act of comprehension guarantees one’s humanity and resolve that such a catastrophe should never be forgotten and never recur.
—Edward W. Said, Al-Ahram Weekly, 1997

2.

Charles Reznikoff immersed himself in more than 20 volumes of transcripts from World War II war crimes trials and the Eichmann trial. Out of that intense reading of thousands of pages came Holocaust, a book of poetry in 12 sections comprising 88 pages published in 1975. Read the rest of this entry »

A Poem, a History, a Novel

This fall Dianne, Lynette and I are reading the following books:


Read the rest of this entry »

“Everything Must Be Told and Written Down”

Laura Jockusch,  Collect and Record: Jewish Holocaust Documentation in Early Postwar Europe  (Oxford University Press, 2012).

Laura Rockusch has performed a inspiring service in producing her book, Collect and Record. Contrary to many people’s assumptions that Holocaust survivors were quiet, traumatized, passive  from the war’s end to the Eichmann trial in 1961, she examines how Jews in Poland, France, and in Displaced Person Camps in Germany and Austria  immediately set work to gather anything they could on what he  just happened to their people during the 12 years of the Third Reich.

There were precursors for this kind of work; for example, at the end of World War I, the number of Jews killed in Ukraine in pogroms numbered between 50,000 and 100,00.   Researchers then sought to gather accounts from witnesses and survivors.  Here’s one message:  “Brothers! A curse of terrible pogroms is befalling Jewish villages and towns, and the world does not know, we ourselves do not know or know only very little about it. This must not be concealed! Everything must be told and written down. It is a duty for every Jew who has come or comes from the devastated Jewish towns to report everything that he has seen, for the news must not be lost.”   Khurbn-Forshung  was the name given to this activity—Yiddish for “Destruction Research.” Read the rest of this entry »

“I’ll Never Know, in the Silence You Don’t Know, You Must Go On, I Can’t Go On, I’ll Go On”

Working on a kind of sequel to Dear Layla Welcome to Palestine, I am imagining a character named Bella Levenshteyn, who in her twenties devotes herself to learning Yiddish, the language of her ancestors.  At one point, she confides to Perry that she once went on a  five-week reading binge of the essays, poems, articles, and reviews by  Yankev Glatshteyn, the foremost U.S.Yiddish writer in the middle of the 20th century.

I’ve been reading several recent works of scholarship on that period, and found some stimulating provocations in Anita Norich’s work, Discovering Exile:  Yiddish and Jewish American Culture during the Holocaust.

The following  passages may inform, or work themselves—somehow— into my story.

___________________________

People are quite familiar with the conventional label for the Nazi genocide of the Jews, “the Holocaust.”  Norich considers the period well before that word assumed its ascendancy: “Under increasing pressure of news from the war front and silence from home, Yiddish writers re-imagined modernism, the Enlightenment, political engagement, literary conventions, and symbolic language.  The destruction of European Jewry was called by its Yiddish name, khurbn, before it was known as the Holocaust, before the numbers of dead were revealed, even before the concentration camps were built. What Yiddish-speaking Jews meant by khurbn … was a long history of disasters into which the rise of Hitler, the Nuremberg Laws, Kristallnacht, and a host of other disastrous events could fit.  The particularities of Nazism’s rise were not, at the time, perceived as unique, unparalleled, or apocalyptic by the people against whom they were directed.” Read the rest of this entry »

Yiddish Writers/5

I have often felt the instead of writing my autobiography I would like to write the biography of my poems. I mean, tell the life story of some of my poems…

–H. Leivick