Search results for ""Author Yehuda Amichai"

Yehuda Amichai was first brought to attention in this country by his inclusion in Modern Poetry in Translation (1965). The magazine's editors, Daniel Weissbort and Ted Hughes, here provide a selection of Amichai's poetry translated by various hands, placing his achievements alongside those other Eastern European poets with whom he was first introduced - Zbigniew Herbert, Miroslav Holub, Vasko Popa, Czeslaw Milosz and Andrei Voznesensky - while demonstrating what makes his own talent so unique.In Ted Hughes's words, Amichai was 'the poet whose books I still open most often, most often take on a journey, most often return to when the whole business of writing anything natural, real and satisfying, seems impossible. And that after thirty years of feeling the same way about him. The effect his poetry has on me is to give me my own life - to open it up somehow, to make it available to me afresh, to uncover all kinds of riches in every moment of it, and to free me from my mental prisons'.

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Yehuda Amichai (1924-2000) was Israel's most popular poet, as well as a literary figure of international reputation. In this collection, renowned translators Chana Bloch and Stephen Mitchell have selected Amichai's most beloved poems, including forty poems from his later work. A new foreword by C.K. Williams, written especially for this edition, addresses Amichai's enduring legacy and sets his poetry in the context of the new millennium.

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Yehuda Amichai (1924–2000) was the foremost Israeli poet of the twentieth century and an internationally influential literary figure whose poetry has been translated into some 40 languages. Hitherto, no comprehensive literary study of Amichai's poetry has appeared in English. This long-awaited book seeks to fill the gap. Widely considered one of the greatest poets of our time and the most important Jewish poet since Paul Celan, Amichai is beloved by readers the world over. Beneath the carefully crafted and accessible surface of Amichai's poetry lies a profound, complex, and often revolutionary poetic vision that deliberately disrupts traditional literary boundaries and distinctions. Chana Kronfeld focuses on the stylistic implications of Amichai's poetic philosophy and on what she describes as his "acerbic critique of ideology." She rescues Amichai's poetry from complacent appropriations, showing in the process how his work obliges us to rethink major issues in literary studies, including metaphor, intertextuality, translation, and the politics of poetic form. In spotlighting his deeply egalitarian outlook, this book makes the experimental, iconoclastic Amichai newly compelling.

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The best of contemporary Israeli poetry is presented here in exciting new English translations. Poets included in the anthology are Amir Gilboa, Abba Kovner, Haim Gouri, Yehuda Amichai, Dan Pagis, Natan Zach, David Avidan, Dahlia Ravikovitch, Ory Bernstein, Meir Wieseltier, and Yona Wallach.

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The Collected Writings of Assia Wevill marks a significant development in literary recovery efforts related to Assia Wevill (1927–1969), who remains a critically important figure in the life and work of the Pulitzer Prize–winning poet Sylvia Plath and the British Poet Laureate Ted Hughes. Editors Julie Goodspeed-Chadwick and Peter K. Steinberg located over 150 texts authored by Assia Wevill and curated them into a collected scholarly edition of her letters, journals, poems, and other creative writings. These documents chronicle her personal and professional lives, her experiences as a single working mother in 1960s London, her domestic life with Hughes, and her celebrated translations of poetry by Yehuda Amichai. The Collected Writings of Assia Wevill offers an invaluable documentary resource for understanding a woman whose life continues to captivate readers and scholars.

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This volume is a collection of ten essays and seven reviews on modern Hebrew literature. Subjects include an analysis of a number of journal manifestoes, an interpretation of several poems on King Saul, an essay on Yehuda Amichai's early works, a piece on the image of the Arab in Hebrew literature, a note on the German literary background of the Agnon story, and changing structures in Amir Gilboa's Holocaust poetry. Reviews evaluate the work of A.B. Yehoshua, Avoth Yeshurun, and Amos Oz, among others. Three essays in Hebrew are appended for those who enjoy reading Hebrew.

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Inspired by Alain Resnais’s Hiroshima mon amour, and sharing the spirit of Tomas Transtromer’s Baltics and Yehuda Amichai’s Time, Republic Café is a meditation on love during a time of violence, and a tally of what appears and disappears in every moment. Mindful of epigenetic experience as our bodies become living vessels for history’s tragedies, David Biespiel praises not only the essentialness of our human memory, but also the sanctity of our flawed, human forgetting. A single sequence, arranged in fifty-four numbered sections, Republic Café details the experience of lovers in Portland, Oregon, on the eve and days following September 11, 2001. To touch a loved one’s bare skin, even in the midst of great tragedy, is simultaneously an act of remembering and forgetting. This is a tale of love and darkness, a magical portrait of the writer as a moral and imaginative participant in the political life of his nation.

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From tenth-century Japan's Izumi Shikibu, colonial America's Anne Bradstreet, and Victorian England's Elizabeth Barrett Browning to Israel's Yehuda Amichai, Ireland's Paul Muldoon, and Russia's Anna Akhmatova, poets across the centuries and around the world have immortalized this elemental relationship. Among the more than seventy poets in this anthology, Audre Lorde recalls "How the days went / While you were blooming within me"; Jorie Graham muses on her mother's sewing box; Allen Ginsberg says goodbye in "Kaddish"; and Langston Hughes invokes a mother's empowering example: "Don't you fall now- / For I'se still goin', honey, / I'se still climbin', / And life for me ain't been no crystal stair." From Emily Brontë's "Upon Her Soothing Breast" and Seamus Heaney's "Mother of the Groom" to Sylvia Plath's "Morning Song" and Frank O'Hara's "Ave Maria," the more than one hundred poems collected here enshrine the miracle of motherhood and the richness of feeling and experience it inspires.

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An exploration of phrases and excerpts that inspire a major contemporary artist. Over the past several years, renowned South African artist William Kentridge has made a collection of particular phrases and sentences that have called out to him from the pages of whatever he has been reading. And these phrases, which he has written into a studio notebook titled Words, have been put to work in many of his artistic projects. Kentridge has often begun a project by paging through the notebook, waiting for a phrase to claim its place in the new work. The text excerpts come from many sources: Aimé Césaire, Yehuda Amichai, Sigmund Freud, James Joyce, Setswana proverbs, the Book of Ecclesiastes, Tristan Tzara’s Dada Manifesto, and a range of eastern European poets. This volume presents a selection made from the notebook, with phrases arranged neither randomly nor with a clear agenda but finding a space in between. Cleverly designed by the artist and beautifully produced, Words is a thought-provoking collection that provides a window to the mind of a contemporary creative genius.

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Figuring Jerusalem explores how Hebrew writers have imagined Jerusalem, both from the distance of exile and from within its sacred walls. For two thousand years, Hebrew writers used their exile from the Holy Land as a license for invention. The question at the heart of Figuring Jerusalem is this: how did these writers bring their imagination “home” in the Zionist century? Sidra DeKoven Ezrahi finds that the same diasporic conventions that Hebrew writers practiced in exile were maintained throughout the first half of the twentieth century. And even after 1948, when the state of Israel was founded but East Jerusalem and its holy sites remained under Arab control, Jerusalem continued to figure in the Hebrew imagination as mediated space. It was only in the aftermath of the Six Day War that the temptations and dilemmas of proximity to the sacred would become acute in every area of Hebrew politics and culture.Figuring Jerusalem ranges from classical texts, biblical and medieval, to the post-1967 writings of S. Y. Agnon and Yehuda Amichai. Ultimately, DeKoven Ezrahi shows that the wisdom Jews acquired through two thousand years of exile, as inscribed in their literary imagination, must be rediscovered if the diverse inhabitants of Jerusalem are to coexist.

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The achievement of Ted Hughes as a poet is inseparable from his achievement as a translator of poetry and poetic drama. Throughout a long and intensely productive career, Hughes was continuously engaged in acts of translation, for the page and for the stage, starting with his role in the establishment of the annual Poetry International in London and the magazine Modern Poetry in Translation, which he co-founded with Daniel Weissbort in 1965, and which notably brought to attention poets such as the Israeli Yehuda Amichai, the Hungarian Janos Pilinszky and the Yugoslav Vasko Popa. The present volume, edited by Weissbort, surveys this aspect of Hughes's canon for the first time, offering a broad selection from his numerous translations, together with hitherto unpublished material (versions of Paul Eluard, or of Yves Bonnefoy), and excerpts from essays and letters. Strongly rooted in a native tradition, Hughes was nevertheless indebted to literary cultures other than his own, and his work far transcends national boundaries. The present volume selects from his versions from a wide variety of ancient texts - the Tibetan Book of the Dead, Aeschylus, Euripides, Ovid, Seneca, Racine - and equally from a range of twentieth century European poets and dramatists.

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“It’s a losing battle: my words have no chance against time. Sometimes, unable to catch up with imagination, I leave the battle, candle in hand, in complete darkness.” — from “Trying Again to Stop Time" Jalal Barzanji chronicles the path of exile and estrangement from his beloved native Kurdistan to his chosen home in Canada. His poems speak of the tension that exists between the place of one’s birth and an adoptive land, of that delicate dance that happens in the face of censorship and oppression. In defiance of Saddam Hussein’s call for sycophantic political verse, he turns to the natural world to reference a mournful state of loss, longing, alienation, and melancholy. Barzanji’s poetry is infused with the richness of the Middle East, but underlying it all is a close affinity to Western Modernists. In those moments where language and culture collide and co-operate, Barzanji carves out a strong voice of opposition to political oppression. Readers will return to his work again and again, just as viewers return to a favourite painting. “Like contemporary poets Taslima Nasrin, Adonis, Yehuda Amichai, and Shuntaro Tanikawa, Barzanji’s is a voice in which the native willingly mutates into the global.” — Sabah A. Salih, Translator

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Figuring Jerusalem explores how Hebrew writers have imagined Jerusalem, both from the distance of exile and from within its sacred walls. For two thousand years, Hebrew writers used their exile from the Holy Land as a license for invention. The question at the heart of Figuring Jerusalem is this: how did these writers bring their imagination “home” in the Zionist century? Sidra DeKoven Ezrahi finds that the same diasporic conventions that Hebrew writers practiced in exile were maintained throughout the first half of the twentieth century. And even after 1948, when the state of Israel was founded but East Jerusalem and its holy sites remained under Arab control, Jerusalem continued to figure in the Hebrew imagination as mediated space. It was only in the aftermath of the Six Day War that the temptations and dilemmas of proximity to the sacred would become acute in every area of Hebrew politics and culture.Figuring Jerusalem ranges from classical texts, biblical and medieval, to the post-1967 writings of S. Y. Agnon and Yehuda Amichai. Ultimately, DeKoven Ezrahi shows that the wisdom Jews acquired through two thousand years of exile, as inscribed in their literary imagination, must be rediscovered if the diverse inhabitants of Jerusalem are to coexist.

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From Yehuda Amichai and W. H. Auden to Phyllis Wheatley and Walt Whitman, Hearing God in Poetry invites you to take a closer look at fifty great poems by some of the finest poets in the English language. Some are well known, some deserve to be better known, but all say something distinctive that will lift your spirit. This beautiful Lent book for 2022 offers six poems for every week from Ash Wednesday, leading up to Holy Week, with ten poems specially chosen for Easter. A short reflection from Richard Harries accompanies each poet and the poem, drawing out their spiritual insights and how they communicate God’s presence. Hearing God in Poetry is an ideal Lent book for 2022 for poetry lovers and anyone interested in how some of the world’s finest poets have expressed faith in their work. This book of daily readings will introduce you to some wonderful poetry for Lent and Easter, and give you a deeper understanding and appreciation of these brilliant works of literature. It will also help expand your spirituality to see God’s presence in the world around you as you prepare for Easter. Full of riches, Hearing God in Poetry is a book that you will want to turn to time and time again – whether during Lent or in any other season of the year.

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Poetry has always been at the heart of Farrar, Straus and Giroux's identity, ever since Robert Giroux first brought T. S. Eliot to the company. FSG's personality and literary profile have been defined by both the poets and the prose writers who have made it an imprint with a unique place in American letters. The FSG Poetry Anthology includes work by every one of the more than one hundred poets FSG has published in its seventy-five-year history. Robert Lowell, Elizabeth Bishop, John Berryman, and Randall Jarrell were central to the first generation of those poets, followed by the international figures and Nobel laureates Nelly Sachs, Seamus Heaney, Joseph Brodsky, and Derek Walcott. Over time the list expanded to include James Schuyler, John Ashbery, C. K. Williams, Charles Wright, Yusef Komunyakaa, Grace Paley, Gjertrud Schnackenberg, Yehuda Amichai, Paul Valéry, Marianne Moore, Mina Loy, Ted Hughes, and Adam Zagajewski. Today Carl Phillips, Maureen N. McLane, Ange Mlinko, Ishion Hutchinson, Rowan Ricardo Phillips, Frederick Seidel, Henri Cole, francine j. harris, and Valzhyna Mort are among the poets who continue FSG's tradition as a premier discoverer and promoter of the most vital and distinguished contemporary poetic voices. Poetry and prose are two indissoluble sides of the same coin. This anthology offers a unique perspective on the best of contemporary literature over the past three generations. FSG president and long-time poetry editor Jonathan Galassi contributes a lively history of the role of poetry in the publishing house.

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Following The People and the Books, which "covers more than 2,500 years of highly variegated Jewish cultural expression" (Robert Alter, The New York Times Book Review), poet and literary critic Adam Kirsch now turns to the story of modern Jewish literature. From the vast emigration of Jews out of Eastern Europe to the Holocaust to the creation of Israel, the twentieth century transformed Jewish life. The same was true of Jewish writing: the novels, plays, poems and memoirs of Jewish writers provided intimate access to new worlds of experience. Kirsch surveys four themes that shaped the twentieth century in Jewish literature and culture: Europe, America, Israel and the endeavour to reimagine Judaism as a modern faith. With discussions of major books by over thirty writers—ranging from Franz Kafka to Philip Roth, Elie Wiesel to Tony Kushner, Hannah Arendt to Judith Plaskow—he argues that literature offers a new way to think about what it means to be Jewish in the modern world. With a wide scope and diverse, original observations, Kirsch draws fascinating parallels between familiar writers and their less familiar counterparts. While everyone knows the diary of Anne Frank, for example, few outside of Israel have read the diary of Hannah Senesh. Kirsch sheds new light on the literature of the Holocaust through the work of Primo Levi, explores the emergence of America as a Jewish home through the stories of Bernard Malamud and shows how Yehuda Amichai captured the paradoxes of Israeli identity. An insightful and engaging work from "one of America’s finest literary critics" (The Wall Street Journal), The Blessing and the Curse brings the Jewish experience vividly to life.

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To celebrate FSG's 75th anniversary, here is a unique anthology celebrating the riches and variety of its poetry list-past, present, and future Poetry has been at the heart of Farrar, Straus and Giroux's identity ever since Robert Giroux joined the fledgling company in the mid-1950s, soon bringing T. S. Eliot, John Berryman, Robert Lowell, and Elizabeth Bishop onto the list. These extraordinary poets and their successors have been essential in helping define FSG as a publishing house with a unique place in American letters. to the company. The FSG Poetry Anthology includes work by almost all of the more than one hundred twenty-five poets whom FSG has published in its seventy-five-year history. Giroux's first generation was augmented by a group of international figures (and Nobel laureates), including Pablo Neruda, Nelly Sachs, Derek Walcott, Seamus Heaney, and Joseph Brodsky. Over time the list expanded to includes poets as diverse as Yehuda Amichai, John Ashbery, Frank Bidart, Louise Glück, Thom Gunn, Ted Hughes, Yusef Komunyakaa, Mina Loy, Marianne Moore, Paul Muldoon, Les Murray, Grace Paley, Carl Phillips, Gjertrud Schnackenberg, James Schuyler, C. K. Williams, Charles Wright, James Wright, and Adam Zagajewski. Today, Henri Cole, francine j. harris, Ishion Hutchinson, Maureen N. McLane, Ange Mlinko, Valzhyna Mort, Rowan Ricardo Phillips, and Frederick Seidel are among the poets who are continuing FSG's tradition as a discoverer and promoter of the most vital and distinguished contemporary voices. This anthology is a wide-ranging showcase of some of the best poems published in America over the past three generations. It is also a sounding of poetry's present and future.

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The Jewish struggle for survival as a spiritual entity after the cohesiveness of Jewish communal life began to disintegrate in the latter decades of the nineteenth century spawned a new tradition-a modern secular Hebraic cultural tradition. These seventeen essays by Israel's esteemed literary critic, Gershon Shaked, explore the evolution of that new tradition, tracing its major processes and identifying central stages in the development of new canonical texts. After introductory essays in which he defines Israeli secularism, explores the historical consciousness of the Israeli sensibility both in Israel and in the Diaspora, and comments on major trends in the development of Hebrew literature, Shaked describes the mythopoeic creativity of the Hebrew poet laureate Hayyim Nahman Bialik and of the major Hebrew playwright Mattityahu Shoham. He then explores the early literary associations of Yehuda Amichai, who transformed the exalted poetic idiom of the pre-state years into a sober, sensitive, accessible language. Three essays each treat Medele Mosher Seforim and Shmuel Yosef Agnon. As the voice of the limping shlemazels of the shtetl, Mendele foretold the destruction of the eastern European Jewish community but offered no constructive alternative to its dismal prophecy. Agnon's characters seek redemption by immigrating to Eretz Israel. His two works discussed here, "Agunot" (Forsaken Wives) and Shevu'at emunim (The Betrothed) suggest that, while it may be possible to take neurotic Jews out of the Diaspora, taking the Diaspora out of them is another matter. A second set of essays is dedicated to Joseph Hayyim Brenner, an immigrant in the Second Aliyah who also wrote of displaced strangers trying to set down roots in a foreign environment, and Yitzhak Shami, an "Arab-Jew" who wrote about the mentality and lifestyle of the oriental Jewish communities of Palestine and Syria. The last chapter analyzes the work of an outsider, David Vogel. Although Vogel's novel Hayyei nissu'im (Married Life) was written in Hebrew, its plot and characters are strongly reminiscent of the German-Jewish literary tradition. Shaked's analysis of the cultural processes underlying Hebrew literature's major achievements in the late nineteenth and twentieth centuries not only sheds important light upon the major concerns of this new and secular literary tradition but also illuminates key aspects of modern Jewish culture.

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This is the second collection from a Brooklyn poet whose work many readers will know from the New Yorker. Jessica Greenbaum's narrative poems, in which objects and metaphor share highest honors, attempt revelation through close observation of the everyday. Written in "plain American that cats and dogs can read," as Marianne Moore phrased it, these contemporary lyrics bring forward the challenges of Wis?awa Szymborska, the reportage of Yehuda Amichai, and the formal forays of Marilyn Hacker. The book asks at heart: how does life present itself to us, and how do we create value from our delights and losses? Riding on Kenneth Koch's instruction to "find one true feeling and hang on," The Two Yvonnes overtakes the present with candor, meditation, and the classic aspiration to shape lyric into a lasting force. Moving from 1960s Long Island, to 1980s Houston, to today's Brooklyn, the poems range in subject from the pages of the Talmud to a squirrel trapped in a kitchen. One tells the story of young lovers "warmed by the rays / Their pelvic bones sent over the horizon of their belts," while another describes the Bronx Zoo in winter, where the giraffes pad about "like nurses walking quietly / outside a sick room." Another poem defines the speaker via a "packing slip" of her parts--"brown eyes, brown hair, from hirsute tribes in Poland and Russia." The title poem, in which the speaker and friends stumble through a series of flawed memories about each other, unearths the human vulnerabilities that shape so much of the collection. ______ From The Two Yvonnes: WHEN MY DAUGHTER GOT SICK Jessica Greenbaum Her cries impersonated all the world; The fountain's bubbling speech was just a trick But still I turned and looked, as she implored, Or leaned toward muffled noises through the bricks: Just radio, whose waves might be her wav- ering, whose pitch might be her quavering, I turned toward, where, the sirens might be "Save Me," "Help me," "Mommy, Mommy"--everything She, too, had said, since sloughing off the world. She took to bed, and now her voice stays fused To air like outlines of a bygone girl; The streets, the lake, the room--just places bruised Without her form, the way your sheets still hold Rough echoes of the risen sleeper, cold.

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