Yishai Jusidman es un pintor contemporáneo y crítico de arte ocasional. Nació en la Ciudad de México, reside en Los Ángeles y pronto emigrará al moshav Tal Shachar. Su obra se ha exhibido en prestigiosas exposiciones internacionales en todo el mundo. Una serie reciente, “Azul de Prusia”, aborda los desafíos estéticos de la conmemoración del Holocausto a través del arte y se exhibe en el Museo Memorial de Auschwitz-Birkenau hasta octubre de 2026. Sus escritos se han publicado en Artforum, Art Issues, Los Angeles Times, Cleveland Review of Books y más.
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Yishai Jusidman is a contemporary painter and occasional art critic, born in Mexico City, based in Los Angeles and soon migrating to moshav Tal Shachar. His artwork has been shown worldwide in prestigious international exhibitions. A recent series, “Prussian Blue”, deals with the aesthetic challenges of Holocaust remembrance through art, and it is on view at the Auschwitz-Birkenau Memorial Museum through October 2026. His writing has been published in Artforum, Art Issues, Los Angeles Times, Cleveland Review of Books, and more.
En mi serie Azul de Prusia, abordo el Holocausto en la pintura buscando generar la impresión pictórica de un silencio tan solemne y directo como elocuente, ofreciendo así una alternativa a las restricciones fatalistas que han frenado la producción de obras que abordan este tema.
Pintura azul de Prusia: El producto Zyklon B, utilizado como agente letal entre 1940 y 1945, solía producir manchas azules en las paredes de las cámaras de gas debido a una reacción química con el ladrillo y el mortero. Dichas manchas aún son muy visibles en las estructuras de Majdanek. El compuesto de cianuro y hierro de estas manchas es químicamente idéntico al pigmento del pintor, conocido como Azul de Prusia. — Yisgai Jusidman
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In my Prussian Blue series, I address the Holocaust in painting by seeking to generate the pictorial impression of a silence as solemn and forthright as it is eloquent, thus furnishing an alternative to the fatalistic strictures that have stifled the production of works dealing with this subject.
Prussian blue paint: The Zyklon B product that was used as a killing agent from 1940 through 1945 often produced blue stains on the walls of the gas chambers by way of a chemical reaction with the brick and mortar. Such stains are still very much apparent in the structures at Majdanek. The cyanide-iron compound of these stains is chemically identical to the painter’s pigment known as Prussian Blue.
Mutatis Mutandi
He manipulado elementos basados en objetos y tecnología para llamar la atención sobre el efecto pictórico, colocando lo táctil contra lo óptico, lo literal contra lo metafórico, los fenómenos contra el discurso. – Yisgai Jusidman
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I have manipulated object-based and technology-based elements so as to call attention to the painterly effect, by placing the tactile against the optical, the literal against the metaphorical, phenomena against discourse. — Yisgai Jusidman
Eduardo Mosches es mexicano de origen argentino. Nació en Buenos aires en 1944. Vivió en Israel de 1963 a 1970. Tomó un avión en 1970 hacia Berlín, donde estudió Ciencias Sociales en la Universidad Libre en, Alemania y se dirigió hacia Argentina en 1974. Después en 1976, se fue rumbo a México, donde entabló varios retos, entre otros el de estudiar Cinematografía en la UNAM. Reside en México desde ese año. Fue coordinador editorial en la Universidad Autónoma de la Ciudad de México(2002-2012). Fundador y director de la revista literaria Blanco Móvil, desde 1985. Ha publicado los poemarios Los lentes y Marx, Los tiempos mezquinos, Cuando las pieles riman, Viaje a través de los etcéteras, Como el mar que nos habita, Molinos de Fuego, Susurros de la memoria,Avatares de la memoria (antología poética 1979-2006) , El ojo histórico (2014), Los enemigos del silencio ( 2014) y el libro de prosa Caminos sin ruta. Ha colaborado en periódicos y revistas en México, Argentina, Alemania, Brasil, España, Estados Unidos, Israel, Italia, Chile, entre otros. Ha recibido varios premios nacionales como poeta y editor de revistas literarias. Ha sido traducido al alemán, italiano, portugués, hebreo e inglés.
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Eduardo Mosches is a Mexican of Argentine origin. He was born in Buenos Aires in 1944. He lived in Israel from 1963 to 1970. In 1970, he went to Berlin, where he studied Social Sciences at the Free University of Berlin, Germany, and then returned to Argentina in 1974. In 1976, he went to Mexico, where he undertook several challenges, including studying Cinematography at the National Autonomous University of Mexico (UNAM). He has resided in Mexico since that year. He was the editorial coordinator at the Autonomous University of Mexico City (2002-2012). Founder and editor of the literary magazine Blanco Móvil since 1985. He has published the poetry collectionsLos lentes y Marx, Los tiempos mezquinos, Cuando las pieles riman, Viaje a través de los etcéteras, Como el mar que nos habita, Molinos de Fuego, Susurros de la memoria, Avatares de la memoria (poetic anthology 1979-2006), El ojo histórico (2014), Los enemigos del silencio (2014), and the prose work Caminos sin ruta. He has contributed to newspapers and magazines in Mexico, Argentina, Germany, Brazil, Spain, the United States, Israel, Italy, Chile, and other countries. He has received several national awards as a poet and editor of literary magazines. His work has been translated into German, Italian, Portuguese, Hebrew, and English.
Las gotas de lluvia golpeaban en un ritmo pausado de somnolencia, las veladuras de grises ingresaban a través del cristal, enfriaban las tazas de un café por beberse a sorbos lentos mientras la mano tatuada por venas infladas, ríos congelados por la pesada edad, desnudas de líquido, descansan un momento tomadas entre sí, como trapecios en el descanso. El río de las venas se oculta mientras los árboles crecen al ritmo que los pantalones se achican. Nubes de conversaciones se inclinan como ramas cargadas de frutos carnosos, envueltos en la piel de recuerdos. Los caballos se lanzan veloces a galopar en el patio empedrado, giran como en un carrusel con que se arma el pentagrama de los sucesos infantiles, donde la figura del abuelo, alta y ceremoniosa, juez de la vida y las hazañas, se va dibujando en trazos finos deslavados, para ir llegando a toparse con la mítica imagen de espalda tan amplia como una meseta, la que sostiene la caída ominosa de terrosas bolsas de granos. La voz lenta, animosa, nos dice de cómo salva la vida del hermano, en su niñez de rodillas raspadas y uñas mordidas, el cual años más tarde, muere en un salto desde un techo sin violín alguno. Narrando está mi padre, mientras el café en la taza va adquiriendo una tonalidad muy negruzca, azulada, como la noche que avanza sobre el crepúsculo de un día de invierno, en alguna ciudad puerto.
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Clouds and Veins
The raindrops pattered with a languid, sleepy rhythm, veils of gray seeped through the glass, chilling the cups of coffee sipped slowly while the hand, tattooed with swollen veins, rivers frozen by the weight of age, bare of liquid, rested for a moment, clasped together, like trapezes at rest. The river of veins hides as the trees grow at the same pace as the trousers shrink. Clouds of conversation bend like branches laden with fleshy fruit, wrapped in the skin of memories.
The horses burst into a gallop across the cobbled courtyard, circling like a carousel, forming the musical staff of childhood memories. There, the figure of the grandfather, tall and ceremonious, judge of life and deeds, is sketched in fine, faded strokes, eventually colliding with the mythical image, his back as broad as a plateau, supporting the ominous fall of earthen sacks of grain. His slow, spirited voice tell he saved his brother’s life in his childhood, knees scraped and his nails bitten, a brother who, years later, died jumping from a roof, without a violin in sight.
My father is narrating, while the coffee in the cup takes on a very dark, bluish hue, like the night advancing over the twilight of a winter’s day in some port city.
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Susurros de la memoria (fragmento)
VII
Momento de gateo refugio del pavor el eco de los gritos o la oscuridad las horas y el angustiado temor del hambre calor cobijador de ciertas patas caninas Aroma de recuerdo bosque de abedules perfumadas tardes acompañadas de pardos eucaliptos mientras el frío se omitía crecían en el vaho nubes de vapores otoñales la lluvia se deslizaba en su sonido parco sueño logrado por el vientre protector que compartió su refugio con ese niño que era yo
Ven perro, perro, sin un ladrido, desolación
El recuerdo es acción del cuento oral algunas horas barridas en la angustia de los otros mientras soñaba con suma placidez tranquilidad del reposo sobre el perro almohada de pelos cálidos oscuridad y tibieza Es posible que cierto lejano familiar mordiese muslos que bajaban de los trenes en Treblinka o Auschwitz rasgase pantalones junto con los músculos en algún lugar cercado por el miedo: Altamirano Trelew o Kosovo
Todo esto fue antes que creciera la sombra de un bigote y enfrentase otros dientes amenazantes en alguna manifestación en contra o a favor.
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Whispers of Memory (fragment)
VII
Moment of crawling
refuge from terror
the echo of screams or the darkness
the hours and the anguished fear of hunger
the comforting warmth of certain canine paws
Scent of memory, birch forest
perfumed afternoons accompanied by brown eucalyptus trees
while the cold was omitted
clouds of autumnal vapors grew in the mist
the rain slid in its sparse sound
sleep achieved by the protective womb
that shared its refuge
with that child who was me
Come, dog, dog, without a bark, desolation
Memory is the action of oral storytelling
some hours swept away in the anguish of others
while I dreamed with utmost placidity
the tranquility of repose
on the dog, a pillow of warm fur
darkness and warmth
It is possible that a certain distant relative
bite thighs that came down from the trains
in Treblinka or Auschwitz
ripping trousers along with the muscles
somewhere surrounded by fear:
Altamirano, Trelew, or Kosovo
All this was before
the shadow of a mustache grew
and faced other threatening teeth
in some demonstration for or against.
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Los tiempos mezquinos (fragmento)
V
Los olivos murmuran sobre las zanjas que fueron casas o en los trozos de loza que alguna vez cobijaron redondos panes árabes que sonreían blanco a los dientes. Un trago lento y leve de agua fresca lavado el paladar de ese café pastoso un corto ademán de entretejerse dedos en el mismo momento en que la explosión hacía hondo el instante del silencio.
Las bocas de todos los asesinados fragmentan a la historia en un gemido largo.
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The Mean Times (excerpt)
V
The olive trees murmur
over the ditches that were once houses
or on the pieces of pottery
that once
sheltered round
Arabian loaves that smiled white
at the teeth.
A slow, light sip
of fresh water washes the palate
of that thick coffee, a brief gesture
of interlacing fingers
at the very moment
when the explosion
deepened
the instant of silence.
The mouths of all the murdered
fragment history
in a long moan.
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Dejando atrás
La ciudad se cubre los ojos respira agitada entre el temor y la angustia.
Las nubes se llenan de pájaros oscuros revolotean sobre los cadáveres que van a existir.
La letanía de los mensajes penetra por las uñas, se deslizan a través de las venas, surcan el cuerpo afiebrando al miedo.
Huir de los otros cuerpos, no acariciarse, los ojos esquivos, mirar ese otro cuerpo los otros cuerpos, las manos y sus pies con las náuseas del posible sufrimiento.
Las lajas de los cementerios cubren con pesadez el espíritu de los vecinos. Las bocas respiran a través del tejido no hablar no comer no besarse.
Los caballos atraviesan el horizonte a trote cansino, pisan pesadamente en las osamentas de los deseos, el cerrojo de las prohibiciones abre su boca ávida, hundir los dientes revolotean los vampiros las alas se llenan de tabúes, mientras las sotanas marchan y marchan al sonido de los tambores del pasado.
La ciudad y su gente se revuelve arrullada por las hojas de los árboles afiebrados, una nube abre su ojo y la lluvia humedece los hombros las cabelleras los huesos los tejidos, toda flota sobre ese río de las nubes.
El sol entibia los cuerpos, el mío y el de ella y jugamos al no me importa mientras las pieles se sonríen, se rebelan pintando nuevas pecas gozosas, componen la música de los susurros y quejidos dejan atrás las letanías de las prohibiciones.
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Leaving Behind
The city covers its eyes,
breathes raggedly between fear and anguish.
The clouds fill with dark birds,
fluttering above the corpses that are yet to come.
The litany of messages seeps through the fingernails,
slides through the veins,
rides the body, feverish with fear.
Fleeing from other bodies,
not touching each other,
eyes averted,
looking at that other body, those other bodies,
hands and feet,
with the nausea of possible suffering.
The flagstones of the cemeteries
heavily cover
the spirits of the neighbors.
Mouths breathe through the fabric,
not speaking, not eating, not kissing.
Horses cross the horizon at a weary trot,
their feet crunch heavily on the bones of desires,
the bolt of prohibitions opens its eager mouth,
vampires flutter, sinking their teeth,
their wings fill with taboos,
while the cassocks march on and on
to the beat of the drums of the past.
The city and its people stir,
lulled by the leaves of feverish trees,
a cloud opens its eye and the rain dampens
shoulders, hair, bones, fabrics,
everything floats on that river of clouds.
The sun warms our bodies,
mine and hers,
and we play at not caring,
while our skin smiles,
rebels, painting new, joyful freckles,
composing the music of whispers and moans,
leaving behind the litanies of prohibitions
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Dolor y tiempo
El dedo pulgar de esa mano izquierda refrenda el dolor de una cantidad ampliada de días
La pinza de esos dedos ha aprisionado no pocas veces frutos coloridos y jugosos alguna carta que ha llegado del pasado en esa larga travesía de los mares amorosos para crear la cueva cálida de mano con mano y atravesar la corriente fría de las despedidas Una vuelta en el cerrojo de la propia puerta
El atardecer se carga en el vaho aceitoso de los automóviles circulando en las calles de esta ciudad que anuda en su misterio diario a muchos otros pulgares
Mario Diament es escritor, periodista y profesor universitario,. Nació en Buenos Aires, ha vivido en Israel y en varias partes de Estados Unidos. Trabajó como corresponsal en Europa, Medio Oriente y EEUU. Fue director del diario La Opinión y de la revista Expreso. Es miembro correspondiente de la Academia Nacional de Periodismo de Argentina. En 2014 recibió el Premio Konex, que lo ubicó entre los 10 dramaturgos más relevantes de la década. Ha recibido numerosos reconocimientos por sus obras de teatro, que se han representado en Europa, Australia, Estados Unidos y América Latina. Algunas de sus piezas son: Esquirlas, Crónica de un secuestro, El libro de Ruth, Cita a ciegas, Un informe sobre la banalidad del amor y Tierra del fuego. Su pieza Cita a ciegas llegó a la pantalla grande en dos oportunidades: Puzzle (, e Inevitable. Entre sus obras narrativas se encuentran el libro de cuentos El Exilio, la novela Martín Eidán y los ensayos Conversaciones con un judío y El Hermano Mayor – Crónicas norteamericanas.
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Mario Diament is a writer, journalist and university professor. Born in Buenos Aires, he has lived in Israel and various parts of the United States. He worked as a correspondent in Europe, the Middle East, and the United States. He was the director of the newspaper La Opinión and the magazine Expreso. He is a corresponding member of the National Academy of Journalism of Argentina. In 2014, he received the Konex Award, which placed him among the 10 most important playwrights of the decade. He has received numerous awards for his plays, which have been performed in Europe, Australia, the United States, and Latin America. Some of his plays include: Esquirlas (Splinters), Crónica de un secuestro (Chronicle of a Kidnapping), El libro de Ruth (The Book of Ruth), Cita a ciegas (Blind Date), Un informe sobre la banalidad del amor (A Report on the Banality of Love) and Tierra del Fuego (Land of Fire). Cita a ciegas was adapted into two films: Puzzle and Inevitable. His narrative works include the short story collection Exilio (Exile), the novel Martín Eidán, and the essay collections Conversaciones con un judío (Conversations with a Jew) and El Hermano Mayor – Crónicas norteamericanas (The Older Brother – North American Chronicles.)
Esta obra es esencialmente una pieza de ficción. Muchos de los episodios yreferencias están basados en hechos reales en la vida de Yulie Cohen, perootros son inventados o imaginados.Todas la escenas tienen lugar en el año 2000, excepto la última, que sucedeen 2005.
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Oscuridad. Se escuchan disparos de ametralladora y unos rayos de luz, similares a los de balas trazadoras, cruzan la escena. Más disparos. Se escucha la sirena de autos policiales y de ambulancias. Murmullos de horror. Gritos.
LOCUTOR DE TV
“Los atacantes abrieron fuego con ametralladoras y arrojaron granadas en el momento en que los 21 miembros de la tripulación del vuelo de El Al 061, proveniente de Nueva York, se disponían a ingresar al Hotel Europa, en la capital británica. Uno de los terroristas murió al instante cuando una de las granadas que portaba explotó prematuramente. El otro terrorista, Hasán el- Fawzi, de 22 años, fue arrestado pocos momentos después. En el ataque perdió la vida una de las auxiliares de a bordo, Nirit Golán, de 25 años. Otra de las auxiliares, Yael Alón, de 22 años resultó herida.”
Se encienden las luces.
YAEL está esperando en la pequeña sala, sentada ante una mesa, en el nivel más alto. Hay una silla vacía del lado opuesto. Una puerta invisible se abre y entra HASAN. La observa un instante y se sienta frente a ella, con las manos ocultas detrás de la mesa.
YAEL
Hola. Soy Yael.
HASAN
Yo soy Hasán.
YAEL
Lo sé. Te reconozco. (Le tiende la mano) Mucho gusto.
HASAN
(Le da tímidamente la mano a su vez.) Mucho gusto, también.
Pausa.
YAEL
¿Cómo estás?
HASAN
Ya lo ves. (Pausa.) ¿Y vos?
YAEL
Nerviosa. Es natural.
Pausa.
HASAN
¿Tuviste un buen viaje?
YAEL
Sí, muy bueno.
Pausa.
YAEL
(Cont.) No debés recibir muchas visitas.
HASAN
No.
YAEL
¿No tenés familia?
HASAN
No. No tengo a nadie.
Pausa.
YAEL
Te habrá sorprendido mi pedido, me imagino.
HASAN
Mi abogado me dijo que tenías algo importante que preguntarme.
YAEL
Bueno, sí. Importante para mí, por lo menos.
HASAN
¿De qué se trata?
YAEL
(Toma coraje.) Hace veintitrés años trataste de matarme, así que decidí venir hasta aquí para que me expliques por qué.
Silencio.
HASAN
Yo no traté de matarte.
YAEL
Todavía tengo una cicatriz bastante fea en el brazo. (Se la muestra). Y mataste a mi amiga Nirit.
HASAN
Yo no traté de matarte, ni tampoco a tu amiga. Traté de matar lo que representaban.
YAEL
¿Lo que representábamos?
HASAN
El enemigo, la ocupación. (Se controla.) Pero eso fue hace mucho tiempo. Ya no soy la misma persona.
YAEL se queda silenciosa.
HASAN
(Cont.) Tuve mucho tiempo para pensar. Es lo que uno hace aquí. Pensar. A veces uno piensa tanto que siente que va a estallarle la cabeza.
YAEL
¿Y qué pensaste?
HASAN
Muchas cosas. Pensé en lo que sucedió ese día y en las razones que me llevaron a hacer lo que hice.
YAEL
¿Y a qué conclusión llegaste?
HASAN
La violencia no arregla nada. Es responder a una injusticia con otra injusticia.
Silencio.
YAEL
Tenía veintidós años.
HASAN
Yo también.
YAEL
Era mi primer viaje a Londres.
HASAN
También el mío.
YAEL
Después de eso, no me atreví a volver. Es la primera vez que vengo desde entonces.
HASAN
Yo, como verás, quedé atrapado aquí.
YAEL saca una fotografía de un sobre. Se la enseña.
YAEL
Mirá, ésta era yo, en ese entonces
YAEL
(Cont.) Me acuerdo que te vi cuando bajaba del ómnibus. Llevabas un bolso negro. Nuestras miradas se cruzaron. Supe que ibas a hacer algo. Se lo comenté a uno de mis compañeros.
HASAN
No me acuerdo mucho de los detalles. Estaba muy nervioso. Todo el cuerpo me temblaba.
YAEL
(Saca otra foto del sobre.) Esta es Nirit. La chica que mataste. ¿Querés verla?
HASAN toma la foto, la estudia unos instantes, inexpresivo, y se la devuelve sin decir nada.
YAEL
(Cont.) Tenía veinticinco años. Estaba a punto de casarse. (Pausa.) Todavía me siento muy culpable con ella.
HASAN
¿Por qué te sentís culpable?
YAEL
Porque nunca fui a visitar a sus padres. Lo fui postergando y postergando y al final ya me daba vergüenza. Estábamos una al lado de la otra. La muerta podía haber sido yo. (Pausa.) ¿Te incomoda que hable de todo esto?
HASAN
Ya te lo dije, soy otra persona. El Hasán que cometió esos crímenes no existe más.
YAEL
¿De verdad pensás eso?
HASAN
¿Qué cosa?
YAEL
Que quien hizo todo aquello es otra persona.
HASAN
Sí. Claro que lo pienso. (Pausa.) No fue fácil. Nada fue fácil. Me tomó muchos años comprenderlo. (Recoge la fotografía de YAEL.) Esta es la que eras entonces y ésta es la que sos hoy. Pensá en todo lo que hiciste desde entonces. Las cosas que te pasaron. Tuviste novios, te casaste, tuviste hijos, viajaste, fuiste al cine, a bailar. Yo no hice nada de eso. Todo cuanto vi en estos veintidós años fueron las paredes de mi celda.
YAEL
Nirit no pudo ver ni siquiera eso.
HASAN: Lo lamento mucho, de verdad. ¿Qué puedo decirte? ¿Que no pasa una noche sin que me arrepienta de lo que hice? Por lo menos, ahora está en paz.
YAEL
El muchacho que iba a casarse con ella quedó nunca pudo recuperarse.
HASAN
Todos somos víctimas, Yael.
*****************
YAEL
¿Cómo fue que te metiste en esa operación?
HASAN
Quería hacer algo.
YAEL
(Con ironía.) ¿Hacer algo?
HASAN
Me sentía frustrado, lleno de rabia, impotente. ¿Alguna vez estuviste en un campamento de refugiados?
YAEL
Estuve en varios. Durante un tiempo trabajé acompañando a corresponsales extranjeros a los territorios ocupados.
HASAN
Bueno, no es lo mismo. Pero sabrás a lo que me refiero. El hacinamiento, la basura, el barro, la humillación, la desesperanza. Esa fue mi infancia.
YAEL
¿De dónde eran tus padres?
HASAN
De Jaffa. Toda mi familia era de allí. Mi viejo, mis abuelos y los abuelos de él.
YAEL
¿Qué hacía tu padre?
HASAN
Era comerciante. Tenía una mueblería cerca de la Torre del Reloj. La Gran Mueblería El-Fawzi. Todo el mundo la conocía. Mi viejo era un tipo muy respetado en la comunidad. Vivían en una casa grande de piedra, con un gran jardín donde crecían árboles frutales. Pero cuando los judíos llegaron en el 48, tuvieron que dejarlo todo y escapar. Nunca les permitieron volver.
Terminaron en un campamento de refugiados en Ramallah. Ahí nací yo. (Pausa.) ¿Y vos?
YAEL
¿Yo?
HASAN
¿Dónde naciste?
YAEL
En Tel Aviv.
HASAN
¿Y tus padres? ¿De dónde vinieron?
YAEL
Mi padre nació en Haifa; mi madre en Tel Aviv. Yo soy la quinta generación.
HASAN
(Sorprendido.) ¿De veras?
YAEL
¿Te asombra?
HASAN
Yo creí que todos los judíos venían de Europa.
YAEL
Pues estás mal informado.
Pausa.
HASAN
Estoy seguro que tu infancia fue mucho mejor que la mía.
YAEL
Seguramente.
HASAN
La vida en el campamento era un infierno. No podés imaginarte. Mi viejo nunca se recuperó de la Nakba, de la catástrofe. Siempre fue un tipo muy orgulloso. No pudo soportar verse de repente convertido en un refugiado, viviendo de las limosnas de las Naciones Unidas. Primero vino la depresión, después la bebida y después la violencia. Cualquier discusión, cualquier incidente por insignificante que fuera, era motivo para que nos golpease a mi madre y a mí. (Pausa.) Lo único que lo mantenía vivo era su odio a los sionistas, que lo habían despojado de sus bienes y de su dignidad, y la esperanza de algún día poder regresar a Jaffa. Pero era demasiado cobarde para rebelarse, así que pasaba la mayor parte del tiempo borracho y sacaba su resentimiento con nosotros.
YAEL
¿Querías a tu padre?
HASAN
¿Si lo quería? No, no lo quería. Lo odiaba. Al único que quería de verdad era a mi abuelo. Era un hombre muy dulce. Me contaba historias.
YAEL
¿Qué clase de historias?
HASAN
De joven se había ido a la Argentina y me contaba cosas de allá. Murió cuando yo tenía diez años, pero me acuerdo de todas las cosas que me contaba.
Después de la muerte de mi abuelo, mi viejo se puso insoportable. Yo trataba de mantenerme lo más lejos posible de él.
YAEL
¿Qué hacías?
HASAN
Pasaba todo el día en la calle con mi amigo Bashir. Jugábamos a la pelota entre los escombros y nos metíamos entre las montañas de basura a buscar tesoros. Hacíamos planes de irnos a recorrer el mundo, como mi abuelo. Mirá.
Del interior de su camisa saca una página de revista arrugada. La despliega y la alisa frente a YAEL.
HASAN
(Cont.) ¿Sabés qué es esto?
YAEL
No.
HASAN
Tierra del Fuego.
YAEL
¿Tierra del Fuego?
HASAN
Ahí es donde vivió mi abuelo. ¿Sabés dónde queda?
YAEL
No estoy segura. Lejos.
HASAN
Muy lejos. Es donde se juntan los dos océanos, el Atlántico y el Pacífico. Estuve leyendo mucho sobre esto en la biblioteca de la prisión. Leo todo lo que puedo. Trato de educarme. Ahí íbamos a irnos con Bashir, a Tierra del Fuego. En mi celda tengo un mapa enorme que pinté sobre la pared. (Dibuja con el dedo sobre la mesa.) El estrecho de Magallanes, el Cabo de Hornos, Usuahia.
YAEL
¿Por qué Tierra del Fuego?
HASAN
Porque es el fin del mundo. ¡Imaginate, llegar al fin del mundo! Ibamos a meternos a marineros y así llegar hasta allí. Mi abuelo me contaba que hay ballenas y lobos de mar y bosques subterráneos y grutas submarinas. Y que el aire es tan puro que marea.
Silencio. YAEL estudia la foto.
**********************
YAEL
¿Qué sentiste al disparar contra nosotros?
HASAN
¡Qué se yo! ¿Para qué querés saberlo?
YAEL
Quiero saberlo. Es importante.
HASAN
¿Importante para quién?
YAEL
Para mí. Para vos.
HASAN
No me acuerdo.
YAEL
No te creo.
HASAN
De veras que no me acuerdo.
YAEL
Hacé un esfuerzo.
Pausa.
HASAN
(Repentinamente, intenso.) Odio. Sentí odio.
YAEL
¿Cómo se puede odiar lo que no se conoce?
HASAN
Conocía los uniformes. No importa quién los llevaba.
YAEL
Todas las tripulaciones llevan uniformes. No éramos soldados.
HASAN
Una ocupación no se mantiene solamente con soldados. Todos colaboran. Por lo tanto, todos son responsables.
***********
Ya le dije: no lo sé. Lo sabré cuando esto termine o tal vez no lo sabré nunca. Evidentemente, tenía necesidad de hacerlo. Mi vida cambió después del atentado. Vivía en un estado constante de ansiedad. ¡Aumenté veinticinco kilos en el primer año! Sufría de insomnio y cuando lograba dormir, tenía unas pesadillas espantosas. Todavía me cuesta dormir más de dos o tres horas. Los médicos me diagnosticaron Trastorno por estrés postraumático. Estoy condenada a tomar pastillas el resto de mi vida. Al principio sentí un gran resentimiento hacia los árabes. Me producía náuseas cruzarme con alguno por la calle. Pero después de la primera invasión al Líbano empecé a ver las cosas desde otra perspectiva. Esa no era una guerra defensiva. La imagen de Arik Sharon montado sobre un tanque mirando a través de un largavista cómo la artillería israelí bombardeaba Beirut me sacudió. Después vino la masacre de Sabra y Shatila y me enfermé. Pasé semanas en cama en una depresión profunda. Estaba como paralizada. No podía pararme ni mover los brazos. Mi familia no sabía qué hacer. Finalmente, mi marido decidió que nos fuéramos a los Estados Unidos. Vivimos dos años en Nueva York, durante los cuales leí mucho y aprendí mucho. Pasaba tardes enteras en la biblioteca, devorando libros como si estuviera poseída. Descubrí que había crecido entre mentiras y mitos y que también los palestinos habían crecido entre mentiras y mitos, y que los políticos de ambos lados nos han estado mintiendo y envenenando y avivando el odio hacia el otro. Decidí que si volvía a Israel sería para trabajar por la paz, por el entendimiento. Es lo que hice.
*******************
HASAN
Pasó que un día entendí.
YAEL
¿Y eso cuándo fue?
HASAN
Hace unos años, cuando conocí a Joska, el polaco.
YAEL
¿A quién?
HASAN
Joska, el polaco. Es un preso, como yo. Trabaja en la biblioteca. Creo que es judío. No estoy seguro. El sabía bien quién era yo y qué había hecho, pero nunca dijo nada. No hablamos mucho; apenas lo necesario. Al principio, yo pedía los libros y él me los traía. Seguramente le llamó la atención que pidiera libros sobre la Segunda Guerra Mundial. Un día me acercó uno y me dijo que lo leyera. El autor era uno de los comandantes de la resistencia judía en Varsovia. Marek Edelman, ¿Escuchaste hablar de él?
YAEL
No sé. Creo que sí.
HASAN
Uno de los pocos que quedaron vivos. Me leí el libro en una noche. No podía parar. Por primera vez entendí por lo que habían pasado los judíos durante la guerra. También me di cuenta que la lucha de ellos era muy parecida a la nuestra. No tenían ninguna esperanza, pero peleaban igual, por su dignidad. Peleaban con revólveres, con cuchillos, con bombas Molotov contra un ejército que tenía cañones, tanques y aviones. Nosotros hacemos lo mismo.
¿No te parece una ironía? Y este Edelman era un héroe de verdad, un gigante. Cuando terminó la guerra no quiso emigrar a Israel. Eligió quedarse en Polonia. Ahí había nacido y reclamaba el derecho de seguir viviendo ahí. (Pausa.) Había algo que él decía que me quedó grabado. (Recita:) “Peleábamos con una determinación sin esperanza pero nuestras armas nunca fueron dirigidas contra la población civil indefensa, nunca matamos mujeres o niños. En un mundo despojado de principios y de valores, a pesar del constante peligro de muerte, nosotros permanecimos fieles a estos valores y a estos principios morales.” ¿Vos preguntás qué me cambió? Ese libro me cambió.
This work is essentially a work of fiction. Many of the episodes and references are based on real events in Yulie Cohen’s life, but others are invented or imagined. All scenes take place in 2000, except for the last one, which happens in 2005.
__________________________________________
Darkness. Machine gun fire is heard, and flashes of light, similar to tracer bullets, cross the scene. More gunfire. Police and ambulance sirens wail. Murmurs of horror. Screams.
TV ANNOUNCER
“The attackers opened fire with machine guns and threw grenades as the 21 crew members of El Al Flight 061, arriving from New York, were about to enter the Europa Hotel in the British capital. One of the terrorists died instantly when one of the grenades he was carrying exploded prematurely. The other terrorist, 22-year-old Hassan el-Fawzi, was arrested moments later. One of the flight attendants, 25-year-old Nirit Golan, was killed in the attack. Another flight attendant, 22-year-old Yael Allon, was wounded.”
The lights come on.
YAEL is waiting in the small room, seated at a table on the top floor. There’s an empty chair on the opposite side. An invisible door opens and HASAN enters. He observes her for a moment and sits down opposite her, his hands hidden behind the table.
YAEL
Hello. I’m Yael.
HASAN
I’m Hasan.
YAEL
I know. I recognize you. (She extends her hand) Nice to meet you.
HASAN
(Shyly shakes her hand in return.) Nice to meet you too.
Pause.
YAEL
How are you?
HASAN
You can see that. (Pause.) And you?
YAEL
Nervous. It’s natural.
Pause.
HASAN
Did you have a good trip?
YAEL
Yes, very good.
Pause.
YAEL
(Cont.) You shouldn’t receive many visitors.
HASAN
No.
YAEL
Don’t you have any family?
HASAN
No. I have no one.
Pause.
YAEL
My request must have surprised you, I imagine.
HASAN
My lawyer told me you had something important to ask me.
YAEL
Well, yes. Important to me, at least.
HASAN
What is it?
YAEL
(Gathering courage.) Twenty-three years ago you tried to kill me, so I decided to come here so you could explain why.
Silence.
HASAN
I didn’t try to kill you.
YAEL
I still have a rather ugly scar on my arm. (She shows it to him.) And you killed my friend Nirit.
HASAN
I didn’t try to kill you, nor your friend. I tried to kill what they represented.
YAEL
What we represented?
HASAN
The enemy, the occupation. (He composes himself.) But that was a long time ago. I’m not the same person anymore.
YAEL remains silent.
HASAN
(Cont.) I had a lot of time to think. That’s what you do here. Think. Sometimes you think so much you feel like your head is going to explode.
YAEL
And what did you think about?
HASAN
Many things. I thought about what happened that day and the reasons that led me to do what I did.
YAEL
And what conclusion did you reach?
HASAN
Violence doesn’t solve anything. It’s responding to injustice with another injustice.
Silence.
YAEL
I was twenty-two years old.
HASAN
Me too.
YAEL
It was my first trip to London.
HASAN
Mine too.
YAEL
After that, I didn’t dare to return. This is the first time I’ve been here since.
HASAN
As you can see, I’m trapped here.
YAEL takes a photograph out of an envelope. He shows it to her.
YAEL
Look, this was me back then.
YAEL
(Cont.) I remember seeing you when I got off the bus. You were carrying a black bag. Our eyes met. I knew you were going to do something. I told one of my classmates.
HASAN
I don’t remember many details. I was very nervous. My whole body was shaking.
YAEL
(Takes another photo out of the envelope.) This is Nirit. The girl you killed. Do you want to see her?
HASAN takes the photo, studies it for a few moments, expressionless, and hands it back without saying anything.
YAEL
(Cont.) I was twenty-five years old. I was about to get married. (Pause.) I still feel very guilty about her.
HASAN
Why do you feel guilty?
YAEL
Because I never went to visit her parents. I kept putting it off, and in the end, I was ashamed. We were right next to each other. I could have been the one who died. (Pause.) Does it bother you that I’m talking about all this?
HASAN
I already told you, I’m a different person. The Hasan who committed those crimes doesn’t exist anymore.
YAEL
Do you really think that?
HASAN
What?
YAEL
That the person who did all that is someone else.
HASAN
Yes. Of course I think that. (Pause.) It wasn’t easy. Nothing was easy. It took me many years to understand. (He picks up Yael’s photograph.) This is who you were then, and this is who you are today. Think about everything you’ve done since then. The things that have happened to you. You had boyfriends, you got married, you had children, you traveled, you went to the movies, dancing. I didn’t do any of that. All I saw in these twenty-two years were the walls of my cell.
YAEL
Nirit didn’t even get to see that.
HASAN:
I’m so sorry, truly. What can I say? That not a night goes by that I don’t regret what I did? At least she’s at peace now.
YAEL
The young man who was going to marry her never recovered.
HASAN
We’re all victims, Yael. **********YAEL
How did you get involved in that operation?
HASAN
I wanted to do something.
YAEL
(Ironically.) Do something?
HASAN
I felt frustrated, full of rage, powerless. Have you ever been in a refugee camp?
YAEL
I’ve been in several. For a while, I worked accompanying foreign correspondents to the occupied territories.
HASAN
Well, it’s not the same. But you know what I mean. The overcrowding, the garbage, the mud, the humiliation, the hopelessness. That was my childhood.
YAEL
Where were your parents from?
HASAN
Jaffa. My whole family was from there. My father, my grandparents, and his grandparents.
YAEL
What did your father do?
HASAN
He was a shopkeeper. He owned a furniture store near the Clock Tower. The Great El-Fawzi Furniture Store. Everyone knew it. My father was a very respected man in the community. They lived in a large stone house, with a big garden where fruit trees grew. But when the Jews arrived in ’48, they had to leave everything and escape. They were never allowed to return.
They ended up in a refugee camp in Ramallah. That’s where I was born. (Pause.) And you?
YAEL
Me?
HASAN
Where were you born?
YAEL
In Tel Aviv.
HASAN
And your parents? Where did they come from?
YAEL
My father was born in Haifa; my mother in Tel Aviv. I’m a fifth-generation Jew.
HASAN
(Surprised.) Really?
YAEL
Are you surprised?
HASAN
I thought all Jews came from Europe.
YAEL
Well, you’re misinformed.
Pause.
HASAN
I’m sure your childhood was much better than mine.
YAEL
Definitely.
HASAN
Life in the camp was hell. You can’t imagine. My father never recovered from the Nakba, from the catastrophe. He was always a very proud man. He couldn’t bear to suddenly find himself a refugee, living off UN handouts. First came the depression, then the drinking, and then the violence. Any argument, any incident, no matter how insignificant, was enough for him to beat my mother and me. (Pause.) The only thing that kept him going was his hatred for the Zionists, who had stripped him of his possessions and his dignity, and the hope of one day being able to return to Jaffa. But he was too cowardly to rebel, so he spent most of his time drunk and took out his resentment on us.
YAEL
Did you love your father?
HASAN
Did I love him? No, I didn’t love him. I hated him. The only person I truly loved was my grandfather. He was a very sweet man. He told me stories.
YAEL
What kind of stories?
HASAN
When he was young, he went to Argentina and told me things about it. He died when I was ten, but I remember everything he told me.
After my grandfather died, my dad became unbearable. I tried to stay as far away from him as possible.
YAEL
What did you do?
HASAN
I spent all day in the street with my friend Bashir. We played ball among the rubble and went into the mountains of garbage looking for treasure. We made plans to travel the world, like my grandfather. Look.
He takes a crumpled magazine page out of his shirt pocket. He unfolds it and smooths it out in front of YAEL.
HASAN
(Cont.) Do you know what this is?
YAEL
No.
HASAN
Tierra del Fuego.
YAEL
Tierra del Fuego?
HASAN
That’s where my grandfather lived. Do you know where it is?
YAEL
I’m not sure. Far away.
HASAN
Very far away. It’s where the two oceans meet, the Atlantic and the Pacific. I’ve been reading a lot about it in the prison library. I read everything I can. I try to educate myself. We were going to go there with Bashir, to Tierra del Fuego. In my cell, I have a huge map that I painted on the wall. (She draws with her finger on the table.) The Strait of Magellan, Cape Horn, Ushuaia.
YAEL
Why Tierra del Fuego?
HASAN
Because it’s the end of the world. Imagine, reaching the end of the world! We were going to become sailors and get there. My grandfather told me that there are whales and sea lions and underground forests and underwater caves. And that the air is so pure it makes you dizzy.
*************
The prison room. YAEL and HASAN are sitting facing each other, as in the previous scene.
YAEL
What did you feel when you shot at us?
HASAN
How should I know! Why do you want to know?
YAEL
I want to know. It’s important.
HASAN
Important to whom?
YAEL
To me. To you.
HASAN
I don’t remember.
YAEL
I don’t believe you.
HASAN
I really don’t remember.
YAEL
Try to remember.
Pause.
HASAN
(Suddenly, intensely.) Hate. I felt hate.
YAEL
How can you hate what you don’t know?
HASAN
I knew the uniforms. It doesn’t matter who wore them.
YAEL
All the crews wear uniforms. We weren’t soldiers.
HASAN
An occupation isn’t sustained by soldiers alone. Everyone collaborates. Therefore, everyone is responsible.
************
YAEL
I already told you: I don’t know. I’ll know when this is over, or maybe I’ll never know. Obviously, I needed to do it. My life changed after the attack. I lived in a constant state of anxiety. I gained 25 kilos in the first year! I suffered from insomnia, and when I did manage to sleep, I had terrible nightmares. I still struggle to sleep more than two or three hours. The doctors diagnosed me with Post-Traumatic Stress Disorder. I’m condemned to take pills for the rest of my life. At first, I felt a great deal of resentment toward Arabs. It made me nauseous to pass one on the street. But after the first invasion of Lebanon, I began to see things from a different perspective. That wasn’t a defensive war. The image of Arik Sharon on top of a tank, looking through binoculars as Israeli artillery bombarded Beirut, shook me to my core. Then came the Sabra and Shatila massacre, and I became ill. I spent weeks in bed in a deep depression. I was paralyzed. I couldn’t stand or move my arms. My family didn’t know what to do. Finally, my husband decided we should go to the United States. We lived in New York for two years, during which I read a lot and learned a great deal. I spent entire afternoons in the library, devouring books as if possessed. I discovered that I had grown up surrounded by lies and myths, and that the Palestinians had also grown up surrounded by lies and myths, and that politicians on both sides had been lying to us, poisoning our minds, and stoking hatred toward each other. I decided that if I returned to Israel, it would be to work for peace, for understanding. That’s what I did.
***********
HASAN
It happened that one day I understood.
YAEL
And when was that?
HASAN
A few years ago, when I met Joska, the Pole.
YAEL
Who?
HASAN
Joska, the Pole. He’s a prisoner, like me. He works in the library. I think he’s Jewish. I’m not sure. He knew perfectly well who I was and what I had done, but he never said anything. We didn’t talk much; just enough. At first, I would ask for books and he would bring them to me. He was probably intrigued that I asked for books about World War II. One day he handed me one and told me to read it. The author was one of the commanders of the Jewish resistance in Warsaw. Marek Edelman. Have you heard of him?
YAEL
I don’t know. I think so.
HASAN
One of the few who survived. I read the book in one night. I couldn’t stop. For the first time, I understood what the Jews had gone through during the war. I also realized that their struggle was very similar to ours. They had no hope, but they fought anyway, for their dignity. They fought with revolvers, with knives, with Molotov cocktails against an army that had cannons, tanks, and airplanes. We do the same.
Don’t you find that ironic? And this Edelman was a true hero, a giant. When the war ended, he didn’t want to emigrate to Israel. He chose to stay in Poland. He was born there and claimed the right to continue living there. (Pause.) There was something he said that stuck with me. (Recites:) “We fought with hopeless determination, but our weapons were never directed against the defenseless civilian population; we never killed women or children. In a world stripped of principles and values, despite the constant danger of death, we remained true to these values and these moral principles.” You ask what changed me? That book changed me.
Olga Fisch (1901-1990) fue una artista, marchante de arte y promotora cultural extraordinaria. Nacida en Hungría, viajó por el mundo explorando las selvas de Sudamérica y viviendo en Marruecos, donde reunió su primera colección de artesanías. En 1932, se casó con su segundo esposo, Bela Fisch. La pareja emigró de Europa debido a las tensiones políticas en la Alemania nazi, particularmente peligrosas por su origen judío. En Ecuador, Fisch comenzó a enseñar en la Escuela de Bellas Artes y se involucró profundamente en el arte popular ecuatoriano. Para 1943, su colección de artefactos y obras de arte atrajo la atención internacional. Lincoln Kirstein, director del Museo de Arte Moderno de Nueva York (MoMA), visitó Ecuador para ver la colección. Este encuentro la catapultó a la fama y la llevó a tener a la ONU y al MoMA como sus primeros clientes. Durante la década de 1950, Fisch diseñó varias líneas de alfombras de gran éxito. En la década de 1960, su exclusivo negocio de alfombras, dirigido por mujeres y basado en encargos, era un éxito rotundo. También fundó un museo sin fines de lucro dedicado a la cultura ecuatoriana y una tienda de artesanías llamada “Folklore”, que aún hoy es un referente cultural en Quito. Incluso en sus últimos años, Fisch conservó un agudo sentido del estilo, combinando con maestría la inspiración arqueológica y los motivos precolombinos con influencias clásicas coloniales.
Olga Fisch (1901-1990) was an extraordinary artist, art dealer and cultural advocate. Born in Hungary, Olga Fisch traveled the world exploring the jungles of South America and living in Morocco where she assembled her first collection of cultural handicrafts. In 1932, Olga married her second husband Bela Fisch. The couple emigrated from Europe due to political tensions in Nazi Germany, particularly dangerous due to their Jewish heritage. In Ecuador, Fisch began teaching at the School of Fine Arts. Fisch became deeply involved in Ecuadorian folk art. By 1943, Fisch’s collection of cultural artifacts and art attracted international attention. Lincoln Kirstein, the director of New York’s Museum of Modern Art, visited Ecuador to view the collection. This meeting catapulted Fisch into the spotlight and resulted in the U.N. and MoMA becoming her first clients. During the 1950s, Fisch designed several successful area carpet lines. By the 1960’s, Fisch’s exclusive women-run commission-based carpet business was a resounding success. She also started a non-profit museum dedicated to Ecuadorian cultural and a handicraft shop called “Folklore” that is still a cultural landmark in Quito. Even in her older years, Fisch retained a keen sense of style that artfully combined archaeological inspiration and Pre-Colombian motifs with classical colonial influences.
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De la serie “Caverna”:/From the “Caverna” series
Diseños especiales/Special Designs
Gente del Ecuador, en la colonia y en la actualidad de la artista/Ecuadorian people in the Colonial period and time of the artist
Sarina Helfgott fue una destacada poeta, dramaturga, antologadora, crítica literaria y periodista peruana. Fue hija de inmigrantes judíos. que se establecieron en Perú. Ella participó activamente en diversas asociaciones y círculos culturales judíos en Perú. En 1956, publicó su primer poemario, La luz pródiga, donde exploró temas de amor, pasión, muerte y trascendencia a través de símbolos y metáforas naturales. Este libro fue el inicio de su carrera literaria con un enfoque en el autodescubrimiento y la conexión mística con la naturaleza. Su poemario, El libro de los muertos (1962), le valió reconocimiento internacional por su profunda reflexión sobre el Holocausto. Este libro rindió homenaje a sus raíces y a las víctimas judías de la Segunda Guerra Mundial. Retrató la tragedia y la memoria histórica con una intensidad emotiva que ha sido estudiada como parte de la poesía del Holocausto. En 1973, publicó Ese vasto resplandor, una antología de su obra poética desde 1957 hasta 1971, que reflejó su evolución literaria y su constante búsqueda de la expresión pura de sentimientos a través de la naturaleza, en contraste con la percepción de la ciudad como un lugar desprovisto de belleza poética. Sarina Helfgott también fue una influyente figura en el teatro peruano. Su primera obra, La Red (1953), fue el inicio de una prolífica carrera dramatúrgica. La Jaula (1981) fue estrenada en Lima, Buenos Aires y Cambridge y traducida al inglés y al neerlandés.
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Sarina Helfgott was a prominent Peruvian poet, playwright, anthologist, literary critic, and journalist. She was the daughter of Jewish immigrants who settled in Peru. She actively participated in various Jewish cultural associations and circles in Peru. In 1956, she published her first book of poems, La luz pródiga (The Prodigal Light), where she explored themes of love, passion, death, and transcendence through natural symbols and metaphors. This book marked the beginning of her literary career, focusing on self-discovery and a mystical connection with nature. Her poetry collection, El libro de los muertos (The Book of the Dead, 1962), earned her international acclaim for its profound reflection on the Holocaust. This book paid homage to her roots and to the Jewish victims of World War II. It portrayed the tragedy and historical memory with an emotional intensity that has been studied as part of Holocaust poetry. In 1973, she published Ese vasto resplandor (That Vast Radiance), an anthology of her poetry from 1957 to 1971, which reflected her literary evolution and her constant search for the pure expression of feelings through nature, in contrast to her perception of the city as a place devoid of poetic beauty. Sarina Helfgott was also an influential figure in Peruvian theater. Her first play, La Red (The Net, 1953), marked the beginning of a prolific career as a playwright. La Jaula (The Cage, 1981) was staged in Lima, Buenos Aires, and Cambridge and was translated into English and Dutch.
Ruth Behar nació en La Habana, Cuba, y creció en Nueva York. Ahora es James W. Fernandez Distinguished University Professor of Anthropology and Professor of Anthropology en la Universidad de Michigan. Ruth ha trabajado como etnógrafa en España, México y Cuba, y es conocida por su enfoque humanista para comprender la identidad, la inmigración y la búsqueda de un hogar en nuestra era global. Sus libros incluyen The Presence of the Past in a Spanish Village; Translated Woman: Crossing the Border with Esperanza’s Story; The Vulnerable Observer: Anthropology That Breaks Your Heart; y An Island Called Home: Returning to Jewish Cuba. Es co-editora de Women Writing Culture, editora de Bridges to Cuba/Puentes a Cuba y co-editora de The Portable Island: Cubans at Home in the World. Su documental, Adio Kerida/Goodbye Dear Love: A Cuban Sephardic Journey, se ha exhibido en festivales de todo el mundo. También es poeta; su obra ha aparecido recientemente en Burnt Sugar/Caña Quemada:Poesía Cubana Contemporánea en Inglés y Español y en The Norton Anthology of Latino Literature. Everything I Kept/Todo lo que guardé es su primer libro de poesía.
Premios
Premio de la Fundación MacArthur
Premio de la Fundación en Memoria de John Simon Guggenheim
Beca Fulbright Senior
Instituto de Humanidades, Beca de la Familia Hunting, Universidad de Michigan
Universidad Wesleyana, Premio a la Exalumna Distinguida en Reconocimiento a sus Logros y Servicios Destacados
Doctora honoris causa en Letras Humanitarias, Hebrew Union College-Jewish Institute of Religion
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Ruth Behar was born in Havana, Cuba, and grew up in New York. She is now James W. Fernandez Distinguished University Professor of Anthropology and Professor of Anthropology at the University of Michigan. Ruth has worked as an ethnographer in Spain, Mexico, and Cuba, and is known for her humanistic approach to understanding identity, immigration, and the search for home in our global era. Her books include The Presence of the Past in a Spanish Village; Translated Woman: Crossing the Border with Esperanza’s Story; The Vulnerable Observer: Anthropology That Breaks Your Heart; and An Island Called Home: Returning to Jewish Cuba. She is co-editor of Women Writing Culture, editor of Bridges to Cuba/Puentes a Cuba, and co-editor of The Portable Island: Cubans at Home in the World. Her documentary, Adio Kerida/Goodbye Dear Love: A Cuban Sephardic Journey, has been shown in festivals around the world. A poet as well, her work has appeared recently in Burnt Sugar/Caña Quemada: Contemporary Cuban Poetry in English and Spanish and The Norton Anthology of Latino Literature. Everything I Kept/Todo lo que guardé is her first book of poetry.
Award(s)
MacArthur Foundation Fellows Award
John Simon Guggenheim Memorial Foundation Award
Fulbright Senior Fellowship
Institute for the Humanities, Hunting Family Faculty Fellowship, University of Michigan
Wesleyan University, Distinguished Alumna Award in Recognition of Outstanding Achievement and Service
Doctor of Humane Letters, honoris causa, Hebrew Union College-Jewish Institute of Religion
Estos poemas fueron escritos en inglés y traducidos al español por la poeta/ These poems were written in English and translated into Spanish by the poet.
_____________________
ALUMNA OBEDIENTE
Fui una alumna obediente. Cuando mis profesores me dijeron
que no llegaría a ser una buena poeta, dejé de escribir. Preferí
cortarme la lengua que insultar a las Musas. Pero adoraba las
palabras como adoro el fuego en el invierno, el cielo estrellado
y el mar tranquilo. Dirán que estos poemas son tímidos; como
la inválida que se levanta de su cama después de una larga
convalecencia. Pero así ando, abrazándome a las paredes que
encuentro en mi camino.
___________________________
OBEDIENT STUDENT
I was an obedient student. When my teachers told me I
wouldn’t make a good poet, I stopped writing. I preferred to
cut out my tongue than insult the Muses. But I adored words,
like I adore fire in winter, the starry sky, and the calm sea. These
poems might be timid: like the invalid who rises from her bed
after a long convalescence. But I still walk, embracing the walls
along the way.
________________________________________________
MIEDOS
Tengo tantos miedos: de la noche, de envejecer, de ver a los
que he querido,
enfermar o morir, de mi propia muerte. Son
los miedos de todos. Pero me atormentan también miedos más
raros: de que mi corazón se pone a latir más rápido;
de volverme ciego de repente y no poder llegar a casa: de perder mi
memoria antes de encontrar tiempo de escribir los cuentos
dormidos dentro de mí; de inviernos enfurecidos que jamás
terminan. También tengo miedo a mojarme en la lluvia, a
pararme de cabeza, a bajar las escaleras de prisa. Las policías,
los soldados, y los oficiales de inmigración me espantan.
Si me quitaron los miedos, no pesaría nada y sería libre. Me verías
bailar como una hoja parda, seca, y después me soplaría el
viento de otoño.
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FEARS
I have so many fears: of the night, of growing old, of seeing
those I have loved fall ill or die, of my own death. Those are
fears that everyone has. But I am also tormented by stranger fears:
of my heart pounding too quickly; of unexpectedly going blind
and not finding my way home: of losing my memory before I
find the time to write the stories still dormant in me: of raging winters
which will never end. I am also afraid of getting wet in
the rain, standing in my head, running down staircases.
Police, soldiers, and immigration officers terrify me. If you took
my fears away, I would be weightless and free. You would see
me dance like a brown leaf and then I’d blow away in the
Mauricio Lasansky in his studio, Iowa City, IA ca. 1965
Biografía
Nacido en Buenos Aires, in 1914, Mauricio Lasansky es uno de los pocos artistas modernos que han limitado su obra casi exclusivamente a los medios gráficos. Gracias a sus tempranas contribuciones al desarrollo de las técnicas gráficas y a su dedicación al grabado, Lasansky es considerado un precursor en la evolución de las artes gráficas como forma de arte crítico y ha sido reconocido como uno de los “Padres del Grabado Americano del Siglo XX”.
En 1936, a los veintidós años, ya era director de la Escuela Libre de Bellas Artes de Villa María, Córdoba, Argentina. En 1943, Lasansky recibió la prestigiosa Beca Guggenheim, con la que viajó a Estados Unidos y estudió la colección de grabados del Museo Metropolitano de Arte. Esta oportunidad no solo le proporcionó un vasto conocimiento sobre grabados y grabadores, sino que también le brindó la oportunidad de conocer y trabajar con varios maestros europeos que habían huido a Estados Unidos durante la guerra. Para 1952, no solo había recibido numerosos reconocimientos, premios y galardones, y contaba con una impresionante colección de exposiciones, sino que también se había consolidado como ciudadano estadounidense.
Durante la década de 1940, el interés por el grabado como arte se revitalizó gracias a los talleres de artes gráficas de la Administración de Progreso de Obras (WPA), y muchos artistas continuaron explorando el método tras la suspensión de los proyectos de la WPA. El más importante de estos estudios fue el Atelier 17 de Nueva York, fundado por Stanley William Hayter. El suyo fue el primer taller estadounidense independiente creado para la experimentación exclusiva con el proceso de grabado calcográfico. Gracias a la labor de Hayter, el estudio captó la atención de artistas de todo el país. Muchos de estos artistas se conocen actualmente como la Escuela de Nueva York. Estos artistas adoptaron el expresionismo abstracto como medio de expresión estilística y su obra transformó radicalmente el curso del grabado calcográfico en Estados Unidos.
Muchos artistas, incluyendo a Lasansky, trabajaron extensamente en el Atelier 17 formulando nuevos métodos y creando nuevas técnicas tanto para sus temas como para sus grabados. Posteriormente, varios fueron invitados a establecer talleres de grabado en departamentos de arte universitarios de todo el país. Uno de los primeros artistas en aceptar este reto fue Mauricio Lasansky, quien fundó el importante taller de grabado en la Universidad de Iowa. Hasta el día de hoy, sirve de modelo para numerosos departamentos universitarios de grabado, dirigidos por muchos de sus antiguos alumnos.
La transmisión de técnicas e ideologías consolidadas sobre técnicas innovadoras de grabado, a través de generaciones de profesores y alumnos, marca el legado del Atelier 17. Y es Lasansky, una de las primeras generaciones de estos grabadores, quien ha influido en el desarrollo del grabado en Estados Unidos.
Conocido sobre todo por sus grabados a gran escala, en los que utiliza múltiples planchas y gamas cromáticas completas, Lasansky combina una amplia gama de técnicas gráficas, incluyendo el aguafuerte, la punta seca, el aguatinta y el grabado. A lo largo de su evolución estilística, ha creado elocuentes evocaciones figurativas, coloridas, frescas y espontáneas. Sus obras tempranas y tardías demuestran que su imaginería ha abordado constantemente elementos que han experimentado cambios y expansiones a lo largo de su creación. Por lo tanto, el tema de su arte es tan importante como el aspecto técnico de sus grabados.
Los retratos de Lasansky se presentan como ideales humanísticos en comparación con las figuras deshumanizadas que aparecen en sus otros grabados. Muchos de sus retratos comienzan en un formato individual, pero en muchas ocasiones la figura idealizada se degenera y se presenta en un espacio gráfico en lugar de pictórico. Tiene una especial consideración por el espectador, ya que retrata la imagen dentro de su espacio.
Lasansky se ha dedicado a explorar las posibilidades expresivas de las artes gráficas. Ha acumulado un conjunto de grabados considerados entre los más impactantes e impactantes del arte contemporáneo. Ha contribuido significativamente a consolidar el grabado como una forma de arte significativa y crucial del siglo XX. Y, como resultado, se ha convertido en uno de los primeros de una generación de importantes grabadores en enseñar a decenas de estudiantes, quienes a su vez enseñan a decenas de generaciones futuras en este país. Por todas estas razones, se le considera uno de los “Padres del Grabado Americano del Siglo XX”.
Lasansky ha recibido cinco Becas Guggenheim, seis Doctorados Honoris Causa en Artes y numerosos premios y distinciones especiales. Su obra está representada en más de cien colecciones públicas, incluyendo prácticamente todos los principales museos de Estados Unidos. Reconocido internacionalmente, ha expuesto en América del Norte y del Sur, Europa y Rusia. Ya jubilado de la Universidad de Iowa, sigue siendo una inspiración para los artistas por sus contribuciones, la riqueza e intensidad de sus superficies impresas y su estilo profundamente personal.
__________________________________ Biography
Born in Buenos Aires, in 1914, Mauricio Lasansky is one of the few modern artists who have limited their works almost exclusively to the graphic media. Due to his early contributions in the development of graphic techniques and his dedication to printmaking, Lasansky is considered to be a forerunner in the evolution of the graphic arts as a critical art form and has become recognized as one of the “Fathers of 20th Century American Printmaking.”
In 1936, at the age of twenty-two, he had already become the director of the Free Fine Arts School, in Villa Maria, Cordoba, Argentina. In 1943, Lasansky was offered the prestigious Guggenheim Fellowship in which he came to the United States and studied the print collection at the Metropolitan Museum of Art. This opportunity not only afforded him a wealth of knowledge about prints and printmakers but created an opportunity for him to be exposed to and work with a number of European masters who had fled to the United States during wartimes. By 1952, he had not only received a great deal of recognition, prizes and awards, and had an impressive line of exhibitions, but also had established himself as an American citizen.
During the 1940’s, the interest in printmaking as a fine art was revitalized by the Works Progress Administration graphic arts workshops and many artists continued to explore the method after the WPA projects were discontinued. The most important of these studios was the New York Atelier 17 established by Stanley William Hayter. His was the first independent American workshop developed for exclusive experimentation of the intaglio process of printmaking. Through Hayter’s efforts, the studio gained the attention of artists from around the country. Many of these artists are now referred to as the New York School. These artists adopted Abstract Expressionism as a means of stylistic expression and their work radically altered the course of intaglio printmaking in America.
Many artists, including Lasansky, worked extensively at the Atelier 17 formulating new methods and creating new techniques for their subjects as well as their prints. Several were later invited to develop print-shops in university art departments around the country. One of the first artists to accept this challenge was Mauricio Lasansky. He established the vital printmaking workshop at the University of Iowa. To this day, it serves as a model for numerous other university printmaking departments led by many of Lasansky’s former students.
It is the passing down of established techniques and ideologies about innovative printmaking techniques from generations of these teachers and students that marks the legacy of Atelier 17. And, it is Lasansky, one of the first generations of these printmakers, who has influenced the course of printmaking in the United States.
Best known for large scale prints in which he uses multiple plates and full ranges of color, Lasansky combines a spectrum of graphic techniques including etching, drypoint, aquatint and engraving. Throughout his stylistic evolution, he has created eloquent figural statements that are colorful, fresh and spontaneous. His early and late works show that his imagery has consistently dealt with elements which have undergone change and expansion as the work was created. Therefore, the subject of his art is as important as the technical aspect of his printmaking.
Lasansky’s portraits appear as humanistic ideals when compared to the dehumanized figures that appear in his other prints. Many of his portraits begin in an individual format, but many times the idealized figure degenerates and is presented in graphic rather than pictorial space. He has a special regard for the spectator, as he portrays the image within the viewer’s space.
Lasansky has devoted himself to exploring the expressive possibilities of graphic arts. He has amassed a body of prints considered to be some of the most powerful and impressive in contemporary art. He has contributed significantly in establishing printmaking as a meaningful and critical art form of the 20th century. And, as a result, he has become one of the first in a generation of important printmakers to teach scores of students, who in turn are teaching scores of future generations in this country. For all these reasons, he is considered to be one of the “Fathers of 20th Century American Printmaking.”
Lasansky has been the recipient of a total of five Guggenheim Fellowships, six honorary Doctorate of Arts degrees and numerous prizes and special honors. His work is represented in more than one hundred public collections including virtually every major museum in the United States. Internationally recognized, he has been exhibited throughout North and South America, Europe and Russia. Now retired from the University of Iowa, he continues to be an inspiration to artists for his contributions, his richly and intensely printed surfaces, and his highly personal style.
Jacobo Schifter-Skora tiene un doctorado en Historia de la Universidad de Columbia, Nueva York. Ha escrito más de 20 libros sobre las relaciones de Estados Unidos con Centroamérica, la comunidad judía en la región y sobre las minorías sexuales. Muchos de estos libros se han publicado en Estados Unidos. Entre ellos se encuentran La casa de Lila, un estudio sobre la prostitución masculina en América Latina, La construcción sexual de la juventud latina,Amor machista, un estudio sobre el sexo en prisión y muchos otros.
el autor trabajó en la UPAZ, impartiendo cursos sobre Género y Genocidio. Trabaja para la Organización Gallup.
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Jacobo Schifter-Skora has a PhD in History from Columbia University, New York. He has written more than 20 books on US relations with Central America, the Jewish Community in the region, and on sexual minorities. Many of these books have been published in the States. Among these are Lila’s House,A Study on Male Prostitution in Latin America, The Sexual Construction of Latino Youth, Macho Love. A Study of Sex in Prison and many others. The author worked at UPEACE, teaching courses on Gender and Genocide. He works for the Gallup Organization.
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“East Side Story” — una explicación de los judíos costarricenses
(Traducido del inglés por Stephen A. Sadow)
A los judíos costarricenses les cuesta reconocer que cargan con un trauma intergeneracional heredado de siglos de persecución y expulsiones, por no hablar del Holocausto, que no dejó a nadie ileso, ni a los sobrevivientes ni a sus descendientes.
La primera razón era muy clara. Siglos de antisemitismo convirtieron a los judíos en chivos expiatorios de todos los males de la cultura occidental; nos hicieron temerosos de decir algo que pudiera ser usado en nuestra contra. Obviamente, para una minoría tan perseguida, proteger a la familia de cualquier manera posible y no denunciar ningún abuso dentro de ella era parte de la cultura. En otras palabras, el silencio es oro.
Actualmente, la mayoría de la comunidad es polaca o de Europa del Este. Nuestros abuelos huyeron de la persecución y la pobreza que afectó a la década de 1930. Para hacerlo, muchas veces tuvieron que dejar atrás a sus padres y hermanos. Hacer el viaje era más fácil para un hombre que para una mujer y, obviamente, para una persona joven. Mi padre y sus hermanos no sólo abandonaron a sus padres, sino también a sus hermanas, a sus sobrinos y sobrinas, y a decenas, si no cientos, de parientes. Nadie imaginaría que nunca más los volverían a ver.
Estas experiencias, en teoría, deberían haber hecho que la familia judía se pareciera más a la familia costarricense.
La forma de protegerse de fuerzas nefastas, como la Inquisición o el nazismo, sería lógicamente mediante la defensa de la familia y ocultando cualquier maldad al público.
Sin embargo, los nazis lo cambiaron todo.
Primero, aprendimos que los lazos familiares podían ser bastante peligrosos. Las personas, como mi abuelo, que sobrevivieron por pura suerte, lo hicieron separándose de sus familias. De los relatos de los sobrevivientes se extrajo una lección: los pocos que sobrevivieron fueron los que se escondieron en las alcantarillas, los bosques, las casas de los campesinos, los frentes de batalla, los que, en cada ocasión, tuvieron que abandonar a los abuelos, los padres y los niños pequeños.
Peor aún fue en los campos. Al ser enviada a un campo de trabajo en lugar de a un campo de exterminio, alguien de tu familia ocupaba tu lugar. Los sobrevivientes contaban la historia porque el resto de su familia iba hacia la muerte. Los que no pudieron dejar sola a una madre, o a una hermana menor, acababan en una nube de gas. La familia sobreviviente heredaba una herida de traiciones y cortes y la transmitiría inconscientemente a las nuevas generaciones.
Sé que habrá miles de excepciones, ojalá la mayoría, pero en el inconsciente de la generación que sobrevivió quedó la culpa. También la percepción de que tener una familia podía ser peligroso. Las pobres madres judías tuvieron que matar a los niños nacidos en los campos. En la película “La decisión de Sophie”, sólo había una posibilidad: salvar al niño que podía trabajar y enviar a la muerte a la niña más pequeña.
Sólo así he podido explicar la toxicidad de mi familia. El Holocausto convirtió la mía en un campo de batalla donde las traiciones de los antepasados fueron heredadas por sus descendientes.
Me quedé para cuidar a mi madre que sobrevivió durante cuatro años y medio. El cáncer volvió. Me tuvieron que hacer el examen que mostraba una mancha en sus pulmones y me dijeron que le quedaba un año de vida.
Durante este año, mi hermano no llamó ni vino ni un solo día (sí lo hizo el día que la enterramos para ver cuánto le tocaría) y mi hermana solo puso excusas (su amante no la dejaba venir), así que tuve que cuidarla sola con mi pareja (por eso llevamos 38 años juntos; nunca pude dejar a la persona que me ayudó a cuidar a mi madre). Llegó el día de la muerte de mi madre y en vez de venir al hospital, fue con Elizabeth o con Beto, el nuevo amante. ¿Cómo puedes ir a un motel cuando tu madre se está muriendo?
La de Beto no tuvo ningún trauma del Holocausto y su familia no tomó decisiones que salvaran a unos y liquidaran a otros. Así que Beto apoyaría a sus descendientes en las buenas y en las malas, con decisiones legítimas e ilegítimas y corruptas. Beto defiende a su familia hasta la muerte. Derek destruye a la suya.
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“East Side Story” — Una explicación de los judíos costarricnses
Costa Rican Jews find it difficult to recognize that they carry an intergenerational trauma inherited from centuries of persecution and expulsions. Not to mention the Holocaust, which left no one unscathed; neither the survivors nor their descendants.
The first reason was very clear. Centuries of anti-Semitism made Jews the scapegoats for all the evils of Western culture; it made us fearful of saying anything that could be used against us. Obviously, for such a persecuted minority, protecting the family in any way possible and not speaking out about any abuse within it was part of the culture. In other words, silence is golden.
Currently, most of the community is Polish or from Eastern Europe. Our grandparents fled persecution and poverty that affected the 1930s. To do so, they often had to leave behind their parents and siblings. Making the journey was easier for a man than a woman, and obviously, for a young person. My father and his brothers not only left their parents but also their sisters and their nieces and nephews, and dozens, if not hundreds, of relatives. No one would imagine they would never see them again.
These experiences, in theory, should have made the Jewish family more like the Costa Rican family.
The way to protect oneself against nefarious forces, such as the Inquisition or Nazism, would logically be through family defense and hiding any wrongdoing from the public.
However, the Nazis changed everything.
First, we learned that family ties could be rather dangerous. People, like my grandfather, who survived by sheer luck, did so by breaking away from their families. From the accounts of survivors, a lesson was drawn: the few who survived were those who hid in sewers, forests, peasants’ houses, battlefronts, those who, on every occasion, had to abandon grandparents, parents, and young children.
Even worse was in the camps. To be sent to a labor camp instead of an extermination camp, someone from your family took your place. The survivors were telling the story because the rest of their family went towards death. Those who couldn’t leave a mother, or a younger sister alone ended up in a cloud of gas. The surviving family inherited a wound of betrayals and cuts and would unconsciously pass it on to the new generations.
I know there will be thousands of exceptions, hopefully the majority, but in the unconscious of the generation that survived, guilt remained. Also, the perception that having a family could be dangerous. The poor Jewish mothers had to kill the children born in the camps. In the movie “Sophie’s Choice,” there was only one chance: to save the child who could work and send the youngest girl to death.
Only in this way have I been able to explain the toxicity of my family. The Holocaust turned mine into a battlefield where the betrayals of the ancestors were inherited by their descendants.
I stayed to take care of my mother who survived for four and a half years. The cancer came back. I had to receive the exam that showed a spot on her lungs, and they told me she had one year left to live.
During this year, my brother didn’t call or come a single day (he did on the day we buried her to see how much he would get) and my sister only made excuses (her lover wouldn’t let her come), so I had to take care of her alone with my partner (that’s why we’ve been together for 38 years; I could never leave the person who helped me take care of my mother). The day of my mother’s death came and instead of coming to the hospital, she went with Elizabeth or Beto, the new lover. How can you go to a motel when your mother is dying?
Beto’s didn’t have any trauma from the Holocaust and her family didn’t make decisions that saved some and liquidated others. So, Beto would support her descendants in good times and bad, with legitimate and illegitimate and corrupt decisions. Beto defends her family to the death. Derek destroys her own.
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“Hitler en Centroamérica”, una novela
–Esta escena tiene lugar en San José inmediatamente antes de la Segunda Guerra Mundial. Muestra la influencia, si indirecta, de los nazis en Costa Rica:
Ella no entendió nada y lo intuyó todo a la vez.
El dibuk resultó, en realidad, ser un hombre, y las acompañó de regreso al Mercado. El viaje de vuelta fue una combinación de terror y la más absoluta felicidad, esto último un sentimiento nuevo. No prestaba oídos a nada de lo que le decía, ni comprendía los saludos de los comerciantes de la Avenida, o los piropos de los vendedores del mercado. Miraba a Carlos como al vestido de la vitrina, demasiado hermoso para hacerlo suyo.
Nunca había visto un cabello de matices de rubio, café y pastuso tan variados, ni una boca tan hermosa o dientes tan blancos y grandes. La sonrisa de su acompañante era cálida, tan reconfortante como la de los negros que había visto en Limón. Sin embargo,era un galán prohibido. Elena no comprendía cómo los alemanes tanto la odiaban y a la vez, la perseguían. “¿Qué sentido tenía este truco de la naturaleza? ¿Era el mismo sino que le tocó a Samuel, el suicida? “- se preguntaba para sí.
Cuando le pidió que, si podía volverla a ver, le dio un “no” que ni ella misma se creía.
Cuando Elena tomó conciencia de que estaba a diez metros de La Peregrina, la tienda de su padre, Carlos se había ido por los sinuosos caminos del Mercado, como un Elías que voló al cielo.
Un terrible bofetón la sacó del embrujo. “¡Si te vuelvo ver con ese alemán, te mato!”- la amenazó su padre.
“¡Están comiendo ramas como las vacas!”- fue el grito de Sarita cuando miró a dos individuos deleitarse con la caña de azúcar. La niña no conocía la planta y no comprendía cómo los costarricenses podían comerla. Samuel, el hermano intermedio, por su parte, se
había comido un banano con todo y cáscara y la misma Elena había pelado un aguacate para casi quebrarse un diente con la semilla. Ninguno de ellos, estaba acostumbrado a viandas hechas de maíz. Ni conocían verduras como el chayote, el camote, y la yuca.
Tampoco consumían frijoles negros, esos granos entre negros y cafés, pastosos con un sabor a tierra mojada, calientes y con un dejo de sabor delicioso a aroma tropical, parte de la dieta de la nueva nación.
En Europa, se alimentaban con papa, frijoles blancos, fideos, arenque, mantequilla, pan y salami. Los productos variaban de acuerdo con la estación: más grasas en el invierno y más productos lácteos en el verano. Pero en un país tropical, los platos del Viejo Mundo se tornaron en muy pesados y debieron ser abandonados.
También algo más importante para los Sikora: la comida kosher, que en el barco no la consiguieron, ni en Costa Rica, porque no había shoijets que sacrificaran los animales.
Para esa fecha y debido a casi una década sin carne kosher, los primeros inmigrantes habían abandonado la costumbre.
La joven tuvo, a la vez, que variar su forma de vestir. En la carta que le envió a su amiga Shosha, le contó que “debido a que en Europa se dan las cuatro estaciones y aquí esverano todo el año, la ropa es más ligera. Cuando me puse mis medias largas de hilo queusamos allá contra el frío, la gente se reía porque me veía cómica”. La vida socialtambién era distinta. Los paisanos se encontraron, de la noche a la mañana, convertidosen minoría psicológica.
En Polonia, aunque también eran menos que los cristianos, vivían como mayoría urbana.De ahí que en estos shteitels, se impusieran las celebraciones religiosas como centro de lavida cultural y social. Pero en el Nuevo Mundo, la vida social y recreativa pasó a ser secular. Y además, había algo ausente en los shteitels polacos: el cine. Según Elena, elnuevo arte le ayudaría a divertirse y expandir su mente: “El cine vino a ser el punto central de la actividad social. Éste, con sus anuncios luminosos, representaba para mítodo lo festivo. Las luces que se encendían y apagaban me atraían mucho porque en mipueblo en Polonia no había electricidad”.
Pero los cambios no se limitarían a los alimentos o el vestido. El idioma sería uno crucial.En Polonia, los Sikora hablaban ídish, la lengua de los ashkenazis. Luego, dependiendode la actividad y la necesidad, se hablaba el polaco. La mayoría de los paisanos lo dominaba a medias porque vivía tan separada, que la comunicación con los polacos era mínima. Pero en el nuevo país, el contacto social fue mucho mayor. Elena, por ejemplo,empezó sus clases con el carnicero del mercado para integrarse, como toda su generación,a las escuelas públicas. La joven, en la misma misiva a su amiga en Polonia, describe cuán rápido tuvo que aprenderlo:
Lo primero que notamos fue que había que aprender el español. Como llegamos cuando estaban por finalizar las clases, mi papá me puso un maestro particular.Pero fue en la escuela donde lo pude aprender de verdad. Recuerdo que la ortografía la logré dominar rápido. En el primer dictado que hizo la maestra, unaniña tuvo 70 faltas de ortografía. Cuando la maestra dijo ante todas que una de nosotras había cometido tantos errores, me eché a reír y pensé: ¡qué tonta!
Buena sorpresa me llevé al descubrir que había sido yo. Al mes siguiente, en el segundo dictado, solamente cometí solo tres.
Obviamente, sus padres no contaron, por la edad y por no asistir a la escuela, con un español tan rápido y tan bien hablado. Pronto, Elena hablaba el español como su primera lengua y sus padres se quedaban con un cada día más olvidado ídish y un españoldeficiente. La diferencia tendría repercusiones.
Papá hablaba en ídish con mamá y en español con nosotros. Cuando él hablaba en la lengua local, sentía que le era difícil expresar lo que quería decir. Era ssegunda lengua y no la dominaba. A veces creo que muchas cosas que me decían hubiesen tenido un mayor impacto si hubiese hablado naturalmente el castellano.
En ciertas ocasiones lo observaba expresándose en ídish y parecía más seguro de sí mismo, más profundo en lo que decía. Me preguntaba: ¿Cuánto no noshabremos conocido por hablar idiomas diferentes?
La joven no solo lo aprendió sin acento, sino que “por arte de magia” el polaco desapareció. Elena le escribió a su compañera del pueblo que “me pasó una cosa curiosa.Como usted sabe, había asistido a la escuela pública polaca y hablaba el idioma a la perfección. Mis padres, como los tuyos, hablaban en ídish. Pues en seis meses de estar aquí, se me olvidó totalmente el polaco. A mediados de este año ya no recuerdo nada”.
Un factor que hizo difícil la comunicación entre David y su familia fueron los años de separación. Los siete años que se mantuvieron aparte crearon divisiones difíciles de ignorar. Su hija así lo había escrito a su compañera en Polonia:
Papá y yo estuvimos separados varios años. Al llegar nosotros a Costa Rica, tiempo después de que él lo había hecho, empezamos a acostumbrarnos el uno alotro. Yo me había criado sin padre y ahora me era difícil aceptarlo. Fue un comienzo duro, íbamos asimilando las costumbres del lugar y las suyas. Era una convivencia familiar diferente, había un hombre y todo giraba alrededor de él, del humor que podía tener, que casi siempre era malo. La vida era dura y meimagino que eso lo hacía a él serlo. Al principio, la dependencia económica que teníamos con él fue frustrante.
Estas transformaciones incidieron a la vez en la forma de llevar la religión. La joven se percató de que “nuestros padres se volvieron menos estrictos. Dejaron de asistir a la sinagoga los sábados” y eso había sido fundamental para que “yo haga lo mismo”. Según ella, la razón para que los paisanos ticos se convirtieran en Mechallel Shabes era económica “porque aquí las tiendas, inclusive la nuestra, se abrían ese día, de siete de la mañana a las diez de la noche”- porque “era el mejor día de ventas”. A pesar de que en Dlugosiodlo era lo más “lindo y sagrado”- en Costa Rica, “era un día cualquiera de trabajo. Mi padre iba a la sinagoga, pero la tienda no se debía cerrar”.
Pero el puñetazo de su padre le hizo saber, desde su segundo día en el país, que algunas cosas, aparentemente, no cambiarían. “No quiero una apikoiresteh que ande con goym” le gritó a su hija. “Aquí las cosas parecen distintas. pero no tanto como crees. Una cosa es no comer kosher o laborar los sábados por necesidad y otra convertirnos. No voy a tolerar que mi hija deje el judaísmo, no mientras viva”.
Su padre interpretaba, como toda su generación, que, si los hebreos se casaran con cristianos, desaparecerían. “Mira lo que pasó con los judíos sefarditas que vinieron a este país. Como se unieron en matrimonio con gente de aquí, ahora sus hijos son cristianos y les da vergüenza que sepan su origen hebreo. Lo mismo te pasará a ti si andas con esehombre que es, para peores, alemán y -¡horror de los horrores!- casado”.
La jovencita le dio la razón a su padre. Tenía bastantes problemas para añadir uno más.
Le prometió que no saldría con Carlos y le reiteró que así se lo había dicho al caballero.
Pero también le dejó saber que no la trataría como una criada: Strasheh micht nit!, le gritó. A Elena, después de vivir en el matriarcado en Polonia, no le gustaba la expectativa de entrar en una dictadura patriarcal. Si su madre se hacía sumisa, la joven no tenía ningún interés en hacer lo mismo. Bastante esfuerzo les había costado mantenerse solas para ahora claudicar por una tienda cerca de los orinales. Después de todo, la gran mejoría en su vida parecía reducirse a vender en un cuchitril de mercado costarricense en lugar de un shteitel polaco.
Mientras la joven atendía a los clientes, aprendía el nuevo idioma, hacía labores domésticas y cuidaba a sus hermanos, el galán alemán no dejaba de acosarla. Escogía los días en que don David andaba donde el médico y buscaba los excusados del Mercadopara admirar la belleza de la tendera judía. La muchacha tampoco ocultaba que le agradaba ser cortejada por un varón tan galán. La misma Anita empezó a sospechar de las visitas a los servicios. “Tojter, ¿no te parece extraño que ese hombre orine tantas veces al día?”- le preguntó. “No, madre, seguro en el trópico la gente mea más”. No obstante, la madre no quedó convencida. “No sé hija mía, no me parece normal. Debe ir a revisarse los riñones”.
En otras ocasiones, el dueño de la floristería le traía unas rosas rojas a la muchacha. “Aquí le manda un cliente que está agradecido por la buena calidad de la ropa”- le comentaba al guiñarle el ojo. Anita no se lo creía: “¿En qué país del mundo te mandan flores por las compras?”- exclamaba sin entender qué pasaba. “Y si es así, ¿por qué nadie me envía a mí?” “Es que usted vende ropa de mujer y ellas son menos agradecidas”-contestaba la joven.
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“Hitler in Central America” — A Novel
–This scene takes place in San José just before World War II. I shows the influence, if indirect, of the Nazis, en Costa Roca :
She understood nothing and sensed everything at once.
The dybbuk turned out to be a man, and he accompanied them back to the market. The trip back was a combination of terror and absolute happiness, the latter a new feeling. She didn’t listen to anything he said, nor did she understand the greetings of the merchants on the Avenue, or the compliments of the market vendors. She looked at Carlos as if he were a dress in the window, too beautiful to make her own.
She had never seen hair of such varied shades of blonde, brown and pastuso, nor such a beautiful mouth or such white and large teeth. Her companion’s smile was warm, as comforting as that of the blacks she had seen in Limón. However, he was a forbidden gallant. Elena did not understand how the Germans hated her so much and at the same time, persecuted her. “What was the point of this trick of nature? Was it the same fate that befell Samuel, the suicide?” she asked herself.
When she asked him if he could see her again, he gave her a “no” that she didn’t even believe.
When Elena realized that she was ten meters from “La Peregrina”, her father’s store, Carlos had gone along the winding paths of the Market, like an Elias who flew to heaven.
A terrible slap broke her out of the spell. “If I see you with that German again, I’ll kill you!” her father threatened her.
“They’re eating branches like cows!” was Sarita’s cry when she saw two individuals delighting in sugar cane. The girl did not know the plant and did not understand how Costa Ricans could eat it. Samuel, the middle brother, on the other hand, had eaten a banana with its peel and Elena herself had peeled an avocado, almost breaking a tooth with the seed. Neither of them was accustomed to food made from corn. Nor did they know vegetables such as chayote, sweet potato, and yuca.
They also did not eat black beans, those grains between black and brown, pasty with a taste of wet earth, hot and with a hint of delicious tropical aroma, part of the diet of the new nation.
In Europe, they ate potatoes, white beans, noodles, herring, butter, bread and salami. The products varied according to the season: more fats in the winter and more dairy products in the summer. But in a tropical country, the dishes of the Old The world became very burdensome and they had to be abandoned.
Also something more important for the Sikoras: kosher food, which they did not get on the ship, nor in Costa Rica, because there were no shoijets to slaughter the animals.
By that time and due to almost a decade without kosher meat, the first immigrants had abandoned the custom.
The young woman also had to change her way of dressing. In the letter she sent to her friend Shosha, she told her that “because in Europe there are four seasons and here it is summer all year round, the clothes are lighter. When I put on my long linen stockings that we wear there against the cold, people laughed because I looked funny.” Social life was also different. The countrymen found themselves, overnight, converted into a psychological minority.
In Poland, although they were also fewer than the Christians, they lived as an urban majority. Hence, in these shteitels, religious celebrations became the centre of cultural and social life. But in the New World, social and recreational life became secular. And there was also something missing in Polish shteitels: cinema. According to Elena, the new art would help her have fun and expand her mind: “The cinema became the central point of social activity. It, with its illuminated advertisements, represented for me everything festive. The lights that went on and off attracted me a lot because in my village in Poland there was no electricity.”
But the changes would not be limited to food or clothing. Language would be a crucial one. In Poland, the Sikora spoke Yiddish, the language of the Ashkenazis. Then, depending on the activity and need, Polish was spoken. Most of the countrymen only half mastered it because they lived so far apart that communication with the Poles was minimal. But in the new country, social contact was much greater. Elena, for example, began her classes with the butcher at the market in order to join, like all her generation, the public schools. In the same letter to her friend in Poland, the young woman describes how quickly she had to learn it:
The first thing we noticed was that we had to learn Spanish. Since we arrived when school was almost over, my father hired me a private tutor. But it was at school that I really learned it. I remember that I quickly mastered spelling. In the first dictation the teacher gave, one girl had 70 spelling mistakes. When the teacher told everyone that one of us had made so many mistakes, I laughed and thought: how stupid!
I was very surprised to discover that it was me. The following month, in the second dictation, I only made three.
Obviously, her parents did not have such a fast and well-spoken Spanish, due to her age and not attending school. Soon, Elena spoke Spanish as her first language and her parents were left with an increasingly forgotten Yiddish and a deficient Spanish. The difference would have repercussions.
Dad spoke Yiddish with Mom and Spanish with us. When he spoke in the local language, I felt it was difficult for him to express what he wanted to say. It was a second language and he didn’t master it. Sometimes I think that many things that were said to me would have had a greater impact if he had spoken Spanish naturally.
Sometimes I watched him express himself in Yiddish and he seemed more self-assured, more profound in what he said. I wondered: How long have we not known each other because we spoke different languages?
Not only did the young woman learn it without an accent, but “like magic” the Polish disappeared. Elena wrote to her friend in the village that “a curious thing happened to me. As you know, I had attended the Polish public school and spoke the language perfectly. My parents, like yours, spoke Yiddish. Well, in six months of being here, I completely forgot Polish. By the middle of this year I no longer remember anything.”
One factor that made communication between David and his family difficult was the years of separation. The seven years apart created divisions that were difficult to ignore. His daughter had written to her partner in Poland:
Dad and I were separated for several years. When we arrived in Costa Rica, some time after he had, we began to get used to each other. I had grown up without a father and now it was difficult for me to accept him. It was a hard start, we were assimilating the customs of the place and his own. It was a different family life, there was a man and everything revolved around him, his mood, which was almost always bad. Life was hard and I imagine that made him hard. At first, the economic dependence we had on him was frustrating.
These changes also affected the way we carried out religion. The young woman realized that “our parents became less strict. They stopped going to synagogue on Saturdays” and that had been fundamental for “me to do the same.” According to her, the reason for the Costa Ricans to become Mechallel Shabes was economic, “because here the stores, including ours, opened on that day, from seven in the morning to ten at night” – because “it was the best day for sales.” Even though in Dlugosiodlo it was the most “beautiful and sacred” – in Costa Rica, “it was just another work day. My father went to synagogue, but the store was not supposed to close.”
But her father’s punch made her know, from her second day in the country, that some things, apparently, would not change. “I don’t want an apikoiresteh who hangs out with goym” she shouted to her daughter. “Things seem different here, but not as much as you think. One thing is not eating kosher or working on Saturdays out of necessity and another is converting. I will not tolerate my daughter leaving Judaism, not while I live.”
Her father, like all his generation, interpreted that if Jews married Christians, they would disappear. “Look what happened to the Sephardic Jews who came to this country. Because they married people from here, now their children are Christians and they are ashamed that people know their Hebrew origin. The same thing will happen to you if you go out with that man who is, to make matters worse, German and – horror of horrors! – married.”
The young girl agreed with her father. She had enough problems to add one more.
She promised him that she would not go out with Carlos and reiterated that she had told the gentleman so.
But she also let him know that she would not treat her like a maid: Strasheh micht nit!, she shouted at him. Elena, after living in the matriarchy in Poland, did not like the prospect of entering a patriarchal dictatorship. If her mother became submissive, the young girl had no interest in doing the same. It had taken them enough effort to stay alone to now give in to a store near the urinals. After all, the great improvement in her life seemed to be reduced to selling in a Costa Rican market hovel instead of a Polish shteitel.
While the young woman was serving customers, learning the new language, doing housework and looking after her siblings, the German hunk kept harassing her. He chose the days when Don David was at the doctor’s and looked for the toilets in the market to admire the beauty of the Jewish shopkeeper. The girl also made no secret of the fact that she liked being courted by such a handsome man. Anita herself began to suspect the visits to the toilets. “Tojter, don’t you think it’s strange that this man urinates so many times a day?” she asked. “No, mother, surely in the tropics people urinate more.” However, the mother was not convinced. “I don’t know, my daughter, it doesn’t seem normal to me. She should go and have her kidneys checked.”
On other occasions, the owner of the flower shop would bring the girl some red roses. “This is what a customer who is grateful for the good quality of the clothes sent you,” he would comment, winking at her. Anita couldn’t believe it: “In what country in the world do they send you flowers for your purchases?” she exclaimed, not understanding what was happening. “And if that’s the case, why doesn’t anyone send them to me?” “It’s because you sell women’s clothes and women are less grateful,” the young woman answered.
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Libros de Jacobo Schifter-Sikora/Some of the books by Jacobo Schifter-Sikora
Poesía, reflexión y arte unidos para conmemorar el 7 de octubre de 2023
Liderado por la destacada escritora, periodista y poeta judío-venezolana Raquel Markus – Finckler, este proyecto busca convertirse en un esfuerzo intelectual significativo que permitirá recordar y honrar a las víctimas de los atentados, a sus familias, a todos los afectados directa o indirectamente por este pogromo. La publicación está dedicada al Estado de Israel, a sus habitantes y, en general, a todos los miembros del pueblo judío.
Por medio de la fusión de palabra, voz e imagen, No alcanzan las palabras busca transmitir el dolor, la tristeza y la desesperación que la Nación judía (en Israel y en el mundo) ha cargado desde aquel terrible día, y al mismo tiempo, es un reconocimiento a su unión, a la esperanza, fe y templanza que ha demostrado durante este tiempo. La obra es un reflejo de las sombras y luces de todos sus participantes que promete dejar una huella profunda en todos sus lectores y escuchas.
A propósito de este próximo lanzamiento, Raquel Markus – Finckler expresó: “Tenemos planificado realizar su difusión en todas las comunidades judías hispanoparlantes de América Latina, Estados Unidos, Europa e Israel. Gracias a la colaboración de muchas personas involucradas en este proyecto, incluyendo a todos los artistas que participan, queremos llegar tan lejos como sea posible. Nuestra voz debe ser escuchada por el mundo, el pueblo y el Estado de Israel tienen derecho a la vida y tienen derecho a defender sus vidas. Este libro es un necesaria reivindicación de nuestro honor y de nuestro nombre. Aquí estamos de pie y orgullosos respondiendo a la proclama de Am Israel Jai, el pueblo de Israel vive”.
Son muchos los artistas plásticos que aceptaron colaborar con este proyecto literario y artístico ad honorem y completamente comprometidos con su propósito. En orden de publicación, ellos son: Ricardo Benaim, Edith Shlesinger, Samantha Finckler, Irene Pressner, Monique Mendelovici, Susy Iglicki, Cecilia Hecht, Orlando Campos, Susan Hirschhaut, Lisette Waich, Luis Franco Gutiérrez, Lihie Talmor, Geula Zylberman, Vanessa Baumgartner, Dahlia Dreszer, Vanessa Katz, Leah Reategui Rotker, Pájaro, Maruja Herrera Benzecri, Paola Levy, Raquel Soffer, Simón Weitzman, Lucy Keme, Silvia Cohen, Karla Kantorovich. Todos ubicados entre Venezuela, Estados Unidos e Israel y unidos bajo la consigna de Am Israel Jai (el pueblo de Israel vive).
El prólogo de esta obra está a cargo del reconocido académico Stephen A, Sadow, profesor emérito de Literatura Latinoamericana en la Northeastern University de Boston, autor de varios libros que tratan sobre la literatura y el arte judíos latinoamericano, así como creador de la reconocida página web jewishlatinamerica.com. Sadow dice:
Confrontar directamente una catástrofe requiere gran coraje. Convertir las emociones confusas del momento en literatura y arte requiere gran talento y estabilidad emocional. En su No alcanzan las palabras, la poeta judeo-venezolana Raquel Markus-Finckler –junto a los artistas plásticos que en sus obras reaccionan a los poemas escritos por ella– tiene el coraje y talento requeridos. En este libro se crea una nueva forma de denuncia de una catástrofe judía. He aquí las interacciones entre la poética y el arte. Un grupo de gente talentosa se esfuerza para protestar en contra de los ataques del 7 de octubre sobre los kibutzim Kfar Aza, Be’eri, Ofakim, Sderot, Yad Mordejái, Yated, Kisufim y Urim, el festival musical Nova de Simjat Torá y por los numerosos soldados israelíes caídos, los rehenes tomados y el dolor sentido por el país y la Diáspora. Raquel Markus-Finckler extiende la tradición judía
“En fin, No alcanzan las palabras es una profunda e incisiva respuesta a los horrorosos eventos del 7 de octubre de 2023. Se puede considerar como una reacción de la kehilá de Venezuela a un momento de gran agitación en el país. No alcanzan las palabras está armado por los poemas de Raquel Markus-Finckler y por un conjunto de obras de distintos artistas plásticos. Ellos actúan como representantes de una comunidad judía relativamente pequeña de la Diáspora, la venezolana, que muestra su solidaridad hacia los rehenes y sus familias, y hacia los que murieron y sufrieron el ataque del 7 de octubre”.
En su contexto histórico, la analista internacional Beatriz W. de Rittigstein, expresa:
“Las atrocidades perpetradas por Hamás, la Yihad Islámica Palestina, otros grupúsculos terroristas y miles de civiles gazatíes en el territorio soberano de Israel aquel nefasto 7 de octubre, sin ninguna duda, constituye para el Estado y el pueblo judíos un parteaguas, una línea divisoria de un antes y un después, un suceso que marca que ya nada será igual a lo previo. Va más allá de una guerra de religiones; se trata de una confrontación de civilizaciones entre el islam radical y la cultural judeocristiana, entre el mal y el bien, y, por la ventura de la humanidad, la cultura de la luz deberá prevalecer”.
El epílogo de la obra, a cargo del reconocido periodista, escritor y poeta Néstor Garrido, expresa:
“Conocida es la prolífica pluma de Raquel a la hora de traducir en versos sus pensamientos y sentimientos, como también su habilidad de hallar las palabras sencillas y tropos acertados; lo que sí no sabía era de su capacidad de convencer a un grupo de instituciones, artistas e intelectuales para seguirla en esta meta, habida cuenta de que se trataba de un trabajo ad honórem y por la sola satisfacción de hace No alcanzan las palabras es una creación hecha yad beyad (mano con mano), a la que le sobraron conciencias para concretar una obra colectiva que se ejecutó desde el coraje y la temeridad. Su propósito principal es poder conmemorar, por medio de la poesía, la reflexión yel arte el primer aniversario desde aquel trágico 7 de octubre.
A partir de su lanzamiento oficial, el 6, “No alcanzan las palabras” estará disponible sin costo alguno en formato de ebook, como PDF para ser compartido por medio de correos y chats institucionales, y en veinte video poemas, publicados en la plataforma de YouTube en un canal que lleva por nombre: No alcanzan las palabras.
“Words Are Not Enough” by Raquel Markus – Finckler Poetry, reflection and art united to commemorate October 7, 2023
Led by the prominent Jewish-Venezuelan writer, journalist and poet Raquel Markus – Finckler, this project seeks to become a significant intellectual effort that will allow us to remember and honor the victims of the attacks, their families, all those directly or indirectly affected by this pogrom. The publication is dedicated to the State of Israel, its inhabitants and, in general, to all members of the Jewish people.
Through the fusion of word, voice and image, “Words Are Not Enough” seeks to convey the pain, sadness and despair that the Jewish Nation (in Israel and in the world) has carried since that terrible day, and at the same time, it is a recognition of its union, the hope, faith and temperance that it has shown during this time. The work is a reflection of the shadows and lights of all its participants that promises to leave a deep mark on all its readers and listeners.
Regarding this upcoming release, Raquel Markus-Finckler said: “We plan to distribute it in all Spanish-speaking Jewish communities in Latin America, the United States, Europe and Israel. Thanks to the collaboration of many people involved in this project, including all the participating artists, we want to reach as far as possible. Our voice must be heard by the world, the people and the State of Israel have the right to life and the right to defend their lives. This book is a necessary vindication of our honor and our name. Here we stand proudly responding to the proclamation of Am Israel Jai, the people of Israel live.”
There are many visual artists who agreed to collaborate with this literary and artistic project ad honorem and are completely committed to its purpose. In order of publication, they are: Ricardo Benaim, Edith Shlesinger, Samantha Finckler, Irene Pressner, Monique Mendelovici, Susy Iglicki, Cecilia Hecht, Orlando Campos, Susan Hirschhaut, Lisette Waich, Luis Franco Gutiérrez, Lihie Talmor, Geula Zylberman, Vanessa Baumgartner, Dahlia Dreszer, Vanessa Katz, Leah Reategui Rotker, Pájaro, Maruja Herrera Benzecri, Paola Levy, Raquel Soffer, Simón Weitzman, Lucy Keme, Silvia Cohen, Karla Kantorovich. All live in Venezuela, the United States and Israel and are united under the slogan Am Israel Jai (the people of Israel live).
The prologue to this work is by the renowned academic Stephen A. Sadow, professor emeritus of Latin American Literature at Northeastern University in Boston, author of several books dealing with Latin American Jewish literature and art, as well as creator of the renowned website jewishlatinamerica.com. Sadow says:
To confront a catastrophe directly requires great courage. To convert the confusing emotions of the moment into literature and art requires great talent and emotional stability. In her No alcanzan las palabras, the Jewish-Venezuelan poet Raquel Markus-Finckler –along with the visual artists who in their works react to the poems written by her– has the courage and talent required. In this book, a new form of denunciation of a Jewish catastrophe is created. Here are the interactions between poetics and art. A group of talented people is working hard to protest against the October 7 attacks on the kibbutzim Kfar Aza, Be’eri, Ofakim, Sderot, Yad Mordechai, Yated, Kisufim and Urim, the Nova Simchat Torah music festival and for the numerous fallen Israeli soldiers, the hostages taken and the pain felt by the country and the Diaspora. Raquel Markus-Finckler extends the Jewish tradition
“In short, Words Are Not Enough is a profound and incisive response to the horrific events of October 7, 2023. It can be considered as a reaction of the kehilá of Venezuela to a moment of great turmoil in the country. Words Are Not Enough is put together by the poems of Raquel Markus-Finckler and by a set of works by different visual artists. They act as representatives of a relatively small Jewish community in the Diaspora, the Venezuelan one, which shows its solidarity towards the hostages and their families, and towards those who died and suffered in the attack on October 7.”
In its historical context, the international analyst Beatriz W. de Rittigstein, expresses:
“The atrocities perpetrated by Hamas, the Palestinian Islamic Jihad, other terrorist groups and thousands of Gazan civilians in the sovereign territory of Israel on that fateful October 7, without a doubt, constitute for the Jewish State and people a watershed, a dividing line of a before and after, an event that marks that nothing will be the same as before. It goes beyond a war of religions; it is a confrontation of civilizations between radical Islam and Judeo-Christian culture, between evil and good, and, for the good of humanity, the culture of light must prevail.”
The epilogue of the work, by the renowned journalist, writer and poet Néstor Garrido, states:
“Raquel’s prolific pen is well-known when it comes to translating her thoughts and feelings into verse, as well as her ability to find simple words and successful tropes; what I did not know was her ability to convince a group of institutions, artists and intellectuals to follow her in this goal, given that it was an ad honorem work and for the sole satisfaction of doing it.
No alcanzan las palabras is a creation made yad beyad (hand in hand), which had more than enough conscience to realize a collective work that was executed from courage and recklessness. Its main purpose is to commemorate, through poetry, reflection and art, the first anniversary of that tragic October 7th.
From its official launch, “No alcanzan las palabras” will be available free of charge in ebook format, as a PDF, that can also to be shared through institutional emails and chats, and in twenty video poems, published on the YouTube platform in a channel called: No alcanzan las palabras.
Eliezer Levin é autor de livros de contos, crônicas e romances. O seu primeiro romance. Bom Retiro, publicado em 1972, constituiu-se por assim dizer, em sua temática regionalista, um marco solitário no panorama de nossa um livro sobre o bairro judaico de São Paulo. Até então nenhum romance se ocupara especificamente do assunto. Conforme crítica da época, o autor estreava em plano alto, o nível de realização literária que sugeria maturidade. Dono de estilo simples, claro, fluente, havia escrito “um livro envolvente, de evocativa beleza, digno dos escritores de raça”
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Eliezer Levin es autor de libros de cuentos, crónicas y novelas. Tu primera novela. Bom Retiro, publicado en 1972, constituyó, por así decirlo, en su temática regionalista, un hito solitario en el panorama de nuestro libro sobre el barrio judío de São Paulo. Hasta entonces, ninguna novela había tratado específicamente el tema. Según la crítica de la época, el autor debutó en un nivel alto, el nivel de realización literaria que sugería madurez. Dueño de un estilo sencillo, claro y fluido, había escrito “un libro cautivador, de belleza evocadora, digno de escritores de raza”.
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Eliezer Levin is the author of books of short stories, chronicles and novels. Your first novel. Bom Retiro, published in 1972, constituted, so to speak, in its regionalist theme, a solitary landmark in the panorama of our book on the Jewish neighborhood of São Paulo. Until then, no novel had specifically dealt with the subject. According to the critics of the time, the author debuted at a high level, the level of literary achievement that suggested maturity. Owner of a simple, clear and fluid style, he had written “a captivating book, of evocative beauty, worthy of writers of his ethnicity.”
O retrato ficava bern no meio da parede da nossa sala de jantar, en frente da mesa. Tratava-se de um desenho anti go, feito a lápis-crayon, corn urna armação de vidro e urna grande moldura dourada de estilo. Nele, o meu avo aparecia exibindo a sua longa barba preta e um par de óculos sem aro; os olhos, grandes e luminosos, dominavam o rosto. Algumas rugas na testa emprestavam-lhe um ar mais sério, em contras te com a expressão da boca, que continha um meio-sorriso.
Desde que me conhecia por gente, o retrato esteve sempre lá. Tão acostumados estávamos com ele, que passava des percebido, corno qualquer outra coisa comum da sala. Mas, no meu caso, nao era bem assim.
A grande mesa da sala era normalmente a mesa em que costumava fazer as Iições. Diariamente, punha os livros e cadernos sobre ela, ficando ali debruçado por várias horas, até a conclusão do trabalho. Por vezes, meio distraído, olhava para o retrato, dando, então, com seus grandes olhos, que me fitavam seriamente atrás das lentes. Tinha a impressão de que es tavam interessados em tudo o que eu fizesse; nao me deixavam por um instante. Como eu tivesse o hábito de repetir os Ao observar os pontos andando de um lado para o outro da sala, eu conseguia até sentir como eles me seguiam; não apenas os olhos, mas o rosto inteiro. Eles se viravam em minha direção e praticamente me seguiam. Eu sentia tanto a presença do meu avô que, com o tempo, comecei a ter, por assim dizer, um diálogo silencioso com ele. Eu lhe contava minhas dúvidas, sugeria meus problemas, confiava meus planos e aventuras. Às vezes, na véspera de provas, eu ficava acordado estudando até tarde da noite. A casa ficava muito silenciosa. Todos dormiam. Sozinho com meus livros, eu tentava rever os últimos pontos. Quando, exausto e cochilando, eu parava por um breve momento, pegava aqueles grandes olhos fixos em mim, como se me olhassem com curiosidade. Acho que poucas pessoas na casa se importavam com o retrato. De minha parte, eu o conhecia tão bem que conseguia reproduzi-lo nos mínimos detalhes. Eu podia dizer de cor o número de rugas em sua testa, o corte de seu cabelo e barba, o estilo de seus óculos, a luz em seus olhos, o formato de suas orelhas e nariz. No entanto, de vez em quando eu podia jurar que ele havia passado por algumas mudanças. As rugas às vezes pareciam mais profundas, às vezes menos; o meio sorriso nos cantos de seus lábios foi substituído por uma expressão diferente, quase triste; os óculos montados em seu nariz tinham mudado ligeiramente de posição. Mas essas eram diferenças tão insignificantes que fiquei em dúvida. De uma coisa, no entanto, eu tinha certeza absoluta: sua barba. Eu sempre pensei que fosse preta; a barba preta de um profeta. Eu não tinha dúvidas sobre isso. E foi um verdadeiro choque para mim quando, uma noite, enquanto olhava para o retrato, particularmente para a barba, descobri alguns reflexos. Fui até lá e examinei seu rosto. Com certeza, havia alguns cabelos grisalhos. Eu não os tinha notado antes?
–Você não percebeu nada no retrato?
–Que retrato?
–Do vovô.
–O que eu temo retrato?
–Você não acha que a barba está um pouco diferente?
–Diferente? Como?!
Ela levantou a cabeça, olhou para mim e depois olhou para o retrato.
–O que você vê de diferente?
–Você não acha que estão aparecendo alguns cabelos grisalhos?
–Ah, isso! Esses fios sempre foram brancos.
–Mas, mãe, a barba do vovô era preta. Mamãe riu alto; Eu não insisti mais. Outra noite, abordei meu pai. No momento em que ele largou o jornal, entrei na conversa. Inicialmente perguntei quem havia desenhado o retrato e quando o trouxeram. Quando pensei que papai estava suficientemente preparado, fui direto ao assunto:
–Você não percebe nenhuma diferença nele?
–Assim?
–A barba possui fios brancos; não existia antes.
–Você deve estar maluco, sempre haverá cabelos grisalhos. Dizendo isso, deu uma rápida olhada no retrato e pegou novamente o jornal. Suas palavras foram incisivas, não deixando margem para dúvidas. Mas não desisti das investigações. Eu fui em frente. Eu tinha acabado de desistir do meu pai. E então passei para outro membro da família.
É verdade que, com este, não tive nada a temer; Por outro lado, não parecia que eu iria conseguir muito. Meu irmão Srulic.
–Srulic – disse a ele, quando estávamos sozinhos -, preste atenção no que vou dizer. Dê uma boa olhada no retrato do vovô e me diga qual era a cor da barba dele.
Os olhos de Srulic brilharam, ele ficou orgulhoso por eu estar me dirigindo a ele de forma tão educada.
–A cor?!
–Sim, a cor.
–Cor?!
–Então você não sabe qual é a cor? Branco, preto, azul, vermelho, roxo. Você entende? Imediatamente vi que não, desisti dele.
Continuei minha investigação com as outras pessoas que costumavam entrar na casa. Falei com todos, sem exceção, e todos, além de mostrarem uma expressão de surpresa, estranhando a pergunta, foram unânimes em dizer que eu estava enganado. É claro que, a essa altura, minhas convicções já davam sinais de abalar e comecei a aceitar a ideia de que estava enganado. E o pior de tudo é que o fato passou a ser de domínio público, obrigando-me a aceitar ironias de ambos os lados.
–Descobriu mais algum cabelo grisalho? – perguntou meu pai. Decidi esquecer o assunto.
Quando passei no vestibular para o Ginásio Estadual, esse fato despertou muita alegria em casa; Naquela época não era fácil conseguir uma vaga no ensino médio. Portanto, minha conquista teve sabor de vitória e me proporcionou uma verdadeira consagração da minha família. A notícia se espalhou rapidamente.
Dai a pouco, nossa casa ficou completamente cheia. Os vizinhos estavam chegando, cumprimentando meu pai, que estava um eufórico. Mamãe preparou os copos, estendeu a toalha branca na estava na mesa e não parava de trazer cupcakes da cozinha. Bu, que era o herói, naturalmente se divertiu com tudo. Mas no local, entre o grupo que me cercava, olhei casualmente para o retrato. Os olhos me olharam felizes. Você tive e novamente aquela estranha impressão de que a barba parecia mais grisalha. Um bom número de cabelos grisalhos se somaria aos que eu já pensava conhecer. Eu cheguei mais perto.
–Parabéns – meu avô sussurrou para mim.
Alguns meses se passaram. Fizemos uma pequena reforma, trocamos alguns móveis, mamãe pintou a sala e trocou as cortinas. Durante a pintura, o vidro do retrato quebrou. Papai teve que levá-lo ao vidraceiro; Enquanto isso, mamãe guardou no armário. Depois, passou um bom tempo sem que tivéssemos notícias dele. Só fui vê-lo novamente depois de vários meses, casualmente. Um dia (isso foi por volta dos meses finais da guerra), ao vasculhar o pequeno depósito, encontrei-o encostado num canto, um pouco empoeirado, junto com algumas bugigangas. Limpei o vidro, que ainda estava quebrado, com um pano e aproximei-o da janela para ver melhor à luz. Lá estava meu avô: os óculos sem aro, as rugas na testa, o meio sorriso no canto dos lábios. Os olhos me olharam com curiosidade. A barba estava completamente branca.
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El retrato
El retrato estaba ubicado en medio de la pared de nuestro comedor, frente a la mesa. Era un dibujo antiguo, hecho con crayones, con un marco de cristal y un marco dorado grande y elegante. En él aparecía mi abuelo luciendo su larga barba negra y unas gafas sin montura; los ojos, grandes y luminosos, dominaban el rostro. Algunas arrugas en su frente le daban un aspecto más serio, en contraste con la expresión de su boca, que contenía una media sonrisa.
Desde que tengo uso de razón, el retrato siempre ha estado ahí. Estábamos tan acostumbrados que pasó desapercibido, como cualquier otra cosa común en la habitación. Pero en mi caso no fue así.
La mesa grande de la sala era normalmente la mesa donde solía dar mis lecciones. Todos los días colocaba allí sus libros y cuadernos, permaneciendo allí durante varias horas, hasta completar el trabajo. A veces, un poco distraído, miraba el retrato y luego, con sus grandes ojos, me miraba seriamente detrás del objetivo. Tuve la impresión de que les interesaba todo lo que hacía; No me dejarían ni por un momento. Como tenía la costumbre de repetir los puntos al observar los puntos moviéndose de un lado a otro de la habitación, incluso podía sentir como me seguían; no sólo los ojos, sino todo el rostro. Se volvieron hacia mí y prácticamente me siguieron. Sentí tanto la presencia de mi abuelo que, con el tiempo, comencé a tener, por así decirlo, un diálogo silencioso con él. Le conté mis dudas, le sugerí mis problemas, me confié mis planes y aventuras. A veces, el día antes de los exámenes, me quedaba estudiando hasta altas horas de la noche. La casa estaba muy silenciosa. Todos durmieron. A solas con mis libros, intenté repasar los últimos puntos. Cuando, exhausto y adormecido, me detuve por un breve momento, vi esos grandes ojos mirándome fijamente, como si me miraran con curiosidad. Creo que a pocas personas en la casa les importaba el retrato. Por mi parte, lo conocía tan bien que podía reproducirlo hasta el más mínimo detalle. Podía saber de memoria el número de arrugas de su frente, el corte de su cabello y barba, el estilo de sus gafas, la luz de sus ojos, la forma de sus orejas y nariz. Sin embargo, de vez en cuando podría jurar que había pasado por algunos cambios. Las arrugas a veces parecían más profundas, a veces menos; la media sonrisa en las comisuras de sus labios fue reemplazada por una expresión diferente, casi triste; Las gafas montadas en su nariz habían cambiado ligeramente de posición. Pero eran diferencias tan insignificantes que tenía dudas. Sin embargo, de una cosa estaba absolutamente seguro: de su barba. Siempre pensé que era negro; la barba negra de un profeta. No tenía dudas sobre eso. Y fue un verdadero shock para mí cuando, una noche, mirando el retrato, especialmente la barba, descubrí algunos reflejos. Fui allí y examiné su rostro. Efectivamente, había algunas canas. ¿No los había notado antes?
–¿No notaste nada en el retrato?
–¿Qué retrato?
–Del abuelo.
–¿A qué le temo al retrato?
–¿No crees que la barba se ve un poco diferente?
–¿Diferente? ¡¿Como?!
Levantó la cabeza, me miró y luego miró el retrato.
–¿Qué ves diferente?
–¿No crees que te están saliendo algunas canas?
–¡Ah, eso! Estos cables siempre han sido blancos.
–Pero mamá, la barba del abuelo era negra. Mamá se rió a carcajadas; No insistí más. La otra noche me acerqué a mi padre. En el momento en que dejó el periódico, me uní a la conversación. Al principio pregunté quién había dibujado el retrato y cuándo lo habían traído. Cuando pensé que papá estaba lo suficientemente preparado, fui directo al grano:
–¿No notas ninguna diferencia en él?
–¿Como esto?
–La barba tiene hilos blancos; antes no existía.
–Debes estar loco, siempre habrá canas. Dicho esto, echó un rápido vistazo al retrato y volvió a coger el periódico. Sus palabras fueron incisivas y no dejaron lugar a dudas. Pero no abandoné las investigaciones. Seguí adelante. Acababa de renunciar a mi padre. Y luego se lo pasé a otro miembro de la familia.
Es cierto que con éste no tenía nada que temer; Por otro lado, no parecía que fuera a conseguir mucho. Mi hermano Srulic.
–Srulic – le dije, cuando estábamos solos –, presta atención a lo que voy a decir. Mira bien el retrato del abuelo y dime de qué color era su barba.
Los ojos de Srulic se iluminaron, estaba orgulloso de que me dirigiera a él con tanta educación.
–¡¿El color?!
–Sí, el color.
–¡¿Color?!
–¿Entonces no sabes de qué color es? Blanco, negro, azul, rojo, morado. ¿Lo entiendes? Inmediatamente vi que no, lo abandoné.
Continué mi investigación con las otras personas que solían entrar a la casa. Hablé con todos, sin excepción, y todos, además de mostrar una expresión de sorpresa, encontrando extraña la pregunta, fueron unánimes en decir que me había equivocado. Por supuesto, en este punto, mis convicciones
Ya daban señales de temblar y comencé a aceptar la idea de que estaba equivocado. Y lo peor de todo es que el hecho pasó a ser de dominio público, obligándome a aceptar la ironía de ambas partes.
–¿Descubriste más canas? – preguntó mi padre. Decidí olvidarme del asunto. Cuando aprobé el examen de ingreso al Gimnasio del Estado, este hecho provocó mucha alegría en casa; En aquella época no era fácil conseguir una plaza en el bachillerato. Por eso, mi logro tuvo sabor a victoria y me dio una verdadera consagración de mi familia. La noticia se difundió rápidamente.
Pronto nuestra casa estuvo completamente llena. Los vecinos iban llegando, saludando a mi padre, quien estaba eufórico. Mamá preparó los vasos, extendió el mantel blanco sobre la mesa y siguió trayendo pastelitos de la cocina. A Bu, que era el héroe, naturalmente le divertía todo. Pero allí, entre el grupo que me rodeaba, miré casualmente el retrato. Los ojos me miraron felices. Una vez más tuviste esa extraña impresión de que tu barba parecía más gris. Un buen número de canas se sumarían a las que ya creía conocer. Me acerqué.
–Felicidades – me susurró mi abuelo.
Pasaron unos meses. Hicimos una pequeña renovación, cambiamos algunos muebles, mamá pintó la sala y cambió las cortinas. Durante la pintura, el cristal del retrato se rompió. Papá tuvo que llevarlo al vidriero; Mientras tanto, mamá lo guardó en el armario. Después pasó mucho tiempo sin que supiéramos nada de él. Sólo volví a verlo después de varios meses, de manera casual. Un día (esto fue en los últimos meses de la guerra), mientras buscaba en el pequeño almacén, lo encontré recostado en un rincón, un poco polvoriento, junto con algunas chucherías. Limpié el cristal, que aún estaba roto, con un paño y lo acerqué a la ventana para ver mejor con la luz. Allí estaba mi abuelo: las gafas sin montura, las arrugas en la frente, la media sonrisa en las comisuras de los labios. Los ojos me miraron con curiosidad. La barba estaba completamente blanca.
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The Portrait
The portrait was located in the middle of the wall in our dining room, opposite the table. It was an old drawing, made in crayon, with a glass structure and a large, stylish gold frame. In it, my grandfather appeared sporting his long black beard and a pair of rimless glasses; The eyes, large and luminous, dominated the face. Some wrinkles on his forehead gave him a more serious appearance, in contrast to the expression on his mouth, which contained a half smile. Ever since I met, the portrait has always been there. We were so used to it that it went unnoticed, like everything else in the room. But in my case, it wasn’t quite like that. The large table in the room was usually the table where I did the exercises. Every day, he placed the books and notebooks in it, remaining there for several hours, until the work was completed. Sometimes, a little distracted, he would look at the portrait, then, with his big eyes, he would look at me seriously through the lens. I had the impression that they were interested in everything I did; don’t let me go for a moment. As I watched the dots walking from one side of the room to the other, I could even feel how they were following me; not only their eyes, but their entire faces. They turned in my direction and virtually followed me. I felt my grandfather’s presence so much that, over time, I began to have, so to speak, a silent dialogue with him. I would tell him my doubts, suggest my problems to him, confide in him my plans and adventures. Sometimes, on the eve of exams, I would stay up studying until late at night. The house would be very quiet. Everyone was asleep. Alone with my books, I would try to review the last points. When, exhausted and nodding off from sleep, I would pause for a brief moment, I would catch those big eyes fixed on me, as if looking at me curiously. I think that few people in the house cared about the portrait. For my part, I knew him so well that I could reproduce him in the smallest detail. I could tell by heart the number of wrinkles on his forehead, the cut of his hair and beard, the style of his glasses, the light in his eyes, the shape of his ears and nose. However, from time to time I could swear that he had undergone some changes. The wrinkles sometimes seemed deeper, sometimes less so; the half-smile at the corners of his lips was replaced by a different, almost sad expression; the spectacles mounted on his nose had changed slightly in position. But these were such insignificant differences that I was left in doubt. Of one thing, however, I felt absolutely certain: his beard. I had always thought it was black; the black beard of a prophet. I had no doubt about that. And it was a real shock for me when, one evening, as I looked at the portrait, particularly at the beard, I discovered some reflections. I went over and examined her face. Sure enough, there were some gray hairs. Hadn’t I noticed them before?
–Didn’t you notice anything in the portrait?
–What portrait?
–Grandpa’s.
–What do I fear portrait?
–Don’t you think the beard looks a little different?
–Different? As?! She raised her head, looked at me, and then looked at the portrait.
–What do you see different?
–Don’t you think some gray hairs are appearing?
–Oh, that! These wires have always been white.
–But, mom, grandpa’s beard was black. Mom laughed loudly; I didn’t insist anymore. The other night, I approached my father. The moment he put down the newspaper, I joined the conversation. Initially I asked who had drawn the portrait and when they brought it. When I thought Dad was sufficiently prepared, I got straight to the point:
–You don’t notice any difference in him?
–Like this?
–The beard has white strands; it didn’t exist before. You must be crazy, there will always be gray hair. Saying this, she took a quick look at the portrait and picked up the newspaper again. Her words were incisive, leaving no room for doubt. But I didn’t give up on the investigations. I went ahead. I had just given up on my father. And then I passed it on to another family member.
It’s true that, with this one, I had nothing to fear; On the other hand, it didn’t seem like I was going to achieve much. My brother Srulic.
It’s true that, with this one, I had nothing to fear; On the other hand, it didn’t seem like I was going to achieve much. My brother Srulic.
–Srulic – I said to him, when we were alone -, pay attention to what I’m going to say. Take a good look at Grandpa’s portrait and tell me what the color of his beard was. Srulic’s eyes shone, he felt proud that I was addressing him so politely.
–The color?!
–Yes, the color.
–Color?!
–So, you don’t know what color is? White, black, blue, red, purple. Do you understand?
I immediately saw that no, I gave up on him. I continued my investigation with the other people who usually entered the house. I spoke to them all, without any exception, and all of them, in addition to showing a look of surprise, finding the question strange, were unanimous in saying that I was mistaken. Of course, by this time my convictions were already showing signs of shaking and I began to come to terms with the idea that I was mistaken. And the worst of all is that the fact had become public domain, forcing me to accept irony from both sides.
–Did you discover any more gray hairs? – asked my father. I decided to forget the matter. When I passed the entrance exams to the State Gymnasium, that aroused great joy at home; it wasn’t easy in those times to get a place in high school. Therefore, my achievement had the flavor of a victory and gave me true consecration from my family. The news spread quickly.
Bit by bit, our house became completely full. The neighbors were arriving, greeting my father, who was euphoric. Mom prepared the glasses, laid out the white tablecloth on the table and didn’t stop bringing cupcakes from the kitchen. But, he who was the hero, naturally reveled in everything. But at the scene, among the group that surrounded me, I looked casually at the portrait. The eyes looked at me happily. I once again had that strange impression that the beard appeared grayer. A good number of gray hairs would be added to those I already thought I knew. I got closer.
–Congratulations – my grandfather whispered to me. A few months passed. We had a small renovation, moved some furniture, mom painted the living room and changed the curtains.
During the painting, the glass of the portrait broke. Dad had to take him to the glazier; Meanwhile, Mom put it in the closet. Afterwards, a good period of time passed without us hearing from him. I only went to see it again after several months, casually. One day (this was around the final months of the war), when rummaging through the little storage room, I found it leaning in a corner, a bit dusty, along with some trinkets. I wiped the glass, which was still broken, with a cloth and brought it closer to the window to see it better in the light. There was my grandfather: the rimless glasses, the wrinkles on his forehead, the half-smile at the corner of his lips. The eyes looked at me curiously. The beard was completely white.
– O nosso hornero está no ponto? – perguntou ma mãe a meu pai, que estava lendo o jornal.
Lá do meu canto, levantei as orelhas, porque era de mim que se falava. Faltava pouco para o dia do meu Bar-Mitzva e eu me encontrava preocupado, tanto quanto ela.
Afinal de contas, quem iría fazer no templo as brachot da Torá e o longo discurso com citações do Talmud era eu. Também me pesava a idéia de que, com treze anos, conforme me tinham dito, eu completava a maioridade, me tornava um “hornero” e assumia urna carga de responsabilidades, para o que, em sa consciencia, nao me sentia com nenhum preparo.
Dava tratos a bola: como é que um “homem” como eu podía, por exemplo, ganhar a vida e sustentar-se, se fosse o ca so? Deus me livre se tivesse de ocupar a cadeira do chefe da família, tomar as rédeas da casa e de tudo o mais.
Ter de enfrentar, nesse sábado, os vizinhos, o rabino, os chachomim do Bom Retiro, que viriam em peso ao templo só para assistir ao meu Bar-Mitzva, isso me deixava bem desassossegado. Nao ligar para a piscada de olhos dos garotos, que tudo fariam para rir de rnim, eis outro pesadelo, nada fá cil de engolir.
Quanto ao meu irmão, felizmente com esse nao tive problemas, pois, antes que ele começasse com as suas, eu já lhe lera a entender que queria o máximo respeito, nao deixaria passar em nuvens brancas nenhuma brincadeira de mau gos to. Mas, como controlar meus amigos? Como resistir aos seus olhares, cheios de ironia e degozação?
Papai abaixou o jornal, tirou os óculos e olhou para mim.
–O nosso homem está muito bem.
Mamãe deu um suspiro e voltou para a cozinha, onde andava preparando, com a ajuda de Dona Paulina, os pratos especiais da festa, essa parte a que ela proclamava como “a minha parte”.
Ao que me pareceu, o único que nao demonstrava nenhuma preocupação com a tempestade que vinha aí era o meu pai. Ele andava sorridente, cantarolava a meia voz, esfregava satisfeito as mãos, e os seus ares eram de um hornero feliz que encara o amanha como urna benc,:ao dos céus e se sente bem neste mundo de Deus. la de um quarto para outro, a procura nao sei bem do que; metia-se na cozinha para dar alguns pal pites, o que, aliás, nao era do seu feitio. Voltava ao seu jornal, interrompia a leitura e gritava para a cozinha:
–Estou as ordens. Nao vo precisar de alguma coisa?
O pessoal da cozinha queria paz e sossego, nada mais do que isso, e tempo para trabalhar.–Que cada um cuide da sua parte – era o que mamãe vivia dizendo. – Eu sei qual é a minha parte, meu Deus.
Com todo esse movimento, imagina-se o meu estado de espírito. Duma hora para outra, eu virava o centro da casa, chamavam-me de “o nosso homem”, me davarn urna aten c,:ao que nunca tive, nem sonhei ter. Queriarn saber se eu esta va passando bern e corno ia a rninha voz. Mamae me trazia oe-dac;:os de pifo com gordura de galinha. Papai puxava prosa co migo num tom diferente, cheio de brandura, cheio de respeito.
–Ei, o senhor aí! Que tal uma “liçãozinha”? – perguntava-me, cantarolando.
E, pela milésima vez, eu repetia as brachot da Torá, usando a melodia que ele me ensinara. Depois, repetia o dis curso com todas aquelas citac;:oes do Talmud. Pelos seus olhos, que nao escondiam nada, eu sabia que estava indo bem.
—Koi ornar Adoshem.
–Ó-ti-mo de no-vo – repetia meu pai, no mesmo diapasão, e lá ia eu, outra vez.
Na manha do sábado, a sinagoga estava cheia. O talis de seda, que papai me comprara, cobria-me os ombros e me rocava as faces afogueadas. Fizeram-me sentar ao lado dora bino, esse mesmo que permutava jornais idish com meu pai. Do lado do balção, as mulheres nao tiravam os olhos de mim, lá estavam como seus vestidos de Shabat, as cabeças cobertas por xales brancos. Dava para ver mãmae e Dona Paulina rezando pelo mesmo livro.
O hazan Avrum, em frente do Aron-Acodesch, entoa va, com sua voz de “baixo”, as dezoito orações.
Tendo chegado a minha vez, encaminhei-me junto com meu pai em direcção da grande mesa onde estavam abertos os rolos da Torá. E, no devido tempo, em meio ao silencio que se fizera na pequena sinagoga, comecei a cantar:
—Koi omar Adoshem.
Coma voz ecoando por todo o salao, ainda que meio embargada, e com o corac;:ao palpitante, eu sentia que estava encerrando nesse momento um ciclo de minha vida.
Ao me virar para o público, que esperava o tradicional discurso, olhei para o meu pai, a poucos passos de mim, e pro curei mã
mae, no alto do balçao. Depois, abrindo os brãços, comecei:
Meu povo…
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El Bar Mitzvá
–¿Está nuestro homem en punto? – preguntó mi madre a mi padre, que estaba leyendo el periódico.
Desde mi esquina levanté el oído, porque era de mí de quien se hablaba. No pasó mucho tiempo antes de que mi Bar Mitzva y yo estuviéramos preocupados, tanto como ella.
Después de todo, yo era quien iba a dar las berajot de la Torá y el largo discurso con citas del Talmud en el templo. También me pesaba la idea de que, a los trece años, como me habían dicho, alcanzaría la mayoría de edad, me convertiría en hornero y asumiría un montón de responsabilidades, para las cuales, en conciencia, me No me sentí preparado de ninguna manera.
Era un gran problema: ¿cómo podría un “hombre” como yo, por ejemplo, ganarse la vida y mantenerse, si ese fuera el caso? Dios no lo quiera si tuviera que ocupar el puesto de cabeza de familia, encargarme de la casa y de todo lo demás.
Tener que enfrentarme ese sábado a los vecinos, al rabino y a los jajomim de Bom Retiro, que vendrían en masa al templo sólo para asistir a mi Bar-Mitzvá, me inquietó mucho. No prestar atención a los ojos guiñantes de los chicos, que harían cualquier cosa por reírse de ti, es otra pesadilla, no fácil de tragar.
En cuanto a mi hermano, afortunadamente no tuve ningún problema con él, porque antes de que empezara con el suyo ya lo había leído para entender que quería el máximo respeto, no dejaría pasar ninguna broma de mal gusto en nubes blancas. ¿Pero cómo controlo a mis amigos? ¿Cómo resistirme a sus miradas, llenas de ironía y burla?
Papá dejó el periódico, se quitó las gafas y me miró.
–Nuestro hombre está muy bien.
Mamá suspiró y regresó a la cocina, donde estaba preparando, con ayuda de doña Paulina, los platos especiales para la fiesta, esa parte de la que proclamó como “mi parte”.
Me pareció que el único que no mostró ninguna preocupación por la tormenta que se avecinaba era mi padre. Caminaba sonriendo, tarareando en voz baja, frotándose las manos con satisfacción, y su aire era el de un hombre feliz que ve el mañana como una bendición del cielo y se siente a gusto en el mundo de Dios. De una habitación a otra, busco, no sé exactamente qué; Fue a la cocina para hacer algunas conjeturas, lo cual, por cierto, no era propio de él. Volvió al periódico, dejó de leer y gritó en la cocina:
–Estoy bajo órdenes. ¿No necesitas nada?
El personal de la cocina quería paz y tranquilidad, nada más que eso, y tiempo para trabajar. -Que cada uno haga su parte -eso decía mamá. – Sé cuál es mi parte, Dios mío.
Con todo este movimiento, os podéis imaginar mi estado de ánimo. De un momento a otro me convertí en el centro de la casa, me llamaban “nuestro hombre”, me brindaban una atención que nunca tuve, ni soñé tener. Quería saber si estaba bien y cómo estaba la vocecita. Mamá solía traerme oe-dac;:os hechos con grasa de pollo. Papá me habló en un tono diferente, lleno de dulzura, lleno de respeto.
–¡Oye, estás ahí! ¿Qué tal una “pequeña lección”? – me preguntó tarareando.
Y, por milésima vez, repetí las berajot de la Torá, usando la melodía que él me había enseñado. Luego repitió el discurso con todas esas citas del Talmud. Por sus ojos, que no ocultaban nada, supe que estaba bien.
–Los koi adornan a Adoshem.
–O-tú otra vez – repitió mi padre, en el mismo tono, y ahí fui, otra vez.
El sábado por la mañana la sinagoga estaba llena. Los tallis de seda que me había comprado mi padre cubrían mis hombros y tocaban mis mejillas sonrojadas. Me hicieron sentar al lado de Bino, la misma persona que intercambiaba periódicos en yiddish con mi padre. Al lado del mostrador, las mujeres no me quitaban los ojos de encima, estaban allí con sus vestidos de Shabat y sus cabezas cubiertas con chales blancos. Se podía ver a mamá y a doña Paulina orando por el mismo libro.
Hazan Avrum, delante del Aron-Acodesch, cantó, con su voz de “bajo”, las dieciocho oraciones.
Cuando llegó mi turno, caminé con mi padre hacia la gran mesa donde estaban abiertos los rollos de la Torá. Y, a su debido tiempo, en medio del silencio que reinó en la pequeña sinagoga, comencé a cantar:
–Koi omar Adoshem.
Con mi voz resonando por toda la habitación, aunque un poco entrecortada, y con el corazón latiendo con fuerza, sentí que estaba cerrando un ciclo de mi vida en ese momento.
Mientras me volvía hacia el público que esperaba el tradicional discurso, miré a mi padre, a unos pasos de mí, y busqué a mi madre.
madre, en lo alto del balcón. Entonces, abriendo los brazos, comencé:
Mi gente…
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El Bar Mitzvah –
–Are is our man ready? – my mother asked my father , who was reading the newspaper.
From my corner I raised my ear, because it was my place to speak. There was a lot of time before my Bar Mitzva and we were worried, just as much as she was.
After all, I was able to give the speeches of the Torah and the long speech with quotes from the Talmud in the temple. I was also weighed down by the idea that, in the last three years, as I said, I would reach the majority of the age, I would become a man and take on a lot of responsibilities, for which, in conscience, I didn’t feel prepared in any way .
It was a big problem: how could a “man” like you, for example, gain life and maintain it, if that were the case? God didn’t want to if he had to occupy the family head post, take charge of the house and everything else.
Having to face myself this Saturday at the vecinos, the rabbi and the jajomim from Bom Retiro, who came to the temple alone to attend my Bar Mitzvah, made me very worried. Don’t pay attention to the guiñante eyes of children, who will do anything to get rid of you, it’s another nightmare, not easy to swallow.
As for my brother, luckily I didn’t have any problems with him, because before I started with him I had read him to understand that he wanted maximum respect, I wouldn’t have to pass anyone a bad taste in white clouds. But how do I control my friends? How can I resist his looks, full of irony and mockery?
Dad left the newspaper, he left the glasses and looked at me.
–Our man is very good.
Mom sighed and returned to the kitchen, where she was preparing, with the help of Doña Paulina, the special dishes for the fiesta, that part of which she proclaimed as “my part”.
It seemed to me that the only one who showed no concern about the storm that arose was my father. He walked smiling, chatting in a low voice, frotting his hands with satisfaction, and his air was that of a happy man who sees the morning as a blessing of the sky and feels like it in the world of God. From one room to another, I look for exactly what; I went to the kitchen to make some conjectures, which, of course, was not appropriate for him. He turned to the newspaper, stopped reading and shouted in the kitchen: –I’m under orders. Don’t you need anything?
The kitchen staff wanted peace and tranquility, nothing more than that, and time to work.
–That each one has their own part of it -that’s what Mom says. – – I know my part, dear Lord,
With all this movement, you can imagine my state of mind. From one moment to another I became the center of the house, they called me “our man”, they gave me attention that I never had, never had. I wanted to know if he was okay and how he was with you. Mama solía traerme oe-dac;:os hechos con grasa de pollo. Daddy spoke to me in a different tone, full of sweetness, full of respect.
–¡Oye, you’re there! How about a “small lesson”? – he asked me, gossiping.
And, for the thousandth time, I repeated the words of the Torah, using the melody that was taught to me. Then he repeated the speech with all these quotes from the Talmud. By his eyes, which didn’t hide anything, she assumes he’s fine.
—Koi adorn Adoshem.
–O-you again – my to my father repeated in the same tone, and then I went once more.
On Saturday morning the synagogue was full. The silk tallis that my father had bought me covered my shoulders and wore my dreamy bags. It made me sit next to the rabbi, the same person who exchanged periodicals in Yiddish with my father. From the balcony, the women didn’t leave their eyes from me, they were there with their Shabbat dresses and their heads covered with white shawls. You could see mom and doña Paulina praying for the same book.
Hazan Avrum, before Aron-Acodesch, sang, with his “low” voice, the prayers.
When I left my turn, I walked with my father to the big table where the Torah scrolls were open. And, at the right time, in the midst of the silence that reigned in the small synagogue, he began to sing: —Koi omar Adoshem.
With my voice resonating throughout the room, even a little choppy, and with my heart barking with strength, I felt like I was closing a cycle of my life at that moment.
As I turned towards the public that was waiting for the traditional speech, I went to my father, a few steps away from me, and looked for my mother on top of the balcony. Then, opening my arms, I begin:
Susana Beibe, artista argentina, realizó su formación en pintura y escultura. Trabaja escultura en cemento, piedra, cerámica, metal y elementos no convencionales. Además realiza relieves con técnicas mixtas utilizando todos los derivados del papel.Estudió en la Escuela Nacional de Cerámica y su formación en escultura y dibujo la realizo con los maestros: Leo Tavella, Aurelio Macchi y Leo Vinci. Algunos de sus esculturas monumentales están emplazadas en el Centro Cultural San Martín, Plaza Seca, Buenos Aires, Parque Lenín, La Habana, Cuba. Museo Metropolitano, Buenos Aires. Invitada a dar seminarios sobre creatividad en España y Canada. Realizó el proyecto “Jugando en la Vereda” para la lX Bienal de La Habana, muestra colateral. Ganadora del proyecto del Monumento a la Humanidad por la Argentina a realizar por la Humanitad Foundation, United Kingdom. Susana Beibe integró numerosas exposiciones colectivas en salones nacionales y municipales y realizó muestras individuales en espacios públicos y privados, a nivel nacional e internacional. Sus obras se encuentran en colecciones institucionales y privadas de Argentina y el exterior.
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Serie Cabezas
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Susana Beibe, Argentine artist, completed her training in painting and sculpture. He works sculpture in cement, stone, ceramics, metal and unconventional elements. He also makes reliefs with mixed techniques using all derivatives of paper. He studied at the National School of Ceramics and his training in sculpture and drawing was done with the masters: Leo Tavella, Aurelio Macchi and Leo Vinci. Some of his monumental sculptures are located in the San Martín Cultural Center, Plaza Seca, Buenos Aires, Parque Lenín, Havana, Cuba. Metropolitan Museum, Buenos Aires. Invited to give seminars on creativity in Spain and Canada. He carried out the project “Jugando en la Vereda” for the 10th Havana Biennial, collateral exhibition. Winner of the Monument to Humanity for Argentina project to be carried out by the Humanitad Foundation, United Kingdom. Susana Beibe participated in numerous group exhibitions in national and municipal exhibitions and held individual exhibitions in public and private spaces, nationally and internationally. His works are found in institutional and private collections in Argentina and abroad.
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Durante sus vasta trayectoria como artista plástica y pintora, el arte de Susana habla por su colorido y su aproximación al mercado, siendo a la vez conmovedor y aplicable a todo tipo de espacios.
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Throughout her vast career as a visual artist and painter, Susana’s art speaks for its color and its approach to the market, being both moving and applicable to all types of spaces.
Stephen A. Sadow es profesor emérito de literatura latinoamericana y estudios judíos en la Universidad Northeastern de Boston. Se especializa en literatura y arte judío-latinoamericano. Entre los libros de Sadow se encuentran King David’s Harp: Autobiographical Essays by Jewish Latin American Writers, ganador de un Premio Nacional del Libro Judío, y sus traducciones de Mestizo, A Novel by Ricardo Feierstein, Unbroken: From Auschwitz to Buenos Aires, la autobiografía del sobreviviente del Holocausto Charles Papiernik y Filosofía y otras fábulas, ensayos breves de Isaac Goldemberg. Con J. Kates, ha co-traducido la obra de 40 judíos latinoamericanos, entre ellos César Tiempo, Rosita Kalina, Angelina Muñiz-Huberman, Ricardo Feierstein, Isaac Goldmberg Sonia Chocrón y Jenny Asse Chayo. Su beca eciente aborda las obras místicas de Juan García Abás, José Luis Fariñas de Cuba, la poesía de Rosita Kalina de Costa Rica y la reacción literaria al atentado a la AMIA en Argentina. Stephen A. Sadow dirige el blog semanal https://jewishlatinamerica.com que presenta el trabajo de escritores, poetas, artistas y sinagogas de toda América Latina.
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Stephen A. Sadow is Professor Emeritus of Latin American Literature and Jewish Studies at Northeastern University in Boston. He specializes in Latin American Jewish literature and art. Among Sadow’s books are King David’s Harp: Autobiographical Essays by Jewish Latin American Writers, winner of a National Jewish Book Award, and his translations of Mestizo, A Novel by Ricardo Feierstein, Unbroken: From Auschwitz to Buenos Aires, the autobiography of Holocaust survivor Charles Papiernik, and Philosophy and other Fables, short essays by Isaac Goldemberg. With J. Kates, he has co-translated the work of 40 Jewish Latin American, including César Tiempo, Rosita Kalina, Angelina Muñiz-Huberman, Ricardo Feierstein, Isaac Goldmberg Sonia Chocrón and Jenny Asse Chayo. His recent scholarship deals with the mystical works of Juan García Abás, José Luis Fariñas from Cuba, the poetry of Rosita Kalina, from Costa Rica and the literary reaction to the AMIA bombing in Argentina. Stephen A. Sadow directs the weekly blog https://jewishlatinamerica.com that features the work of writers, poets, artists, and the synagogues from of all of Latin America.
From I Am of the Tribe of Judah: Poems from Jewish Latin America,.
Rosita Kalina.
Rosita Kalina (1934-2004) was born in San José, Costa Rica. She graduated from the University of Costa Rica with a degree in English literature. She taught English at the high school level and helped to found the Santa Ana High School in San José. From 1965 to 1970, she lived in the United States. She returned to the University of Costa Rica, where she taught English. Kalina published much short fiction in the literary supplements of La Nación newspaper in San José, for which she also wrote social criticism. She often contributed to Herencia judía, a Jewish journal in Bogotá, Colombia. In 1988, she was awarded the National Poetry Prize for her Los signos y los tiempos. Though not an observant Jew, in her poetry, she frequently explored Jewish religious and existential themes in highly original in poetry collections such as Detrás de las palabras (1983), Cruce de niebla (1987), and Mi paz guerrero (1998).
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“I Am of the Tribe of Judah”
I am of the tribe of Judah.
That of my grandparents and great-grandparents.
That of Solomon, of Jesus and Einstein.
Not to mention Freud
whose valuable Kabalistic secret
leaped to the therapist’s chair.
I don’t forgive the thousands of Holocausts
that in the name of false truths
were devised against my people,
against other extremely old peoples.
wiser than the law of the powerful.
I am horrified by the man who takes part in religious wars.
That we are one in the immense ship
Mother Earth, that transports to
unlimited dimensions.
That we all breathe a like destiny.
I am universal. Simply a woman
who dares to dream of a brotherhood
of souls and of wings.
Precisely because of my origin,
I well understand the sadness of others
brought down by color or angle of eyes.
Let the era of man come,
marvelous being who populates existence!
In him, I see as unique, unrepeatable,aress.
Loving even to ecstasy.
Translation from the Spanish by Stephen A. Sadow and J. Kates
Raquel Jaduszliwer nació en San Fernando, Provincia de Buenos Aires, Argentina, en 1946). Reside en la Ciudad Autónoma de Buenos Aires. Es Lic. en Psicología por la UBA y se formó como psicoanalista. Publicó una novela, La venganza delclan de las banderas de acero (2018) y nueve poemarios: Los panes y los peces (2012, Primer Premio Poesía Ed. De Los Cuatro Vientos). La noche con su lámpara (2014, Primer Premio Poesía Ed. Fundación Victoria Ocampo). Persistencia delo imposible (2015, Premio Edición Ed. Ruinas Circulares). Las razones del tiempo (2018, Ed. Lisboa); En el bosque (2018, Ed. Modesto Rimba). Ángel de la enunciación (2020, Ed. Barnacle). El árbol de las especies (2022, Ed. Barnacle), Los diagramas radiantes (2022, Ed. Barnacle), Todos los lugares se llamaban promesa (2023, Primer Premio Rubén Reches, Ed. Ruinas Circulares). Fue expositora en el Festival Internacional de Poesía (C.A.B.A, Argentina, 2019), y en el programa de actividades del VI Festival Internacional de Poesía de Fredonia, Colombia (2022). Participó del ciclo “Lenguas en dispersión” realizado en el Museo del Libro y de la Lengua en la Ciudad Autónoma de Buenos Aires (2023).
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Raquel Jaduszliwer was born in San Fernando, Buenos Aires Province, Argentina, in 1946). He resides in the Autonomous City of Buenos Aires. He has a degree in Psychology from the UBA and trained as a psychoanalyst. He published a novel, La venganza delclan de las banderas de acero (2018) and nine books of poetry: Los panes y los peces (2012, Primer Premio Poesía Ed. De Los Cuatro Vientos). La noche con su lámpara (2014, Primer Premio Poesía Ed. Fundación Victoria Ocampo). Persistencia delo imposible (2015, Premio Edición Ed. Ruinas Circulares). Las razones del tiempo (2018, Ed. Lisboa); En el bosque (2018, Ed. Modesto Rimba). Ángel de la enunciación (2020, Ed. Barnacle). El árbol de las especies (2022, Ed. Barnacle), Los diagramas radiantes (2022, Ed. Barnacle), Todos los lugares se llamaban promesa (2023, Primer Premio Rubén Reches. Ed. Ruinas Circulares). She was an exhibitor at the International Poetry Festival (C.A.B.A, Argentina, 2019), and in the program of activities of the VI International Poetry Festival of Fredonia, Colombia (2022). He participated in the cycle “Languages in Dispersion” held at the Museum of Books and Language in the Autonomous City of Buenos Aires (2023).
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Padre habla
dice
cuida de los rebaños hija
hasta tu último día
ese es nuestro legado somos tribus de exilio
dispersiones en tiempos de nevada
cuida de los rebaños
las pasturas
atrás quedaron las casas incendiadas
todo lo abandoné para que un día nacieras
ah cómo arrancarme hija
esa bala de plata que sigue disparándose
así hablaba mi padre
quedó escrito:
todos los sobrevivientes somos huérfanos
todo el tiempo del mundo sigo viendo las casas incendiadas.
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Father speaks
he says
daughter, take care of the flocks
until your last day
that is out legacy we are tribes of exile
dispersions in times of snowfall
take care of the flocks
the pastures
the burnt out house stays behind
all that I abandoned so that you one day were born
ah how to pull out of me
that silver bullet that continues to be shot
so my father spoke
it is written:
all the survivors we are all orphans
all of the time of the world I keep seeing houses incinerated
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¿Te perdiste al menos una vez
en la parte más profunda del bosque
y gritaste hay alguien ahí?
¿hay alguien ahí?
Otra pregunta:
¿te arrojarías sobre el fruto prohibido hasta ser devorado
o no hay fruto prohibido en este paraíso con su telón de fondo
con su cielo al alcance, radiante y sin un pliegue?
ah, desperdicio, gesto desaprensivo
¿qué fue lo que cambiaste por espejos
por algunas estrellas que parecen estrellas
por monedas
así como si nada?
Allá vamos ejército sonámbulo
vamos hacia el destino de uno en uno
solitarios y ajenos allá vamos
el corazón blindado
sin mirar atrás.
Tierra de desaliento ¿quién responde?
¿hay alguien ahí?
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Have you at least once been lost
in the deepest part of the forest
and yelled is anyone here?
Is anyone there?
Another question:
Would you throw yourself on the forbidden fruit until being devoured
or is there no prohibited fruit in this paradise with
with its backdrop
with its sky within reach, radiant and without a pleat
ah, waste, unscrupulous gesture
what was that you exchanged for mirrors
for some stars that appear to be stars
for coins
as if it was nothing?
There we go, sleepwalking army
we go toward the destiny one by one
alone and foreign we go there
armored heart
without looking back.
Land of despair who answers?
is there anyone there?
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De elegir entre todas las cosas el talismán de oro
por ejemplo, esa presencia que todavía persiste
pero que corre riesgo
o ese guijarro por lo tan pequeño
audaz en su firmeza
o la palma traslúcida, esa mano
al momento en que logra desclavarse
de apegarnos a alguna de esas cosas
la palabra destino irá cobrando vida
así
encarnada en el corazón expuesto
a su mayor esperanza, y siempre a costa nuestra
a cuenta de las futuras pérdidas
y de todas las bajas.
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To choose the golden talisman from all things
for example, that presence that still persists
but runs a risk
or that pebble for being so small
audacious in its firmness
o translucent palm, that hand
at the moment that it is able to free itself
we become fond of some of those things
the word destiny will be taking on life
so
lying down with the heart exposed
against future loses
and all the casualties.
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Envuelta criatura nacida del interior de un bosque
blanca entre los terrones, tan pálida en la marcha
así será tu alba
sombra creciente, pequeña luz en los peligros del follaje.
Envuelta criatura, qué será de tu huella
qué será de tus pasos avanzando sobre la oscuridad:
envoltorio y follaje, sombra larga, criatura
a tu camino van a dar nuestros caminos incansables
nuestros buenos deseos, todas nuestras plegarias.
Allá vamos antiguos peregrinos
una cuerda nos ata a la esperanza
salimos a buscarte criatura perdida
Perdido talismán piedra preciosa
reflejo del tesoro ausente
pozo en el medio del gran claro del bosque.
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Swaddled baby born from the inside of the forest,
white among the clods of earth, so pallid in the march.
your dawn will be that way
growing shadow, little light in the dangers of the foliage
swaddled baby, what will be of your track
what will be of your steps advancing above the darkness:
bundle and foliage large shadow, baby
to your journey they are going to give our untiring journeys
our good wishes, all our prayers
here we go ancient pilgrims
just a cord ties to hope
we leave to look for you lost baby
lost talisman precious stone
reflection of absent treasure
well in the middle of the great clearing in the forest.
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Mi hijo se había visto en medio de la noche
caminaba con las manos en alto, en fila entre los vencidos.
Mi hijo me decía:
madre ¿me ves? sigo caminando en la noche más tupida del bosque
voy tras los pasos de tus seres perdidos
directo al corazón de las casas quemándose.
Entonces yo gritaba
no sigas, no, no sigas
pero mi voz era un graznido.
¿Qué más podría haber hecho?
yo era un cuervo letal sobrevolando
buscando el aura de las generaciones anteriores
el eslabón perdido
la luz que se diezmó.
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My son had seen himself in the middle of the night.
He walked with his hands up high, in line among the vanquished
My son said to me:
mother do you see me? I keep walking in the densest night of
the forest
I follow the steps of the lost beings
direct to the heart of the burning houses
Then I was shouting
don’t go on, don’t go on.
But my voice was a cawing.
What more could I have done?
I was a lethal crow flying above
seeking the aura of previous generations
the lost link
the light that burns itself up.
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Ya ves, cuantiosa está la noche
terciopelo tendido para su pedrería
¿encontraste el tesoro?
¿has visto cómo brilla al fondo del abismo?
y entonces nos decimos
cuidado, porque tenemos miedo
cuidado el remolino
cuidado con el pozo por arriba de nuestras cabezas
no te asomes, no te tiente el destello de la fosa en lo alto
ten cuidado
que la noche es de luto
y vasto y enjoyado es el lugar de la pérdida.
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You see already, this night is substantial
velvet stretched for its precious stones
did you find the treasure?
Have you seen how it shines at the bottom of the abyss?
And then we tell ourselves
be careful because we are afraid
when the whirlwind
when the well above our heads
be careful
that the night is of grief
and vast and adorned is in the place of the loss.
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¿Acaso conocías la pulsación del árbol
su corazón con un latido único?
recuerdo ese sonido como de planetas
moviéndose por extensiones que no recorrerás
y si apoyaras tu cabeza en el regazo
en la aspereza de la astilla
escucharías la voz de la madera
ella te haría sentir un huérfano en tus huesos
y todo te pondría tan de otra medida
tan abstracto te ves en lo viviente
casi sólo una idea, como un animal solo
sin especie
solo y adentro de tu pensamiento
solo bajo el inmenso poderío del bosque
su camino sombreado entre el cielo y la tierra
tu espíritu vagando por el desorden verde.
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Perhaps you knew of the pulse of the tree
its sound with a unique beat?
I remember that sound like that of planets
moving thorough expanses that you won’t ever travel
and if you rest your head in the lap
in the ruggedness of the splinter
you will hear the voice of the wood
and it will make you feel like an orphan in your bones
and everything would put you so much in another dimension
so abstract you see in the living
almost only an idea, like an animal alone
without species
alone under the immense power of the forest
alone and inside your thought
its path darkening between heaven and earth
your spirit wandering through the green chaos.
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Y el viento dice, el viento nos hace decir:
acepta las virtudes de la duración
por ellas, todo lo que debería retirarse así lo hará
también tus pertenencias, la manera en que eras
todo lo que la corriente lleva; acéptalo
así llorarás menos
así tendrás más fuerza
cierra tus cuentas
actúa como si todo ya hubiera concluido
busca el fondo del pozo
en su espejo de agua y en el mayor silencio
verás que hay un suceso extraordinario
aún por consumarse.
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And the wind says, the wind makes us say:
accept the virtues of time’s duration
for them, all that should leave so it will be
also their belongings, the way you were
all the current carries away; accept it
and so you will cry less
so that you will have more strength
close your accounts
act as if everything had been finished
look for the bottom of the well
in a mirror of water and in the greatest silence
you will see that there is an extraordinary event
just about to being carried out.
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Es que verás, éste es el oleaje tumultuoso del mundo
veníamos de otra parte que nunca conocimos
en las aguas profundas
éramos como brazadas de animal incansable
y en el espejo de la superficie
nos quedábamos quietos como ángeles
arpones suspendidos de una respiración.
Quién se acordará un día
de cómo con las corrientes más benévolas
nadábamos a la búsqueda de estrellas sumergidas.
Arriba
más arriba
hundidas para siempre al fondo de la noche.
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As you will see, this is the tumultuous sea swell of the world
we come from another place that we never knew
in the deep waters
we were like strokes of a tireless animal
and in the mirror of the surface
we were staying quiet like angels
harpoons suspended by a breath.
Who will remember a day
that like the most benevolent currents
we were swimming in search submerged stars.
Above
further above
they are sunk for all times at the bottom of the night.
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Aclaración/Clarification:
Los tres primeros poemas fueron seleccionados del libro Las razones del tiempo (Editorial Lisboa, Buenos Aires, 2018)/The first three poems were selected from Las razones del tiempo (Editorial Lisboa, Buenos Aires, 2018)
Los tres siguientes corresponden a: En el bosque (Editorial Modesto Rimba, Buenos Aires, 2018)/The next three from: En el bosque (Editorial Modesto Rimba, Buenos Aires, 2018)
Los tres últimos a: Ángel de la enunciación (Editorial Barnacle, Buenos Aires, 2020)/The last three are from: Ángel de la enunciación (Editorial Barnacle, Buenos Aires, 2020)
Porto-alegrense radicado em São Paulo há quase uma década, Leandro Sarmatz é jornalista e Mestre em Letras. Depois de já ter integrado antologias coletivas, seu primeiro livro de poesias, Logocausto, lançado em 2009, foi recebido pela crítica com elogios. Agora Leandro faz sua estréia na prosa com o livro de contos UMA FOME, uma obra madura e segura, que traz relatos em que o autor enfoca, entre outros temas, a vida de judeus durante a Segunda Guerra, assim como de seus descendentes.Neto de imigrantes judeus do leste europeu que se estabeleceram no Sul do Brasil no finalzinho da década de 20, o autor conta que a cultura judaica sempre foi uma presença importante em sua formação. A mesma cultura que impregnou autores tão diferentes entre si como Kafka e Bashevis Singer, Philip Roth e Aaron Appelfeld, que fazem parte de sua formação de leitor.Dono de “uma sabedoria artística raríssima entre escritores jovens” e de “estilo sóbrio, mas jamais de mera transparência”, como declara o escritor João Gilberto Noll no texto de orelha do livro, Leandro oscila entre o humor sutil, refinado, quase cerebral e uma indissolúvel melancolia.
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Born in Porto Alegre and living in São Paulo for almost a decade, Leandro Sarmatz is a journalist and Master in Letters. After having already integrated collective anthologies, his first poetry book, Logocausto, launched in 2009, was received by critics with praise. Now Leandro makes his debut in prose with the book of short stories UMA FOME, a mature and confident work, which brings stories in which the author focuses, among other themes, on the lives of Jews during the Second World War, as well as their descendants. Jewish immigrants from Eastern Europe who settled in southern Brazil at the end of the 1920s, the author says that Jewish culture has always been an important part of his upbringing. The same culture that permeated authors as different from each other as Kafka and Bashevis Singer, Philip Roth and Aaron Appelfeld, who form part of his reader training. of mere transparency”, as the writer João Gilberto Noll declares in the text of the ear of the book, Leandro oscillates between subtle, refined, almost cerebral humor and an indissoluble melancholy.
Então alguém disse, ao ver que tais livros constituíamA minha dieta, que eu poderia ser
tomado por uma espécie
de Dom Quixote do Holocausto
…..
Morreu Zamler, que ficou conhecido—não sem alguma ironia, é custoso observar—como o “Dom Quixote do Holocausto … Deixou-se morrer. . .
Zamler – nascido em Israel de pais brasileiros que militavam no movimento sionista – ganhou notoriedade ainda quanto era um estudante de pós-graduação nos Estados Unidos que mergulhara em toda uma bibliografia do Holocausto. Anne Frank, Primo Levi, Victor Klemperer, Aharon Appelfeld, a infinidade de diários, registros e cartas que testemunham a longa noite de vida da vida judaica na Europa de Hitler. Saiu-se com uma tese a um só tempo e enciclopédia, cobrindo um vasto escopo….
Foi então que tudo começou. O primeiro artigo apareceu nas páginas de um velo jornal iídish em Nova York (desde os anos 70 editado em língua inglesa) …Assinado apenas como “Ariel”, seu autor dizia, em suma, que um novo Holocausto judaica estava em curso naqueles dias, e que era preciso denunciá-lo, antes que os primeiros comboios partissem em direção os campos de concentração. Houve quem tomasse o texto como uma peça de humor negro, outros enxergaram apenas mau-gosto, mas também houve quem, alarmado por tais predições, levasse a conversa de Ariel a sério. Todo Quixote tem seu próprio Sancho, e Phil Glukman, recém-saído de uma adolescência problemática em Little Odessa, logo iria se aproximar do autor da denúncia. Havia agora duas vozes a alardear a grande tragédia à vista.
Porém o artigo, que poderia ter ficado restrito ao gueto intelectual judaico, ganhou ressonâncias quando o repórter de um grande jornal doa cidade o descobriu algumas semanas depois durante uma visita à casa de seus pais, num subúrbio elegante. Aquilo lhe pareceu um desses achados que fazem a sorte de um jornalista, catapultando-o para degraus mais altos na carreira. Quem quer que fosse, Ariel era um personagem singular.
Valia uma entrevista… Como entrevistado, Ariel foi entrevistado, Ariel foi eloquente, inflamado e- por mais estapafúrdia que se seja a hipótese – convincente. Ele parecia realmente acreditar no que dizia, anotou o repórter, e no domingo seguinte a matéria ganhou diversas páginas do jornal. Havia ali muito da habitual comédia jornalista, que suas simplificações e atribuições errôneas, porém alguém com pouco senso de humor junto às autoridades policiais começou a monitorar os passos de Ariel…
Não foi difícil encontrá-lo. Morava no pequeno apartamento alugado nos confins do Brooklyn….
Como entrevistado, Ariel foi eloquente, articulado, inflamado e—por mais estapafúrdia q seja hipótese—convincente. Ele parecia realmente acreditar no que dizia, anotou o repórter, e no domingo seguinte matéria ganhou diversas páginas do jornal. Havia ali muito da habitual comédia jornalística, com suas simplificações e atribuições errôneas, porém alguém com pouco senso de humor junto às autoridades policiais começou a monitorar os passos de Ariel.
Durante pelo menos dois anos, antes de ser emigrar para Brasil, Ariel, percorreu boa parte do território americano a denunciar o Holocausto que estava próximo. Deixou de ser uma figura algo folclórico da comunidade judaica e passou a dar palestras, oferecer palestras, oferecer testemunhos e encabeçar enormes eventos nos mais diversos lugares. Universidades do Meio-Oeste. A sede de uma milionária igreja coreana…Era imitado por atores em programas humorísticos. Convertera-se numa personalidade.
Até que foi preciso fugar. A polícia federal não o deixara em paz…
Doente, cansado de bradar pelo novo fim do povo judeu, com a moral combalida e acreditando realmente que o Brasil, que antes recebera Zweig e outros, realmente poderia ser um porto seguro, refugiu-se na casa de seus pais. Já era tarde, contudo. Tendo desistido de se cuidar, logo seu corpo iria se ressentir disso, e Ariel Zamler, “o Quixote de Holocausto”, mergulharia em um sono sem fin. Seu pesadelo havia acabado.
Then someone said, seeing that such books constituted my diet, that I could be taken
for a type of Don Quixote
of the Holocaust.
…..
Zamler died, he who had become known—not without some irony, it is difficult to observe—as the “Don Quixote of the Holocaust… He let himself die. . .
Zamler – born in Israel to Brazilian parents who were active in the Zionist movement – gained notoriety even as a graduate student in the United States who delved into an entire bibliography of the Holocaust. Anne Frank, Primo Levi, Victor Klemperer, Aharon Appelfeld, the multitude of diaries, records and letters that testify to the long night of Jewish life in Hitler’s Europe. He came out with both a thesis and an encyclopedia, covering a vast scope….
It was then that it all started. The first article appeared on the pages of a Yiddish newspaper in New York (published in English since the 1970s) … Signed only as “Ariel”, its author said, in short, that a new Jewish Holocaust was under way in those days. days, and that it was necessary to denounce it before the first convoys left for the concentration camps. There were those who took the text as a piece of black humor, others saw it as just bad taste, but there were also those who, alarmed by such predictions, took Ariel’s conversation seriously. Every Quixote has his own Sancho, and Phil Gluckman, fresh out of a troubled teen years in Little Odessa, would soon get close to the whistleblower. There were now two voices trumpeting the great tragedy in sight.
Worth an interview…
It wasn’t difficult to find him. He lived in the small, rented apartment in the wilds of Brooklyn….
But the article, which could have been confined to the Jewish intellectual ghetto, gained resonance when a reporter for a major city newspaper discovered it a few weeks later during a visit to his parents’ home in an upscale suburb. It struck him as one of those finds that make a journalist lucky, catapulting him to higher career ladders.
Whoever he was, Ariel was a singular character. As an interviewee, Ariel was eloquent, articulate, fiery, and—as far-fetched as it may be—convincing. He seemed to really believe what he was saying, noted the reporter, and the following Sunday, the article made several pages in the newspaper. There was much of the usual journalistic comedy there, with its simplifications and misattributions, but someone with little sense of humor among the police authorities began to monitor Ariel’s steps.
For at least two years, before emigrating to Brazil, Ariel traveled through much of the American territory to denounce the Holocaust that was at hand. He ceased to be something of a folk figure in the Jewish community and started to give lectures, offer lectures, offer testimonies, and head huge events in the most diverse places. Midwest Universities. The headquarters of a millionaire Korean church… He was imitated by actors in comedy programs. He had become a personality.
Until it was necessary to escape. The federal police would not leave him alone…
Sick, tired of crying about the new end of the Jewish people, with shaky morale and truly believing that Brazil, which had previously received Zweig and others, could really be a safe haven, he took refuge. if at your parents’ house. It was too late, however. Having given up on taking care of herself, soon his body would resent it, and Ariel Zamler, “the Quixote of Holocaust”, would sink into an endless sleep. Her nightmare was over.
Translation by Stephen A. Sadow
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Livros de Leandro Sarmatz/Books by Leandro Sarmatz
Michel Laub nasceu em Porto Alegre, em 1973 de pais judeus. Escritor e jornalista, foi editor-chefe da revista Bravo, coordenador de publicações e internet do Instituto Moreira Salles e colunista da Folha de S.Paulo e do Globo. Hoje é colunista do Valor Econômico e colaborador de diversas editoras e veículos.Publicou oito romances, todos pela Companhia das Letras: Música Anterior (2001), Longe da água (2004), O segundo tempo (2006), O gato diz adeus (2009), Diário da queda (2011), A maçã envenenada (2013), O Tribunal da Quinta-Feira (2016) e Solução de dois Estados (2020). Seus livros saíram em 12 idiomas. Integrante da coletânea Os Melhores jovens escritores brasileiros, da revista inglesa Granta, entre outras no Brasil e no exterior, o autor recebeu as bolsas Vitae (2006), Funarte (2010) e Petrobras (2012) e os prêmios JQ – Wingate (Inglaterra, 2015), Transfuge (França, 2014), Jabuti (segundo lugar, 2014), Copa de Literatura Brasileira (2013), Bravo Prime (2011), Bienal de Brasília (2012) e Erico Verissimo/Revelação (2001). Além disso, foi finalista dos prêmios Dublin International Literary Award (Irlanda, 2016), Correntes de Escrita (Portugal, 2014), Jabuti (2007, 2017 e 2021), São Paulo de Literatura (2012, 2014, 2017 e 2021) e outros.
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Michel Laub was born in Porto Alegre, in 1973 in a Jewish family. Writer and journalist, he was editor-in-chief of Bravo magazine, coordinator of publications and internet of the Moreira Salles Institute and columnist of Folha de S.Paulo and Globo. Now he is a columnist for Valor Econômico and a contributor to various publications. Publicou oito romances, all pela Companhia das Letras: Música Anterior (2001), Longe da água (2004), O segundo tempo (2006), O gato diz adeus (2009), Diário da queda (2011), A maçã envenenada (2013) ), O Tribunal da Quinta-Feira (2016) and Solução de dos Estados (2020). His books are published in 12 languages.He is one the of Best Young Brazilian Writers, according to eht the English magazine Granta, among others not in Brazil and abroad, and author received the Vitae (2006), Funarte (2010) and Petrobras (2012) awards and the JQ – Wingate awards (England, 2015), Transfuge (France, 2014), Jabuti (second place, 2014), Brazilian Literature Cup (2013), He was a finalist for two Dublin International Literary Awards (Ireland, 2016), Correntes de Escrita (Portugal, 2014), Jabuti (2007, 2017 and 2021), São Paulo for Literature (2012, 2014, 2017 and 2021) among others.
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Sources:/Fuentes:
Michel Laub. Diário da queda. São Paulo: Companhia de Letras, 2011.
Michel Laub. Diary of a Fall. Translated by Margaret Juli Costa. New York: Other Press, 2011.
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ALGUMAS COISAS QUE SEI SOBRE MIM
27.
Numa escola como a minha, os poucos alunos que não eram judeus tinham até privilégios. O de não assistir as aulas de hebraico, por exemplo. Ou as de cultura hebraica. Nas semanas que antecediam os feriados religiosos eles eram dispensados de aprender as canções típicas, e fazer as rezas, e dançar as coreografias e participar do Shabat, e visitar a sinagoga e o Lar dos Velhos, e enfeitar o berço de Moisés ao som do hino de Israel, isso sem falar nos acampamentos do chamado movimento juvenil.
28.
Nos acampamentos éramos divididos em grupos, cada um com um monitor mais velho, e parte do dia era ocupada por atividades normais num encontro assim, o almoço, o futebol, os abraços coletivos de união, as gincanas com talco e ovos. Nós levávamos barraca, repelente, marmita, cantil, e lembro ele esconder tudo o que pudesse ser roubado na minha ausência, urna barra de chocolate no fundo de um saco de roupa suja, um carregador de pilha em meio as urtigas.
29.
A noite éramos separados em dois grupos, um exercício que se chamava ataque a bandeira, um camuflado na vegetação e o outro que se encarregava da defesa, e durante a madrugada num descampado formávamos pelotões que reproduziam as estratégias de urna patrulha, com bússola e coluna, lanço e escalada. urna simulação do que tínhamos ouvido em palestras onde os monitores falavam sobre a Guerra de Seis Dias, a Guerra de Independência, a Guerra de Yom Kippur, Guerra de Líbano.
30.
Havia outros não judeus João na escola, mas nenhum como João. Uma vez um deles segurou um colega e o arrastou por quarenta metros e esticou seu braço direito e bateu com um portão de ferro várias vezes nos dedos, e quando o colega estava se contorcendo elepegou o braço esquerdo e fez a mesma coisa. Joao era diferente: o colega o mandava ficar de pé, e ele ficava. O colega jogava o sanduíche de Joao longe, e ele ia buscar. O colega segurava Joao e o forcava a comer o sanduíche, mordida por mordida, e no rosto deJoao não se via nada – nenhuma dor, nenhum apelo, nenhuma expressão.
31.
Quando o pai de Joao perguntou se eu não tinha vergonhado que aconteceu na festa, eu poderia ter descrito essa cena. Eu poderia ter dito algo mais do que ele esperava, o relato de como pedi desculpas a Joao quando ele retornou a escala. Em vez de contar como foi saber que João acabaria ficando bom, andando normalmente e tendo a mesma vida de antes, e como ficar sabendo disso tornou a nossa conversa mais fácil, como se o pedido de desculpas apagasse na hora o que ele passou depois da queda, ele estatelado diante dos parentes, com falta de ar porque havia bati do as costas, ele na ambulância e no pronto-socorro e no hospital sem receber uma visita dos colegas, e mais dois meses em casa sem receber nenhum de nós, e de volta a escala sem que nenhum de nós tivesse se aproximado dele até o dia em que criei coragem para tanto em vez de tudo isso eu poderia ter contado como era ver João comendo o sanduíche diante do agressor, terminando o último pedaço e senda novamente pego pelo agressor, atrás de urna árvore no canto do pátio, cercado por um pequeno grupo que cantava todos os dias a mesma música.
32
A música começava assim, come areia, come areia. Era como um ritual, o incentivo enquanto João virava o rosto e tentava es capar dos golpes até não resistir e abrir a boca, o gasto quente e áspero, sola de tênis na cara, e só aí o agressor cansava e os gritos diminuíam e Joao era deixado até se levantar já sozinho, ainda vermelho e ajeitando a roupa e pegando de novo a mochila e subindo de novo as escadas como admissão pública do quanto ele era sujo. e fraco. e desprezível.
33·
Nada disso impediu que ele aparecesse como convites para a festa. Nas cerimónias de Bar Mitzvah os convites eram impressos em gráfica, em papel-carteio dourado, com um laço e tipologia dourada. o nome dos pais do aniversariante, um telefone para confirmar a presença, o endereço para entrega ele presentes. Os de Joao eram caseiros, feitos com papel-ofício, dispostos num envelope de cartolina, escritos em caneta hidrocor. Ele os entregou em silencio. de mesa em mesa, com duas semanas de antecedência. a sétima série inteira convidada.
34.
Eu acordei cedo naquele sábado. Eu me vesti, fui até a geladeira e passei a manhã no quarto. Eu gostava de ver televisão as sim. a veneziana fechada, a cama ainda desfeita e as migalhas de pão sobre o lençol até que alguém batesse na porta porque já eram quinze para a uma, e o resto do dia foi: o almoço na casa da minha avó, a ida mom a minha mãe ao shopping. ela perguntando se o colega que fazia aniversario preferia um short ou uma mochila, uma carteira ou uma camiseta, se ele gostava de música e ficaria feliz com um vale-disco, e eu respondi e esperei que ela pagasse e que a balconista da loja fizesse o pacote e ainda fôssemos ao fliperama onde joguei corrida e sinuca eletrônica.
35-
Eu dei parabéns a João quando cheguei a festa. Eu entreguei o presente a ele. É possível que eu tenha cumprimentado o pai dele, algum parente que estivesse próximo, e é possível até que eu tivesse aproveitado a festa como todos os outros convidados, que eu tivesse até me divertido sem nem por um instante demonstrar nervosismo, os cinco colegas escalados para formar a rede de bombeiros, aqueles que eu também cumprimentei ao chegar, comquem também conversei normalmente, nós todos vestidos e ensaiados e unidos na espera pela hora do bolo e pelo parabéns.
36.
No sei se participei por causa desses outros colegas, e seria fácil a esta altura culpá-los por tudo, ou se em algum momento eu fui ativo na história: se nos dias anteriores tive alguma ideia, se diz alguma sugestão, se de alguma forma fui indispensável para que tudo saísse exatamente como planejado, nós em coro no verso final, muitos anos ele vida antes ele nos aproximarmos dele, em cada perna, um em cada braço, eu segurando o pescoço porque essa é a parte mais sensível do corpo.
37.
Não sei se fiz aquilo apenas porque me espelhava nos meus colegas, João senda jogado para cima urna vez, duas vezes, eu segurando até que na décima terceira vez e com ele ainda subindo eu recolhi os braços e dei um passo para trás e vi João parado no ar e iniciando a queda, ou se foi o contrário: se no fundo, por essa ideia dos dias anteriores, algo que eu tivesse dito ou uma atitude que tivesse tomado, uma vez que fosse, diante de uma pessoa que fosse, independentemente das circunstâncias e das desculpas, se no fundo eles também estavam se espelhando em mim.
38.
Porque é claro que eu usava aquelas palavras também, as mesmas que levaram ao momento em que ele bateu o pescoço no chão, e foi pouco tempo até eu perceber os colegas saindo rápido, dez passos até o corredor e a portaria e a rua e de repente você está virando a esquina em disparada sem olhar para trás e nem pensar que era só ter esticado o braço, só ter amortecido o impacto e João teria levantado, e eu nunca mais veria nele o desdobramento do que tinha feito por tanto tempo até acabar ali, a escala, o recreio, as escadas e o pátio e o muro onde Joao sentava para fazer o lanche, o sanduíche jogado longe e Joao enterrado e eu me deixando levar com os outros, repetindo os versos, a cadencia, todos juntos e ao mesmo tempo, a música que você canta porque é só o que pode e sabe fazer aos treze anos: come areia, come areia, come areia, gói filho de urna puta.
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SOME MORE THINGS I KNOW ABOUT MYSELF
27.
In a school like mine, the few non-Jewish students even enjoyed certain privileges. For example, they didn’t have to attend Hebrew classes. Or the classes about Hebrew culture. In the weeks preceding religious holidays, they were excused from learning the traditional songs, saying the prayers, doing the dances, taking part in the Shabbat, visiting the synagogue and the Old People’s Home, and decorating Moses’s cradle to the sound of the Israeli national anthem, not to mention the so-called Youth Movement camps.
28.
At camp we were divided into groups, each with an older boy as a monitor, and part of the <lay was taken up with the usual activities one would expect at such a gathering: lunch, football, group hugs, treasure hunts and messy games involving talcum powder and eggs. We took a tent, insect repellent, a cooking pot and canteen, and I remember carefully hiding anything that might be stolen in my absence, stowing a bar of chocolate at the bottom of my dirty laundry bag, a battery charger in the middle of a clump of nettles.
29.
At night we were divided into two groups, in an exercise known as “camp attack,” with one group hidden in the vegetation and the other in charge of defend ing the camp. Then, in a clearing in the early hours, we would form into platoons that basically did what patrols are supposed to do, armed with compasses and in columns, crawling through undergrowth and scaling hills, an imitation of what we had heard about in talks the monitors gave about the Six-Day War, the War of Independence, the Yom Kippur War, the Lebanese War.
30.
There were other non-Jews at the school, but none like João. Once, one of them got hold of a Jewish classmate, dragged him along for about forty meters, pinned his victim’s right arm to the wall next to an iron door, and repeatedly slammed the door on the boy’s and when the boy was screaming and writhing in pain, he grabbed the boy’s left arm and did the same again. João was different: if a classmate ordered him to stand, he would stand. If a classmate flung Joao’s sandwich across the playground, Joao would go and fetch it. If the same classmate, then grabbed Joao and made him eat the sandwich, bite by bite, Joao’s face would remain utterly impassive-no pain, no plead ing, no expression at all.
31.
When João’s father asked me if I didn’t feel ashamed about what had happened at the party, I could have described that scene to him. I could have told him more than he was expecting to hear, rather than about how I had apologized to João when he returned to school. Instead of telling him how relieved I felt when I found out that João would make a full recovery, walking normally and leading a normal life, and how knowing this had made our conversation easier, as if my apology had instantly erased everything he had been through after the fall, João lying on the floor in front of his relatives, the breath knocked out of him, João in the ambulance and in the emergency room and in hospital, where not a single one of his classmates visited him, and then another two months spent at home, where, again, none of us went to see him, and then back at school where, again, none of us spoke to him until I plucked up enough courage to do so–instead of that I could have told him what it was like to see João eating that sandwich watched by his attacker. And how, when he had finished the last mouthful, his attacker had hit him again, hidden behind a tree in one corner of the playground, surrounded by a small group of boys who chanted the same refrain every day.
32.
The refrain went like this: eat sand, eat sand. It was a sort of ritual, intended to drive them on while João turned his head to try and avoid the blows, until he could resist no longer and opened his mouth, the hot, rough taste, the sole of someone’s sneaker in his face, only then did his attacker grow weary and the shouting diminish and then João would be left to get his own, red-faced and straightening his rumpled, clothes, picking up his backpack and going up the stairs like a public admission of how dirty and weak and despicable he was.
33.
None of this prevented him from coming to school with the invitations to his party. For bar mitzvah ceremonies, the invitations were always professionally printed on a folded piece of card, with a ribbon and gilt lettering, the name of the boy’s parents, a telephone number to confirm that you would be coming and an address where presents could be sent. João’s invitations were homemade on a sheet of foolscap paper placed in a cardboard envelope and written in felt-tip pen. Two weeks beforehand, he silently gave them out, going from desk to desk, inviting the whole year group.
34,
That Saturday I woke up early. I got dressed, went to the fridge and spent the morning in my room. I liked watching TV like that, with the blinds clown, the bed still unmade and breadcrumbs among the sheets, until someone knocked on the door to tell me it was a quarter to one, and the rest of the day was: lunch at my grandmother’s house, a visit to the shopping mall with my mother, her asking me if the classmate whose birthday it was would prefer a pair of shorts or a backpack, a wallet or a T-shirt, or if he liked music and would be happy with a record-voucher, and me answering and waiting for her to pay and for the assistant to wrap the present up and then still having time to visit the arcade where I played at circuit racing and electronic snooker.
35.
1 wished João a happy birthday when I arrived at the party. I gave him his present. I may have said helio to his father too, or to some relative of his standing nearby, and I may even have enjoyed the party along with ali the other guests, I may even have had a good time without for a moment appearing nervous, along with the four other classmates chosen to form the safety net, and who I had also greeted when I arrived, and with whom I chatted normally, all of us dressed and ready and united as we waited for the moment for the birthday cake to be cut and for everyone to sing “Happy Birthday.”
36.
I don’t know if I took part because of those other classmates, and it would be easy at this stage to blame them for everything, or if at some point I played an active role in the story: if during the previous days I had an idea, made a suggestion, and was in sorne way indispensable if everything was to work out as planned, with us singing the last line together, happy birthday to you, before we gathered round him, one at each leg, one at each arm, with me supporting his neck because that’s the most vulnerable part of the body.
37.
I don’t know if I did it simply because I was mirroring my classmates’ behavior, João being thrown into the air once, twice, with me supporting him right up until the thirteenth time and then, as he was going up, withdrawing my arms and taking a step back and seeing Joao hover in the air and then begin the fall, or was it the other way round: what if, deep down, because of that plot hatched in the previous days, because of something I might have said or an attitude.1 might have taken, even if only once and in the presence of only one other person, quite independently of the circumstances and any possible excuses, what if, deep clown, they were also mirroring my behavior?
38.
Because of course I used the same words, the words that led up to the moment when the back of his neck struck the floor, and it didn’t take long for me to notice my classmates beating a hasty retreat, just ten steps to the corridor and the porter’s lodge and the street and suddenly you’re tearing round the corner without a backward glance and not even thinking that if you had only reached out an arm to break the fall João would have got up, and 1 would never have had to see in him the consequence of everything I had done up until then, school, break-time, the stairs and the playground and the wall where João used to sit, the sandwich flung across the playground and João buried in sand and me, allowing myself to be carried along with the others, all panting the same words, the same rhythm, al of us together at the same time, the song you sing because that’s all you can do when you’re thirteen: eat sand, eatsand yousonofa-bitch goy.
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MAIS ALGUMAS COISAS QUE SEI SOBRE O MEU AVÓ
4·
Eu comecei a beber aos catorzes anos, depois que mudei de escola junto com João. Embora já tivesse tomado um ou outro copo de cerveja com meu pai, e uma ou outra taça ele vinho em algum jantar ele adultos em casa, a primeira vez ele verdade foi numa festa logo no início das aulas. Eu não fui direto a festa, e sim a casa de um colega cujos pais não estavam, e quando saímos de lá alguns estavam cantando e falando alto e eu entrei no táxi com urna garrafa ele plástico cortada ao meio. Alguém tinha misturado cachaça com Coca-Cola, e era impossível tomar um gole sem prender a respiração, e ao descer do táxi eu senti as pernas meio ocas e nessa hora já estavam todos rindo e foi mais fácil entrar e passar o resto da noite encostado muna parede ao lado de uma caixa ele som: eu misturei a cachaça com vodca e um vinho com embalagem de papelão que deixava os dentes roxos e antes das onze já tinha me arrastado até o jardim e procurado um canto escuro e sentado com a pressão baixa e ninguém me acharia ali depois que eu me deixasse cair sem ajuda porque ainda nem conhecia direito os colegas.
5.
Demorou para os colegas perguntarem se eu era judeu, por que identificar sobrenomes é coisa de pessoas mais velhas e em geral também judias, e o meu não termina em man ou berg ou qualquer desses sufixos óbvios que dá as pistas a quem não sabia onde eu tinha estudado antes. Nas aulas da escola nova o Holocausto era apenas eventualmente citado entre os capítulos da Segunda Guerra, e Hitler era analisado pelo prisma histórico da República de Weimar, da crise econômica dos anos 30, da inflação que fazia as pessoas usarem carrinhos para levar o dinheiro da feira, e a história dos carrinhos despertava tanto interesse que se chegava ao vestibular sabendo mais sobre como alguém precisa, à ser rápido para que o preço do pão e do leite não subisse antes de passar no caixa do que sobre corno era feito o transporte de prisioneiros para os campos de concentração. Nenhum professor mencionou Auschwitz mais de urna vez. Nenhum jamais disse urna palavra sobre É isto um homem? Nenhum fez o cálculo óbvio de que eu com catorze anos naquela época, certamente tinha um pai ou avo ou bisavó meu ou de um primo ou de um amigo de um amigo de um amigo que escapou das câmaras de extermínio.
6.
Não sei se meu avo leu É isto um homem? ese ter vivido o que Primo Levi narra faz com que o livro soe diferente, e o que para um leitor comum é a descoberta dos detalhes da experiencia em Auschwitz para o meu avo era apenas reconhecimento, uma conferência para ver se o que era dito no texto correspondia ou à realidade, ou a realidade da memória do meu avo, e não sei. até que ponto essa leitura como pé atrás tira parte do impacto do relato.
7·
Eu não sei como meu avo reagia ao ouvir uma piada sobre judeus, se algum dia contaram essas piadas a ele ou se ele esteve na mesma sala onde alguém as contava, um coquetel ou jantar ou encontro de negócios em que ele estava distraído e por acaso ou um fiapo de voz ou de riso que remetia à palavra judeu, e como ele reagiria ao saber que foi isso que passei a ouvir aos catorze anos, o apelido que começou a ser usado na escola nova assim que João fez o primeiro comentário sobre a escola anterior, sobre a sinagoga pequena que havia no térreo e os al unos da sétima série que tinham estudado para fazer Bar Mitzvah, e que para mim o apelido teve um significado diferente, e em vez da raiva por urna ofensa que deveria ser enfrentada ou da indignação pelo estereótipo que ela envolvia, os velhos que apareciam em filmes e novelas ele TV usando roupa preta e falando com sotaque estrangeiro e dentes de vampiro, em vez disso eu preferi ficar inicialmente quieto.
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SOME MORE THINGS THAT I KNOW ABOUT MY GRANDFATHER
4.
I started drinking when I was fourteen, after João and I changed schools. I’d had the occasional beer with my father and the occasional glass of wine at some grown up suppers at home, but the first time I got seriously drunk was at a party just after term started. 1 didn’t go straight to the party, but to the house of a classmate whose parents were out and, when we left there, some of the boys were singing and talking loudly. and I climbed into the taxi clutching a plastic bottle cut in half. Someone had mixed cachaça and Coca-Cola, and you had to hold your breath every time you took a swig of it, and when I got out of the taxi, my legs felt hollow and by then everyone was laughing and it was easy enough to spend the rest of the night leaning against a wall next to a speaker. I mixed cachaça with vodka and with some cheap wine that stained your teeth purple, and by eleven o’clock I’d crawled out into the garden and found a dark corner where I sat, feeling rather weak, and where no one would find me once I’d slid helplessly to the ground, because I still didn’t really know any of my classmates.
5.
It was a while befare my classmates asked if I was Jewish, because identifying surnames is something that only older people and Jews in general do, and my name doesn’t end in man or berg or any of those other telltale suffixes that would have given a clue to anyone who didn’t know where I’d studied before. In the lessons at the new school, the Holocaust was only mentioned in passing as an episode in the Second World War, and Hitler was analyzed through the historical lens of the Weimar Republic, the economic crisis of the 1930s, and the soaring inflation that obliged people to use wheelbarrows to carry their money back from the market, a story that aroused so much interest that you reached the final year of school knowing more about how quick shoppers had to be if they wanted to reach the cashier befare the price of bread or milk went up again than about how prisoners were transported to the concentration camps. Not one of the teachers gave more than a cursory nod to Auschwitz. Not one of them said a word about If This Is a Man. Not one of them made the obvious calculation that a fourteen-year-old like me must have had a father or a grandfather or a great-grandfather or a cousin or a friend of a friend of a friend who had escaped the gas chambers.
6.
I don’t know if my grandfather ever read If This Is a Man or if the fact of having actually lived through what Primo Levi wrote about would have made him read the book differently, whether what was a revelation to the ordinary reader, a detailed description of the whole Auschwitz experience, would have been merely a process of recognition for my grandfather, a matter of checking to see whether or not the book corresponded to reality or to the reality of his memory, and I don’t know to what extent that somewhat distanced reading would reduce the book’s impact.
7.
I don’t know how my grandfather used to react when he heard a joke about Jews, assuming anyone ever told such jokes to him, or if he, as the distracted guest at some cocktail party or supper or business meeting, was ever in a room where someone was telling them and where he might have heard a high-pitched giggle in response to the word Jew–or what his reaction would have been to knowing that this is what happened to me when I was fourteen, that this was the nickname that began to be used as soon as João mentioned our previous school with the little synagogue on the grounds and the seventh-grade students studying for their bar mitzvah, and that the nickname meant something different for me, that instead of feeling angry at an insult that ought to be confronted or indignant at the implied stereotype-the old men all in black and with vampire teeth who used to appear in films and TV soaps–I preferred not to say or do anything, at least initially.
“Buena Tierra” — La experiencia judía en Bolivia 1935-1945 — en La Paz y en la colonia “Buena Tierra”
“Buena Tierra”– The Jewish Experience in Bolivia 1935-1945 — in La Paz y in the farm “Tierra Buena”
La finca de Buena Tierra/The Buena Tierra Farm
La experiencia de los refugiados judíos en Bolivia estuvo indeleblemente influenciada por Maurice Hochschild, un acaudalado judío alemán propietario de una mina en Bolivia que tenía una buena relación con el presidente boliviano. Cuando el gobierno boliviano alentó la inmigración a mediados de la década de 1930 para impulsar la economía, Hochschild facilitó visas para que refugiados judíos alemanes y austriacos llegaran a Bolivia. También fundó la Sociedad de Protección a los Inmigrantes Israelitas (SOPRO), o La Sociedad para la Protección de los Migrantes Israelitas. La mayoría de los judíos se establecieron en La Paz, la capital, y JDC* apoyó los hogares infantiles de SOPRO y otras instituciones comunales en La Paz.
En 1940, para contrarrestar la creciente propaganda antisemita de que los inmigrantes judíos no contribuían al bienestar del estado y para asegurar que Bolivia no cerraría sus puertas a la futura inmigración judía, Hochschild se asoció con la Sociedad Colonizadora de Bolivia (SOCOBO) para desarrollar proyectos agrícolas en áreas rurales para demostrar la autosuficiencia de estos refugiados judíos.
Hochschild se puso en contacto con JDC y Agro-Joint para obtener fondos para reubicar a los judíos como campesinos y capacitarlos para cultivar los campos. De 1939 a 1942, JDC, junto con SOCOBO y Hochschild, contribuyeron $160,000 para sostener los asentamientos agrícolas.
Desafortunadamente, los nuevos agricultores enfrentaron una serie de desafíos en sus empresas agrícolas: la topografía montañosa, lo que significaba que no podían usar tractores; la muerte de los caminos a los mercados apropiados para los cultivos como la piña, el café y el cacao; y el clima subtropical. Ninguna de las granjas llega a ser completamente autosuficiente; todos fueron subvencionados por SOCOBO y Hochschild.
The Jewish refugee experience in Bolivia was indelibly influenced by Maurice Hochschild, a wealthy German Jewish mine owner in Bolivia who had a good relationship with the Bolivian president. When the Bolivian government encouraged immigration in the mid-1930s to spur the economy, Hochschild facilitated visas for German and Austrian Jewish refugees to arrive in Bolivia. He also founded the Sociedad de Proteccion a los Immigrantes Israelitas (SOPRO), or The Society for Protection of Jewish Migrants. The majority of Jews settled in La Paz, the capital, and JDC* supported SOPRO Children Homes and other communal institutions in La Paz.
In 1940, to counter rising anti-Semitic propaganda that Jewish immigrants were not contributing to the welfare of the state and to ensure that Bolivia would not close its doors to future Jewish immigration, Hochschild partnered with the Sociedad Colonizadora de Bolivia (SOCOBO) to develop agricultural projects in rural areas to demonstrate these Jewish refugees self-sufficiency.
Hochschild contacted JDC and Agro-Joint for funds to relocate Jews as peasant farmers and train them to cultivate the fields. From 1939-1942, JDC, along with SOCOBO and Hochschild, contributed $160,000 to sustain the agricultural settlements.
Unfortunately, the new farmers encountered a host of challenges in their agricultural enterprises: the mountainous topography, which meant that they could not use tractors; the dearth of roads to appropriate markets for the crops such as pineapple coffee, and cacao; and the sub-tropical climate. None of the farms ever become entirely self-sufficient; they were all subsidized by SOCOBO and Hochschild.
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La organización judía The Joint Distribution Committee (JDC or “The Joint”) ayudaba en la salvación de muchos miles de personas antes, durante y después del Holocaust y luego los refugiados/The Jewish organization The Joint Distribution Committee (JDC or “The Joint”) helped save many thousands people before, during and after the Holocaust
Refugiados transformados en granjeros/Refugees transformed into farmers
Hombres descascarando el maíz/Men shucking corn
Taller de carpintería/Woodworking shop
Una muchacha sobre un burro en Buena Tierra/A girl on a burro en Bella Tierra
Tomando el té/Drinking tea
Competiciones de deportes/Sports competitions local people
Um asilo de JDC para la gente mayor en La Paz/A JDC Home for the Aged in La Paz
Shofar de Rosch HaShona/Shofar for Rosh HaShonah
El museo de Buena Tierra en La Paz/BuenaTierra Museum in La Paz