Abrasha Rotenberg — Novelista y escritor judío-argentino/Argentine Jewish Novelist and Writer — “La amenaza”/”The Threat”– Un acto de antisemitismo/ An act of anti-Semitism — fragmento de la novela/excerpt from the novel

Rotenberg, Abrasha. La amenaza (Spanish Edition) . Pampia Grupo Editor. Kindle Edition.

AMAZON

Abrasha Rotenberg, escritor de la novela La amenaza | octubre 2019

Abrasha Rosenfeld

______________________

Abrasha Rotenberg nació en Ucrania, así que su visión de la vida allí, como de su vida después en Berlín o en Buenos Aires, es nostálgica. Nació en una aldea, Teofipol, fue trasladado a Moscú a los ocho años, en su familia se alternaban fanáticos comunistas y anticomunistas. “En la casa de mi abuelo se hablaba en voz baja, en la de mis tíos se hablaba con alegría, porque éstos creían que Stalin iba a sacarnos de la indigencia, que se iba a instaurar el hombre nuevo”. Luego tuve “la enorme experiencia de vivir en una ciudad modelo de Stalin que se llamaba Magnitogorsk, la primera o la segunda ciudad más contaminada del mundo. Cuando se hizo la revolución en lo que fue luego la Unión Soviética, esa era una revolución contra natura. Rusia era un país agrícola ganadero, que todavía tenía resabios del medioevo. Stalin quiso en diez o veinte años transformar esa Rusia agrícola, también algo ganadera, en una Rusia industrial. Proceso muy difícil. Pero Magnitogorsk era el símbolo de eso. Vivíamos en barracas, una vida horrible. Pero que a mi madre le dio el derecho de obtener una visa para Moscú. Y ahí tuve una maravillosa experiencia, porque vivía en una casa colectiva frente al Kremlin. Eso me dio ocasión para asistir de niño a los maravillosos espectáculos que había allí. Gente de todos los colores, todos en fila para visitar la tumba de Lenin”. Después de “la Ucrania ambienta” allí parecía haber oro, pero no había. “El hambre era muy duro, el hambre no te deja pensar. Comíamos patatas, siempre patatas, o verdura. Jamás en los ocho años que viví en la URSS comí carne, ni un trozo de carne”. Pero la madre se las arregló para viajar a Berlín. Allí el adolescente alcanzó a ver cómo Hitler armaba su ejército. Pero ni Lenin ni Stalin fueron capaces de transformar el país que heredaron… Luego vino Nueva York. Y después vino Argentina, alternada con una época en Israel, quizá su momento más feliz, cuando se estaba haciendo, en 1952, el Estado de Israel. Después vino Buenos Aires, y allí asentó Abrasha su peripecia de mal asiento, hasta que Videla y los suyos acabaron con su carrera de periodista (escritor, periodista, empresario) y abrazó un exilio que aquí, en España, duró 37 años, hasta que la vida lo devolvió a la que ahora es su tierra, después de haber conocido, y padecido, y disfrutado, tantas que le fueron esquivas o propicias. Buenos Aires era, cuando mi padre llegó allí, el futuro… Eran los años cuarenta. Y a mí me contaron que las calles de Buenos Aires no eran de adoquines, eran trozos de oro. Era una leyenda falsa.  Ser un extranjero judío en la Argentina no era fácil. Yo vivía lo que era ser judío, porque digamos, no se hablaba. Me hice amigo de todos porque aprendí castellano rápido, por la radio”. Abrasha se hizo argentino. “Fue el azar, el azar, el azar. A los 14 años empecé a trabajar en un aserradero y me pagué las vacaciones. Cuando se estableció el Estado de Israel, en la Argentina, en el 48, necesitaban personal y como yo había estudiado hebreo, me contrataron. De ahí conseguí una beca para la Universidad de Jerusalén. Yo estudiaba economía y me fui a estudiar. En Buenos Aires, de nuevo, conoció a la mujer de su vida, Dina, chilena, cantante, “ella tenía dieciocho años, yo tenía veintitrés. Setenta años juntos”. Se le quiebra la voz al Abrasha que venía contando su vida como si fuera a caballo por la Pampa, pero llega hasta su época como periodista, al frente, con Jacobo Timerman, de La Opinión, masacrada por Videla. “Fue terrible”.

Adaptada de: Juan Cruz, “La historia insólito de Abrasha Rotenberg.” El Periódico de España. Madrid 29 de MAYO de 2023.

________________________________

La diversidad en el judaísmo ofrece un espacio fértil para la reflexión crítica, donde la objetividad se convierte no solo en un ejercicio necesario, sino en un puente hacia el equilibrio entre los extremos. Este proceso nos permite vivir nuestra identidad de manera más coherente y auténtica, alineando nuestras raíces culturales con la realidad contemporánea, sin perder de vista la esencia de lo que somos». Abrasha Rotenberg

Diversity in Judaism offers a fertile space for critical reflection, where objectivity becomes not only a necessary exercise, but a bridge to balance between extremes. This process allows us to live our identity in a more coherent and authentic way, aligning our cultural roots with contemporary reality, without losing sight of the essence of who we are. Abrasha Rotenberg

__________________________________________

Abrasha Rotenberg

_______________________________

Abrasha Rotenberg was born in Ukraine, so his vision of life there, as well as her life later in Berlin or Buenos Aires, is nostalgic. He was born in a village, Teofipol, he was moved to Moscow at the age of eight, his family alternated between communist and anti-communist fanatics. He writes, “In my grandfather’s house we spoke in a low voice, in my uncles’ house we spoke happily, because they believed that Stalin was going to take us out of poverty, that the new man was going to be established.” Then I had “the enormous experience of living in a Stalin model city called Magnitogorsk, the first or second most polluted city in the world. When the revolution happen in what later became the Soviet Union, it was a revolution against nature. Russia was a country of agriculture and livestock, which still had traces of the Middle Ages. In ten or twenty years, Stalin wanted to transform that Russia, into an industrial Russia. A very difficult process. But Magnitogorsk was the symbol of that. We lived in barracks, a horrible life. But that gave my mother the right to obtain a visa to Moscow. And there I had a wonderful experience, because I lived in a collective house opposite the Kremlin. That gave me the opportunity to attend, as a child, the wonderful shows that took place. People of all colors, all lined up to visit Lenin’s grave. After “the Ukrainian ambiance.” there seemed to be gold there, but there wasn’t. “Hunger was very hard, hunger doesn’t let you think. We ate potatoes, always potatoes, or vegetables. Never in the eight years I lived in the USSR did I eat meat, not even a piece of meat.” But the mother managed to travel to Berlin. There the teenager managed to see how Hitler assembled his army. But neither Lenin nor Stalin were able to transform the country they inherited… Then came New York. And then came Argentina, alternating with a period in Israel, perhaps his happiest moment, when the State of Israel was being created in 1952. Then came Buenos Aires, and there Abrasha settled into his uneasy adventure, until Videla and his people ended his career as a journalist (writer, journalist, businessman) and he embraced an exile that lasted 37 years in Spain, until life brought him back to what is now his land, after having known, and suffered, and enjoyed, so many things that were elusive or propitious to him. “Buenos Aires was, when my father arrived there, the future… It was the 1940s. And I was told that the streets of Buenos Aires were not made of cobblestones, they were pieces of gold. It was a false legend. Being a Jewish foreigner in Argentina was not easy. I lived what it was like to be Jewish, because, let’s say, they were not spoken. I became friends with everyone because I learned Spanish quickly, from the radio.” Abrasha became Argentine. “It was chance, chance, chance. At 14 I started working in a sawmill and I paid for my own vacations. When the State of Israel was established in Argentina in 1948, they needed staff and since I had studied Hebrew, they hired me. From there I got a scholarship to the University of Jerusalem. I was studying economics and I went to study. In Buenos Aires, he met the woman of his life, Dina, a Chilean singer, “she was eighteen, I was twenty-three. Seventy years together.” Abrasha’s voice breaks as he recounts his life as if he were riding a horse across the Pampas, but he goes back to his time as a journalist, at the front, with Jacobo Timerman, of La Opinión, massacred by Videla. “It was terrible.”

Adapted from: Juan Cruz, “La historia insólito de Abrasha Rotenberg. El Periódico de España. Madrid 29 MAY 2023

______________________________________________

Amazon

De: Rotenberg, Abrasha. La amenaza (Spanish Edition) . Pampia Grupo Editor. Kindle Edition.

—Este hombre miente siempre, pero a veces se le escapa una verdad. Dale una última chance —dijo dirigiéndose al Perro como si fuera su consejero. —Voy a hacerte una pregunta y tu futuro depende de tu respuesta —me advirtió el Perro—. Recordá la despedida de los Eichenberger y decime si hubo algo más que te llamó la atención. Yo sé que lo recordás, pero temés confesarlo porque puede comprometerte o porque se trata de un tema delicado. Si no lo confesás, tu vida corre peligro. Si lo confesás, podemos llegar a un acuerdo y te vas a ir en paz.

—No sé de qué estás hablando. No recuerdo nada que pueda comprometerme. Todo lo que sé ya te lo dije.

—Hay demasiado casualidades en tu relato. Te las ingeniaste para vincularte con el Juez, con la señora Edwina Eichenberger, conmigo y mi familia, con Rudy y sus amigos y estabas desesperado para que te invitemos a nuestra casa porque querías conocer a mi padre, el General. En realidad, fingías tu interés por mi hermana para ocultar tu verdadero objetivo, que no era mi hermana sino mi padre, yo, Rudy y nuestros amigos. ¿Casualidades? Confesá la verdad antes de que yo te la arranque. Repito: ¿qué más te llamó la atención en esa despedida?

—No recuerdo nada más. ¿Querés que invente algo para satisfacerte? El Perro hizo un gesto a Charles Atlas y yo sentí que estaba perdido.

—Llevalo al río —ordenó con un tono de voz que denotaba indiferencia—. Nunca nos contará la verdad. Si se ahoga terminarán los problemas. Repentinamente Charles Atlas me inmovilizó con sus poderosas garras y con la ayuda del Alfeñique me arrancó de la silla y como si fuera una pluma me dejó inmóvil y de pie, sin soltarme.

—No sé nadar —grité desesperado, dirigiéndome al rostro feroz del Perro.

—No te creo. Vos sabés nadar. Ahora vamos a saber si sos un mentiroso o decís la verdad.

—¿Qué querés saber? ¿Algo del equipaje? ¿Eran muchas valijas…? El Perro no me respondió. Charles Atlas y el Alfeñique comenzaron a arrastrarme en dirección al río y yo seguí gritando: —¿Qué estás haciendo? Van a matarme. —¿Qué estoy haciendo?

Hago patria. Matar a un judío es hacer patria. Podías haberte salvado, pero… —agregó con indiferencia, como si hubiera decidido aplastar una cucaracha con el pie. Entre Charles Atlas y el Alfeñique me llevaron hasta las orillas del río y avanzaron unos metros dentro del agua. Yo estaba asustado porque la respiración, pero ¿por cuánto tiempo? El pecho comenzaba a dolerme y en unos segundos tendría que abrir la boca y permitir que el agua me inundara. Era el fin. Me había resignado a aceptar mi destino, pero, cuando ya estaba al borde de la resistencia, los secuaces comenzaron a subirme a la superficie. Confundido y mareado empecé a toser, a vomitar el agua y, con dificultades, a respirar. Unos segundos más tarde (que me parecieron interminables) sentí que había vuelto a la vida y como ya nada me importaba grité con todas mis fuerzas:

—¿Qué quieren de mí? Les conté todo lo que sé. Déjense de inventar historias de espionaje. Tengo dieciséis años…

En ese momento, los dos Charles me ayudaron a ponerme de pie y a caminar en dirección al Perro. Me sentaron en una silla, empapado y exhausto. No tenía fuerzas para hablar y me dominaba la sensación de que ya nada me importaba, ni siquiera morir. Al rato se acercó el Perro y con el rostro ceñudo y una violencia contenida me advirtió:

—¿Vas a contar la verdad o la próxima te dejamos bajo el agua para siempre?

Mi corazón latía acelerado, no podía controlar la fatiga de mi cuerpo ni la libertad de mi lengua. Estaba resignado a aceptar mi destino, a someterme a la decisión de un grupo de alienados que, no lo dudo, estaban convencidos de que yo los espiaba porque era parte de una conjura secreta.

—Les voy a decir toda la verdad y si no me creen hagan conmigo lo que quieran. No tengo vergüenza en confesarlo: por primera vez en mi vida me enamoré. No importa si era la persona inadecuada, pero yo me enamoré.

¿Alguno de ustedes se enamoró alguna vez? Si les ocurrió saben que se trata de una locura, de una enfermedad que te condiciona. Todo el día y toda la noche pensás en esa muchacha y harías cualquier barbaridad para estar cerca de ella. Yo me convertí en un mentiroso para estar cerca de ella, yo… En ese momento se me quebró la voz. Traté de contenerme y contener las lágrimas que se asomaban. Hice un enorme esfuerzo para no llorar y me mantuve en silencio mientras mis verdugos me observaban. Escuché que King Kong comentó:

—Este tipo está completamente loco. Luego vi cómo el Perro y su gente se alejaron unos metros y tuve la impresión de que conversaban sobre mí o tal vez discutían. Estaba tan agotado que ni siquiera me interesó observarlos. Al rato me pareció que el cónclave había terminado y observé que se encaminaban hacia mí. Era evidente que algo habían decidido, pero ya nada me afectaba.

—¿Querés tomar algo? —preguntó el Perro en un tono sorprendentemente amable.

—Un vaso de agua— respondí.

—Recién tuviste todo un río para beber ¿y me pedís agua? ¿Quién te entiende? —exclamó el Perro y lanzó una carcajada. —Es un chico delicado. Solo bebe agua en vasos. —Aportó su ironía el bello Dorian Gray.

—Traé una copa de vino, así se reanima —ordenó el Perro y King Kong fue a buscarla. Dorian Gray tomó la palabra:

—Te hicimos una broma pesada porque a veces, sin mala intención, nos descontrolamos. El Perro tiene una educación militar y en el ejército este tipo humor agresivo es bastante habitual. No le temen a la violencia ni al dolor. Te pido que nos disculpes. —¿Una broma pesada…? ¿Nada más? El Perro se me acercó y tuve conciencia de que debería haberme callado. Mis reproches le molestaron.

 —¿Qué querés saber?

—Quiero saber por qué fui castigado.

—Ponete de pie —ordenó. Aunque yo sentía que me faltaban fuerzas obedecí en silencio. Estábamos frente a frente y él, debo confesarlo, me intimidaba. —Creo que sos un gran farsante y un hábil manipulador. No puedo demostrarlo, pero estoy convencido de que nos engañás, que nos estuviste espiando para los tuyos, que sos un hipócrita. Todos tus pecados poco importan frente al crimen que cargás sobre tu conciencia, un crimen imprescriptible que debes asumir: sos un judío asesino, un miembro del pueblo deicida que crucificó a nuestro Señor y yo soy tu enemigo, un enemigo altruista que va a permitir que seas por unos instantes un cristiano virtuoso. ¿Qué ordenó Jesús en el Sermón de la Montaña? “Al que te hiriere en una mejilla, ofrécele también la otra”. Siendo judío ahora tenés la oportunidad de comportarte como un buen cristiano. Sin darme tiempo de entender sus palabras recibí una violenta cachetada en la otra mejilla, la que me hizo trastabillar y caer, muy adolorido y con la nariz nuevamente sangrando. Desde el suelo pude observar el rostro de cada uno de los presentes. Hice un gesto de incredulidad y pregunté ¿por qué? sin obtener respuesta. Los dos lacayos me ayudaron a ponerme de pie y me acomodaron en la silla. El Perro seguía frente a mí. Temí que me siguiera golpeando. —Escuchá con atención lo que te voy a decir: si vuelvo a verte alguna vez, sea donde sea, date por muerto. No se trata de una amenaza sino de una sentencia postergada. ¿Entendiste? Una sentencia postergada. Decidí callar. El Perro se encaminó hacia la casona y los demás lo siguieron en silencio, excepto Charles Atlas que me acercó su pañuelo para que me tapara la nariz que continuaba sangrando.

—¿Sabés por qué me quedo con vos?— preguntó y yo comencé a preocuparme.

—No lo sé —respondí angustiado temiendo que mi martirio continuara. —Porque me di cuenta de que sos un tipo honesto. No dudo que te da vergüenza ser judío. Te entiendo, te entiendo muy bien porque a mí me sucedería lo mismo. También yo soy un hombre honesto. La frase me dolió más que la cachetada. ¿Era yo un judío vergonzante? Me quedé en silencio sin responderle. Charles Atlas continuó:

—Escuchá este consejo que te doy porque te aprecio: desaparecé de inmediato y jamás vuelvas a este pueblo. El Perro nunca habla en vano. Otra vez mi cara se había hinchado, tenía la nariz partida y un labio me sangraba.

—Te agradezco el consejo. Lo voy a seguir, pero recordá que me prometieron una copa de vino. Otra vez será.

—Que no haya otra vez, te lo digo por tu bien. Hizo un gesto de despedida con la mano y agregó:

—Te regalo mi pañuelo. Me quedé sentado en la oscuridad y con la mente vacía. Sin poder contenerme me desplomé y comencé a llorar. Estaba solo, dañado por fuera, dolorido por dentro y dominado por un miedo tardío. Podían haberme matado. Cuando logré controlar mi llanto, lentamente me puse de pie. Con gran dificultad empecé a caminar hacia el hotel en medio de la noche cargada de sonidos. Mis temores comenzaron a disiparse. ¿De dónde había sacado fuerzas para aguantar, fingir y callar?

_________________________________________________

From: Rotenberg, Abrasha. La amenaza (Spanish Edition) . Pampia Grupo Editor. Kindle Edition.

“This man always lies, but sometimes he lets the truth slip out. Give him one last chance,” he said, addressing the Dog as if he were his advisor.

“”I’m going to ask you a question and your future depends on your answer,” the Dog warned me. “Remember the farewell to the Eichenbergers and tell me if there was anything else that caught your attention. I know you remember it but you’re afraid to confess it because it could compromise you or because it’s a delicate subject. If you don’t confess it, your life is in danger. If you confess it, we can come to an agreement, and you’ll go in peace.”

“I don’t know what you’re talking about. I don’t remember anything that could compromise me. Everything I know I’ve already told you.”

“There are too many coincidences in your story. You managed to get in touch with the Judge, with Mrs. Edwina Eichenberger, with me and my family, with Rudy and his friends and you were desperate for us to invite you to our house because you wanted to meet my father, the General. In fact, you were pretending to be interested in my sister to hide your real objective, which was not my sister but my father, me, Rudy and our friends. Coincidences? Tell the truth before I tear it out of you. I repeat: what else caught your attention in that farewell?”

“I don’t remember anything else. Do you want me to invent something to satisfy you?” The Dog gestured to Charles Atlas and I felt that I was lost.

“Take him to the river,” he ordered in a tone of voice that denoted indifference. “He will never tell us the truth. If he drowns, the problems will end.”

Suddenly Charles Atlas immobilized me with his powerful claws and with the help of the Weakling he pulled me out of the chair and as if I were a feather he left me motionless and standing, without letting go.

“I don’t know how to swim,” I shouted desperately, addressing the Dog’s ferocious face.

“I don’t believe you. You know how to swim. Now we’re going to find out if you’re a liar or telling the truth.” “What do you want to know? Something about the luggage? Were there many suitcases…?” The Dog didn’t answer me. Charles Atlas and The Weakling began to drag me towards the river, and I continued shouting:

“What are you doing? They’re going to kill me.”

“What am I doing?” I’m serving my country. Killing a Jew is serving my country. You could have saved yourself, but…,” he added indifferently, as if he had decided to crush a cockroach with his foot. Charles Atlas and the Weakling took me to the banks of the river and advanced a few meters into the water. I was scared because I was breathing, but for how long? My chest was starting to hurt and in a few seconds I would have to open my mouth and allow the water to flood over me. It was the end. I had resigned myself to accepting my fate, but, when I was already at the edge of resistance, the henchmen began to pull me to the surface. Confused and dizzy, I began to cough, vomit the water and, with difficulty, breathe. A few seconds later (which seemed endless) I felt like I had come back to life and as nothing mattered to me anymore I shouted with all my strength:

“What do you want from me? I told you everything I know. Stop making up spy stories. I’m sixteen years old…” At that moment, the two Charleses helped me to stand up and walk towards the Dog. They sat me on a chair, soaked and exhausted. I had no strength to speak, and I was overcome by the feeling that nothing mattered to me anymore, not even dying. After a while the Dog came over and with a scowl on his face and restrained violence, he warned me:

“Are you going to tell the truth or next time we’ll leave you underwater forever?” My heart was beating fast, I couldn’t control the fatigue of my body or the freedom of my tongue. I was resigned to accept my fate, to submit to the decision of a group of lunatics who, I have no doubt, were convinced that I was spying on them because I was part of a secret conspiracy.

“I’m going to tell you the whole truth and if you don’t believe me, do with me what you want. I’m not ashamed to confess it: for the first time in my life, I fell in love. It doesn’t matter if it was the wrong person, but I fell in love. Have any of you ever fallen in love? If it happened to you, you know that it’s madness, an illness that conditions you. All day and all night you think about that girl and you would do anything to be near her. I became a liar to be near her, I…” At that moment my voice broke. I tried to hold back the tears that were coming. I made a I made a huge effort not to cry and remained silent while my executioners watched me. I heard King Kong comment:

“This guy is completely crazy.” Then I saw the Dog and his buddies move away a few meters and I had the impression that they were talking about me or maybe arguing. I was so exhausted that I didn’t even care to watch them. After a while it seemed to me that the conclave was over, and I saw that they were heading towards me. It was obvious that they had decided something, but nothing affected me anymore.

“Do you want to drink something?” asked the Dog in a surprisingly friendly tone.

“A glass of water,” I answered.

“You just had a whole river to drink, and you ask me for water? Who understands you?” exclaimed the Dog and burst out laughing. “He’s a delicate boy. He only drinks water in glasses.” The beautiful Dorian Gray added his irony.

“Bring a glass of wine, that will cheer him up,” ordered the Dog and King Kong went to get it. Dorian Gray spoke up:

“We played a practical joke on you because sometimes, without any bad intentions, we lose control. The Dog has a military education, and in the army this type of aggressive humor is quite common. They are not afraid of violence or pain. I beg your pardon. A practical joke…? Nothing more?” The Dog came up to me and I realized that I should have kept quiet. My reproaches annoyed him.

“What do you want to know?”

“I want to know why I was punished.”

“Stand up,” he ordered. Although I felt that I lacked strength, I obeyed silently. We were face to face and he, I must confess, intimidated me. “I think you are a great fraud and a skilled manipulator. I cannot prove it, but I am convinced that you are deceiving us, that you were spying on us for your own people, that you are a hypocrite.” All your sins matter little compared to the crime you carry on your conscience, an imprescriptible crime that you must assume: you are a murderous Jew, a member of the deicide people who crucified our Lord and I am your enemy, an altruistic enemy who will allow you to be a virtuous Christian for a few moments. What did Jesus command in the Sermon on the Mount? “To him who strikes you on one cheek, offer the other also.” Being a Jew, you now have the opportunity to behave like a good Christian. Before I had time to understand his words, I received a violent slap on the other cheek, which made me stumble and fall, very sore and with my nose bleeding again. From the ground I could see the face of each one of those present. I made a gesture of disbelief and asked why? without getting an answer. The two lackeys helped me to stand up and placed me in the chair. The Dog was still in front of me. I feared that he would continue hitting me.

“Listen carefully to what I’m going to tell you: if I ever see you again, wherever it may be, consider yourself dead. This is not a threat but a delayed sentence. Do you understand? A delayed sentence.” I decided to remain silent. The Dog headed towards the mansion and the others followed him in silence, except Charles.

Atlas offered me his handkerchief to cover my nose, which continued to bleed.
“Do you know why I’m staying with you?” he asked and I started to worry.


“I don’t know,” I responded, anguished, fearing that my martyrdom would continue. —Because I realized that you are an honest guy. I have no doubt that you are ashamed to be Jewish. I understand you, I understand you very well because the same thing would happen to me. I am also an honest man. The phrase hurt me more than the slap. Was I a shameful Jew? I remained silent without answering him. Charles Atlas continued: “Listen to this advice that I give you because I appreciate you: disappear immediately and never return to this town. The Dog never speaks in vain.

My face was swollen again, my nose was broken, and my lip was bleeding.
“I thank you for the advice. I’m going to follow it, but remember that they promised me a glass of wine. Another time.”

“Don’t let it happen again, I’m telling you for your own good.” He waved his hand and added:
“I’m giving you my handkerchief.”

I sat in the dark with an empty mind. Unable to contain myself, I collapsed and began to cry. He was alone, damaged on the outside, hurt on the inside and dominated by a belated fear. They could have killed me. When I managed to control my crying, I slowly stood up. With great difficulty I began to walk towards the hotel in the middle of the night full of sounds. My fears began to dissipate. Where had I gotten the strength to endure, pretend and remain silent?

Translated by Stephen A. Sadow

_________________________________________________

_____________________________________________

_________________________________________

Sultana Levy Rosenblatt (1910-2007) Escritora judaica brasileira/Brazilian Jewish Writer-“Como viemos parar na Amazônia”/”How We Ended Up in the Amazon Region”/

Sultana Levy Rosenblatt

_________________________

Sultana Levy Rosenblatt nasceu, em Belém do Pará, no dia 10 de julho de 1910. Filha do renomado político amazonense Eliezer Levy, fundador do sionismo no Pará e do jornal Kol Israel, a escritora vem de uma tradicional família, oriunda de Tanger, no Marrocos. Casou-se com o norte-americano Martin Rosenblatt com quem teve três filhos. Em razão das atividades do marido como meteorologista, a serviço dos Estados Unidos, o casal morou em Honduras e Porto Rico. Com vasta produção literária, Sultana Levy Rosenblatt publicou o seu primeiro romance Uma grande mancha de sol, em 1951, e Chavito Prieto, publicado em 1957, escrito quando morava em Porto Rico, foi o seu segundo romance. Escreveu ainda os romances Barracão (1959), Reviravolta (1978), e As virgens de Ipujucama (1978), a peça A visita a sua alteza: o Sr. Príncipe (1999) e vários contos, crônicas e ensaios críticos. Em Papéis (1999), estão reunidos crônicas e ensaios publicados anteriormente no jornal O liberal. Há, entretanto, contos e crônicas publicadas na revista Morashá, como a crônica “Como viemos parar na Amazônia” (2000). Sultana Levy Rosenblatt faleceu em 2007, na Virgínia, Estados Unidos.

_______________________________

Sultana Levy Rosenblatt was born in Belém do Pará, in 1910, the daughter of the renowned Amazonian politician Eliezer Levy, founder of Zionism in Pará and the newspaper Kol Israel. She comes from a traditional family, originally from Tanger, in Morocco. She married the American Martin Rosenblatt with whom she had three children. Due to her husband’s activities as a meteorologist, working for the United States, the couple lived in Honduras and Puerto Rico. With a vast literary production, Sultana Levy Rosenblatt published her first novel Uma grande mancha de sol, , in 1951, and Chavito Prieto, published in 1957, written while living in Puerto Rico, was her second novel. She also wrote the novels Barracão (1959), Reviravolta (1978), and As virgens de Ipujucama (1978), the play A Visita a Sua Alteza: o Sr. Príncipe (1999) and several short stories, chronicles and critical essays. In Papéis (1999), chronicles and essays previously published in the newspaper O liberal are collected. There are, however, short stories and chronicles published in the magazine Morashá, such as the chronicle “How We Came to Stop in the Amazon” (2000). Sultana Levy Rosenblatt passed away in 2007, in Virginia, United States.

___________________________________

Como viemos parar na Amazônia

Por: Sultana Levy Rosenblatt

Publicado na revista Morasha – Edição 30

Parece incrível que pelo meio do século XIX meu bisavô materno fosse proprietário de canaviais situados na grande Ilha de Marajó, no norte do Brasil.

Parece incrível por vários motivos. Primeiro que tudo, ele era um jovem judeu e os judeus não gozam fama de aventureiros. Atribui-se à extremosa mãe judia o poder de impedir que os filhos se exponham a perigos…

Casamento em Belém do Pará-Noivos: Isaac Benchimol-Orduenha Cohen. Rabino David Benoliel Lendo a Ketubá.

Em segundo lugar, supõe-se que os judeus preferissem estabelecer-se nas cidades, perto de sinagogas, escolas, bibliotecas. Mas esse lugar a que meu bisavô entregou as primícias da sua vida não tinha sinagoga, nem biblioteca, nem sequer livraria. Era uma cidadezinha onde as facilidades, como condições sanitárias e assistência médica, ainda hoje são precárias.

Então, pergunta-se, como se explica que um moço judeu, educado, nascido em Tânger, no Marrocos, apareça feito senhor de escravos no coração de uma ilha amazônica? … que por esse tempo, os rapazes judeus eram encorajados pelos próprios pais a procurar nova vida, fosse onde fosse. Qualquer lugar seria melhor do que a existência em guetos rodeados de mouros inimigos.

O Brasil, a essa altura, era uma espécie de Terra Prometida. Um país com imensas áreas e pouca população, atraindo imigrantes com promessas liberais por uma lei que não levava em conta credo ou nacionalidade, contanto que a raça fosse branca. Assim, os judeus marroquinos, considerados imigrantes brancos, zarparam para a região amazônica esperando lá encontrar o “El Dorado”. Liberdade, acima de tudo liberdade religiosa, e, quem sabe, ouro jorrando do solo. Cedo esse fascinante sonho se desfez quando eles compreenderam que apenas haviam-se mudado do purgatório para o inferno. (A floresta amazônica é poeticamente cognominada “Inferno Verde”).

Mas, esqueçamos a história e voltemos ao meu… devo chamá-lo “meu querido” bisavô? Nunca vi sequer um retrato seu, pois os judeus marroquinos da época não tinham o costume de se fazer fotografar. Apenas posso imaginá-lo parecido com qualquer homem marroquino.

Pelo que ouvi contar, meu bisavô era moreno, esguio, um homem fino, muito querido pelos seus escravos por sua bondade, educação e maneiras polidas, atributos que o tornaram respeitado pela população local. Mas tenho a impressão de que, com o fim de se manter no mesmo nível social dos seus vizinhos, todos ricos fazendeiros, ele se teria mais ou menos ou aparentemente assimilado, pois era conhecido como “José Luiz”. Seu filho mais velho, Samuel, ingressou no exército brasileiro, na Guarda Nacional. Quanto à minha bisavó, com a beleza combinava bem o seu nome, Graça. O casal veio para o Brasil já com três filhos, dois meninos, Samuel e José, e uma menina, Belízia, de apelido Vida.

Os judeus marroquinos costumam dar às suas filhas nomes expressivos em espanhol, como Luna, Reina, Perla e, mesmo no Brasil, não os traduzem. Além do espanhol, esses judeus usavam na intimidade da família, o dialeto chamado haketía. Mas Belízia só falava português. Ela negava haver nascido em Tânger e afiançava ser brasileira. “Mãe Vida”, como os netos a chamavam, era pequenina, cútis cor de canela, vivaz; tinha os gestos, as maneiras, os hábitos e as expressões de um paraense nato. Poderia muito bem passar por uma graciosa nativa. Seus companheiros de infância, filhos de vizinhos fazendeiros, tratavam-na por “Mana Vida”.

Pelos padrões monetários da época, meu bisavô era rico. Senhor de próspera fazenda, chefe de família elegante, um homem realizado, enfim. Súbito tudo ruiu quando adoeceu gravemente, vítima de béri-béri. Sem recursos médicos onde vivia, foi levado para Londres e nunca mais voltou. Morreu em viagem e seu corpo foi atirado ao mar.

Ficou a viúva muito jovem, inexperiente, para arcar com a responsabilidade de dirigir o engenho. Os “jotabs”, corretores de casamentos, movimentaram-se e, mais que depressa, arranjaram-lhe o segundo marido. Esse homem, chamado Nahmias, veio a ser o destruidor dos negócios e da família. Para começar, os escravos, não se sujeitando às suas crueldades, fugiram. Os dois enteados, Samuel e José, cedo deixaram a casa, casaram-se premidos por circunstâncias especiais, e ficaram afastados de parentes e correligionários. Ambos morreram muito jovens. A única coisa que minha bisavó Graça sabia fazer na sua desgraça era chorar. Chorou, chorou, até não ter mais lágrimas. E cegou. Sempre a imaginei como uma dessas antigas bonecas francesas, rosto alvo de porcelana, olhos verdes brilhando, parados.

Em realidade ela não era mais do que uma boneca. Era apenas uma doce, ingênua, submissa mulher. A pequena Belízia não herdara a beleza materna, mas era inteligente, viva, decidida. Seu padrasto era ríspido e continuava a desbaratar em viagens e jogatinas a fortuna da família. A fim de escapar do seu domínio e poder legalmente tomar posse da herança que lhe cabia – tinha apenas 13 anos – ela jurou casar-se com o primeiro homem que lhe pedisse a mão, fosse ele embora um “Zé ninguém”. Mas teve sorte. Em vez de um “Zé ninguém”, apareceu-lhe como num conto de fadas uma espécie de príncipe.

Ele tinha 23 anos, era bonito, face rosada, olhos escuros, alto elegante. Era romântico. Falava vários idiomas e era versado no judaísmo. Além do mais, sabia cantar. O Kol Nidrei soava, na sua voz, com estranha e sentimental melodia. Chamava-se David Benoliel. Veio de Tânger, pertencia a uma geração de grandes rabinos e só devia casar-se com quem tivesse semelhantes raízes. Belízia Levy era a perfeita noiva para ele. David era sobrinho do grande Rabino Shemtob e Belízia descendia do Chacham Haim Pinto. Provavelmente o encontro de ambos foi dos meio dos jotabs, pois ela vivia em Muaná, no Marajó, e ele, na área do Tocantins, para onde veio reunir-se à sua irmã mais velha, Paloma, aí estabelecida com o esposo, Maximiliano Bensimon, e um filho, Abraham.

… neste ponto que se inicia a saga da minha família. David Benoliel, seu cunhado Maximiliano Bensimon e um primo, Abraham Larrat, estavam incluídos entre as dezenas de rapazes vindos de Marrocos, durante a segunda metade do século XIX, para a região amazônica. Aí eles aprenderam nova língua, ajustaram-se a uma vida diferente, aí se enraizaram. Aí tiveram e criaram seus filhos. Como sobreviveram às hostilidades do clima, às dificuldades do ambiente, como puderam manter, preservar, transmitir o mesmo judaísmo trazido do lar paterno aos seus descendentes, só pode ser explicado pelo fato de que eles estavam atados de alma e coração à “Árvore da Vida”, a Torá. Poderiam ter assimilado e esquecido tudo, se assim o desejassem.

A vida ao longo do Rio Amazonas é isolada. Quilômetros e quilômetros de água separam uma casa da outra. No entanto, na intimidade do lar, eles mantinham a religião, com todos os seus requisitos. Antes do pôr-do-sol, às sextas-feiras, tudo parava. Não se podia tocar música (em geral, tocavam pequenos instrumentos como violino, flauta, bandolim), não se podia remar nem nadar, enquanto durasse o sábado sagrado. Casamentos e cerimônias fúnebres eram realizados severamente de acordo com as tradições e rituais, alguns místicos. Quando os livros de leitura religiosa escasseavam, eles os copiavam manuscritos, de modo que nada fosse esquecido ou omitido. Durante os dias sagrados, reuniam-se na cidade mais próxima, numa sinagoga improvisada. Nessa ocasião aproveitavam a oportunidade para circuncidar os meninos nascidos nesse ano. Nem todos, porém, tinham possibilidades para tomar parte nessas reuniões. Desse modo, o menino seria circuncidado com qualquer idade, dependendo do momento oportuno que se apresentasse.

Eu própria, por acaso, testemunhei um emocionante acontecimento em Belém. Estava de compras com uma prima de nome Piedade (o anjo benfeitor da nossa família), quando de repente ela lembrou-se que devia ir à sinagoga para assistir, no salão de recepções, à circuncisão dos sobrinhos de uma sua amiga, vindos do interior do Estado. A família vivia num lugar distante e só então tinham conseguido meios para trazer os meninos a Belém com o fim especial de os circuncidar, tornando-os parte de nosso pacto ancestral, desde Abraham Avinu. Para minha surpresa, tratavam-se de garotos entre 8 e 12 anos de idade. Eram três, e o trio mantinha-se unido em silêncio e pavor. Quando um velho contou o número de homens e anunciou – “Já temos minian, podemos começar” – imediatamente travou-se uma espécie de tourada.

Os meninos corriam, gritando, proferindo palavrões, defendendo com as mãos a parte do corpo que devia ser operada, repetindo: “Não me capem!” – e os homens rindo, correndo atrás deles, cercando-os, até que conseguiram aprisionar os três. De pés amarrados, sem anestesia, em presença de todos, um a um foram circuncidados por perito Mohel. Minha prima Piedade era uma verdadeira Tzadiká. Muito religiosa, descendente de Rabi Eliezer Dabela, de quem herdou poderes sobrenaturais, sua presença era requerida porque tinha o dom de abrandar dores e curar certas lesões. Quanto a mim, escondi-me em outra sala, assustada. Mas não ouvi gritos e em um momento, quando as rezas silenciaram, compreendi que tudo havia acabado. Quando fui convidada para tomar parte na festa, fiquei surpreendida ao encontrar os meninos entre os convidados, comendo e bebendo refrigerantes. Já então eles sorriam. Embora vivendo nas brenhas do Amazonas, eles desejavam aquela operação, desejavam ser parte do Brit Milá. Sentiam-se orgulhosos de ser judeus.

Este orgulho, no entanto, não proveio da liberdade com que os imigrantes sonhavam. Eles tinham que lutar para manter o seu judaísmo. O estigma judeu seguia-os até as profundezas da selva. Meu avô e seus amigos eram comerciantes e suas lojas ficavam às margens dos rios, mas cercadas pela mata. E nesses lugares escondidos eles eram alcançados por pogroms.

Assim acontecia. Esses armazéns forneciam comestíveis, roupas, remédios, utensílios, em troca de borracha, castanha, sementes oleaginosas, artigos que eram trazidos pelos nativos. Durante a estação chuvosa, o negócio declinava para ambas as partes. Os contemporâneos do meu avô David sempre lembravam, entre suas anedotas espirituosas, uma que se relacio-nava a essa situação. No tempo do movimento comercial, ele costumava ir freqüentemente a Belém para fazer transações com exportadores e bancos. Um amigo estranhou vê-lo na capital em pleno inverno e perguntou a que viera. “Vim fugindo da safra do ‘me ceda”. “Safra de que, nesta época?”. “Safra do ‘me ceda’, já disse, “me ceda um alqueire de farinha’, ‘me ceda um rolo de tabaco’, ‘me ceda uma manta de pirarucu”…. A verdade é que ele deixara sua casa não somente para escapar à “safra do me ceda”, mas sobretudo para livrar sua família de algum provável pogrom, ocorrido mais nessa época, e chamado pelo povo de “mata judeu”.

Embora não fossem atacados fisicamente, as crianças e mulheres ficavam em tal estado de pavor que geralmente adoeciam. O pânico começava de manhã bem cedo, quando se suspeitava, pelo mutismo do ambiente, ausência de canoas, silêncio absoluto, que algo terrível estava para acontecer. Então às carreiras, a família escondia seus bens mais valiosos. As mulheres e as crianças trancavam-se no dormitório. O dono do armazém abria o Sidur e se concentrava em orações. Quando o cão ladrava anunciando aproximação de estranhos, o homem preparava-se para o confronto. O pogrom, isto é, homens exaltados, invadiam o estabelecimento e procediam à pilhagem. O judeu fingia estar lendo e não se aperceber do que acontecia. Tão pronto os assaltantes se retiravam, a família reunia-se dando “graças a D’s por tudo”, que o mais importante era a vida, e procurava-se esquecer o incidente.

Quando os amigos encontravam-se novamente, discutiam o ocorrido, já em gargalhadas. Cada qual exagerava o montante de sua perda e se jactava do modo como reagira, levando a ridículo uns aos outros. Outras anedotas surgiam dessa fonte nova. Uma das mais conhecidas era sobre um tal Issacar que teria decidido amedrontar os intrusos, recebendo-os de rifle em punho. Quando os ladrões chegaram ele os fez recuar, gritando-lhes – “Aquele que der um passo a frente é homem morto”. Os homens se acovardaram e já iam retirando-se, quando Issacar, explodindo de raiva, falou para si mesmo, mas em tom bastante alto: “Ah, mamzerim! … pena não ter uma bala, senão acabava com todos vocês!”. … de se imaginar o que aconteceu depois dessa confissão…

Pois bem. Apesar de todas as adversidades, estes jovens judeus decidiram ganhar a batalha contra a natureza e contra os homens. Permaneceram no mesmo lugar, trabucando no mesmo negócio durante anos, até haver poupado bastante dinheiro para se mudar para a capital, poder educar seus filhos e abrir caminho para gerações mais afortunadas. Na primeira década do século XX muitos deles já se encontravam em situação econômica folgada e pertenciam à alta camada da sociedade de Belém. Ituquara, Marariá, Cariri e outros “furos” cujos nomes nem aparecem no mapa do Pará eram só lembranças dos tempos idos.

Meus avós paternos, Moysés Levy e Hália Dabela Levy, vieram respectivamente de Rabat e Casablanca. Eram imigrantes também – não de origem espanhola e, por isso, falavam harbía. Eram muito respeitados pelos outros judeus porque minha avó Hália era nobre. Do ponto de vista dos judeus marroquinos, a nobreza é baseada no número ou magnitude de rabinos entre os ancestrais. Minha avó, Hália Dabela, era descendente de Rebi Eliezer Dabela, um rabino a quem se atribuíam milagres. Um deles foi fazer parar uma enchente, marcando com o seu bastão até onde as águas deviam chegar. Usava sempre esse bastão, que se encontra entre seus descendentes em Casablanca, e um colar de âmbar que minha avó Hália herdou e é conservado na nossa família. Esse colar era pendurado na cama dos enfermos e das parturientes pelos seus efeitos milagrosos.

Eu não estaria aqui, agora, se não fosse pela decisão de minha avó, Belízia, de casar, aos 13 anos, com David Benoliel. Foi uma união feliz que ultrapassou as bodas de ouro e da qual houve vários filhos, inclusive Esther, minha mãe. Em sua juventude, Esther era considerada uma das mais belas moças de Belém. Tinha 18 anos quando se casou com Eliezer, único filho de Moysés e Hália Levy, o mais atraente e desejado solteirão (aos 24 anos!) da cidade de Belém. Casaram-se na cidade de Cametá, a 21 de março de 1900.

_______________________________________

Judeus de Amazonas/Jews of the Amazon Region

________________________________________

Sultana Levy Rosenblatt

Published in

Morasha magazine – Issue 30

It seems incredible that in the middle of the 19th century my maternal cousin became the owner of sugarcane fields located on the great island of Marajó, in the north of Brazil .

It seems incredible for several reasons. In the first place, he was a young Jew, and the Jews did not enjoy a reputation as adventurers. Extreme Jewish power was attributed to preventing children from being exposed to danger…

Marriage in Belém do Pará-Engaged: Isaac Benchimol-Orduenha Cohen. Rabbi David Benoliel Reading the Ketubah.

Secondly, it is assumed that Jews prefer to establish themselves in cities, including synagogues, schools and libraries. But that place where I discovered the first things of my life didn’t have the synagogue, the library, the books. It was a city where the facilities, sanitary conditions and medical assistance, were still deficient.

Then, the questions asked, how do you explain that a very Jewish man, educated, born in Tangier, not in Morocco, appears as a master of slaves in the heart of an Amazonian island?… that for that time, the rapacious Jews were encouraged for his own country to seek a new life, wherever it was. Any place would be better than living in ghettos surrounded by hostile neighborhoods.

Brazil, at that moment, was a kind of Promised Land. A country with enormous extensions and low population, which attracted immigrants with liberal promises by a law that did not apply to creeds or nationalities, whenever the race was white. So, the Moroccan Jews, considered white immigrants, set sail for the Amazon region with the hope of finding “El Dorado”. Freedom, above all religious freedom, and, you know, we are playing solo. I renounce this fascinating sueño that happens years ago when you realize that you have just passed from purgatory to hell. (The Amazon jungle is poetically known as “Infierno Verde”).

But, let’s summarize the story and get back to me… Should I call him “my dear” great-grandfather? I never saw a portrait of myself, because Moroccan Jews from the Tenian era had nothing to do with being photographed. I can only imagine what any Moroccan man looks like.

From what I have decided, my friend was dark, he is a good man, very dear to his slaves for his kindness, education and polished ways, attributes that are highly respected by the local population. But it struck me that, because he maintained the same social level as his neighbors, all rich farmers, he was at least apparently assimilated, because he was known as “José Luiz”. His young mayor, Samuel, joined the Brazilian Army, the National Guard. How much did you know, how beautifully it matched your name, Gracias. The last home for Brazil has three sons, two sons, Samuel and José, and a girl, Belízia, with the surname Vida.

Moroccan Jews are accustomed to giving their films expressive names in Spanish, such as Luna, Reina, Perla and, even in Brazil, they are not translated. In addition to Spanish, these Jews used the dialect called haketía within the family. But Belízia spoke Portuguese. She denied being born in Tangier and claimed to be Brazilian. “Mother Life”, as we called her, was small, with cinnamon skin, vivacious; It has the gestures, the modalities, the habits and the expressions of a native from Pará. It could well pass for a graceful native. Your childhood friends, your family friends, say “Mana Vida”.

With the monetary standards of the time, he was rich. Señor of a prosperous hacienda, chief of an elegant family, an accomplished man, in short. There was a sudden tumult when he was seriously suffering from beri-beri. Without medical resources where we lived, he was taken to London and never returned. He died while traveling and his body was thrown to the sea.

She was very young, without experience, to have the responsibility of running the mill. The “jotabs”, los casamenteros, moved and, as quickly as possible, took away her second husband. This man, called Nahmias, found himself destroying his business and his family. To undertake, we are not slaves, we are not subject to their cruelties, we are. If you inform them, Samuel and José, the bosses left the house, their families were rewarded by special circumstances, and they were deprived of parents and supporters. Both were very young. The only thing that Graça supposed to do in her misfortune was to cry. Sg\he cried, she cried, until there are no more tears. and she went blind. I always imagined myself as one with those bright French hues, a face made of white porcelain, bright green eyes, motionless.

In reality, she was nothing more than a doll. She was only a few years old, she was a naive and distant woman. Little Belízia did not inherit maternal beauty, but she was intelligent, vivacious, determined. His stepfather was severe and continued to disturb the family’s trips and fun times. To escape your domains and podThe immigrants dreamed. They had to fight to maintain their Judaism. The Jewish stigma followed them deep into the jungle. My grandfather and his friends were merchants and their shops were located on the banks of rivers, but surrounded by forest. And in these hidden places they were caught by pogroms.

That’s what happened. These stores provided food, clothes, medicines, utensils, in exchange for rubber, nuts, oilseeds, and articles that were brought by the natives. During the rainy season, business declined for both parties. My grandfather David’s contemporaries always recalled, among their witty anecdotes, one that related to this situation. During the time of the commercial movement, he used to go to Belém frequently to do business with exporters and banks. A friend found it strange to see him in the capital in the middle of winter and asked why he had come. “I came to escape the ‘me cededa’ harvest.” “What harvest, at this time?” “The harvest of ‘give me’, I’ve already said, ‘give me a bushel of flour’, ‘give me a roll of tobacco’, ‘give me a blanket of pirarucu’…. The truth is that he had left his home not only to escape the “harvest of ‘give me’”, but above all to save his family from some probable pogrom, which occurred more at that time, and which the people called the “Jewish slaughter”.

Although they were not physically attacked, the children and women were in such a state of terror that they often fell ill. The panic began very early in the morning, when it was suspected, by the silence of the environment, the absence of canoes, the absolute silence, that something terrible was about to happen. Then, in a hurry, the family hid their most valuable possessions. The women and children locked themselves in the bedroom. The owner of the store opened the Sidur and concentrated on prayers. When the dog barked announcing the approach of strangers, the man prepared for the confrontation. The pogrom, that is, excited men, invaded the establishment and proceeded to loot. The Jew pretended to be reading and not to notice what was happening. As soon as the robbers left, the family gathered together, giving “thanks to God for everything”, that the most important thing was life, and tried to forget the incident.

When the friends met again, they discussed what had happened, already laughing. Each exaggerated the amount of their loss and boasted about how they had reacted, making each other look ridiculous. Other anecdotes emerged from this new source. One of the best known was about a certain Issachar who decided to frighten the intruders by receiving them with a rifle in hand. When the robbers arrived, he made them retreat, shouting at them – “Whoever takes one step forward is a dead man”. The men became cowardly and were about to leave when Issachar, bursting with rage, said to himself, but in a very loud voice: “Oh, mamzerim! … too bad I don’t have a bullet, otherwise I would finish you all off!” … one can only imagine what happened after this confession…

Well then. Despite all the adversities, these young Jews decided to win the battle against nature and against men. They remained in the same place, working in the same business for years, until they had saved enough money to move to the capital, to be able to educate their children and pave the way for more fortunate generations. In the first decade of the 20th century, many of them were already in a comfortable economic situation and belonged to the upper class of Belém society. Ituquara, Marariá, Cariri and other “holes” whose names do not even appear on the map of Pará were just memories of times gone by.

My paternal grandparents, Moysés Levy and Hália Dabela Levy, came from Rabat and Casablanca, respectively. They were also immigrants – not of Spanish origin, and so they spoke Harbía. They were highly respected by other Jews because my grandmother Hália was a noblewoman. From the point of view of Moroccan Jews, nobility is based on the number or magnitude of rabbis among the ancestors. My grandmother, Hália Dabela, was a descendant of Rebi Eliezer Dabela, a rabbi who was credited with performing miracles. One of them was stopping a flood by marking with his staff how far the waters should reach. She always wore this staff, which is found among her descendants in Casablanca, and an amber necklace that my grandmother Hália inherited and is kept in our family. This necklace was hung on the beds of the sick and women in labor because of its miraculous effects.

I wouldn’t be here now if it weren’t for my grandmother Belízia’s decision to marry David Benoliel at the age of 13. It was a happy union that lasted beyond its golden wedding anniversary and produced several children, including Esther, my mother. In her youth, Esther was considered one of the most beautiful girls in Belém. She was 18 when she married Eliezer, the only son of Moysés and Hália Levy, the most attractive and sought-after bachelor (at the age of 24!) in the city of Belém. They were married in the city of Cametá, the 21st of March, 1910.

_____________________________________

Liliana Lukin — Poeta y escritora judío-argentina/Argentine Jewish Poet and Writer — Poemas de desorientación personal/Poems of personal disorientation

Liliana Lukin

_____________________________________

Liliana Lukin nació en Buenos. Aires en 1951 en una familia judía. Publicó los libros de poesía: Abracadabra, 1978); Malasartes, Descomposición, 1986; Cortar por lo Sano, 1987; Carne de Tesoro, 1990; Cartas, 1992; Las preguntas, 1998); retórica erótica , 2002) y Construcción comparativa , 2003 y ortros. Recibió entre otros Secretaría Cultura de la Nación, Fundación Antorchas, 1989 y Beca del Fondo Nacional de las Artes, 1997. Entre 1988 y 1989 fue Asesora Literaria del Centro Cultural Gral. San Martín y organizó el Foro de Literatura Contemporánea y el 1º Foro de Cine Argentino. Desde 1988 hasta 2001 fue Asesora Literaria de la Fundación Noble-Clarín , organizó XIII Encuentros de Escritores R.Noble, y editó los correspondientes “Cuadernos de Narrativa Argentina”. Es Lic. en Letras de la Universidad de Bs.As., docente en la carrera de Crítica de Artes en el IUNA (Instituto Universitario Nacional de Arte) y coordina la Clínica de escritura poética de la Biblioteca Nacional de la Argentina. Si sitio web es http://www.lilianalukin.com.ar

_______________________________

Liliana Lukin was born in Buenos Aires in 1951 into a Jewish family. She published the following books of poetry: Abracadabra, 1978); Malasartes 1986, Decomposición, 1987; Cortar por lo Sano,, 1987); Tesoro de carne, 1990; Cartas, 1992; Las preguntas, 1998); retórica erótica, 2002; and Construcción comparativa, 2003 and others. She received awards, among others, the Secretariat of Culture of the Nation, the Antorchas Foundation, 1989 and a Scholarship from the National Endowment for the Arts, 1997. Between 1988 and 1989 she was Literary Advisor to the General San Martín Cultural Center and organized the Contemporary Literature Forum and the 1st Argentine Film Forum. From 1988 to 2001 she was Literary Advisor of the Noble-Clarín Foundation, organized the XIII R.Noble Writers’ Meetings, and edited the corresponding “Cuadernos de Narrativa Argentina”. She has a degree in Literature from the University of Buenos Aires, teaches in the Arts Criticism course at the IUNA (National University Institute of Art) and coordinates the Poetic Writing Clinic of the National Library of Argentina. Her website is http://www.lilianalukin.com.ar

___________________________________________

Sueño con lobos, los corderos

persiguen mi sueño,

quieren entrar en él

como quien entra atropellando

en la jaula de su miedo.

*

El amor del lobo por la sangre

del cordero escribe

el drama del rebaño:

ser el objeto de un deseo

que sólo se sacia en el sacrificio.

*

El cordero sabe que es la metáfora

de otra cosa, que el lobo es

la metáfora de otra cosa: comienza

con palabras como amor, y termina

con la muerte de alguna pasión colectiva.

*

El pelaje del lobo está hecho para la caricia

que no conocerá, inevitablemente el lobo ama

el amor en el cordero, pero más los brazos que cargan

al cordero, las manos que se deslizan por su lomo,

la paz de ser el perseguido y no el perseguidor.

*

Toda marca al final del pacto, una firma

hecha con los dientes, aleja al mordedor

de la letra, ni el símil entre piel y papel

permitirá engañarse: de lo humano imaginado

en el amor de esa marca no hay más que terror.

De Ensayo Sobre el Poder, 2015

__________________________________________

___________________________________________

I dream of wolves, the lambs

pursue my dream

they want to enter it

like someone who enters abruptly

into a jail of his fear

*

The wolves’ love for the lamb’s

blood writes

the drama of the flock

to be the object of a desire

that is only sated with sacrifice.

*

The lamb knows that it is the metaphor

Of something else, that the wolf is the

metaphor for something else; it starts out

with words like love, and ends

with the death of some collective passion.

 *

The wolf’s fur is made for the caress

that that it will not know, inevitably the wolf loves

the love in the lamb

but more the arms that carry

the lamb, hands that slide along its back,

the peace of being the pursued and not the pursuer.

*

Everything marks the end of the pact, a signature

made with teeth, moves away from the biter

of the letter, not even the simile between paper and paper

will permit it to deceive itself: of the imagined human

in the love of this mark there in only terror.

De Ensayo Sobre el Poder, 2015

**

Pandora huele 

una palabra 

si se guarda mucho tiempo

larga heces 

                   materias hirientes 

                   al ojo y al oído 

 humedades 

                    hace 

sangre por varias de sus partes 

no se pudre 

dada su condición 

de testigo de cargo 

pero apesta

De Descomposición.1980-82,1987

**

Pandora smells 

a word

if it watches out for it for a long time

lets out the dregs

             materials hurtful

             to the eye and the ear

dampness

             it makes

blood through several of its parts

it doesn’t rot

given its condition

as witness of in charge

but it smells bad

De Descomposición.1980-82,1987

perder la orientación: eso hace 

mi hermano como en medio del 

mar, sin referencias fijas, 

rodeado del relente de su 

desolación, de la falta de 

asociaciones llamadas correctas, 

de algunas imágenes que evocan 

años, rituales, pedazos, 

pierde el sentido y anda sin rumbo, 

por un pasaje estrecho, húmedo y seguro

*

to lose orientation, that my brother

does in the middle of the

sea, without fixed references,

surrounded by the relentlessness of his

desolation, by the lack of

associations called correct,

of some images that evoke

years, rituals, pieces,

he loses sense and moves without direction,

through a narrow, damp and sure passageway

*

mamá trabaja para un naufragio 

seco: prepara sus actos previendo agua 

como en un ejercicio: insiste en ignorar 

que algo se rompió, que la ola 

no existe pero estamos bajo su sonido 

y su furia, rema, acumula baldes 

que antes tuvieron plantas, para ‘achicar’ 

el desborde, mantiene el ancla

*

mama works for a dry

ship wreak; prepares her actions anticipating water

as an exercise, she insists on ignoring

that something broke, that the wave

doesn’t exist, but rather we are under his sound

and fury, she accumulates pots

that before held plants to ‘bail out’

the overflow, to maintain the anchor

*

papá va de la popa a la proa 

como en un barco a la deriva, grita 

¡a babor!, ¡a estribor!, como si supiera 

algo de navegar, de tormentas 

en el centro del remolino, 

de lo que no se puede saber 

hasta que confunde, quema, moja: papá es un viejo 

capitán que mamá sostiene soga en mano

*

papa goes from the stern to the prow,

as if in a boat adrift, he shouts

to the ‘port side’ ‘to the starboard’, as if he knew

something of the navigation of storms

in the center of the whirlpool,

of what one can’t know

until it confounds, burns, wets; papa is an old man

captain that mama sustains, rope in hand

**

carta II

mi querida: me dije algún poema tiene que haber

porque hay tanto ruido en el país to

y en estos días las metáforas se cumplen

ya casi no hablamos más 

que de nosotras: metonimias de un paisaje de guerra

o pequeños predios donde cultivar imágenes de sí

querida: se disuelve mi dogma a medida que amo

y aunque mi dogma sea de una especie razonable

padezco los efectos de esta fatal transformación:

no sé nada ya de aquello que era

pero no olvido tampoco cómo era aquello ser

una foto de otra época me muestra como a una muchacha

a la que he conocido: mi nostalgia de ella es infinita 

aunque me diga que todo está muy bien y 

aunque sea cierto que todo está (muy bien) ahora

algún poema tiene que haber me dije: en lugar

de una certeza siempre hay un poema

y en lugar de un poema siempre estoy

escribiendo cartas  como un náufrago al revés:

no corro peligro más que de mí y el mundo

es una isla en la que sólo puedo sumergirme

mi querida en estos días

en que la filosofía es un murmullo de la edad

sos el ruido de un país en predios secos

donde un poema sería agua de beber.

De Cartas, 1992.

“Letter”

Mi querida: You told me about some poem that must exist

because there is so much noise in the country

and these days metaphors come to be

We hardly speak any more

about how we, metonymies of a battlefield

or small properties in which to cultivate images of your approval

dear: my dogma dissolves as I love

and although my dogma be of a reasonable sort

I suffer the effects of this fatal transformation.

I don’t yet know anything about what it was

but neither do I forget how that being was

a photo of another time shows me how a girl

that I have known, my nostalgia about her is infinite

even if I tell myself that everything is alright and

even if it be certain that everything is (very well) now

some poem must have, I told myself: instead of

a of certainty there is also a poem

and in place of a poem, I am always here

writing letters like a backwards ship wreak:

I’m not in danger of more than myself and the whole world

is an island in which I can only immerse myself

my dearest during these days

in which philosophy is a murmur of the age

you are the noise of a country of dry lands

where a poem would be water to drink.

De Cartas,  1992

*

He descubierto una rama de odio 

en la magnolia del parquecito: 

no es de nadie el árbol, el paseo, 

el descubrimiento.

De quién es el odio?

Ama la magnolia su brote,

su rama que estalla a punto 

de floración bella y blanca?

Qué estupor ver esa especie

creciendo, su inocencia

aparente en la forma de

encarnar, 

qué deseo de un

alerta a los sentados, los solos,

los amantes de la sombra, 

decir: cuidado allí, cuidado así

yo misma asustada

todavía, conjeturando sobre

modos sorpresivos de proliferación

de un sentimiento

en el reflejo del cristal que el hielo deja

en el tapiz, el musgo en la terraza, 

dentro del poso de la taza de café, 

hay un odio que crece para alguien

en el cuajo de leche y en la cepa

del vino y en el hilo de coser

puede haber odio.

Camino hacia la zona de luz,

salgo del bosque casi artificial,

de utilería, los bancos en la grava, 

llevo la rama 

pesada, todo lo que miro 

se enturbia en el agobio

del recuerdo de un árbol.

Mala semilla durmiendo 

entre nosotros, para siempre burlados 

en la idea de un Jardín.

*

I have found a branch of hatred in

the magnolia of the little park:

the tree doesn’t belong to anyone, the promenade (short walk)

the discovery

Whose is the hatred?

Does the magnolia love its bloom

its branch that bursts out fully formed

with flowering beautiful and white?

What amazement to see this species

growing, its innocence

apparent in the form of its

embodiment,

that desires of an

alert to the senses

still. Conjecturing about

surprising methods of proliferation

of a feeling

in a reflection of crystal that the ice leaves

in the tapestry; the moss on the terrace,

in the grounds of a cup of coffee,

there is a hatred for someone that grows

in the curdling of milk and in the vintage

of the wine and in the sewing thread

there can be hatred

I walk toward the zone of light,

I leave the almost artificial woods,

of the tools, the banks of gravel

I carry the heavy

branch, everything I look at

becomes strained by the burden

of the memory of a tree.

Bad seed sleeping among us

undetected forever

in the idea of a Garden

Translations by Stephen A. Sadow

___________________________________

_____________________________________________

Gerardo Goldwasser — Artista judío-uruguayo/Uruguayan Jewish Artist — “La sastrería, la violencia y el arte”/”Tailoring, Violence and Art”

Gerardo Goldwasser

___________________________________________________

Gerardo Goldwasser nace en Montevideo, Uruguay, en 1961. Artista, docente y diseñador gráfico, vive y trabaja en Montevideo. La sastrería, la violencia y el arte contemporáneo se conjugan en su trabajo. Realizó bachillerato de arquitectura, entre 1984 y 1988 estudió artes plásticas en el CEA Centro de Expresión Artística, dirigido por Nelson Ramos. En 1986 realiza un curso de grabado en metal con David Finkbeiner (Profesor del Manhattan graphics of New York, Pratt Institute of New York) en el Museo Nacional de Artes Visuales, Montevideo, Uruguay. En 1987 participó en el curso de elaboración de papel con Laurence Baker (director del Barcelona Helkshop en España) en el Museo Nacional de Artes Visuales, Montevideo, Uruguay. Desde 1985 ha participado en numerosas exhibiciones nacionales e internacionales, entre las que se destacan: En 2011 “Blanco Móvil” en el Centro Cultural Dodecá, en 2010 en el Museo Departamental Juan Manuel Blanes “Repeat me”, en 2008 Galería Dabbah Torrejón, Buenos Aires; ARTbo. En el 2001 recibió la Beca Fundación Pollock Krasner. En el 2004 recibe el Primer Premio en el 51º Salón Nacional de Artes Visuales, Ministerio de Educación y Cultura, Uruguay. En el 2002 Primer Premio 50º Salón Nacional de Artes Visuales, Ministerio de Educación y Cultura, Uruguay. En el 2000 recibe el Segundo Premio de grabado, en la II Bienal de grabado del Mercosur, Feria arte BA 2000, Fondo Nacional de las Artes, Buenos Aires, Argentina. En 1999 Premio adquisición Salón Municipal de Artes Plásticas, Montevideo. En 1996 Primer Premio, Paul Cezzane, Embajada de Francia-Montevideo Beca/residencia París, Nantes. Proyecto FRAC. Fondo Regional de Arte Contemporáneo, Nantes, Francia.

_____________________________________________________________

Gerardo Goldwasser was born in Montevideo, Uruguay, in 1961. Artist, teacher and graphic designer, he lives and works in Montevideo. Tailoring, violence and contemporary art come together in his work. He completed a bachelor’s degree in architecture, and between 1984 and 1988 he studied fine arts at the CEA Centro de Expresión Artística, directed by Nelson Ramos. In 1986 he took a metal engraving course with David Finkbeiner (Professor at Manhattan Graphics of New York, Pratt Institute of New York) at the Museo Nacional de Artes Visuales, Montevideo, Uruguay. In 1987 he participated in a papermaking course with Laurence Baker (director of the Barcelona Helkshop in Spain) at the Museo Nacional de Artes Visuales, Montevideo, Uruguay. Since 1985 he has participated in numerous national and international exhibitions, among which the following stand out: In 2011 “Blanco Móvil” at the Dodecá Cultural Center; in 2010 at the Juan Manuel Blanes Departmental Museum “Repeat me”, in 2008 Dabbah Torrejón Gallery, Buenos Aires; ARTbo. In 2001 he received the Pollock Krasner Foundation Scholarship. In 2004 he received First Prize at the 51st National Salon of Visual Arts, Ministry of Education and Culture, Uruguay. In 2002 First Prize 50th National Salon of Visual Arts, Ministry of Education and Culture, Uruguay. In 2000 he received Second Prize for engraving, at the II Mercosur Engraving Biennial, Feria arte BA 2000, National Fund for the Arts, Buenos Aires, Argentina. In 1999 Acquisition Award Municipal Salon of Plastic Arts, Montevideo. In 1996, First Prize, Paul Cezzane, French Embassy-Montevideo. Scholarship/residency Paris, Nantes. FRAC Project. Regional Fund for Contemporary Art, Nantes, France.

_______________________________________________

Abajo: Detalle, siluetas de moldes de uniformes superpuestas e impresas digitalmente en transparencias, intercaladas entre papeles de molde plegados.Museo Blanes, 2010.

__________________________________

Below: Detail, silhouettes of uniform molds superimposed and digitally printed on transparencies, interspersed between folded mold papers. Blanes Museum, 2010.

Otras formas de arte/Other forms of art

____________________________________________

Arquitectura/Architecture

MACA Museo — Montevideo

MACA Museo — Montevideo

_____________________________________________________________