Cintia Moscovich–escritora, jornalista judeu-brasileira/Brasilian Jewish Writer and Journalist–“Um gênio”/”A Genius”

Cíntia Moscovich

_____________________________

Nascida em 1958 na Porto Alegre, no Brasil, Cíntia Moscovich é escritora, jornalista e mestre em Teoria Literária, tendo exercido atividades de professora, tradutora, consultora literária, revisora e assessora de imprensa. Dentre vários prêmios literários conquistados, destaca-se o primeiro lugar no Concurso de Contos Guimarães Rosa, instituído em Paris. Em 1996, publicou sua primeira obra individual, “O reino das cebolas”. Um dos contos que integram a coletânea foi traduzido para o inglês e faz parte de uma antologia que reúne escritores judeus de língua portuguesa. Em 1998, ela lançou a novela “Duas iguais – Manual de amores e equívocos assemelhados”, que recebeu o Prêmio Açorianos de Literatura em 1999. Em 2000, também pela lançou o livro de contos “Anotações durante o incêndio, que reúne onze textos de temáticas diversas, com destaque ao judaísmo e à condição feminina, merecendo outra vez o Prêmio Açorianos de Literatura. Em 2004, publicou a coletânea de contos “Arquitetura do arco-íris”, livro que lhe valeu o terceiro lugar em contos no prêmio Jabuti. Em 2006, lançou o romance “Por que sou gorda, mamãe?”,. Em 2007, lançou seu sexto livro individual, o romance infanto-juvenil “Mais ou menos normal”. Em 1998, lançou a novela “Duas iguais – Manual de amores e equívocos assemelhados”, que recebeu o Prêmio Açorianos de Literatura. Em 2000, também lançou o livro de contos “Anotações durante o incêndio”, que reúne textos de temáticas diversas, com destaque ao judaísmo e à condição feminina. Em 2013, “Essa coisa brilhante que é a chuva” foi a vencedora do Prêmo Clarice Lispector, concedido pela Fundação Bilbioteca Nacional.
___________________________

Born in 1958 in Porto Alegre, Brazil, Cíntia Moscovich is a writer, journalist, and holds a master’s degree in Literary Theory. She has worked as a teacher, translator, literary consultant, proofreader, and press officer. Among her numerous literary awards, she won first place in the Guimarães Rosa Short Story Competition, held in Paris. In 1996, she published her first solo work, “The Kingdom of Onions.” One of the short stories in the collection was translated into English and is part of an anthology featuring Portuguese-speaking Jewish writers. In 1998, she published the novel “Duas iguales – Manual de amores e equívocos similares,” which received the Açorianos Literature Prize. in 1999. In 2000, she also released the short story collection “Notes During the Fire,” which brings together eleven texts on diverse themes, highlighting Judaism and the female condition, and which again earned her the Açorianos Literature Prize. In 2004, she published the short story collection “Architecture of the Rainbow,”. which earned her third place in the Jabuti Prize for short stories. In 2006, she released the novel “Why Am I Fat, Mom?”. In 2007, she released her sixth solo book, the children’s novel “More or Less Normal.” In 1998, she published the novel “Duas iguales – Manual de amores e equívocos similares,” which received the Açorianos Literature Prize. In 2000, she also released the short story collection “Notes During the Fire,” which brings together texts on diverse themes, highlighting Judaism and the female condition. In 2004, she published the short story collection “Architecture of the Rainbow.” In 2006, she released the novel “Why Am I Fat, Mommy?” In 2013, “This Bright Thing That Is the Rain” won the Clarice Lispector Prize, awarded by the National Library Foundation.

_________________________________

 Aos dez anos de idade, única filha de um casal descendente de imigrantes judeus, nascida depois de muitas e várias tentativas — portanto cheia de mimos, denguices, babados e brinquedos e tudo quanto me desse na telha —, logo de mim, a unigênita, o pai queria que eu fosse nada mais nada menos do que isso — uma criança genial.

Assim: tinha de saber de cor as estrofes iniciais d’Os Lusíadas (“Cesse tudo o que a Musa antiga canta,/ Que outro valor mais alto se alevanta”), ouvir calada e atenta — e ainda por cima gostar — a todas as árias de todas as óperas que tínhamos em casa — principalmente Una furtiva lacrima, no vozeirão de Enrico Caruso, e a Casta Diva, gravada por Maria Callas —, espremer os pés em sapatilhas nas classes de balé, assistir às terríveis aulas de piano e de inglês de dona Vivi, além das lições de francês com madame Vichy.

***

Shein vi di levone.

Bomita como lua, título de uma antiga canção que imigrara junto com a família de Bessarábia. Música que, segundo ele, fora composto para mim, filha linda. E mesmo os anos passando, nunca esqueci daqueles abraços que tinham o perfume almiscarado úmido da espuma de barba.

           Coisa boa da vida.

**********

           De tudo que eu cumpria como rutina diária, o que me propiciava mais divertimento, além de brincar, eram coisas de fazer de conta: na escola, tinha adoração pelas aulas de português e pelas peças de teatro, e, em casa passava horas deitada de barriga para baixo, as pernas dobradas, os pés se balançando, queixo apoiado nas mãos.  Eu adorava ler. Piano, balé, inglês, francês—coisas porque pai dizia, a gente tinha de ser cultivada—tudo isso eram pedágios caríssimos para aquelas horas em a vida, pero, preto no branco, era puro desfrute. Meus país nunca fixarem nenhum esforção, nenhuma ameaça, nada: eu era naturalmente l, fato que, imagino, também me dava munição suficiente para engendrar situações para as aulas de teatro.

          Passei a nutrir dois secretos desejos: eu queria escrever e trabalhar como atriz—Quimeras que a ninguém revelei talvez porque, no fundo, achava que que aquilo ainda ia acabar mal.

          O erro máximo se deu quando um dia, na mesa do almoço, se conversava sobre escolher ima profissão—num futuro remoto, portanto. Se eu me tivesse calado, teriam me incluído no rol dos sábios. Mas eu falei:

         – -Quando eu crescer, quero ser escritora e atriz.

O rosto do pai ficou vermelho—depois quase verde. A mãe acho melhor tirar os pratos da mesa, quase se esquecia do cafezinho, tinha deixado para coar: saiu de fininho tilintando louças e talheres.

O patriarca rimbombou:

         –Atriz? Escritora? Tanto dinheiro em estudos e livros para ser atriz e escritora?

         Tentei dizer a ele que eu gostava de teatro e gostava de contar histórias: queria a carreira de uma grande atriz dramática e escrever como Monteiro Lobato.

         —Atriz dramática? Escritora? –o pai ia ter um troço. Encheu um copo com água e tomou dois pequemos goles: acalmava-se o algo parecido.  

         A mãe, agora trazendo o bule de café e as xícaras para a mesa, ousou intrometer-se:

      –Mas não é você quer que ela recite poemas de cor e que goste de ópera? Porque ela não pode ser artista.

        Bingo, mãe. O pai  fez um movimento afirmativa, que tanto podia significar que ele aceitava o cafezinho recém passado quanto a culpa no cartório que realmente tinha. Deu sequência a conversa, num tom até ameno:

         –Entendo que você goste de teatro é de literatura, todos nós gostamos. Mas como é que você pretende sobrevivir com teatro ou literatura?

         É, eu sabia que queria um futuro para mim bom—que incluía não ter de passar forme como elas tinham passado quando eles tinham passado quando as famílias chegaram ao Brasil. Tentei amenizar era tão bonito ser uma personagem, que nem aquelas que nem aquelas que ele e a mãe viam no Teatro São Pedro; além do mais eu achava que tinha nascida para ser escritora e não me importava em não ser rica. Ele fez “ach” de desprezo com a mãe. Eu desafiei: e quem sabe eu fosse que nem Scholem Aleichem, de quem ele gostava tanto? Como Erico Verisssimo? E eu se fosse uma Bibi Ferreira ou uma Julie Andrews?

          –Tudo muito bonito, mas não crio filha para ser atriz, dessas que bebem e fumam outras coisas que nem é bom falar. –O caldo m tinha engrossado. –Além do mais, você não nasceu para ser escritora, ao menos até que prove o contrário. —E lembrou que ele não era nenhum Procópio Ferreira para ter filha atriz.

—Você vai ter um e um erre antes do nome “doutora”. Depois do diploma na minha mão, decide-se o resto—decretou, cravando-me uma um olhar impositivo. E sem medir a raiva, já siando da mesa: —Se você está pensando em ser isso ai –e havia uma intenção satânica no isso ai—então tenho que vai a vai viver de nariz quebrado (um perdedor) …

         Passai a considerar a possibilidade de ser médica. Além de, claro, seguir as carreiras de atriz é escritora.

********

Nossa família tinha uns pequenos de roupas para senhoras e gestantes. Nada demais, nenhum empregado, apenas um negócio que nos mantinha num bom patamar de vida, fato que possibilitava o monte de aulas para sem ser uma pessoa cultivada.

********

          Perto das dez da manhã, o exiliar de disciplina bateu na nossa sala de aula, chamavam-me na direção. Engoli em seco e, bravamente, trilhe se o caminho pelo corredor silencioso.

          Os dois já se reuniam lá com dona Malvina. O pai de terno gravata, e a mãe tinha feito um coque no cabelo, vestido um tailleur é o color de pérolas com fecho de brilhantes; senti que ela havia colocado Cabochard, preciosa reservada para os dias de festa. A cerimónia do momento era tão grande eu a loja estava fechada—que, então estaria atendendo? E a loja só era ocasiões muitíssimo especais.

          Foi a diretora a iniciar a conversa:

          –Chamei-os aqui porque tenho algo importante a dizer.

          O pai mexeu-se cadeira, odiava obviedades. A diretora continuou:

          A filha de vocês es mui criativa.

          O pai adorava que me elogiassem. Dona Malvina prosseguiu:

          –Tenho aqui comigo uma redação feita por ela sobre a amizade. Desculpem-me, mas tenho de saber se algum de vocês ajudou a escrevê-la.

          O pai e a mãe se entreolharam. Responderam que não: quando ela precisava de ajuda, era em matemática, nunca para escrever. A diretora ficou feliz com a reposta:

          –Foi o que imagine—abriu uma pasta e, de dentro de ela retirou minha relação—É impressionante.

          O pai deu um salto, arrancando o papel da diretora; a mãe se pendurou para lero que estava escrito. Dona Malvina foi didática:

         Faz menções a O Pequeno Principe de Saint Exupéry, mas também demonstra que aluna tem ideias próprias. Muito singulares e profundas.

          A mãe es distraiu por um momento:

          –Já sei por sumiu um pacote de açúcar da dispensa—logo depois se corrigiu:–Ah, mas não tem importância.

           O peito do pai se encheu, estufado. A diretora lançou a minha sorte:

          –Talvez seja precipitado—refletiu. E daí salvou a pátria:–Pelo que ela tem ela tem demonstrado nos trabalhos anteriores e principalmente nesse, acho que tem vocação para ser escritora.

          Ima chuva de estrelas dentro de mim. Dona Malvina arrematou:

          –At onde eu soube, ela quer se formar em medicina. E também atriz e escritora Parabéns. O futuro depende de incentivo. Parabéns.

        O pai não sabia mais o que fazer. E ali, na sala da diretora, em meio á cerimonia do momento, ele me abraçou muito forte, tão forte que me levantou do chão. E ouvi ele sendo a pai mais feliz do mundo:

          Shein a di levone  

         A bonito-do pai tinha uma futura pela frente.

         Saímos os três abraçados.

         Naquela noite, o pai abriu um vinho português que estava guardado fazia tempo. Serviu-me num cálice um tantinho com água e açúcar.

          —Lechaim—levantou em saudação a taça no ar.

          Foi a primeira que pude fazer um brinde com os adultos. Eu era feliz ali mesmo, nem precisava de um futuro….

_____________________________

At ten years old, the only child of a couple descended from Jewish immigrants, born after many, many attempts—and therefore showered with pampering, indulgences, frills, toys, and everything else I could imagine—my father, an only child, wanted me to be nothing more, nothing less than that—a genius.

Therefore: I had to know by heart the first stanzas of The Lusiadas (“Cease all that the ancient Muse sings, / For another, higher value, arises”), listen silently and attentively—and even appreciate—every aria from every opera we had at home—especially “Una furtiva Lacrima” sung by Enrico Caruso, and La Casta Diva, recorded by Maria Callas—put my feet in ballet slippers, attend Dona Vivi’s terrible piano and English lessons, and take French lessons from Madame Vichy.

**********


—Shein saw di levone.

“Beautiful as the moon,” the title of an old song he had immigrated with his family from Bessarabia. A song he said he had composed for me, his beautiful daughter. And even as the years passed, I never forgot those hugs that carried the moist, musky scent of shaving foam.
A good thing in life. . .

Of all the daily routines I performed, what gave me the most fun, besides playing, were intended activities: at school, I adored Portuguese lessons and plays, and at home, I spent hours lying on my stomach, legs bent, feet dangling, chin resting on my hands. I loved reading. Piano, ballet, English, French—things because my father said we had to be cultivated—all of these were very expensive tolls for those hours in life, but, in black and white, it was pure enjoyment. My parents never made any effort, any threat, nothing: I was naturally like that, a fact that, I imagine, also gave me enough ammunition to concoct situations for drama classes.

I began to harbor two secret desires: I wanted to write and work as an actress—fantasies that I revealed to no one perhaps because, deep down, I thought it would still end badly.
The biggest mistake came when one day, at the lunch table, we were talking about choosing a profession—in the distant future, that is. If I had kept quiet, they would have included me among the wise. But I said:
“When I grow up, I want to be a writer and an actress.”
The father’s face turned red—then almost green. The mother, I think I’d better clear the dishes from the table; she’d almost forgotten the coffee, she’d left it brewing. She quietly left, clinking dishes and cutlery.
The patriarch boomed out: “Actress? Writer? So much money for studies and books to be an actress and a writer?” I tried to tell him that I liked theater and storytelling: I wanted a career as a great dramatic actress and to write like Monteiro Lobato.
The dramatic actress? A writer?” Her father was
going to have a fit. He filled a glass with water and
took two small sips: something like that calmed
him down. Her mother, now bringing the coffee pot and cups to the table, dared to interject:
“But don’t you want her to recite poems by heart and like opera? Because she can’t be an artist.”
Bingo, Mom. The father nodded, which could have meant either accepting the freshly brewed coffee or the guilt he truly felt. He continued the conversation, in a mild tone:
–“I understand that you like theater and literature, we all do. But how do you intend to survive with theater or literature?”
Yes, I knew I wanted a good future for myself—one that included not having to go hungry like they had, when their families arrived in Brazil. I tried to soften the blow: it was so beautiful to be a character, like the ones he and his mother saw at the São Pedro Theater; Besides, I thought I was born to be a writer and didn’t care about not being rich. He made a dismissive “ah” at his mother. I challenged: what if I were like Scholem Aleichem, whom he liked so much? Like Erico Verisssimo? What if I were a Bibi Ferreira or a Julie Andrews?
“It’s all very nice, but I’m not raising a daughter to be an actress, the kind who drinks and smokes other things that aren’t even worth talking about.” The situation had become more difficult. “Besides, you weren’t born to be a writer, at least not until you prove otherwise.” And he remembered her that he wasn’t Procópio Ferreira to have an actress daughter.

“You’ll have a d and an r before the name ‘doctor.’ After the diploma is in my hand, the rest will be decided,” he decreed, fixing me with an authoritative look. And without measuring his anger, he already left the table: “If you’re thinking of being that—and there was a satanic intention in that—then I’ll have to go and live with a broken nose (a loser)… Start considering the possibility of being a doctor. Besides, of course, pursuing careers as an actress and a writer.”


****************

Our family had a few small women’s and maternity clothing stores. Nothing special, no employees, just a business that kept us at a good level A fact that made it possible to take a lot of classes without being a cultured person.

****************


Around ten in the morning, the disciplinary officer knocked on our classroom; they called me to the principal. I swallowed hard and bravely made my way down the silent hallway.
The two of them were already there with Dona Malvina. The father wore a suit and tie, and the mother had tied her hair in a bun, wearing a pearl-colored suit with a diamond clasp; I sensed she had put on Cabochard, a precious jewel reserved for special occasions. The ceremony of the moment was so grand that the store was closed—so who would be open? And the store only closed for very special occasions.
It was the principal who initiated the conversation:
“I called you here because I have something important to say:
The father shifted in his chair; he hated to be obvious. The principal continued:
“Your daughter is very creative.” My father loved to be praised. Dona Malvina continued:
“I have here with me an essay she wrote about friendship. Excuse me, but I need to know if any of you helped her write it.”
Her father and mother looked at each other. They answered no: when she needed help, it was with math, never with writing. The principal was pleased with the answer.That’s what I imagined,” she opened a folder and took out my report. “It’s impressive.”
The father jumped, snatching the paper from the principal; the mother clung to it to read what was written. Dona Malvina was didactic: “It mentions Saint-Exupéry’s The Little Prince, but it also shows that the student has her own ideas. Very unique and profound.”
The mother was distracted for a moment: “I already know why a packet of sugar is missing from the pantry,” she corrected herself immediately. “Ah, but it doesn’t matter.”
The father’s chest swelled, puffed out. The principal cast my lot:
“Maybe I’m being hasty,” she reflected. And then she saved the day: “From what she’s demonstrated in her previous works, and especially in this one, I think she has a vocation to be a writer.” “A shower of stars inside me.” Dona Malvina concluded:
–As far as I know, she wants to graduate in medicine. And also as an actress and writer. Congratulations. The future depends on encouragement. Congratulations.
My father didn’t know what else to do. And there, in the principal’s office, in the midst of the ceremony, he hugged me tightly, so tightly that he lifted me off the floor. And I heard him being the happiest father in the world:
Shein a di levone
My father’s beautiful daughter had a future ahead of her.
The three of us left, arms around each other.
That night, my father opened a bottle of Portuguese wine that had been stored for a long time. He poured me a small amount of water and sugar in a glass.
Lechaim—he raised the glass in the air in greeting.
It was the first time I was able to make a toast with the adults. I was happy right there, I didn’t even need a future…

Sergio Lerer (1948-2025) Actor, psicólogo, cantor en idish judío-argentino/Argentine Jewish Actor, Psychologist and Yiddish Singer

Murió Sergio Lerer

Sergio Lerer

_______________________________________________________

Sergio Lerer nació en 1948 y se crió en una familia judía con raíces artísticas. Su padre fue actor en Polonia, su madre ceramista, y sus hermanas se dedicaron al canto lírico y la literatura. Desde joven se volcó al circuito en idioma idish, dentro del grupo filodramático del TES. En sus comienzos interpretó obras clásicas bajo la dirección de Samuel Rollasky. Pronto obtuvo notoriedad con su papel en la obra Es difícil ser judío y por haber acompañado durante cuatro años al humorista Norman Erlich. En ese mismo ámbito, también coprotagonizó Draculovich, el vampiro que faltaba, y se lució en piezas como La familia, Jasie la huérfana y Había una vez una aldea.

Murió Sergio Lerer

En televisión, participó en muchas de las series más exitosas de las últimas décadas: Los Simuladores, Todos contra Juan, Casados con hijos, Peor es nada, entre otras. Su paso por el cine incluye títulos como El amor en una mujer gorda, El censor, Morir en San Hilario, La suerte está echada, Hijo del río, Aporía, El Che y Lucky Luke. Respecto a sus colaboraciones con estrellas internacionales, se recuerda su encuentro con Madonna cuando protagonizó Evita y, con Brad Pitt, durante el rodaje de Siete años en el Tibet, en La Plata. El actor solía definirse como una persona que disfrutaba de múltiples pasiones: “Me divierte ir a los cafés a estudiar y militar en la Asociación Argentina de Actores”, aseguraba. También fue psicoanalista, profesor de Psicología, traductor y docente de hebreo. Lerer dejó una marca profunda gracias a su sensibilidad artística, su compromiso con la cultura judía y su talento para conectar el escenario, el consultorio y el aula en una misma vocación de transmitir y conmover. De: Perfil

_________________________________________

Sergio Lerer was born in 1948 and grew up in a Jewish family with artistic roots. His father was an actor in Poland, his mother a ceramist, and his sisters dedicated themselves to opera singing and literature. From a young age, he became involved in the Yiddish-language circuit, within the TES philodramatic group. In his early days, he performed classical works under the direction of Samuel Rollasky. He soon gained notoriety for his role in the play It’s Difficult to Be Jewish and for having accompanied the comedian Norman Erlich for four years. In the same field, he also co-starred in Draculovich, the Missing Vampire, and shone in plays On television, he participated in many of the most successful series of recent decades: Los Simuladores, Todos contra Juan, Casados ​​con hijos, Peor es nada, among others. His work in film includes titles such as El amor en una mujer gordo, El censor, Morir en San Hilario, La suerte está echada, Hijo del río, Aporia, El Che and Lucky Luke. Regarding his collaborations with international stars, we remember his meeting with Madonna when she starred in Evita and, with Brad Pitt, during the filming of Siete años en el Tibet, in La Plata. The actor used to define himself as a person who enjoyed multiple passions: “I enjoy going to cafes to study and being an activist in the Argentine Actors Association,” he said. He was also a psychoanalyst, psychology professor, translator and Hebrew teacher. Lerer left a profound mark thanks to his artistic sensitivity, his commitment to Jewish culture, and his talent for connecting the stage, the consulting room, and the classroom in a single vocation to transmit and move. From: Profile

______________________________________

De:/From: in the name of the son/in the name of the son — Trailer

Español/Yiddish/Hebrew/English subtitles

__________________________________________

Unas películas y programas de televisión con Sergio Lerer/Some movies and TV shows with Sergio Lerer

__________________________________________________

Escenas de las películas de Sergio Lerner/Scenes from Sergio Lerner’s films

________________________________________

Sergio Lerer canta en idish/Sergio Lerer sings in Yiddish

____________________________________________________

Anita Brenner (1905-1974) — Escritora y promotora judío-mexicana/Mexican Jewish Writer and Advocate– “Constructora de puentes artísticas y culturas entre México y Estados Unidos”/”Builder of Artistic and Cultural Bridges between Mexico and the United States”

Anita Brenner

__________________________________

Periodista, historiadora, antropóloga, crítica de arte y escritora creativa, Anita Brenner fue una de las intérpretes más comprensivas y perspicaces de México. Nacida en una familia de inmigrantes judíos en México unos años antes de la Revolución Mexicana, maduró hasta convertirse en una liberal independiente que defendió a México, a los trabajadores y a todos aquellos que eran tratados injustamente, cualquiera que fuera su origen o nacionalidad. Sus extensos escritos, especialmente Your Mexican Holiday y The Wind that Swept Mexico, introdujeron a los lectores estadounidenses en la riqueza de la cultura y la historia mexicanas:.

_________________________________

Journalist, historian, anthropologist, art critic and creative writer, Anita Brenner was one of Mexico’s most sympathetic and discerning interpreters. Born to a Jewish immigrant family in Mexico a few years before the Mexican Revolution, she matured into an independent liberal who defended Mexico, workers and all those who were treated unfairly, whatever their origin or nationality. Her extensive writing, especially Your Mexican Holiday and The Wind that Swept Mexico introduced American readers to the wealth of Mexican culture and history.

Estos fragmentos vienen de: Susannah Joel Glusker. Anita Brenner: A Mind of her Own. Austin, TX: University of Texas Press, 1996. pp. 32-39, 150-4.

_________________________________

Diego Rivera

__________________

__________________________________________________

____________________________________________________________

Los fragmentos incluidos aquí vienen de: Susannah Joel Glusker. Anita Brenner: A Mind of her Own. Austin, TX: University of Texas Press, 1996. pp. 32-39, 150-4.

_____________________________________

Aún bastante joven, Anita Brenner se convierte en una escritora:

EN EL VERANO DE 1923 Anita regresó a San Antonio y convenció a su padre para que la dejara ir a la escuela en la Ciudad de México. Isidore Brenner consultó al rabino Ephraim Frisch, quien le aseguró que estaría a salvo.

El Dr. J. L. Weinberger, quien dirigió la oficina de B’nai B’rith en México, se mantuvo en contacto y no informó ningún problema. La lucha armada de los dirigentes revolucionarios había terminado. Álvaro Obregón era presidente. otros (Carranza, Villa y Zapata) estaban muertos. La Universidad de México. estaba en sesión.

Anita llegó a la Ciudad de México en septiembre de 1923. Tenía dieciocho años. Pasaría los siguientes cuatro años asistiendo a la escuela, trabajando para mantenerse y comenzando una carrera. Su primer trabajo fue enseñar inglés en la Escuela Normal de San Ángel, una escuela misionera presbiteriana. Sus 2 años incluían alojamiento y comida. En ese momento se establecieron muchos patrones para el futuro. Su vida social cambió dramáticamente. Pasó de sentirse fuera de lugar a sentirse orgullosa de ser parte de un grupo excepcional de personas, algunas de las cuales luego serían consideradas los artistas e intelectuales más importantes de México.

Todo se juntó rápidamente. La carta de presentación del rabino Frisch a Weinberger le dio a Anita su entrada al mundo de los escritores, artistas e intelectuales como Paca o (Panchita), miembro del grupo de intelectuales. Visitar a Panchita fue muy divertido, en contraste con la vida solemne en la escuela misionera. Frances vivía en un apartamento con vistas a un patio compartido y sus vecinos eran amigos y colegas, incluidos Carleton Beals, Bertram y Ella Wolfe.

Frances llevó a Anita a tomar el té a la YMHA (Asociación Hebrea de Hombres Jóvenes). Carleton la llevó a bailar al Salón México y todos fueron a Sanborns (la Casa de los Azulejos), “el único lugar donde se podía tomar un café decente” y donde la gente iba a las citas. Anita rebosaba emoción en una larga carta dirigida a su amigo Jerry Aron en Austin.

Está bastante de moda, sobre todo a la hora del té. Pero en el desayuno es diferente. Usted descansa mientras come, y gente interesante que conoce (o debería conocer) se acerca y habla (oh, libros, política, teatro y chismes) mientras fuma y toma café. Está Goopta, un revolucionario hindú que enseña sánscrito en la universidad y también en las escuelas públicas, que es famoso, intrigante y encantador. Están los Wolfe, comunistas, lectores ávidos, satisfactorios y encantadores, sobre todo la dama. Hay muchos otros: todos los que tienen algún tipo de derecho al intelectualismo (?) están más o menos ligados a él. Artistas, escultores, escritores, socialistas, músicos, poetas intelectuales, pero no la imitación que tenemos nosotros, Jerry. No son nada sorprendentes. Que el amor es libre es una cuestión tan aceptada que a nadie se le ocurre molestarse en afirmarlo. Todos hablan el mismo idioma, es decir, todos se entienden, lo aprueben o no. Por supuesto que lo disfruto. Sin esnobismo, prejuicios de ningún tipo, raciales, monetarios, aparentes. En cuanto a la raza, no podría haberla. Hay demasiados tonos de piel y /1.ag representados. En cuanto a lo monetario, bueno, prácticamente todos tienen sus “nombramientos”, que significa una hora o dos de trabajo en las escuelas públicas, lo que significa mucha política y una posibilidad azarosa de recibir un pago. Todo el mundo siempre está pidiendo prestado a los demás, lo cual es bastante reconfortante como en casa, ¿sabes? Pero es tan real, tan fácil, tan libre y nada agitado, que tengo ganas de tener alas vivas, poner mi máquina de escribir bajo el brazo e ir al cielo o a algún lugar más tranquilo para realizar una obra maestra.

Anita se vio arrastrada a un mundo de personas e ideas. Renunció a su trabajo en la escuela de la misión para protestar por el despido de una maestra estadounidense por salir con un mexicano; Más tarde ficcionalizó el evento en un cuento. El trabajo que encontró a continuación, con Weinberger en B’nai B’rith, incluía recibir barcos que traían inmigrantes judíos a Veracruz; llevar registros del número, ocupaciones y necesidades de las personas que llegaron; redacción de informes; y ayudar a asentar a los inmigrantes en una nueva cultura.

Anita comenzó a escribir para su publicación. Los primeros artículos establecieron su patrón de vida: escribir positivamente sobre México. Su primer artículo, “El judío en México” en The Nation en 1924, fue una respuesta a las críticas estadounidenses a México como un lugar inadecuado para que se establecieran los judíos. Maurice Hexter, jefe del Comité Judío Estadounidense, consideraba que México no estaba seguro, incluso si el conflicto armado de la Revolución de 1910 hubiera terminado. Consideraba que México era demasiado diferente culturalmente de la cultura europea. Los judíos necesitaban abandonar Europa y Estados Unidos había cerrado sus puertas a una nueva inmigración. Anita sintió que México era apropiado. Escribió una serie de artículos para el Jewish Morning Journal, envió numerosos despachos a la Agencia Telegráfica Judía y ficción al Menorah Journal. En todos ellos presentó a México con entusiasmo, describiendo el estilo de vida de los judíos europeos y los acontecimientos sociales y culturales de la comunidad, así como las actividades económicas, contrarrestando eficazmente la mala prensa que había en los Estados Unidos. Anita se identificó como judía. No practicó su religión dentro de una tradición ortodoxa, ni se unió a ningún movimiento sionista, pero estaba comprometida, como periodista independiente, a ayudar a los judíos a escapar de los pogromos en Europa y defender a México.


La contradicción de que una joven contribuyera a la construcción de una nueva sociedad mientras su familia enfrentaba la posibilidad de perder su tierra no parecía preocupar a Anita. Muchos artistas y (como Diego Rivera, José Clemente, Orozco, Daniel Alfaro Siqueiros, Atonieta Rivas Mercado y las familias Marín y Asúnsulo) se encontraban en una situación similar. Ellos también pertenecían a la clase media y alta educada. Anita conocía los problemas de los ricos, pero eso no atenuó su entusiasmo por crear una nueva sociedad.

Diego Rivera

_____________________

Anoche vino Diego (Rivera) a mecanografiar un artículo: “El arte de la revolución” y de allí derivó una larga y emocionante discusión, en el curso de la cual me convertí activamente en un revolucionario, puesto que (ya que) estás a favor o en contra y la pasividad es negación… El valor de la conversación para mí es una razón para trabajar…

___________________________________________


En 1933, el problema era el antisemitismo en México… especialmente después de que la Ley Johnson restringiera la inmigración a los Estados Unidos en 1924. Algunos inmigrantes llegaron con la idea de cruzar la frontera hacia los Estados Unidos. El peligro era ser atrapado y deportado a Europa. Muchos judíos inmigrantes trabajaron como vendedores ambulantes en la Ciudad de México y otras ciudades importantes. También viajaron a pequeñas comunidades rurales en busca de clientes con planes de pago a plazos. A medida que aumentaron los ingresos, alquilaron puestos en los mercados públicos. El siguiente paso fue alquilar una tienda y luego establecer sus propias pequeñas plantas de fabricación. A los propietarios de grandes almacenes les molestaba la competencia, especialmente la pérdida de clientes, que preferían tratar con amables vendedores ambulantes en casa que enfrentarse a taciturnos empleados de la ciudad. Se sintieron más cómodos haciendo preguntas, realizando pagos y esperando futuras visitas. Los comerciantes europeos establecidos eligieron el momento para financiar una campaña xenófoba contra judíos y orientales. Apoyaron al congresista Ángel Ladrón de Guevara, quien organizó manifestaciones y lanzó una campaña de prensa. Logró expulsar a judíos y orientales del centro comercial Lagunilla de la Ciudad de México y estaba trabajando para expulsarlos de México.

Anita se puso a trabajar. Telegrafió a La Nación para documentar la necesidad de una entrevista con el presidente Abelardo Rodríguez y Ángel Ladrón de Guevara. La Nación respondió con telegramas presionando para obtener información. Anita publicó los hechos sobre la campaña antisemita y la declaración del presidente Rodríguez en las portadas de la prensa local. La Nación publicó entrevistas así como un comunicado del presidente para frenar efectivamente la campaña. Los judíos no serían expulsados ​​de México. Su nacionalidad no sería revocada; estaban a salvo.

Anita había iniciado su carrera como periodista en los años veinte escribiendo sobre México. Su papel de defensa de la comunidad judía de México fue un puente entre su pasado y su futuro, escribiendo en defensa de las personas en problemas. Su identificación con el pueblo judío está estrechamente relacionada con sus luchas como radical independiente: ella era una judía independiente y una radical independiente.

Traducción por Stephen A. Sadow

____________________________________________________________

The selections included here come from: Susannah Joel Glusker. Anita Brenner: A Mind of her Own. Austin, TX: University of Texas Press, 1996. pp. 32-39, 150-4.

_______________________________________________________________

Still quite young Anita Brenner becomes a writer:

IN THE SUMMER OF 1923 Anita returned to San Antonio and persuaded her father to let her go to school in Mexico City. Isidore Brenner consulted Rabbi Ephraim Frisch, who reassured him that she would be safe.

Dr. J. L. Weinberger, who headed the B’nai B’rith office in Mexico kept in touch and did not report any problems. The armed struggle n the revolutionary leaders was over. Alvaro Obregon was president. others-Carranza, Villa, and Zapata-were dead. The University of Mexico. was in session.

 Anita arrived in Mexico City in September 1923. She was eighteen years She would spend the following four years going to school, working to support herself, and launching a career. Her first job was teaching English at the Escuela Normal de San Angel, a Presbyterian mission school. Her 2es included room and board. Many patterns for the future were set at time. Her social life shifted dramatically. She moved from feeling out of place to feeling proud to be part of an exceptional group of people, some of whom would later be considered Mexico’s most important artists and intellectuals.

It all came together quickly. Rabbi Frisch’s letter of introduction to Weinberger gave Anita her entree to the world of writers, artists, and intellectuals as Paca, or (Panchita), a member of the group of intellectuals. Visiting with Panchita was great fun, in contrast to thsolemn life at the mission school. Frances lived in an apartment overlooking a shared courtyard, and her neighbors were friends and colleagues, including Carleton Beals and Bertram and Ella Wolfe.

Frances took Anita to the YMHA (Young Men’s Hebrew Association) for tea. Carleton took her dancing to the Salon Mexico, and they all went to Sanborns (the House of Tiles), “the only place where one could get decent coffee” and where people went to rendezvous. Anita bubbled with excitement in a long letter to her friend Jerry Aron in Austin.

   It is quite fashionable, particularly tea-time. But at breakfast it is different. You lounge through your meal, and interesting people whom you know-or ought to know, drop along and talk-oh, books and politics and the theatre and gossip-over the cigarettes and the coffee. There is Goopta, a Hindu revolutionist, who teaches Sanskrit in the University and also teaches in the public schools, who is famous and intriguing and delightful. There are the Wolfes, com munists, avid readers, satisfying and quite charming, particularly the lady. There are lots of others-everybody who has any sort of claim to intellectual-ism (?) is sort of loosely bound into it. Artists, sculptors, writers, socialists, musicians, poets-intelligentzia, but not the imitation of it that we have, Jerry. They are not a bit startling. That love is free is a matter so accepted that no one ever thinks to bother to state so. They all speak the same language, that is, all understand each other, whether they approve or not. Of course I bask in it No snobbishness, prejudice of any sort racial, monetary, apparent. As to racial, there couldn’t be. There are too many shades of skin and /1.ag represented. As to monetary-well, practically all of them have their “nombramientos” [contracts] which means an hour or two of work at the government schools, which means much politics and a haphazard chance of being paid. Everybody is always borrowing from everybody else which is quite comfortingly like home, you know. But it is so real, so easy, so unconstrained and not at all hectic, that I feel like living wings, putting my typewriter under my arm and going to heaven or to some quieter place to achieve a masterpiece.

Anita was swept up into a world of people and ideas. She resigned from her job at the mission school to protest the firing of an American teacher for dating a Mexican; she later fictionalized the event in a short story. The job she found next, with Weinberger at B’nai B’rith, included meeting boats bringing Jewish immigrants to Veracruz; keeping records on the number, occupations, and needs of people who arrived; writing reports; and helping to settle the immigrants into a new culture.

Anita began to write for publication. The earliest articles established her lifelong pattern: writing positively about Mexico. Her first article, “The Jew in Mexico” in The Nation in 1924, was a response to U.S. criticism of Mexico as an inappropriate place for Jews to settle. Maurice Hexter, head of the American Jewish Committee, felt that Mexico was not safe, even if the armed conflict of the 1910 Revolution was over.  He considered Mexico too culturally dissimilar from European culture. Jews needed to leave Europe, and the United States had closed its doors to new immigration. Anita felt that Mexico was appropriate. She wrote a series of articles for the Jewish Morning Journal, sent numerous dispatches to the Jewish Telegraphic Agency, and sent fiction to the Menorah Journal. In them all, she presented Mexico enthusiastically, describing the life style of European Jews and the community’s social and cultural events as well as economic activities, effectively countering the bad press had in the states. Anita identified as a Jew. She did not practice her religion within an orthodox tradition, nor did she join a Zionist movement, but she was committed , as an independent journalist, to helping Jews excape pogroms in Europe and defending Mexico.

***********************

The contradiction of a young woman contributing to building a new society while her family faced the possibility of losing their land did not seem to concern Anita. Many artists and (such as Diego Rivera, José Clemente, Orozco, Daniel Alfaro Siqueiros, Atonieta Rivas Mercado, and the Marin and Asunsulo families) were in a similar situation. They too belonged to the educated upper- and middle-class. Anita knew of the problems of the wealthy., but that did not temper her enthusiasm for creating a new society.

_____________________

Diego Rivera

_____________________

Last night Diego (Rivera) came over to get an article typed– “Art of the Revolution” and derived therefrom a long and thrilling discussion, in the course of which I I became actively a revolutionist, puesto que (since) you are either for or against and passivity is negation… The value of the conversation for me a reason to work…

************************

In 1933, the issue was anti-Semitism in Mexico... especially after the Johnson Act restricted immigra­tion to the United States in 1924. Some immigrants came with the idea of getting across the border into the United States. The danger was getting caught and being deported back to Europe. Many immigrant Jews worked as peddlers in Mexico City and other major cities. They also traveled to small rural communities in search of installment-plan clients. As revenues increased, they rented stalls in public markets. The next step was to rent a shop and then to establish their own small manufacturing plants.’ Large department-store owners resented the competition, especially the loss of clients, who preferred dealing with friendly peddlers at home to fac­ing taciturn city clerks. They felt more comfortable asking questions, making payments, and looking forward to future visits. Established European merchants chose the moment to fund a xenophobic campaign against Jews and Orientals. They supported Congressman Angel Ladron de Gue­vara who organized demonstrations and launched a press campaign. He succeeded in getting Jews and Orientals expelled from the Lagunilla market center of Mexico City and was working on expelling them from Mexico.

Anita went to work. She cabled The Nation to document the need for an interview with President Abelardo Rodriguez and Angel Ladron de Guevara. The Nation responded with telegrams pressuring for information. Anita got the facts about the anti-Semitic campaign and President Rodri­quez’s statement on the front pages of the local press. The Nation published interviews as well as a statement from the president to effectively stop­ the campaign. Jews would not be expelled from Mexico. Their national­ity would not be revoked; they were safe.

Anita had initiated her career as a journalist in the twenties writing about Mexico. Her role defending the Jewish community of Mexico was a bridge from her past to her future, writing in defense of people in trouble. Her identification with the Jewish people is closely related to her struggles in independent radical-she was an independent Jew and an independen­t radical.

_______________________________________

_____________________________________________

Stephen A. Sadow. “I Am of the Tribe of Judah: Poems from Jewish Latin America”. Albuquerque: University of New Mexico Press, 2024. — MY NEW BOOK!/ ¡MI LIBRO NUEVO!

Amazon

____________________________________________

Stephen A. Sadow

___________________________


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.

_________________________________

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.

_________________________________________________

To Purchase from the University of New Mexico Press

To Purchase from Amazon

Or Purchase from your local Bookstore

_________________________________________________

An example from the book/Un ejemplo del libro

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). 

___________________________________

“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

_________________________________________________________

Virginia Feinmann–Cuentista judío-argentina/Argentine Jewish Short-story writer — “Personas que quizás conozcas”/”People You May Know”– 3 cuentos breves/3 short-short-stories

Virginia Feinmann

________________________________________________

Virginia Feinmann es escritora y traductora. Publica cuentos en Verano/12, Revista Letras Libres, Diario La Gaceta, Revista El Coloquio de los Perros (España), Revista Socompa.  En 2016 editó su primer libro de ficción, Toda clase de cosas posibles (Colección Mulita) y en 2018 su segundo libro, Personas que quizás conozcas (Emecé). En 2020 coordinó el sitio “Diarios de Cuarentena”, donde más de 3000 personas de distintos países le dieron forma literaria al encierro pandémico.Desde 2015 dicta el taller de escritura “Herramientas de la técnica narrativa: objetos, acciones y metáforas al servicio de una historia” en forma independiente y para instituciones (Foro Internacional de la Fundación Mempo Giardinelli, Centro Cultural de la Memoria Haroldo Conti –Ex Esma, Biblioteca de Microrrelatos Luisa Valenzuela). En 2021, a partir de su propia vivencia, le sumó el taller “Narrar lo imperdonable. Ocho cuentos sobre abuso sexual infantil” (Universidad Nacional de Rosario). Varios de sus microrrelatos, de fuerte circulación en las redes sociales, han sido adaptados para radio, teatro o espectáculos de narración oral.

_____________________________________________

Viginia Feinmann is a writer and translator. She published stories in Verano/12, Letras Libres Magazine, La Gaceta Newspaper, El Colloquio de los Perros Magazine (Spain), Socompa Magazine. In 2016 he published his first fiction book, Toda clase de cosas posibles(Mulita Collection) and in 2018 his second book, Personas que tal vez conozcas(Emecé).In 2020 he coordinated the site “Quarantine Diaries”, where more than 3,000 people from different countries gave literary form to the pandemic confinement. Since 2015, he has taught the writing workshop “Tools of narrative technique: objects, actions and metaphors at the service of a story” independently and for institutions (International Forum of the Mempo Giardinelli Foundation, Haroldo Conti Cultural Center of Memory – Ex Esma , Luisa Valenzuela Microstory Library). In 2021, based on her own experience, she added the workshop “Narrating the unforgivable. Eight stories about child sexual abuse” (National University of Rosario). Several of her short stories, widely circulated on social networks, have been adapted for radio, theater or oral storytelling shows.

__________________________________________________

_______________________________________

3 cuentos de Virginia Feinmann/3 stories by Virginian Feinmann

___________________________________________

____________________________________________

PASO A COMPRAR ALGO PARA EL CUMPLEAÑOS de mi amiga. Es merienda, me digo, masas, sándwiches de miga de una confitería linda. O pepas en ese chino. Un paquete de pepas. Dos. Dos paquetes de pepas. Y un chocolate. Sí, va a estar bien,

         Luego, saludo, voy a la cocina. Dejo las pepas sobre la mesada y el chocolate. No lo apoyo. Lo agarro. Lo apoyo. Lo agarro de nuevo. Me llaman. Lo guardo en la mochila.

         Charlo con el marido de un amigo.

         –… ¿Cómo va la Secretaria de?

         –Renuncié.

         Viene mi amiga y me frota el brazo rapidito. Le devuelvo el mimo, pero, pero…–¿Cómo que renunciaste?

         –Sí, mi jefe era un foro.

         Mi asiente que el jefe era un forro.

         –Pero… ¿no puedo ir yo en tu lugar?

         Se ríen. Yo no tanto. Un poco, pero de nervios.

         ¿Cuánto tardaría Vir en odiar a tu jefe? —dice mi amiga.

         –No lo odiaría—le digo yo.

         –Sí, lo odiarías

         –Te juro que no lo odiaría.

         –Bueno, te pondrías a llorar.

         No me pondría a llorar, Cecilia, no me pondría a llorar. O me pondría a llorar, pero iría a trabajo igual. Trabajaría muy bien.

         Ellos se van porque sonó el timbre. Yo, aunque soy vegetariana, me como seis salchichas de Viena.

         Entra una chica bellísima. Asiática. De pómulos altos. Envuelta en un chal violeta. Quiero ser su amiga instantáneamente.

         Me siento al lado.

         Le pregunto cómo se llama, de dónde es. Thanda. De Birmania.

         –¿Y por qué te viniste?

         –Por el tango.

           –Jajajj, what a goddess.

     Nos reímos. Tiene unos dientes perfectos.

              –Y acá qué hacés?

              –Toco el violín, en un grupo de tango, y en la filarmónica del Colón.

              –Ah…–dejo el maní sobre la mesa– ¿y en la filarmónica te pagan?

              –Sí… tenemos sueldo.

              –Y cuánto te pagan, digo, te alcanza para vivir. ¿Con la filarmónica vivís bien?

              Ella se ve un poco para atrás. Se mensajea la yema del dedo meñique. Mira un costado.

              Pasan todos los niños del cumpleaños corriendo.

              Quedo sentada al lado de un señor. Me dice que tengo lindos rulos.

               –Gracias. ¿Y usted qué hace?”

               –Tengo reparto de pollos.”

               –¿Y cómo es el reparto de pollos, se vive con eso? O sea, usted reparte el pollo y…

  Apagan las luces. Viene la torta. Le cantamos el feliz cumpleaños a mi amiga.

              Me ofrezco a cortar. Corto cuadraditos chiquititos y los voy poniendo en media servilleta cada uno. Mis amigos se ríen –¡Son muy chiquititos, Vir!

              –Bueno, para que alcance para todos.

              –Pero si hay dos tortas más –vienen atrás con las dos tortas.

              –Bueno.

              Se siguen riendo.

              Me siento en un costado. Los niños pasan corriendo de nuevo. Me propongo no volver a un cumpleaños hasta que consiga trabajo.

_________________________________________

I’M GOING TO BUY SOMETHING FOR MY FOR FRIEND’S BIRTHDAY. It’s an afternoon party, I tell myself, pastries, crustless sandwiches from a café and pastry shop. Or seeds from that Chinese store. A packet of seeds. Two. Two packages of seeds. And a chocolate. Yes, it’s going to be fine,

          Then, I say hello, I go to the kitchen. I leave the seeds on the counter and the chocolate. I don’t put it down. I grab it. I put it down. I grab it again. They call me. I keep it in my backpack.

I chat with a friend’s husband.

“…How is the Secretary of?”

“I quit.”

         My friend comes and rubs my arm quickly. I return the touch, “but, but…” what do you mean you quit?”

        “Yes, my boss was an idiot.”

        Mi friend agrees that the boss was an idiot.

       “But… can’t I go in your place?”

       They laugh. Me, not so much. A little, but from nerves.

       “How long would it take Vir to hate your boss?” says my friend.

      “I wouldn’t hate him,” I tell her.

       “Yes, you would hate him.”

       “I swear I wouldn’t hate him.”

       “Well, you would start crying.”

       “I wouldn’t start crying, Cecilia, I wouldn’t start crying. Or I would start crying, but I would go to work anyway. I would work very hard.”

          They leave because the doorbell rang. Although I am a vegetarian, I eat six Vienna sausages.

          A very beautiful girl enters. Asian. High cheekbones. Wrapped in a violet shawl. Instantly I want to be her friend.

         I sit next to her.

        I ask her what her name is, where she is from. Thanda. From Burma.

       “And why did you come here?”

      “For the tango.”

      “Ha, ha ha. What an goddess.”

     We laugh. She has perfect teeth.

      “And what are you doing here?”

“I play the violin, in a tango group, and in the Colón Philharmonic.”

        “Ah…” I leave the peanuts on the table. “and do they pay you at the Philharmonic?”

       “Yes… we have a salary.”

        “And how much they pay you, I say, is enough for you to live on. Do you live well with the philharmonic?”

She moves backward a little. She rubs the tip of her little finger. She looks to the side.

         All the birthday party children run by.

         I am left sitting next to a man. He tells me I have nice curls.

        “Thank you. And what do you do?”

        “I have chicken distribution service.”

         “And what is the distribution of chickens like, can you live from that? That is, you distribute the chicken and…”

          They turn off the lights. The cake is coming. We sing happy birthday to my friend.

        I offer to cut the cake. I cut small squares and put them on half a napkin each. My friends laugh. “They are very small, Vir!”

       “Well, so that it is enough for everyone.”

        “But if there are two more cakes.” They return with the two cakes.

         “Well.”

         They keep laughing.

         I sit on the side. The children run by again. I make it a point not to return to a birthday party until I get a job.

___________________________________________

_______________________________

ENTRAMOS AL SANITORIO Y NOS RECIBE el cirujano que operar a papá.

         Quiero hablar con alguien más de la familia, nos dice a mi hermana y a mí, para que entiendan el riesgo que significa esta operación.

         Lo miramos y esperamos.

         Abre un laptop y la apoya en medio de mármol pulido, el bronce lustrado, el florero con lirios de tela. Somos gente de negocios en un hotel de lujo si no fuera porque en la pantalla aparece la médula de papá.

         Hace dos años que le vengo diciendo a Pablo, aprieta una tecla y la médula se agranda, es como un cable gris de que pronto he hace finito hasta casi cortarse, le vengo diciendo que en este punto, acá, pone un dedo sobre la pantalla, la médula está comprimida.

         ¿Dos años?

         Hace dos años que le digo esto. A tu papá y a tu mamá.

         No es nuestra mamá, pero está bien, sí, es la esposa de él.

         Bueno, nos mira como con pena, a la esposa de él. Amor me dice entonces. ¿En qué pensó? Amores me dice, a mí y a mi hermana. Vengan siéntense. Si me apoyo la mano en la rodilla, salto hasta la araña de caireles, pero no. Dice solamente el riesgo es que al separar las vértebras y descomprimir la médula, puede dejar de funcionar.

         ¿Y eso qué significa?

         Eso significa una tetraparesia, cuadriparesia, cuadriplejia…Las tres palabras así muy rápido. Entiendo enseguida. Hago la pregunta más estúpida del mundo. Pero… ¿lúcido? Sí, lúcido. El infierno, pienso. Hago la segunda pregunta más estúpida del mundo: doctor, ¿usted no sabía que él tenía dos hijas?

         Esta mirada ya sí es de pena. No, amor. No sabía nada.

         Fruncimos la boca a la vez, mi hermana y yo, que siempre hacemos los mismos gestos y pensamos en general lo mismo sólo que ahora no puedo descifrar si ella quiere matar primero a papá y después a Isabella o primero a Isabella y después a papá y es que yo tampoco lo tengo claro.

         Lo podríamos haber pensado entre todos, me dice cuando el cirujano ya se fue con la laptop bajo el brazo.

         Abajo del cartel Check in/Check out de excelente ánimo. Él está efervescente. Ella tenía Cirugía están papa e Isabella. Mostramos la cabeza metida en un formulario. ¡Hola! Hola preciosas, papá habla, y habla, y habla. Me acuerdo del día que lo operaron de vesícula en 2008, recién bañado con jabón pervinox y una batata de tela verdeagua, los braciotos blancos y gordos y su cabeza enorme y cuando ve lo que lo miro desde arriba, hundido en la camilla mientras ya vienen a buscarlo para el quirófano me dice” ¿Sabías que Marx juzgó a Bolívar desde una mirada tremendamente eurocéntrico, considerándolo un general festive, es un ser consciente? El hombre, en tanto sujeto me es un

báquico, desbordado?”.

           Ahora habla del Sujeto. El hombre es un ser consciente. El hombre, en tanto Sujeto, sujeto moderno, y de pronto, ¿sabés?

         No, ¿qué?

         Me pregunté al cirujano, “cuando usted me operé: ¿yo voy a ser un sujeto o un objeto?” Y el tipo me dice, “yo no opero ni a un sujeto ni a un predicado”

       Qué boludo, digo yo.

         No te creas, dice papá. “Yo no opero ni a un

sujeto ni a un predicado, opero a un ser humano”.

         Ahhhh. Contentas las dos, mi hermana y yo.

         “A un paciente”, dice Isabella y nosotras levantamos la cabeza como dos galgos.

         “A un ser humano”, dice papá.

         “A un paciente, Pablo, lo escuché perfecto”.

         “A un ser humano, queridas, a un ser humano”, papá junta mi mano con la de mi hermana y palmea suave, muy suave. Llaman para ingresarlo. Sólo hay que esperar cuatro horas.

__________________________________________

_________________________

SIN QUERER MI HERMANA Y YO evitábamos hablarnos. Nos adorábamos. Adorábamos a papá. Pero ya eran muchos días..

Primero estábamos llenas de ímpetu, de vamos para adelante y del amor todo lo puede. Salíamos del sanatorio y queríamos tomar un café, un submarino, comentar de tal o cual enfermera y si la sonda Koler sería mejor que la Silmag. Ocuparnos.

         Cuando se complicó en serio ni pensamos. Fuimos, venimos y nos llamamos, mensajeamos diez millones de veces hasta que nos ardieron los dedos y las orejas y era mail y teléfono y era mail y teléfono y Facebook entre nosotras y con el cirujano, el psiquiatra y los amigos, todo al mismo tiempo.

         A partir de ahí, aunque más tranquilas, ver el nombre de otra en el celular nos daba un golpecito en la panza. Era difícil recibir un wasap sin recordar que el que había traído las malas noticias.

         Tampoco teníamos ya ganas de individualizar nombres de médicos o enfermeros ni encariñarnos particularmente con uno u otro.

Fueron cambiando, y eran todos más o menos iguales.

         Ya habíamos regalado bombones, libros firmados. Ya habíamos emocionado de verdad, habíamos agradecido y habíamos jurado que salíamos delante de un modo que después quedó corto, no conformó a nadie.

         No fuimos de dar una noticia rotunda a los que rezaron, mandaron energía, se concentraron tal día y a tal hora, y que merecían quizás un resultado menos tibio que el que teníamos para ofrecerles: rehabilitación.

         ¿Hay que seguir rezando? Y, sí…pero tampoco le quites el rezo a otro que esté más grave…

         Creo que al final, mi hermana y yo estábamos tan cansadas que cuando terminábamos el turno nos pasábamos un informecito más o menos así: rehabilitó – durmió – no durmió – no rehabilitó – sonrió – no sonrió – te quiero – hasta mañana.

         Creo que nos evitábamos para descansar realmente, Para no ver en la cara lo que había de papa.

           Teníamos un emoticón para despedirnos. No era una carita sonriente ni una carita triste. Era una cara sonriente boca abajo, El que lo dice diseñó es alguien muy sabio. No estábamos tristes. La felicidad no era imposible, Estaba ahí. Podíamos verla. Solamente necesitábamos dar la vuelta.

________________________________________________

UNINTENTIONALLY, MY SISTER AND I avoided speaking to each other. We adored each other. We adored Dad.

At first we were full of energy, of let’s move forward and with love, anything is possible. We left the hospital and wanted to have a submarine, a coffee with hot milk with a chocolate bar dipped inside, comment on this or that nurse and whether the Koler probe would be better than the Silmag. To keep busy.

         When things got complicated, we didn’t even think. We went out, we came back, and we called each other, we texted ten million times until our fingers and ears burned, and it was email and phone, and it was email and phone, and Facebook between us and with the surgeon, the psychiatrist, and our friends, all at the same time.

           From then on, although calmer, seeing each other’s name on the cell phone gave us a little punch in the stomach. It was difficult to receive a WhatsApp without remembering the one that had brought us the bad news.

          We also no longer wanted to identify names of doctors or nurses or become particularly attached to one or the other.

They changed, and they were all more or less the same.

        We had already given away chocolates and signed books. We had already heard profound words, we had already been deeply moved, we had been grateful, and we had sworn that we would prevail in a way that later fell short, it did not satisfy anyone.

          We were unable to give resounding news to those who prayed, sent energy, concentrated on that day and at that time, and who perhaps deserved a less lukewarm result than the one we had to offer them: rehabilitation.

          Is it necessary to continue praying? And, yes…but don’t take away prayer from someone else who is sicker…

           I think that in the end, my sister and I were so tired that when we finished the shift, we gave each other a little report that went something like this:he recovered a bit – he slept – he didn’t sleep – he didn’t recover- he smiled – he didn’t smile – I love you – see you tomorrow.

           I think we avoided each other to really rest, so as not to see in his face what was wrong with dad.

           I think we avoided each other to really rest, so as not to see dad’s face in our faces. We had an emoticon to say goodbye. It wasn’t a smiling face or a sad face. It was a smiling face upside down. Whoever designed it is someone very wise. We were not sad. Happiness was not impossible, it was there. We could see it. We just needed to turn it around.

________________________________________________

Libros de Virginia Feinmann/Books by Virginia Feinmann

“El humor de los judío-latinoamericanos/The humor of Latin American Jews — entrada engrandecida/enlarged post

Roberto Maldovsky- Argentina Joanna Hausmann –Venezuela/Estados Unidos – Comediantes judío-latinoamericanos de hoy

____________________________________

El próspero financista enseña al visitante su enorme comedor y dice: En este salón, Dios no lo permita, pueden cenar hasta ochenta personas.

El oficial polaco pregunta al recluta Isaac: –¿Por qué debe el soldado sacrificar su vida? –Tiene razón mi teniente! ¿Por qué debería hacerlo?

¡Tome asiento, Barón! –señala el judío muy atareado. –Soy el duque de Gramont –hace notar el indignado visitante. –Tome otro asiento –contesta el judío sin levantar la vista.

Son los días de la preguerra hitlerista y también los de una negativa casi mundial para aceptar refugiados. Los diversos países exigen múltiples requisitos en sus leyes de ingreso. Un judío alemán le pide consejo al agente de viajes sobre lo posibilidad de emigrar inmediatamente. Mientras estudia las casi nulas disyuntivas, hace girar el globo terráqueo que está sobre la mesa. Por fin, desesperado, pregunta: –¿No tiene otro globo?  

Muchas gracias a Alicia Freilich Warshavsky

__________

The prosperous financier shows the visitor his enormous dining room and says: In this room, God forbid, up to eighty people can dine.

The Polish officer asks the recruit Isaac: –Why should the soldier sacrifice his life? –My lieutenant is right! Why should I do it?

Take a seat, Baron! –points out the very busy Jew. “I am the Duke of Gramont,” the indignant visitor notes. “Take another seat,” the Jew answers without looking up.

These are the days of the Hitlerite prewar and also those of an almost global refusal to accept refugees. Different countries require multiple requirements in their entry laws. A German Jew asks the travel agent for advice on the possibility of emigrating immediately. While studying the almost non-existent dilemmas, he spins the globe on the table. Finally, desperate, he asks: –Don’t you have another balloon?

Many thanks to Alicia Freilich Warshavsky

_____________________________________________________

Un ser:

Un estar:

Una Ester:

Es pertenecer a un país de contrastes:

Es el traste con el país:

Es porvenir de Mame judía:

O de Jodida Mamá:

Es prevenir a una Madre Judía:

Es pertenecer a una raza:

Es rezar por las pertinencias:

Es buscar una orientación espiritual:

Es encontrarse un espíritu desorientado:

Es un pueblo:

Es poblar una región:

Es la integridad de razas:

Es arrasar con integración:

Es Sionismo:

Cinismo:

Nonismo:

Es un desatino:

Es un destino:

Una necesidad:

Necedad:

Una Historia:

Una histeria:

¿Qué es?

Muchas gracias a Isaac Goldemberg

__________________

Alive:

An Esther:

It is belonging to a country of contrasts:

It’s ruining the country:

It is the future of Jewish Mame:

Or from a Fucking Mom:

It is to warn a Jewish Mother:

It is belonging to a race:

It is praying for the pertinences:

It is seeking spiritual guidance:

It is finding a disoriented spirit:

It is a village:

It is to populate a region:

It is the integrity of races:

It’s sweeping integration:

It’s Zionism:

Cynicism:

Nonism:

It’s nonsense:

It’s a destination:

A need:

Foolishness:

A story:

A hysteria:

What is it?

Many thanks to Isaac Goldemberg

____________________________________________________

Los ingleses se ríen de los irlandeses y escoceses. Los franceses de los belgas. Los argentinos y brasileiros, de los gallegos y portugueses respectivamente. Los alemanes de los austriacos y éstos de los suizos. Los suizos no saben que es reírse. Los norteamericanos se ríen de los polacos y los polacos todavía están buscando a quien reírse.

         Cada pueblo elige a otro como objeto de sus chistes y burlas, bajo determinadas circunstancias, tiene algo que ver con el humor, pero poco.

         Cada pueblo tiene entonces, un referente para su humor, construido por algún otro pueblo con el que, generalmente, mantiene una relación de sometedor o de sometido.

         Cada pueblo menos el pueblo judío.

¿Por qué esta diferencia? (¡Otra vez una

diferencia, Dios mío!)

         En mi manera de ver las cosas, porque los judíos no tenemos vínculos referenciales con otro pueblo determinado, sino con todos.

         Que es lo mismo que con ninguno.

Es por eso que nos elegimos como propios destinarios de nuestro humor, siempre ácido, pero siempre tierno.

Somos el dardo es y el blanco a la vez.

Es que un pueblo que, desde siempre, ha elegido como camino y como destino el que el mundo sea un poquito más justo, está demasiado solo en esté mundo tan injusto.

        Y estar solo y no puede reírse es demasiado ni siquiera de eso, es demasiado.

        Hasta para un judío.

______________________________________________

    Each people chooses another as the object of its jokes and ridicule, under certain circumstances, it has something to do with humor, but little.

   Each people then has a reference for its humor, constructed by some other town with which, generally, it maintains a relationship of master or subject.

   Every people except the Jewish people.

   Why this difference? (Again a difference, my God!)

         In my way of seeing things, because we Jews do not have referential links with another specific people, but with everyone.

         Which is the same as with none.

   That is why we choose ourselves as the recipients of our humor, always acidic, but always tender.

       We are the dart and the target at the same time.

    The thing is that a people who have always chosen as their path and destiny that the world be a little more just, are too alone in this unjust world.

        And being alone and not being able to laugh is too much even that, it’s too much.

        Even for a Jew.

_____________________________________________

Abraham va a hacerle un traje a medida a Moisés, el sastre.

-¿Cuándo estará listo mi traje, Moishe?

-Y… en unas tres semanas…

-¿Tres semanas para hacer un traje? ¡Dios hizo el mundo en una semana!

-¡Y así resultó!

_________________________

Fisher comienza a contarle un chiste a su amigo:

-Una vez Levin conoce a Cohen…

“Siempre Levin y Cohen, siempre Levin y Cohen”, interrumpe el amigo. Me cansé. ¿Por qué los héroes de tus historias son siempre judíos y nunca, digamos, chinos, por ejemplo?

-Tienes razón. De hecho, conozco una historia china: Shin Min una vez conoce a Lang Fu y lo invita al bar-mitzvah de su hijo…

Aquí puedes encontrar una breve descripción del humor judío de Roberto Moldavsky.

_______________________

Moishe va a consultar al rabino Iankl:

-Rabi, por favor dígame, tengo gripe y no puedo pagarle al médico, ¿qué hago?

-Toma un poco de té de manzanilla.

Al mismo tiempo, Moishe vuelve a darle las gracias:

-Gracias rabino Iankl, tu remedio me curó por completo.

Y el rabino Iankl escribe en su cuaderno: “El té de manzanilla cura la gripe”.

Pero unos días después, Moishe vuelve:

-Rab Iankl, quiero contarte que mi vecino Mendl cayó con una gripe muy fuerte, le hice tomar su remedio, té de manzanilla, y sin embargo cada vez está peor…

Entonces el rabino Iankl corrige lo que escribió en su cuaderno: “El té de manzanilla cura la gripe en el 50% de los casos”.

______________________________________

Jacobo, a una estudiante:

-Me gustaría ser un libro, estar siempre en tus brazos.

Y ella:

-Está bien, pero mejor una agenda, así a fin de año puedo cambiarte por otra.

_____________________________________

I’m is going to make a custom-made suit for Moisés, the tailor.

-When will my suit be ready, Moishe?

-And… in about three weeks…

-Three weeks to make a suit? God made the world in a week!

-And so it turned out!

________________________________

Fisher begins to tell a joke to his friend:

-Once Levin meets Cohen…

“Always Levin and Cohen, always Levin and Cohen,” the friend interrupts. I got tired. Why are the heroes of your stories always Jewish and never, say, Chinese, for example?

-You’re right. In fact, I know a Chinese story: Shin Min once meets Lang Fu and invites him to his son’s bar-mitzvah…

—Here you can find a brief description of Roberto Moldavsky’s Jewish humor.

__________________________________

Moishe goes to consult Rabbi Iankl:

-Rabi, please tell me, I have the flu and I can’t pay the doctor, what do I do?

-Drink some chamomile tea.

At the same time, Moishe thanks him again:

-Thank you Rabbi Iankl, your remedy cured me completely.

And Rabbi Iankl writes in his notebook: “Chamomile tea cures the flu.”

But a few days later, Moishe returns:

-Rab Iankl, I want to tell you that my neighbor Mendl came down with a very bad flu, I made him take his remedy, chamomile tea, and yet he is getting worse and worse…

Then Rabbi Iankl corrects what he wrote in his notebook: “Chamomile tea cures the flu in 50% of cases.”

____________________________________

Jacobo, to a student:

-I would like to be a book, always be in your arms.

And her:

-Okay, but like an agenda, so at the end of the year I can change you for another one.

____________________________________________________

Unos comediantes judío-latinoamericanos/Some Latin American Jewish comedians

___________________________________

Scholmit Baytelman–Actriz de cine, teatro y televisión y también poeta israelí-chilena/Israeli Chilean Actress of Stage, Screen and Cinema and also a Poeta

Schomit Baytelman

——————————————-

_____________________________________

hlomit Baytelman was born in Afula, Israel. When he was 2 years old, her family moved to Santiago, Chile. In the midst of a political crisis in the country and at a time when local production was in very poor conditions after the coup d’état, she unexpectedly became the first sex symbol of Chilean cinema. Her character as the teenage prostitute Julio begins in July (1984), which sexually initiates the young protagonist, installs her in the erotic imagery of Chileans and to this day her nude scenes are remembered, practically unpublished in the country’s cinematographic history. In 1971 she graduated from the Theater School of the University of Chile and did performances in La remolienda and Tres tristes tigres, by Alejandro Sieveking, and El misántropo, by Moliere. Her career in local television has continued for more than thirty years, participating as a protagonist or as a guest actress in various comedy series and television series; Among the latter, her main roles are those of Tardío Sol, El secreto Isabel’. Casagrande, La gran mentira and El juego de la vida. One of the notable performances, other than soap operas, was joinin the cast of “La manivela”, a prestigious comedy program on Chilean television. In recognition of her work, in 1981 she was chosen best actress of the year and in 1982 and 1983, she was considered the most popular actress. At the beginning of the nineties, she actively participated in the creation of the Universal Anti-Censorship Movement (MUAC), through which Chilean film workers waged a battle to eliminate the dictatorial residues in culture: prior censorship in cinema, which would allow prohibiting the exhibition of national and foreign films in local theaters. In 1992 and 1994 she published two books of poems: Escritos para un amor inconcluso y Textos de anticipo.

________________________________________________

Me llamo Shlomit

Me llamo Shlomit. Nací en Afula, en la Galilea.

Me contaban que, en el mismo tiempo, en el mismo lugar

nació un niño arabe.

Viví en en Ramoth Meneshe, el kibutz donde mis padres

sacaban piedras todavía.

Me trajeron a la Amèrica del Sur, la tierra

donde ellos habían nacidos de padres extranjeros.

Así la historia vuelve y se va; gira hacia

uno y otro lado, nos lleva sobre aguas torrentosas.

Naufrago anclado en Buenos Aires, para tomar el

interminable tren transandino calado por el frío

del carro de 2a.

Y aquí encuentro en Santiago

explicando este nombre que tiene algo de Biblia y piedra

y calor del aire del desierto y una música.

____________________________________________

My Name is Shlomit

My name is Shlomit. I ws born in Afula, in the Galilee.

I am told that an Arab child

was born in the same time, at the same place.

I lived in Ramoth Menashe, the kibbutz where my parents

are still pulling stones from the ground.

They brought me to South America, the land

where they were born, of foreign parents.

So does history turn and come back, it winds around

one and another side, it carries us over rushing waters.

Shipwreck anchored in Buenos Aires, to catch the

interminable train across the Andes, chilled to the bone

in the second class, coach car.

And I find myself in Santiago

explaining the name that has a lot of the Bible and stone

and the heat of the desert air and music.

Translation by Elizabeth Horan

_________________________________________________

Las caras de Shlomit Baytelman/The Faces of Shlomit Baytelman

_________________________________________________________

Los roles de Shlomit Baytekman/The roles of Shlomit Baytelman

_

YouTube en español y es brevel/A Short YouTube of Shlomit Baytelman in Spanish with many photos from her movies

Posters

____________________________________________

Libros de poemas de Shlomit Baytelman/Poetry Books by Shlomit Baytelman

__________________________________________________________________

Nora Glickman — Cuentista judío-argentina-norteamericana/Argentine American Short-story Writer–“Casi un shiduj”/Almost a shidduch”–Un cuento de una casamentera moderna/A story of a modern marriage broker

Nora Glickman

_________________________________

Nora Glickman es profesora emérita de Literatura Hispánica en Queens College y en el Graduate Center, CUNY. Su obra crítica incluye “Regeneración” de Leib Malach y la trata de blancas, The Jewish White Slave Trade: The Case of Raquel Liberman, El inglés en el teatro y el cine rioplatense, y los cuentos, Puerta entre abierta; Mujeres, memorias, malogros; Uno de sus Juanes; Hilván de instantes. Varias de sus obras están reunidas en el Teatro de Nora Glickman y en su antología bilingüe. De Suburban News recibió el Premio Jerome para jóvenes dramaturgos en 1990. Dos Charlottes aparece en Dramaturgas en la escena del mundo. Es co-editora de las Publicaciones de la Asociación de Estudios Judíos Latinoamericanos y de Enclave: Revista de Creación Literaria en Español. Entre 1998 y 2010 fue editora asociada de Modern Jewish Studies/Yiddish. Se desempeña como editora de reseñas de libros para la revista Latin American Jewish Studies.

______________________________________

Nora Glickman is a professor emerita of Hispanic Literature at Queens College and at the Graduate Center, CUNY. Her critical work includes “Regeneración” de Leib Malach y la trata de blancasThe Jewish White Slave Trade: The Case of Raquel LibermanEl inglés en el teatro y el cine rioplatense, and the short stories, Puerta entre abiertaMujeres, memorias, malogrosUno de sus JuanesHilván de instantes. Several of her plays are gathered in Teatro de Nora Glickman, and in her bilingual anthology. From Suburban News, she received the Jerome Award for young dramatists in 1990. Dos Charlottes appears in Dramaturgas en la escena del mundo. She is the co-editor of the Latin American Jewish Studies Association Publications, and of Enclave: Revista de Creación Literaria en Español. Between 1998 and 2010 she was Associate Editor of Modern Jewish Studies/Yiddish. She serves as Book Review Editor for the journal Latin American Jewish Studies.

________________________________

De:/From: Nora Glickman. Hilván de instantes. Santiago de Chile: RIL Editores, 2015.

DE HABERL0 SABIDO… hubiera sido el shiduj perfecto. Lo digo yo, que sé de shidujim. Veo un hombre solo, culto, refinado. Y enseguida pienso en alguna mujer sola, culta, refinada, con algún pequeño vicio que mantendrá, como él, discretamente guardado. Los conecto; juntos se encontrarán bien: armonizan en su estilo de vida, se mueven en un mismo ambiente. Dos almas en armonía.

       Ellos podrán insistir, si quieren, que están perfectamente satisfechos de seguir solteros; pero yo no los creo. Somos animales sociales; macho y hembra necesitamos el calor de nuestro sexo y del opuesto; para mí, que unidos oficialmente como pareja casada, tendrán más oportunidades. Separados, digo, no saben lo que se pierden; la voz de ella desde el aeropuerto para tranquilizarlo, avisándole que ya está de vuelta a casa; un comentario gracioso de él, que ella le celebre, aunque lo haya oído antes más de una vez.

       De todos modos, los junto sin que nadie los pida. Instinto de shadjente, digo yo, Manía de casamentera. A veces, claro, me equivoco, como con Ema y Julio, la pareja perfecta. El pelo caprichosamente rizado de ambos, el de Ema más clara y sedoso; la mirada pícara de Julio, que ella festeja a cada paso. Los dos aficionados de la música clásica, los dos locos por el cine y por hacer largas caminatas en la costanera. ¿Quién hubiera podido adivinar que eran, en efecto, hermanos sanguíneos, distanciados al nacer? Eso era digno de una telenovela. Cleopatra, o Calígula, de enterarse que tenían un hermano por esposo, me hubieran nombrado embajadora por haber urgido su matrimonio. Ema y Julio, en cambio, lejos de agradecerme, se sienten culpables haberse enamorados y me reprochan por haber propiciado un amor incestuoso.

       Sin embargo, yo persevero aunque no doy siempre con la tecla. Aun al mejor cazador se le escapa el libre. ¡Qué fracaso, mi último intento! Cuando a Richler lo abandonó su esposa por otra mujer, convinimos que, en las primeras semanas, no lo agobiaríamos con llamadas, pero que Beatriz se ocuparía por él para aliviar su depresión, tal vez su vergüenza, porque Richler no podía comprender lo que le había pasado. Mientras tanto yo le iba preparando candidatas para cuando se sintiera repuesto. Luego de treinta y cinco años de casado, Richler no sabía arreglárselas solo. Ese primer año le costó mucha salud, física y mental: una pulmonía lo dejó postrado por semanas enteras. Su cuñada lo atendió en el hospital, y sus hijos, solteros que vivían cerca de su casa, lo visitaban seguido.  

       Nos alarmó verlo cuando al comenzar el semestre Richler llegó a la universidad desaliñado y más encorvado que nunca. Pobre Richler. Para reanimarlo, Beatriz y yo, y sus colegas, le planeamos una dieta macrobiótica y caminatas vigorosas en el parque. Lo invitamos a ver una obra de Calderón de la Barca que él había enseñado durante varios años. Aunque la representación era de aficionados, a él le pareció muy educativa. Luego de notar los olvidos y las pausas innecesarias de algunos actores, aprovechó la ocasión para opinar con elocuencia sobre la intención del dramaturgo y la interpretación desmesurada del director de la obra. Richler salió entusiasmado del espectáculo, así que cuando nos despedimos en la estación del subte, nos prometió que la próxima vez, él nos llevaría a ver <<Il Travatore>>. Aceptamos encantadas.

       Aunque últimamente Beatriz estaba más y más ocupada con David, un novio antipático que la tenía dominada, y no tenía tiempo para Richler. Yo pasé un par de meses fuera de Nueva York, por lo que tuve que interrumpir la rutina de llamarlo cada semana. A mi regreso, me encontré con una invitación de Tita, para celebrar en su casa la jubilación de Richler, y también su compromiso, el martes 14 de octubre. Me quedé pasmada.

       –¿Cómo tan pronto? ¿Cuándo decidió jubilarse? ¿Y con quién se compromete?

       –Con una maestra dominicana de Arizona, amiga de su cuñada. En un mes se casan y se van a vivir a Phoenix—me explicó Beatriz.

       Para un judío gringo—neoyorquino—de sesenta y cinco años, casarse con una latina de cuarenta y pico y mudarse a un estado tan remoto como Arizona debe ser una odisea. Llamo a Rita y ella me explica que el clima seco y templado de Arizona es ideal para aliviar el asma de Richler. Con Beatriz luego comentamos mientras nosotras todavía nos condolíamos el estado miserable de Richler, él había conseguido rehacer su vida. Solito, sin nuestra ayuda, había encontrado a su pareja: <<Entonces—nos dijimos,–misión cumplida>>.

       Para la fiesta de Rita me toca llevar a varios colegas en el auto. Raquel viene también. Se sienta adelante conmigo, así podemos conversar. No nos vemos desde hace más de quince años cuando Raquel dejó de enseñar en la secundaria para hacerse cargo de una biblioteca en Bronxville. El cambio le favorece; Raquel había perdido peso y se ve más sofisticada. Sabía que Richler se jubilaba, pero solo ahora, camino a New Jersey, viene a enterarse de su compromiso.

       –¿Qué estás diciendo? —me susurra, incrédula–. ¿Acaso Richler no está casado y tiene dos hijos?

       –Estaba casado, pero hace meses que está solo. Su hijo menor vive en el dormitorio de la universidad, y el mayor consiguió empleo en Boston. ¿Pero cómo no enteraste, Raquel, que su mujer lo abandonó, y él se pescó una pulmonía, y que Beatriz y yo lo ayudamos a reponerse?

       Raquel esconde la cara bajo la solapa de su saco para ocultar su reacción, Suspira como si le faltaba aire; le salió un hipo entrecortado. Sin duda quiere hacerme más preguntas y no sabe por dónde empezar. Menea lentamente la cabeza como si pasara lista de lo que ella había estado en el interín, mientras Richler se enamoraba de la dominicana y decidía dar el gran paso. Me duele ver a Raquel sufrir así, y también me fastidiaba. Pero, en fin, ya es demasiado tarde para cambiar las cosas.

       –Simplemente, Raquel, se me pasó por alto. Mil perdones.

       ¡Qué imbécil fui! ¿Cómo pude olvidarme durante todo este tiempo del gran metejón que Raquel había sentido por Richler cuando las dos estudiábamos juntas en la universidad? Nos leíamos las cartas apasionadas que escribíamos a amantes ficticios y reales y nos reíamos para cubrir el rubor de comportarnos como colegiales pavotas.

       Por lo visto, el amor de Raquel por Richler duró mucho más de la cuenta. En esos días fantaseaba con raptarlo; planeaba formas de alejarlo de su mujer, de seducirlo con su profundo conocimiento de Calderón, y con otras estratagemas para que me llegaron a parecer tediosas. Y Richler, naturalmente, inmerso en sus teorías y dedicado a su materia, nunca sospechó que Raquel planeara seducirlo ni que su mujer pensara abandonarlo.

        La voz grave y sorda de Raquel revela todo su rencor:

       –No te lo puedo perdonar, Tere. ¡¿Cómo no me avistaste al instante?!—y más bajita todavía agrega–: Lo siento como una traición.

       –Te juro que con tanto trajín se me olvidó, Raquelita. Como Beatriz fue la primera en ayudarlo salir de su crisis, en parte me despreocupé del asunto, ¿comprendes? Claro, de haberme acordado te habría llamado, no me quepa la menor duda, pero no me acordé. Lo siento.

–¿Tuvo algo con Beatriz?


       –Que yo sepa, nada. ¡No! ¡Qué ocurrencia la tuya, si Beatriz está loca por David, ese novio tan creído que la tiene atrapada!

       –Contigo tampoco, supongo…

       –¡Por Dios, Raquel! Lo quiero como a un tío.

       El viaje a New Jersey se me hace interminable. De cuando en cuando los pasajeros de atrás nos interrumpen para darnos nuevas instrucciones para el camino, y enseguida resumen su charla animosa sobre las próximas elecciones.

       –Por favor, Teresa, déjame bajar en la próxima salida. No quiero ir a la fiesta.

       No te pongas melodramática, Raquel, y cálmate. En New Jersey no hay más que carreteras para autos y camiones. El servicio público no funciona por acá y estamos demasiado lejos de todo para que busques un taxi.

       Le paso la botellita de colonia que guardo en la gaveta, con mi cosmética.

       –Échate unas gotas encima. Es muy suave. Te sentirás mejor.

       Por las dudas, aseguro las puertas y aminoro la marcha. Los de atrás viajan apretados, seguramente incómodos pero contentos de poder reponerse del largo intervalo sin haberse visto. Ahora discuten la huelga universitaria:

       –La harán durante la primavera, como siempre, así vale la pena interrumpir las clases y echarse a dormir sobre el césped.

       –Pero tú, Ricardo, serás el que toca la alarma, y todos saldremos echando la culpa a algún estudiante díscolo… jajajá…

       Raquel se aguanta el resto del camino sin decir palabra. En cuanto llegamos a la casa de Rita, Raquel se baja del auto y se encierra en el baño. La sigo y al rato llamo a la puerta.

       –Déjame en paz, Tere. No me siento bien.

       Se demora más de media hora. Por fin sale con los ojos hinchados y demasiado maquillada. No entra el salón sino va directo al dormitorio, desde donde llama a un taxi. Se disculpa ante Rita, y le encarga que felicite a Richler y su novia cuando lleguen a su casa. Y a mí me previene:

       Cuidadito, Tere, con abrir la boca.

       Me siento culpable y traicionera, como ella quiere que me sienta,

       –¿Me perdonas, Raquel? Quién sabe si Richler te habría atraído todavía, después de tanto tiempo. Se ve muy ajado, ¿sabes? Supongo que estos días estarás saliendo con gente mucho más joven que él.

Cuanto más hablo, más la empeoro. Mejor me callo. Raquel sabe y yo sé que hubiera sido el shiduj perfecto. Richler se hubiera quedado en Manhattan, su ciudad favorita. Al principio, al menos, Raquel le hubiera celebrado cada una de sus pedanterías, lo hubiera llamado desde el aeropuerto tan solo para oír su voz, de regreso de una conferencia… ¡De haberlo previsto!

       A la vuelta de la fiesta llamo a Raquel varias veces. Su máquina contestadora repite siempre lo mismo: <<Disculpe, no puedo atenderle en este momento>>. Pero no dice lo que temo oír: <<Me estoy cortando las venas; esto metiendo la cabeza en el horno; me estoy tragando el frasco de somníferos>>. Cada vez le dejo el mismo mensaje: <<Por favor, Raquel, dame una llamadita para que me quede tranquila>>. La llamo desde Miami, demasiado lejos para ir a verla. Beatriz no está en Nueva York y no sé a quién más recurrir. Consigo el número del super de su edificio, pero este me dice que si no contesta es que no está en casa y se niega a forzar la puerta. Se me ocurre que debería avisar a la policía para cerciorarme de que todo está en orden.

       A la mañana siguiente Raquel devuelve mis llamadas.

       –Acabo de llegar a casa… Lamento que te hayas preocupado tanto por mí. Me fui a casa de Ben, mi novio, por unos días.

       –Disculpa, Raquel…, como te había afectado tanto, temí que…

       –¡Que me iba a suicidar por una infatuación tan antigua! ¡Que iba a hacer una escena de película! ¡Vamos, Tere! ¿No comentaste nada en la fiesta, verdad? Dime que no dijiste nada.

       –Te lo juro. Nadie se enteró. Tuviste una simple jaqueca decimonónica. De haberte visto, Richler te hubiera comparado con una heroína de Echegaray. ¡Ah¡, casi me olvido. Me recordó que fuiste una de sus mejores estudiantes; te envía un gran abrazo y me pide que le escribas.

       –Gracias, pero no, gracias… Y no se toque más el tema. ¿Estamos?

       –Estamos.

_______________________________________________________

IF I HAD KNOWN …it would have been a perfect shiduch.

In my opinion, and I know about shiduchim. I see a man alone, cultured, refined. And immediately I think of a woman, alone, cultured, refined, with a small vice that she will keep just like he will, discretely hidden. I bring them together; together they converge, they harmonize in their lifestyle. They move in the same environment. Two souls in harmony.

They can insist, if they wish, that they are perfectly satisfied to remain unmarried; but I don’t believe them. We are social animals: male and female we need warmth of our sex and the opposite sex; for me, that officially united as a married couple, they will have more opportunities. Separate, I say, they don’t know what they are missing, her voice from the airport to calm him, letting him know that she is already on the way home; am amusing comment from him, that pleased her, although she had heard it more than once.

Of course, I bring them together without anyone asking them. The shadchente’s instinct, I say. A Matchmaker’s mania. Sometimes, or course, when I make a mistake, as with Emma and Julio, the perfect couple. The hair capriciously curly hair of both, Emma’s lighter and silkier; Julio’s mischievous look, that she celebrates at every chance. The two of them fans of classical music, the two are crazy about the movies and taking long walks along the seaside. Who could have guested that they were, in fact, twins separated at birth? That was worthy of a soap opera, Cleopatra, or Caligula. On learning that they had a brother for a husband, they might have named me ambassador for having urged on their marriage. Emma and Julio, on the other hand, feel guilty for having fallen in love, and they reproached me for having facilitated an incestuous love.

Nevertheless, I persevere, although I don’t always hit the mark. The rabbit escapes the best hunter. My last try was such a disaster! When Richler left his wife for another woman, we agreed that, during the first weeks, we would not wear ourselves out with phone calls, but Beatriz would take care of him to alleviate his depression, perhaps his shame, because Richler couldn’t comprehend what had happened to him. Meanwhile, I was preparing for him candidates, for the time when felt recovered. After thirty-five years of marriage, Richler didn’t know how to arrange for them alone. The first year cost him a great deal of physical and mental health: a case of pneumonia left him prostrate for entire weeks. His sister-in-law took care of him in the hospital, and his children, unmarried who lived close to his house, visited him often.

It alarmed us to see him when at the beginning of the next semester, Richler arrived, disheveled and more bent over than ever. Poor Richler. To get him going, Beatriz and I, and his colleagues, plan for him a macrobiotic diet and vigorous walks in the park. We invited him to see a work by Calderón de la Barca that he had taught for several years. Although the production was for amateurish, it seemed to him to be very educational. After noting what was left out and the unnecessary pauses by some actors, he took the occasion to eloquently give his opinions about the playwright’s intentions and the overblown interpretation of the work’s director. Richler left the show excited, so that when we said goodbye at the subway station, he promised to take us to see “Il Travatore.” Delighted, we agreed.

Although lately Beatriz was more and more occupied with David, a disagreeable boyfriend who dominated her. She didn’t have time for Richler. I spent a couple of months away from New York, so that I had to interrupt my routine of calling him every week. At my return, I found an invitation from Tita, to celebrate Richler’s retirement, and also, his engagement for Tuesday, October 14. I was shocked.

      “Why so quickly? When did he decide to retire? And with whom is he engaged?”

       “With a Dominican teacher from Arizona, a friend of his sister-in-law. They will get married in a month, and they will go to live in Phoenix,” Beatriz explained to me.

For a Jewish gringo—a New Yorker—sixty-five years old, to marry a Latina, a bit past forty and to move to a state as remote as Arizona had to be and Odyssey. I call Rita, and she explained to me that the dry and temperate climate is ideal for alleviating Richler’s asthma. The two of us and Beatriz commented on the fact, that while we still felt sorry for Richler’s miserable state, he had been able to remake his life. By himself. Without our help, he had found his mate. “Then,” we said to each other, “mission accomplished.”

  For Rita’s party, I was my turn to be to drive several colleagues in my car. Raquel came too. She sat in the front with me, so that we could chat. We haven’t seen each other for more than fifteen years, when Raquel left high school teaching to take charge of a library in Bronxville. The change is good for her; Raquel has lost weight and appears more sophisticated. She knew that Richler was retiring, but only now, on route to New Jersey, she finds out about the engagement.

“What are you saying?” she whispers to me, incredulous.” “Isn’t Richler married with two children?”

       “He was married, but for months, he has been alone.  His younger son lives in the university dorms, and the older son got a job in Boston. But how is it you didn’t know, Raquel, that his wife left him, that he caught pneumonia, and that Beatriz and I helped him recover?”

       Raquel hid her face under the lapel of her jacket to hide her reaction. She whispers as if she needed air. She let out a cutoff hiccup. Without a doubt, she wants to ask me more questions, and she doesn’t know where to start. She slowly shakes her head as if she were taking stock of what had happened to her in the interim, while Richler fell in love with the Dominican and decided to take the big step. It hurts me to see Raquel suffer so, and it also disgusts me, But, still, it is too late to change things.

       “Simply put, Raquel, I didn’t think of it. I’m so sorry.”

       What an idiot I was! How could I have forgotten the great love that Raquel had felt for Richler when the two of us studied together at the university? We read each other passionate letters that we write to made-up or real lovers, and we laughed to cover the blushing from acting like silly schoolgirls.

       Apparently, Raquel’s love for Richler lasted far too long. In those days, she fantasized raping him; she planned ways to get him away from his wife, to seduce him with her profound knowledge of Calderón, and with other strategies that for me became tedious. And Richler, naturally, immersed in his theories and dedicated to his subject, never suspected that Raquel planned to seduce him or that his wife thought of leaving him.

       Raquel’s deep and muffled voice reveals all her rancor:

       “I can’t pardon you, Tere. How could you not have let me know the instant it happened?!” And lower yet, she added, “I feel it as a betrayal.”

       “I swear to you with so much going on, I forgot, Raquelita. As Beatriz was the first to help him pass through his crisis. To a degree, I stopped worrying about the situation, do you understand? Of course, if I had remembered, I would have called you, I’m absolutely sure, but I didn’t remember. I’m sorry.”

       “Did he have anything going with Beatriz?”

       “As far as I know, nothing! What a notion you’ve come up with, if Beatriz is crazy about David, that boyfriend so conceited that he has her trapped.”

       “With you either, I suppose…”

       “For God’s sake, Raquel! I love him like an uncle.”

The trip to New Jersey is interminable for me. From time to time the passengers in the back interrupted us to give us new directions for the trip, and immediately resume their animated discussion of the coming elections.

       “Please, Teresa, please let me get out at the next exit. I don’t want to go to the party.”

       “Don’t be melodramatic, Raquel, and calm down. In New Jersey, there are only highways for cars and trucks. Rapid transit doesn’t function here, and we are too far from anything for you to try to get a taxi.”

       I passed to her a little bottle of cologne that I keep in the drawer, with my cosmetics.

      “Throw on a few drops. It’s very soft. You’ll feel better.”

Just in case, I lock the doors and slow down. Those in the back, travel cramped, surely uncomfortable, but content to catch up after the long interval without seeing each other. Now, they discuss the university strike.

       “They will do it in Spring, as always, so it’s worth the trouble to interrupt classes and go to sleep on the grass.”

       “But you, Ricardo, you will be the one to hit the alarm, and we will all go out and blame some unruly student…ha, ha, ha…

       Raquel endured the rest of the trip without saying anything. As soon as we arrive at Rita’s house, Raquel gets out of the car and shuts herself into the bathroom. I follow her and after a while, knock on the door.

       “Leave me in peace, Tere, I don’t feel well.”

She delays for more than a half hour. Finally, she leaves with her eyes swollen and too much makeup. She doesn’t enter the living room, but goes directly to the bedroom, from where, she calls a taxi. She apologizes to Rita, and charges her with congratulating Richler and his fiancée when they arrive at her house.

       “Be careful, Tere, about opening your mouth.”

       I feel guilty and treacherous, just as she wants me to feel.

       “Do you pardon me, Raquel? Who knows if you would have found Richler attractive, still, after so much time. He looks very old. Who knows? I suppose that these days you’re going out with people much younger than he.”

      The more I speak, the more I make things worse. It’s better if I keep quiet. Raquel knows and I know that it would have been a perfect shiduch. Richler would have remained in Manhattan, his favorite city. At first, at least, Raquel would have celebrated every one of his pedantries, she would have called him from the airport only to hear his voice, on the way back from a conference… To have foreseen it!

       Returning from the party, I call Raquel several times.

Her answering machine always repeats the same thing” “I’m sorry, I can’t speak to you right now.” But it doesn’t say what I fear to hear: “I’m cutting my veins: I’m putting my head in the oven; I am swallowing a vial of sleeping pills.” Each time, I leave her the same message: “Please, Raquelita, give me a little call so that I won’t worry. I call her from Miami, too far away to go to see her. Beatriz is not in New York, and I don’t know who else to turn to. I obtain the number of the super of her building, but he tells me that if she doesn’t answer, it’s because she’s not home, and he refuses to force the door. I occurs to me that I should contact the police to assure myself that everything is in order.

The next morning, Raquel returned my calls.

       “I just got home…  I’m sorry that you have been so worried about me. I went to Ben, my boyfriend’s house for a few days,

       “I apologize, Raquel…, since it had affected you so, I feared that…”

       “That I was going to commit suicide for such an old infatuation. That I was going to create a scene from a movie! Come on, Tere!  You didn’t say anything at the party, right? Tell me that you didn’t say anything.”

       “I swear to you. Nobody found out. You had a simple old-fashioned migraine. If he had seen you, Richler would have compared you to a Echegaray heroine. Ah, I almost forgot. He reminded me that you were one of his best students; he sends you a big hug, and he asks me to have you write him.”

       “Thanks, but no thanks… and let’s not mention this topic again. Agreed?”

       “Agreed.”

Translation by Stephen A. Sadow

____________________________________________________________

Libros de Nora Glickman/Books by Nora Glickman

__________________________________________________________________________________

Bernardo Jobson (1928-1986) Cuentista judío-argentino/Argentine Jewish Short-story Writer–“Te recuerdo como eras en el último otoño”/”I Remember Know How You Were Last Autumn”–un cuento “médico”/a “medical” short-story

Bernardo Jobson

_____________________________________________

Bernardo Jobson (Vera, provincia de Santa Fe, 1928-Buenos Aires, 1986) fue periodista en los diarios La Opinión y Tiempo Argentino entre otros, traductor y redactor publicitario. Escribió los libros Memorias de un soldado raso y Veinticinco watts, aunque los originales se extraviaron, por lo que estos se consideran irrecuperables; lo mismo sucedió con El carnet de Dios, el guión de una de sus obras de teatro inéditas, y la recopilación de notas humorísticas Diccionario enciclopédico argentino. Fue miembro de las revistas El Escarabajo de Oro y El OrnitorrincoEl fideo más largo del mundo (Buenos Aires, 1972) es su único libro publicado.

__________________________________________________

Bernardo Jobson (Vera, Santa Fe province, 1928-Buenos Aires, 1986) was a journalist for the newspapers La Opinión and Tiempo Argentino, among others, as well as a translator and advertising editor. He wrote the books Memoirs of a Private and Twenty-five Watts, although the originals were lost, so they are considered unrecoverable; The same happened with El carnet de Dios, the script for one of his unpublished plays, and the compilation of humorous notes Argentine Encyclopedic Dictionary. He was a member of the magazines El Escarabajo de Oro and El Ornitorrinco. El fideo más largo del mundo (Buenos Aires, 1972) is his only published book.

__________________________________________

From:  El fideo más largo del mundo.  Buenos Aires: Capital Intelectual, 2008

“Te recuerdo como eras en el último otoño”

El problema es que el jefe no me lo va a creer. Le he hecho tragar ya tantas milanesas, tantas albóndigas super-condimentadas, que esto no me lo va a creer. Pienso en alguna excusa potable, pero me da un poco de bronca: ¿una vez que tengo una razón valedera para ausentarme de la oficina, voy a tener que apelar a una mentira? ¿Tan mal anda el mundo? me pregunto. Pero toda esta filosofía de apuro no me absuelve del dolor que tengo desde que me levanté y amenaza con la posibilidad de que la gente me crea un deforme o algo así, al margen de unos chillidos austeros pero evidentes que me transformaron en la máxima atracción del día en el subte. En ese momento vuelvo a sentarme y siento como si una tachuela me hubiese penetrado hasta la garganta. Por supuesto, las tachuelas se supone que lo pinchan a uno en el culo y ésta es una tachuela de lo más ortodoxa. No me puedo sentar, no me puedo quedar parado, no puedo quedarme un minuto más en ninguna posición. Y te guste o no, jefecito, allá voy. Con la verdad no temo ni ofendo y me paro frente al escritorio del salmónido.

–Plata no hay –me ataja–. Y si necesitás plata porque se te murió algún pariente, antes me traés el certificado de defunción. Mira, ni siquiera con el certificado. Únicamente contra presentación del cadáver.

–Jefe, no quiero plata… –por ahora, porque en ese momento pienso que en una de ésas voy a tener que comprar un remedio y ante Duración 23’04’’ presentación de receta no me va a decir que no. Mirá vos, me digo, ¿cómo no se me ocurrió antes este yeite?

–Ni ahora ni nunca, ni siquiera a fin de mes. ¿Sabés que sos el único en la historia de esta empresa que cobra por adelantado? Ya tenés un mes de sueldo en vales.

–Jefe, perdóneme, pero no estoy de humor hoy. Todo lo que quiero es permiso para ir al hospital. Hay que ver el conflicto que esto le produce. ¿Quién será: un pariente, un amigo, algún amor lejano? Pero reacciona a tiempo.

–Sangre diste la semana pasada. Te fuiste a las 9 y no apareciste en todo el día.

–Jefe, usted se equivoca por el físico con que me ha dotado la naturaleza. Que yo mida 1,95 m y pese 102 kilos, no quiere decir que si me sacan medio litro del vital elemento, no quede medio dopado.

–Bueno, no sé, pero parientes vivos ya no te quedan, según me consta. ¿Quién es el moribundo hoy?

 –Nadie. Soy yo el que quiere ir al hospital, ahora mismo.

–¿Qué te pasa? –pregunta enojándose consigo mismo porque ya está entrando por la variante. Conflictos internos. ¿Y el que yo tengo ahora? ¿Cómo le digo la verdad, la cruda verdad?

–Jefe, no me lo va a creer. No me lo va creer. No sé qué cara pongo, pero sí la que pone él. Se asusta. ¡Corazón, hígado, pulmón! Al mismo tiempo, busca el término ése, difícil, que cuanto mejor lo dice más gente piensa qué gran médico se perdió la sociedad.

–¿Algún trastorno cardiovascular?

Niego con la cabeza.

–¿Visceral? Tampoco. Como ya está a punto de agotar su diagnóstico precoz, apela a lo increíble, a lo que no puede ser, ¡en esta época!

–Me imagino que no tendrá nada que ver con el sistema génitourinario, ¿no?

–Y, más o menos –le contesto–. Tengo un grano en el culo. Diez minutos después estoy parado en el hall del hospital, mirando la guía de consultorios externos. Parezco un tailandés recién llegado, buscando la temperatura media de Jujuy en la guía de teléfonos. No sé quién me toca a mí: ¿enfermedades secretas, culología, anología? No figura ninguna, y a esa enfermera de la mesa de entradas no se lo pienso preguntar. Si fuera vieja y buena, todavía, pero no tiene más de 25 y hay que ver lo bien que está. El portero o algo así acude en mi ayuda. Y como todos los porteros tienen obligación de ser médicos frustrados, cancheros viejos, empíricos de la medicina que lo ven a uno y ya saben lo que uno tiene, me pregunta:

–¿Algún problema, señor? ¿Busca a alguien?

–Sí, la verdad que sí. Pero no sé exactamente a quién. Juro que mi respuesta es totalmente natural, pero él ya sospecha algo turbio.

–¿Alguno de los doctores?

–Sí, pero no sé cuál puede ser… Los puntos suspensivos son benévolamente acogidos por el portero y los estudia unos segundos.

–¿Algún problema…? –y la definición médica del problema la explica con la mano y apoyándose en una sonrisa comprensiva y paternal–.

–Me parece que usted busca dermatología. Primer piso, consultorio 23. Dígale al doctor que lo mando yo.

–¿Perdón, dermatología? Y… ¿qué atienden allí? Quiero decir, si uno tiene…

–Eh, por favor –me asegura canchero al extremo–. Yo también tuve que ir cuando era joven…–y luego de asegurarse de que nadie pueda verlo, agrega: – Tres veces. Claro, eran otros tiempos, ¿no?

–Y sí, no va a comparar –le ratifico, mientras pienso que dermatología no puede ser. Que la pared del culo me duele, no hay duda, pero no le veo relación. Encima, me duele cada vez más y antes de tener que relatar, por segunda vez, la cruda verdad, me tiro un lance y le digo:

–Creo que es ortopedia. Como a cualquier personaje orillero, lo tumba el asombro.

–¿Ortopedia? Pero si usted camina lo más bien. –No vaya a creer. Hay momentos en que no puedo. Está totalmente decepcionado. Todo un caso social que él creía tener como primicia absoluta se le va diluyendo.

–Ortopedia –le insisto–: ¿No quiere decir que a uno lo curan del…?

–Dígame, señor –me pregunta ya totalmente ofendido– ¿A usted qué le duele? –Bueno, para serle franco, me duele el culo, ¿qué quiere que le haga? No tiene ninguna anécdota al respecto y no sé si me la contaría aún en el caso contrario. Ya me odia, directamente.

–Vaya a la guardia. Ahí lo van a atender. Parece mentira. Cuando me dispongo a irme, la vocación lo traiciona y me dice: –Tómese un Geniol. O dos. Le agradezco la receta magistral y enfilo para la guardia. El continente americano se ha enfermado hoy y me pongo en la cola.

Delante mío hay un tipo justo para que lo atienda el portero. La dimensión de la fila me hace dudar sobre si llegaré vivo a que me atiendan, pero pienso que esto me da el tiempo suficiente para ver qué le digo a la mina que está sentada en un escritorio y distribuyendo el juego como un hábil mediocampista: usted allí, usted acá, hoy está prohibido enfermarse del hígado, el reumatólogo tiene hepatitis. Pienso en lo que voy a decirle: –Me duele el recto (y todo el mundo pensando qué lástima, un muchacho con ese físico y maricón).

–Quiero que me revisen el recto (y la misma conclusión, ahora ya sin ninguna duda sobre mi desviación sexual).

–Busco al rectólogo (y lo mismo, éste quiere disimular que es maricón, lo cual no deja de ser peor. Por lo menos, que afronte su desgracia con altivez, caramba). Cuando faltan dos tipos, no sé todavía qué voy a decirle, pero el punto que está delante mío me puede salvar. A ver cómo le explica él que tiene los bichitos juguetones y entonces yo aprovecho la bolada, el ambiente turbio ya que tiene antecedente y lo mío no trasciende. Cuando le llega el turno, la enfermera le pregunta nombre, apellido, edad, domicilio y por poco hincha de quién. Con soberbia cara de otario, me acerco para escuchar el crucial diálogo.

–¿Qué problema tiene? A punto de caérsele la cara de vergüenza por lo frágil ser humano que es, responde:

–Tengo una uña encarnada. Pienso en la famosa clínica del diagnóstico que podríamos fundar el portero y yo y luego de dar mi filiación, me mira y me pregunta con la mirada, qué problema tengo. Yo, mudo. Finalmente, accede al ritual.

–¿Qué problema tiene, señor?

–Bueno, tengo un dolor. Apoya la cabeza en la palma y me vuelve a mirar. Está esperando que yo le diga dónde.

–¿Sí? –me pregunta dejando en el aire: qué me dice.

–Sí –le contesto. El agitadísimo diálogo no deja de constituir una escena pintoresca que matiza la espera de todos los pacientes. Todos miran. Detrás mío, no hay nadie. Esto puede durar todo el día, pienso. Ayúdame, miss Nightingale. Vos sabés de estas cosas.

–¿Dolores durante la micción? –me pregunta sutilmente. Dolores durante la micción. Parece el nombre de una mina de la sociedad colombiana, pienso.

–No –le contesto. Y con un gesto le indico que siga intentando.

–¿Dolores génito-urinarios? –me pregunta un poco enojada, y antes de que se le ocurra la próxima posibilidad dolorosa, un sifilólogo frustrado opina en voz baja para que lo oigan todos: –Debe ser para dermatología, señorita.

–Señor, por favor, no podemos estar todo el día con esto. Si usted no me dice lo que le pasa…

–¿Problemas génito-urinarios? –insiste. –Señorita –le digo con tono lastimero–. No son génito-urinarios, pero… alguna relación tiene, no sé. El recto, ¿tiene algo que ver con el sistema? Claro, la palabra era un cheque al portador. La noticia recorre todo el hospital, pero el epicentro del fenómeno se centra en la guardia. El tipo de la uña encarnada me mira diciéndome con los ojos no te da vergüenza, si yo fuera tu padre, te volvía a romper el culo, pero a patadas, y una madre le dice a su hijo, vos vení para acá y lo protege instintivamente del deleznable sujeto. La enfermera, repuesta de la noticia, anota en la planilla y me dice que me siente. Pienso que si me siento, muero, ahí nomás, sumariamente. El médico pasa por allí en ese momento, y la enfermera lo detiene.

Noto que habla de mí, el tipo me mira, le dice que sí, enseguida vuelvo y sale. Como, pese a todo, ella me ama, me informa que enseguida me van a atender. La decisión provoca la tradicional reacción popular, hay murmullos contra la aborrecible enfermera, pero en medio de la indignación general, surge la voz de la madre del niño que dirigiéndose a nadie, es decir, a todos, dice:

–Claro, y encima los atienden primero.

La configuración edilicia de la guardia propiamente dicha es un monumento a la discreción. Con un grabador y una filmadora uno podría, en diez minutos, escribir los diez tomos del Testut. El médico me pregunta qué me pasa. Debe tener 22 años a lo sumo. ¿En qué año estarás? ¿Ya rendiste Culo vos?, me pregunto.

–Mire –le explico–. Desde ayer tengo un dolor bárbaro en el ano. Y ahora ya no puedo más. No puedo sentarme, no puedo estar parado, me duele si hablo.

 –Bueno, vamos a ver. Venga por aquí. Y a medida que recorremos el pasillo, va descorriendo las cortinas de los boxes, no sin provocar frecuentes chillidos, indignados por favores y actitudes insensatas de quienes se ven sorprendidos con paños menores a media asta. Encontramos uno vacío y me ordena que me desnude mientras él enseguida vuelve. En el box de al lado, el de la uña encarnada pega un grito y se traga una puteada que hubiera involucrado hasta el más remoto antecesor de la enfermera. Pienso que la verdad esto es mejor tomárselo a joda y cagarse de risa. A la sola mención del verbo defectivo, reflejo condicionado diría Pavlov, me entran ganas de ir al baño, vía recto. Lo único que faltaba, me digo, que me agarren ganas de cagar. El grito del de la uña encarnada va a parecer un susurro de amor comparado con el mío. Frágil espiritual que es uno trato de engañarme y me digo que ya cagué. Mentira, me grita mi conciencia, mientras pienso que algún día debo escribir un ensayo sobre la vida y la caca: dos cosas difíciles de aguantar.

La temperatura ambiente no es la más propicia para quedarse totalmente en pelotas, y me dejo puesta la camisa y los zapatos. Me siento en la camilla y me observo el sistema génito-urinario que diría el portero. Da lástima: parece el experimento de un jíbaro que ha reducido un bandoneón. Cuando el de la uña encarnada opina que prefiere que le corten el pie antes de que se atrevan a tocarle la uña otra vez, entra el futuro médico, orgullo de la familia.

–Póngase en cuclillas –me ordena.

Me pongo en cuclillas y pienso que lo único que falta es que suene un disparo y salga a buscar la meta.

–Abra un poco más las nalgas. Las abro.

–Un poco más –insiste.

–Doctor, no crea que no quiero colaborar con la ciencia, pero mido 1,95. El tipo se ríe y me dice que está bien.

Para distraerme un poco, bajo la cabeza y miro hacia atrás. Me pregunto cómo no larga todo y se manda mudar. El espectáculo es deplorable, pero siento dos manos frías en ambos glúteos y dos pulgares acercándose sugestivamente por ambos flancos. Instintivamente, me hago el estrecho.

–No, por favor, quédese tranquilo. Así no puedo hacer nada.

Le pido perdón y rindo la ciudadela. Los pulgares se asumen y se acercan a las puertas de palacio ya. Vos tócame nomás, tócame apenas y que Dios te ampare, pienso. Ostensiblemente acuciadas por la posición decúbito panzal, las ganas de ir al baño se acentúan y ahora sí, me niego rotundamente.

El tipo se me enoja y como ya ha entrado en confianza –después de todo me ha tocado el culo– me dice che, déjese de embromar, parece mentira. De golpe sospecha algo y me pregunta:

–¿Qué le pasa? –Doctor, perdóneme, ¿pero usted quiere creer que justo ahora? Se agarra la cabeza y vuelve a reír.

–Está bien, pero aguántese. No hay otra solución. Yo necesito solo unos segundos para palparlo.

Tengo ganas de contestarle que yo también, pero para cagarme. No creo que el chiste le caiga bien.

Como soy un gil, me pregunta cosas a medida que empieza otra vez la invasión.

–¿Es la primera vez que le pasa?

–Y la última. Aunque tenga que cagar por la oreja el resto de mi vida. En ese momento, siento un alambre de púa recorriendo con libre albedrío las paredes iniciales del recto. Y pienso lo que debe estar gozando el de la uña encarnada. Pego un grito.

 –Quédese como está –me ordena–. Relaje los músculos. Enseguida vuelvo. Escucho que en el pasillo le pregunta a la enfermera dónde hay vaselina. La mera mención del noble lubricante para usos o aberraciones varias me incita a salir corriendo despavorido, cuando escucho que la cortinita se corre y entra alguien, doctora ella, pasea la mirada por los hermosos y lascivos glúteos, luego va hacia el sistema génito urinario propiamente dicho, me mira inquisitivamente, se echa hacia atrás y vuelve a investigar la decoración en general, tuerce la cabeza convencida de que no hay nada que hacer, todo sería inútil, pide perdón y sale. En cualquier momento deciden dejarme acá toda la mañana y cobran entrada, pienso. Se vuelve a correr la cortinita y entra mi anólogo de cabecera con un frasco de vaselina como para revisar un mamut. Lo deja sobre una mesita y procede a colocarse unos guantes de goma.

–¿Es para evitar el embarazo? –le digo haciéndome el gracioso. No me contesta porque los guantes son más viejos que el tobillo y no sabe por dónde empezar. Cuando logra ponérselos, le asoman dos dedos, lánguidos y desnudos.

–Un momentito –me ruega.

–Doctor –lo paro– ¿tengo que quedarme así obligatoriamente? Me duelen los brazos, sin contar con que cualquiera puede entrar como recién. El show, francamente, es un asco.

–No, quédese así. Y abra las nalgas todo lo que pueda. Sale y enseguida vuelve, esta vez acompañado de un colega, futuro anólogo.

–¿Fístula? –No sé. Todavía no pude palpar.

–¿Dolor?

–Sí.

–No se ve inflamación –dice el recién llegado desde la frontera con Bolivia.

–¿Qué te parece?

–No sé. Palpá a ver qué pasa. Yo Ano cinco todavía no di.

El colega desaparece. De pronto, la situación se hace tensa. Me vuelve a abrir sin más trámite, se acerca todo lo que puede y, jugado, decide auscultar de zurda. Le miro el tamaño del dedo, manos de pianista más bien no tiene.

–Doctor, perdón, ¿pero usted piensa meterme eso adentro? –pregunto en pánico.

Me responde mientras cubre de vaselina el dedo.

–Escúcheme bien. Ahora va en serio. O se deja palpar o se va a su médico.

–Me dejo palpar. Cuando las galaxias explotaron en el núcleo central del universo, todo fue, durante un instante, un rojo que nunca se volverá a repetir, una explosión desde el seno más íntimo de cada una de las estrellas que se expandieron junto con nuestro sol por el espacio buscando con sus puntas el borde pascaliano de la esfera cósmica, horadando el infinito como espadas de Dios, mientras el sol, vagabundo desde la eternidad, buscaba exactamente el centro de su pequeño sistema, calcinando todo lo que encontraba a su paso en una carrera devastadora que separó continentes, desequilibró el eje de rotación de los astros, emergieron volcanes que durante millones de siglos se aburrieron en las entrañas de la tierra y estallaron al fin como bestias, una estampida de búfalos inconmensurables vomitando el rojo inicial, hasta que Dios dijo basta, paremos aquí si lo que queremos es crear un planeta.

Salgo del quirófano ad hoc, horadado y profanado en lo más íntimo, con la orden de volver mañana para ser observado por el especialista en el asunto, sujeto que me aplicará un aparato que se llamará todo lo rectoscopio que quiera, pero que no deja de ser un fierro en el culo. En ese momento, el tipo de la uña encarnada, apoyándose lastimosamente en uno de los talones, va también hacia la salida. Todavía no he podido saber por qué, le sonrío diciéndole qué día, ¿no?, al tiempo que camino con un ritmo que ya lo quisiera María Félix yendo al encuentro de su amante para matarlo con premeditación y alevosía.

Sorpresivamente, siento una de las famosas puntadas y me agarro del desuñado para no caerme, gesto civil y sin implicancias que el tipo interpreta como amor a primera vista, se me vuelve a escapar otra sonrisa, actitud que no deja de empeorar las cosas y el tipo –mufa, impotencia, dolor y asco mediante– levanta instintivamente el pie desuñado y Bernabé Ferreyra en su tarde más gloriosa me encaja una patada en el centro mismo del culo. Por un instante nos miramos, sorprendidos.

Un segundo después, los dos, al unísono, pegamos el grito inicial, el llamado de amor indio, Tarzán navegando de liana en liana y convocando a todo el continente africano con voz tomada por un intempestivo resfrío e inmediatamente damos comienzo oficial al primer festival mundial de cante jondo, no sin matizarlo con pasos de baile calé, y danza rabiosamente moderna, todo por bulerías.

De: El fideo más largo del mundo, Capital Intelectual, 2008

____________________________________________________-

_________________________________

“I Remember Know How You Were Last Autumn”

The problem is that the boss is not going to believe me, I have already made him swallow so many schnitzels, so many super-spiced meat balls, that he is not going to believe this on. I think about an acceptable excuse, but it makes me a bit angry. For once, I have a worthwhile excuse for to be out of the office. Am I going to have to resort to a lie? Is the world in that bad shape? I wonder.

          But all this hurried philosophy doesn’t absolve me from the pain that I have had since I woke up and the threat that people consider me deformed or something like that, on the edge of some austere but evident squeeling that transformed me into the greatest attraction on the subway. At that moment I sit down again, and I feel as if a tack had penetrated me as far as my throat. Of course, tacks suppose that they stab you in the ass, and this is a thumbtack of the most orthodox style. I can’t remain standing another minute in any position.

And like it or no, my dear boss, here I come. With the truth on my side, I don’t fear or offend, and I stop in front of the desk of the big fish.

        “There’s no more money,” he stopped me. “And if you need money because some relative or another died, don’t even bring me the death certificate; only when I want to see the cadaver.

        “Boss, I don’t need money… nor right now, because when the time comes, I will have to buy a remedy, and with the prescription for ‘Duration 23-4, you won’t be able to say no. Look, I say to myself, how come I didn’t think of that trick earlier.

        “Not now, not ever, not even at the end of the month. Do you know that you are the only one in the history of this firm who gets his money in advance?”

“Boss, pardon me, but I’m not on a good mood today. All I want is permission to go to the hospital. You must understand what a problem this causes. Who might it be: a relative, a friend, a former lover? But ask fast.

       “Last week, you gave blood. You left at 9, and you didn’t reappear for the rest of the day.”

       “Boss, you are mistaken about the body that nature gave me. That I measure 1, 95

and weigh 102 kilos, doesn’t mean that if they tale half a liter of the element of life, I don’t come out half doped.”

“Okay, I don’t know but you no longer have any living relatives, as I understand. Who is the dying one today?”

        “Nobody, I am the one who needs to go to the hospital, right now.” Internal conflicts. And what do I have now? How can I tell you the truth, the crude truth?

  “Boss, you are not going to believe me. I don’t know which face to put on it, but I do I but I do know what it does. Shocking. Heart, liver, lung! At the same time, I’m looking for the right term, difficult, that the better it’s said, people think that the great doctor finished off society.

–Any cardiovascular disorder?

I shake my head.

-Visceral? Neither. As he is about to exhaust his early diagnosis, he appeals to the incredible, to what cannot be, at this time!

–I imagine it has nothing to do with the genitourinary system, right?

–And, more or less –I answer–. I have a pain in my ass. Ten minutes later I am standing in the hospital hall, looking at the outpatient clinic directory. I look like a recently arrived Thai, looking for the average temperature of Jujuy in the phone book. I do not know who touches me: me toca a mí: secret diseases, culology, anology? There isn’t one listed, and I’m not going to ask that nurse at the admissions desk. If she were old and good, still, but she is not more than 25 and you have to see how good she is. The doorman or something like that comes to my aid. And since all the doormen have to be frustrated doctors, old cancheros, medical experts who see you and already know what you have, he asks me:

–Any problem, sir? Look for someone?

-Yes, indeed. But I don’t know exactly who. I swear my answer is totally natural, but he already suspects something shady.

–Any of the doctors?

–Yes, but I don’t know what it could be… The ellipsis is benevolently welcomed by the doorman and he studies them for a few seconds.

-Any problem…? –and the medical definition of the problem is explained with his hand and supported by an understanding and paternal smile–.

–It seems to me that you are looking for dermatology. First floor, office 23. Tell the doctor I sent him.

–Excuse me, dermatology? And… what do they serve there? I mean, if one has…

“Hey, please,” Canchero assures me to the extreme. I also had to go when I was young… – and after making sure that no one can see it, he adds: – Three times. Of course, those were different times, right?

–And yes, it is not going to compare –I confirm, while I think that dermatology cannot be. That the wall of my ass hurts, there is no doubt, but I don’t see any connection. On top of that, it hurts me more and more and before I have to tell the harsh truth for the second time, I take a chance and tell him:

–I think it’s orthopedics. Like any coastal character, he is struck down by astonishment.

-Orthopedics? But if you walk the best. –Don’t believe it. There are times when I can’t. He is totally disappointed. An entire social case that he thought he had as an absolute first is being diluted.

–Orthopedics –I insist–: Doesn’t that mean that one is cured of…?

“Tell me, sir,” he asks me, now totally offended, “what hurts you?” –Well, to be honest, my ass hurts, what do you want me to do to it? He doesn’t have any anecdotes about it and I don’t know if he would tell me even if he didn’t. He already hates me, directly.

–Go to the guard. They will attend to him there. It seems like a lie. When I’m about to leave, his vocation betrays him and he tells me: -Take a Geniol. Or two. I thank you for the masterful recipe and I head for the guard. The American continent got sick today and I’m getting in line.

In front of me there is a guy just right for the doorman to attend to. The size of the line makes me doubt whether I will arrive alive to be treated, but I think this gives me time enough to see what I say to the girl who is sitting at a desk and distributing the game like a skilled midfielder: you there, you here, today it is forbidden to get liver disease, the rheumatologist has hepatitis. I think about what I’m going to say to him: –My rectum hurts (and everyone thinking what a shame, a boy with that physique and a faggot).

–I want them to check my rectum (and the same conclusion, now without any doubt about my sexual deviation).

–I’m looking for the rectologist (and the same thing, he wants to hide that he’s a faggot, which is worse. At least, let him face his misfortune with haughtiness, geez). When two guys are missing, I still don’t know what I’m going to say to him, but the point in front of me can save me. Let’s see how he explains that he has playful little bugs and then I take advantage of the nonsense, the murky atmosphere since it has a history and mine does not transcend. When her turn comes, the nurse asks her name, surname, age, address and almost who she is a fan of. With the proud face of an otario, I approach to listen to the crucial dialogue.

–What problem do you have? On the verge of losing his face with shame at what a fragile human being he is, he responds:

–I have an ingrown toenail. I think about the famous diagnostic clinic that the doorman and I could found and after giving my affiliation, he looks at me and asks me with his eyes, what problem I have. I, dumb. Finally, agree to the ritual.

–What problem do you have, sir?

–Well, I have a pain. He rests his head on his palm and looks at me again. He’s waiting for me to tell him where.

-Yeah? –he asks me, leaving it hanging in the air: what are you saying to me?

–Yes –I answer. The very hectic dialogue still constitutes a picturesque scene that qualifies the wait of all the patients. Everyone looks. Behind me, there is no one. This could last all day, I think. Help me, Miss Nightingale. You know about these things.

–Pain during urination? –I ask myself subtly. Pain during urination. It seems like the name of a mine in Colombian society, I think.

-I do not answer. And with a gesture he tells him to keep trying.

–Genito-urinary pain? –she asks me a little angrily, and before the next painful possibility occurs to her, a frustrated syphilologist gives his opinion in a low voice so that everyone can hear: –It must be for dermatology, miss.

–Sir, please, we can’t spend all day with this. If you don’t tell me what’s wrong…

–Genito-urinary problems? – she insists. “Miss,” I say in a pitiful tone. “They are not genito-urinary, but… there is some relationship, I don’t know. Does the rectum have anything to do with the system? Of course, the word was a bearer check. The news spread throughout the hospital, but the epicenter of the phenomenon is centered on the guard. The guy with the ingrown toenail looks at me telling me with his eyes, you’re not ashamed, if I were your father, I’d beat your ass back, but with kicks, and a mother tells her son, come here and protect him instinctively despicable subject. The nurse, informed of the news, makes a note on the form and tells me to sit down. I think that if I sit down, I die, right there, summarily. The doctor passes by at that moment, and the nurse stops him.

            I notice that he is talking about me, the guy looks at me, says yes, I immediately come back, and he leaves. Since, despite everything, she loves me, she informs me that they will take care of me right away. The decision provokes the traditional popular reaction, there are murmurs against the hateful nurse, but in the midst of the general indignation, the voice of the child’s mother emerges and, addressing no one, that is, everyone, says:

–Of course, and on top of that they serve them first.

The building configuration of the guard itself is a monument to discretion. With a tape recorder and a video recorder one could, in ten minutes, write the ten volumes of the Testut. The doctor asks me what’s wrong. Must be 22 years old at most. What year will you be in? Have you already given up your ass? I wonder.

–Look –I explain–. Since yesterday I have had tremendous pain in my anus. And now I can’t take it anymore. I can’t sit, I can’t stand, it hurts if I talk.

 -Well let’s see. Come here. And as we walk down the hallway, he draws back the curtains of the boxes, not without causing frequent squeals, outraged by the favors and senseless attitudes of those who are surprised with lower cloths at half-mast. We find an empty one and he orders me to undress while he immediately returns. In the next box, the one with the ingrown toenail screams and swallows a bullshit that would have involved even the nurse’s most remote ancestor. I think the truth is it’s better to take it lightly and laugh your ass off. At the mere mention of the defective verb, a conditioned reflex, Pavlov would say, I feel like going to the bathroom, straight ahead. The only thing missing, I tell myself, was to make me want to shit. The cry of the one with the ingrown toenail is going to seem like a whisper of love compared to mine. Fragile spiritual person that he is, I try to deceive myself and tell myself that I already screwed up. Lie, my conscience screams at me, as I think that one day I must write an essay about life and poop: two things that are difficult to endure.

The ambient temperature is not the most conducive to staying completely naked, and I leave my shirt and shoes on. I sit on the stretcher and observe the genito-urinary system as the porter would say. It’s a shame: it seems like the experiment of a jíbaro who has reduced a bandoneón. When the one with the ingrown toenail thinks that he prefers to have his foot cut off before anyone dares to touch his toenail again, the future doctor, the pride of the family, enters.

“Squat down,” he orders me.

I squat down and think that the only thing left is for a shot to ring out and go out to find the goal.

–Open your buttocks a little more. I open them.

–A little more –he insists.

–Doctor, don’t think that I don’t want to collaborate with science, but I’m 1.95 tall. The guy laughs and tells me it’s okay.

To distract myself a little, I lower my head and look back. I wonder how he doesn’t just leave everything and order a move. The spectacle is deplorable, but I feel two cold hands on both buttocks and two thumbs approaching suggestively from both sides. Instinctively, I play dumb.

–No, please, stay calm. So I can’t do anything.

I ask your forgiveness and surrender the citadel. The thumbs are assumed and they approach the palace doors now. Just touch me, just touch me and may God protect you, I think. Ostensibly urged by the prone position, the urge to go to the bathroom is accentuated and now, I flatly refuse.

The guy gets angry at me and since he has already gained confidence – after all he has touched my ass – he tells me hey, stop joking, it seems like a lie. Suddenly he suspects something and asks me:

-What happens? –Doctor, forgive me, but do you want to believe that right now? He grabs his head and laughs again.

–Listen to me well. Now it’s serious. Either let yourself be palpated or go to your doctor.

–I let myself be felt. When the galaxies exploded in the central core of the universe, everything was, for an instant, a red that will never be repeated, an explosion from the most intimate core of each of the stars that expanded together with our sun through space. searching with its points for the Pascalian edge of the cosmic sphere, piercing the infinity like swords of God, while the sun, wandering since eternity, sought exactly the center of its small system, burning everything in its path in a devastating race. that separated continents, unbalanced the axis of rotation of the stars, volcanoes emerged that for millions of centuries were bored in the bowels of the earth and finally exploded like beasts, a stampede of immeasurable buffaloes vomiting the initial red, until God said enough , let’s stop here if what we want is to create a planet.

I leave the ad hoc operating room, pierced and desecrated in my most intimate part, with the order to return tomorrow to be observed by the specialist in the matter, a subject who will apply a device to me that will be called whatever rectoscope you want, but which does not stop be an iron in the ass. At that moment, the guy with the ingrown toenail, resting pitifully on one of his heels, also goes towards the exit. I still haven’t been able to figure out why, I smile at him telling him what a day, right?, at the same time that I walk with a rhythm that María Félix would want, going to meet her lover to kill him with premeditation and treachery.

          Surprisingly, I feel one of the famous stitches and I hold on to my nail to keep from falling, a civil gesture without implications that the guy interprets as love at first sight, another smile escapes me again, an attitude that keeps making things worse and the type – mufa, impotence, pain and disgust through – instinctively raises his bare foot and Bernabé Ferreyra in his most glorious afternoon kicks me in the very center of the ass. For a moment we looked at each other, surprised.

       A second later, the two of us, in unison, gave the initial cry, the call of Indian love, Tarzan sailing from vine to vine and summoning the entire African continent with a voice taken by an untimely cold and immediately we officially began the first world festival of cante jondo, not without qualifying it with calé dance steps, and rabidly modern dance, all by bulerías.

Translation by Stephen A. Sadow

______________________________________________________

Leandro Sarmatz–Escritor e editor brasileiro-judaico/Brazilian Jewish Writer and Editor– “Ariel, Quixote do Holocausto”/”Ariel, Quixote of the Holocausto”– do um conto/Excerpts from a short-Story

Leandro Sarmatz

______________________

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.

____________________________________________

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

________________________________________

__________________________________

___________________________________________________________

Pedro Friedeberg — Artista visual judío-mexicano/Mexican Jewish Artist –El arte excéntrico, absurdo e irreverente/Eccentric, Absurd and Irreverent Art

___________________________________________________________________

Pedro Friedeberg, aunque se nació en Italia, es un artista y diseñador mexicano conocido por su obra surrealista llena de líneas, colores y símbolos antiguos y religiosos. Su pieza más conocida es la “Hand-Chair”, una escultura/silla diseñada para que las personas se sienten en la palma de la mano, usando los dedos como respaldo y reposabrazos. Friedeberg comenzó a estudiar arquitectura pero no completó sus estudios ya que comenzó a dibujar diseños contra las formas convencionales de la década de 1950. Su trabajo llamó la atención del artista Mathias Goeritz, quien lo animó a continuar como artista. Friedeberg se convirtió en parte de un grupo de artistas surrealistas en México que incluía a Leonora Carrington y Alice Rahon, quienes produjeron obras de arte altamente provocativas, rechazando las formas de arte social y político que eran dominantes en ese momento. Desde sus primeras exposiciones individuales a fines de la década de 1950, Friedeberg se ha convertido en uno de los artistas más reconocidos de México, con sus obras de arte surrealistas que se encuentran en las colecciones de prestigiosas galerías y museos de todo el mundo. Frecuentemente conocido como el último gran excéntrico, Friedeberg crea obras absurdas e irreverentes que desafían las convenciones y superan los límites de lo imposible. Friedeberg ha tenido una reputación de por vida de ser excéntrico y afirma que “el arte está muerto porque no se produce nada nuevo”.

Adaptado from Todd Merrill Studio

_____________________________

Pedro Friedeberg, although born in Italy, is a Mexican artist and designer known for his surrealist work filled with lines colors and ancient and religious symbols. His best known piece is the “Hand-Chair” a sculpture/chair designed for people to sit on the palm, using the fingers as back and arm rests. Friedeberg began studying as an architect but did not complete his studies as he began to draw designs against the conventional forms of the 1950s. His work caught the attention of artist Mathias Goeritz, who encouraged him to continue as an artist. Friedeberg became part of a group of surrealist artists in Mexico which included Leonora Carrington and Alice Rahon, who produced highly provocative art works, rejecting the social and political art forms that were dominant at the time. Since his first solo exhibitions in the late 1950s, Friedeberg has become one of Mexico’s most recognized artists, with his surreal artworks found in the collections of prestigious galleries and museums around the world. Often referred to as the last great eccentric, Friedeberg creates absurd and irreverent works that challenge convention and push the limits of the impossible.  Friedeberg has had a lifelong reputation for being eccentric, and states that “art is dead because nothing new is being produced.”

Adapted from Todd Merrill Studio

_______________________________________________________

Obras de Pedro Friedeberg/Works by Pedro Friedeberg

Arte/Art

Encuentro de do mundos, 1987

Isabela la Católica

“ALFABETOS SECRETOS” (2021) TÉCNICA: Serigrafía MEDIDAS: 74 X 74 cm

Birds with Windows1968 acrylic and ink on matboard 20 h × 23½ w in (51 × 60 cm

HAND CHAIR designed circa 1962 gold leaf on carved mahogany

37⅛ x 20¾ x 22½ in. (94.2 x 52.7 x 57.1 cm)

TWO HAND CHAIRS – MAHOGANY

HAND FOOT STOOL. 1995

FRIEZE

_________________________________________________________________________________

Benjamín Galemiri– Dramaturgo y escritor judío-chileno/Chilean-Jewish Playwright and Writer — “Bob Dylan y yo”/”Bob Dylan and Me”

Benjamín Galemiri

___________________________________________________________

Dramaturgo y cineasta chileno de origen judío sefardí. Sus abuelos emigraron de Izmir al remoto Chile a principios de siglo. Galemiri estudió en la Alianza Francesa, luego Licenciado en Filosofía en la Universidad de Chile, y cine en el Instituto Chileno Norteamericano de Cultura. En teatro ha escrito obras que le han dado prestigio internacional y obtenido diversos premios y becas como el Premio Pedro de la Barra, 1977 y 1993; Premio Mejor Texto Teatral del Festival Norteamericano, 1993; Premio Apes al mejor dramaturgo, 1993; Premio Municipal de Literatura, 1994; Beca Fundación Andes, 1994; Beca Fondart 1995 y 1997; Seleccionada en el Salón de Dramaturgia en 1995, 1996 y 1997; Premio del Consejo Nacional del Libro y la Lectura, 1996. Sus obras, llenas de humor, que exploran los temas de los límites del poder de la palabra, las contradicciones del hombre contemporáneo, la eterna lucha entre el hombre y la mujer, el erotismo y la religión, han sido traducidos a varios idiomas, y están siendo representados, leídos y estudiados en otros países del mundo. Entre ellos se encuentran: “Das Kapital”, “El Coordinador”, “El Solitario”, “Un dulce aire canalla”, “El Seductor”, “El falso cielo”, Jethro o el guía de los perplejos”, “El Tratado de los afectos” y “Amor intelectual”. En cine ha escrito guiones y realizado cortometrajes y mediometrajes como: «Un escritor en el andén», «La pareja», «Tráfico-Santiago», «Cautivos de la ciudad», «Los modos del conocimiento», recibiendo entre otras distinciones el Primer Premio Asociación de Productores de Mejor Guión y SECH 1988, Beca Fondart en 1993 y 1994; Premio Ayudas a la Creación Audiovisual Agencia Española de Cooperación 1993 y 1995; Selección Internacional Laboratorio de Guión Sundance Instituto de Cine 1996. Actualmente es profesor de guión en la Escuela de Cine de Chile y dramaturgia en la Maestría en Dirección Teatral de la Universidad de Chile.

__________________________________________________________

Chilean playwright and filmmaker of Sephardic Jewish origin. His grandparents emigrated from Izmir to remote Chile at the turn of the century. Galemiri studied at the French Alliance, then a Bachelor of Philosophy at the University of Chile, and film at the Chilean North American Institute of Culture. In theater he has written works that have given him international prestige and obtained various awards and scholarships such as the Pedro de la Barra Award, 1977 and 1993; Best Theatrical Text Award from the North American Festival, 1993; Apes Best Playwright Award, 1993; Municipal Prize for Literature, 1994; Andes Foundation Scholarship, 1994; Fondart Scholarship 1995 and 1997; Selected in the Playwriting Show in 1995, 1996 and 1997; Prize from the National Book and Reading Council, 1996. His works, full of humor, which explore the issues of the limits of the power of the word, the contradictions of contemporary man, the eternal struggle between men and women, eroticism and religion, have been translated into several languages, and are being represented, read and studied in other countries of the world. Among them are: “Das Kapital”, “El Coordinador”, “El Solitario”, “Un dulce aire canalla”, “El Seductor”, “El falso cielo”, Jethro o el guía de los perplejos”, “El Tratado de los afectos” y “Amor intelectual”. In cinema, he has written scripts and made short and medium-length films such as: «A writer on the platform», receiving among others distinctions the First Prize Best Script Producers Association and SECH 1988, Fondart Scholarship in 1993 and 1994; Aid Award for Audiovisual Creation Spanish Agency for Cooperation 1993 and 1995; International Selection Script Laboratory Sundance Film Institute 1996. He is currently a screenplay professor at the Chilean Film School, and dramaturgy in the Master’s Program in Theater Directing at the University of Chile.

____________________________________________________________________________________________

Benjamín Galemiri Bob Dylan

________________________________________

Galemiri y Zimmy: El escritor judío-chileno charla con el escritor norteamericano

Hace pocos días, estaba disfrutando de una residencia de autor en el atragantado París. Precisamente, estaba escribiendo en el café de los cafés de París -el Café de la Paix- cuando una alarma de redes sociales me comunica un hecho bíblico que venía esperando ansiosamente: El Nobel para Bob Dylan. Para mí, en términos patéticos, es como un Nobel para Galemiri. En mi mente, yo me he ganado todos los premios: el de Cannes, el de Leipzig, y ahora el Nobel. La inconmensurable y plena sensación interior que recibí con ese anuncio, que me pasa siempre con mis hiper-admirados padres espirituales -que para mí son amados padres antes que los biológicos, porque quienes me moldearon son mi ”familia cultural antes que la genital”- me llevó por un sendero incendiario interior, poderoso, como una descarga atómica. “You can call me Zimmy”, dice el gran profeta Dylan, en una de sus gigantescas canciones. Zimmy, un diminutivo de su verdadero apellido Zimmerman. Sí, “Zimmy, nos ganamos el Nobel”, dije patéticamente.

Bromista y juguetón, esta arrolladora noticia me llega en medio de un París inusualmente caluroso, hago algo que muy pronto se me hizo sistema. Respondí con más trabajo, como enseña Dylan, y como inexpugnable respuesta de “Zimmy” a este pluscuamperfecto premio: opté por el silencio. Se dice que él aún no se entera, o que no le interesa, o que simula su éxtasis. Se dicen siempre cosas geniales, chistes dylanescos. O que la Academia solo se ha comunicado con su agente y que Zimmy sigue con su gira eterna que inició en 1987 y que continúa cerca de los ochenta años sin parar. Mi mail comenzó a inundarse de correos de amigos que conocen mi pasión por el genial cisne de Norteamérica, porque así como Shakespeare, Zimmy es el cisne de Avon. Pero yo seguí con la estética espiritual de esta noticia, como “Boby”, en silencio.

Estaba, entonces, en medio del Café de la Paix, el epicentro de la intelectualidad francesa por años, mientras conversaba con una exnovia parisina, que había llegado corriendo guitarra en mano (era buena ella en eso de los covers). Y comencé a repasar con ella las puntas piramidales del enigmático Zimmy. Y el elegante Café la Paix respetó este instante de dedicación de Constance, aunque indudablemente estaba lleno de cuarentones, cincuentones y sesentones, y el ambiente se puso un poco post-hippie, lo que es un asco. Luego de esta noticia, mi obra parecía comandada por “Boby”, y de pronto Constance, me besa y yo también, un millar de lenguas en cada paladar, otro homenaje al sentido de abismo de la poesía/ musical de Dylan, el deseo, y naturalmente al final la meditación sobre la condición humana. Claro que la respuesta es el silencio. Y el honor no es para Zimmerman, sino para la Academia: hacía tiempo que ellos necesitaban un golpe “ultra sexy” a su poco desgastada institución.

Ya no nos quedan premios para el gigante magnético. ¿Presidente de los Estados Unidos?, ¿y para qué? En todo caso, Zimmy lo haría bien. Y, naturalmente, el camino de este artista, de esta especie de investigador físico, va a una velocidad crucero hacia otra dirección.

***

“Te ganaste el Nobel, Boby”. ¿Qué responderá este proto-hombre? Lo que sea lo denigra. El silencio es la gran respuesta. Ese gesto, frente a este premio de la sociedad mundial neocapitalista, no tiene el significado ni la forma de cómo él lo toma. “Dios es bueno”, como dice el socarrón, pero creyente cineasta judío norteamericano Mel Brooks. Claro que Zimmy es el más alto de todos, como dice el otro gran cantautor canadiense Leonard Cohen, y seguimos su inabarcable producción como se sigue a un gran predicador. La mañana parisina arrasaba con un “a plein soleil” (a pleno sol) y seguían los franceses elogiando a quienes ellos también aman. Cuántos significados tendrá este gesto, no el del Premio Nobel, sino la respuesta como silencio. Observo a Constance “demarrer” (arrancar) “Like a Rolling Stone”. Y esta mezcla de felicidad por el padre espiritual y la presencia de tan linda exnovia en medio del Café de la Paix, son el mejor regalo de mi residencia. A partir de ahora, nada de lo que haré tendrá comparación. Quizá si me esforzara un poquito más, podría ser Constance. Al final, las mujeres siempre terminan ganando.

Ya habrá tiempo de hacerle una y otra vez el amor a esa hermosura gala en la noche, en la continuación de las celebraciones. Por ahora me vuelvo a quedar solo, como es mi marca de fábrica, y mi escrito que estaba enrevesado se comienza a limpiar y recorro las carreteras de mi propia creatividad de “celebridad menor”, como me dijo una vez una de mis exnovias entre tierna y burlona.

***

Premio Nobel de Literatura para Bob Dylan y la respuesta que se da a esta disyuntiva shakesperiana, es el inconmensurable silencio.

Ahora que he vuelto a mis cafés santiaguinos (minis La Paix), mi respuesta al significado del silencio fue el sexo cabalístico con Constance. Al final, con ella averigüé que la respuesta era la pregunta ¿por qué el silencio? y penetrarla con su suave aullido de animalita: ¿Será ese el cabalístico sonido del acero del que hablaba Dylan y que todos buscamos desaforadamente?

Ahora callo. Prosigo mi vigorosa escritura en el mini café la Paix chileno -el atosigante Tavelli del ignoto Drugstore- luego de mi cómico/ existencial viaje a mi París, capital del amor y ahora de Dylan. Antes de iniciar mi vuelta, con Constance levantamos las copas y brindamos por Robert Allen Zimmermann.

_______________________________

___________________________________________________________________________

Benjamín Galemiri Bob Dylan

______________________________________________________________

Galemiri y Zimmy: The Chilean-Jewish writer chats with the American Writer

A few days ago, I was enjoying an author’s residency in choked up Paris. Precisely, I was writing in the café of the cafés in Paris -the Café de la Paix- when an alarm on social networks communicated to me a biblical fact that I had been anxiously waiting for: The Nobel for Bob Dylan. For me, in pathetic terms, it’s like a Nobel for Galemiri. In my mind, I have won all the prizes: the one in Cannes, the one in Leipzig, and now the Nobel. The immeasurable and full internal sensation that I received with that announcement, which always happens to me with my hyper-admired spiritual parents – who for me are beloved parents before my biological ones, because those who shaped me are my “cultural family before my genital one” – I led by an internal incendiary path, powerful, like an atomic discharge. “You can call me Zimmy”, says the great prophet Dylan, in one of his gigantic songs. Zimmy, a diminutive of his real last name Zimmerman. Yes, “Zimmy, we won the Nobel,” I said pathetically.

Joking and playful, this overwhelming news comes to me in the middle of an unusually hot Paris, I do something that very soon became systemic. I responded with more work, as Dylan teaches, and as “Zimmy’s” impregnable response to this pluperfect award: I opted for silence. It is said that he still does not find out, or that he is not interested, or that he simulates his ecstasy. Great things are always said, Dylanesque jokes. Or that the Academy has only communicated with his agent and that Zimmy continues with his eternal tour that began in 1987 and continues for almost eighty years without stopping. My email began to flood with emails from friends who know my passion for the great swan of North America, because just like Shakespeare, Zimmy is the swan of Avon. But I continued with the spiritual aesthetic of this news, like “Boby”, in silence.

* * * * *

I was, then, in the middle of the Café de la Paix, the epicenter of the French intelligentsia for years, while I was talking with an ex-girlfriend from Paris, who had come running guitar in hand (she was good at covers). And I began to review with her the pyramidal tips of the enigmatic Zimmy. And the elegant Café la Paix respected this moment of dedication from Constance, although it was undoubtedly full of forties, fifties and sixties, and the atmosphere got a little post-hippie, which sucks. After this news, my work seemed commanded by “Boby”, and suddenly Constance kisses me and so do I, a thousand tongues on each palate, another tribute to the sense of abyss in Dylan’s poetry/musical, desire, and naturally at the end the meditation on the human condition. Of course the answer is silence. And the honor goes not to Zimmerman, but to the Academy: They’ve long needed an “ultra-sexy” punch at their little-worn institution.

*****

We no longer have prizes left for the magnetic giant. President of the United States? And for what? In any case, Zimmy would do well. And, naturally, the path of this artist, of this kind of physical researcher, goes at a cruising speed in another direction.

“You won the Nobel, Boby.” What will this proto-man answer? Whatever denigrates it. Silence is the great answer. That gesture, in front of this prize of the neocapitalist world society, does not have the meaning or the way he takes it. “God is good”, as the sarcastic says, but the American Jewish filmmaker Mel Brooks. Of course, Zimmy is the tallest of all, as the other great Canadian singer-songwriter Leonard Cohen says, and he follows his endless production as one follows a great preacher. The Parisian morning swept away with an “a plein soleil” (full sun) and the French continued to praise those they also love. How many meanings will this gesture have, not that of the Nobel Prize, but the response as silence. Watch Constance “demarrer” (start) “Like a Rolling Stone”. And this mixture of happiness for the spiritual father and the presence of such a beautiful ex-girlfriend in the middle of the Café de la Paix, are the best gift of my residence. From now on, nothing will compare. Maybe if I tried a little harder, it could be Constance. At the end, the women always end up winning.

There was still time to make love again and again to this beautiful gala in the night, in the continuation of the celebrations. For now I go back to being alone, as is my fabric’s brand, and my writing that was convoluted begins to clean up and I go down the highways of my own creativity of “minor celebrity.” as one of my ex-girl-friends once said to me, half tender, half joking.

The Nobel Prize for Literature for Bob Dylan, and the answer given to this Shakesperean disjunctive, is the incommensurable silence.

Now that I have returned to my Santiago cafes (minus La Paix), my answer to the meaning of the silence was the Cabalistic sex with Constance. Finally, with her I came figured out that the answer was the question, “why the silence?” and to penetrate it with her soft wail of a little animal: Was that the Cabalistic sound of the steel that Dylan spoke and that we all sought excessively?

Now, I shut up. I pursue my vigorous writing in the Chilean mini-cafe La Paix–the pestering Tavelli of the little-known Drugstore–after my comic/existential trip to my Paris, capital of love and now of Dylan. Before initiating my return, with Constance we lift our cups and toast Robert Allen Zimmerman.

Translation by Stephen A. Sadow

_______________________________________________

Un libro de Benjamín Galemiri/A book by Benjamín Galemiri

________________________________________________________________________________

Lilliana Torreh-Bayouth — Jueza y escritora judío-puertorriqueña/Puerto Rican- Jewish Judge and Writer — “Nací en el ala sureste del Aeropuerto”/”I Was Born in the Southeast Terminal of the Airport” — un cuento satírico/a satiric short-story

Lilliana Torreh-Bayouth

Lilliana Torreh-Bayouth nació en Puerto Rico de padres judíos sefardíes. Recibió una Licenciatura en Artes de la Universidad McGill en 1980 y un Doctorado en Jurisprudencia de la Universidad de Texas en 1982. Desde 1987 hasta 1995, la jueza Torreh-Bayouth ejerció su práctica privada en Miami. Antes de esto, trabajó como abogada en las firmas de abogados Greenberg, Traurig, et al., y Finley, Kumble, Wagner, et al., también en Miami. El juez Torreh-Bayouth es miembro del Colegio de Abogados de Florida. Fue nombrada Juez de Inmigración en diciembre de 1995 y sirve en Miami.

_______________________________________________

Lilliana Torreh-Bayouth was born in Puerto Rico of Sephardic Jewish parents. She received a Bachelor of Arts degree from McGill University in 1980, and a Juris Doctorate from the University of Texas in 1982. From 1987 to 1995, Judge Torreh-Bayouth was in private practice in Miami. Prior to this, she worked as an attorney with the law firms of Greenberg, Traurig, et al., and Finley, Kumble, Wagner, et al., also in Miami. Judge Torreh-Bayouth is a member of the Florida Bar. She was appointed as an Immigration Judge in December 1995 and serves in Miami.

___________________________________________

“Nací en el ala sureste del Aeropuerto”

Nací en el ala sureste del Aeropuerto. El aeropuerto consiste en un número infinito de salidas. Cada ala tiene su propio estilo y diseño y sus propios reglamentos. Algunas alas tienen sofás en las salas de espera, otros bancos, otras sillas, otras hamacas, otras butacas o combinaciones de éstos. Las azafatas de cada salida tienen un uniforme distinto y en cada salida se habla un idioma diferente. Además, los reglamentos para anuncios de vuelo son específicos a cada salida; de modo que al anunciar los vuelos que llegan y salen de cada ala se forma una confusión irremediable.

         He recorrido miles de salidas del ala sureste del aeropuerto y algunas del área sur. He aprendido los idiomas de casi todas esas salidas y he tratado de memorizar miles de reglamentos con fin de lograr salir en el vuelo que me lleve a El Destino.

         Tras todos estos años, no he lograr a tiempo a ningún vuelo. En la confusión del ala, no puedo escuchar bien los anuncios del vuelo. Entender las instrucciones se complica porque cada idioma utiliza una expresión distinta para anunciar un mismo evento. Por ejemplo, “el avión va a despegar”, traducido al idioma de la salida 9999 de mi ala, significa, “el avión ya se despegó”. Por culpa de estas idiosincrasias lingüísticas, he perdido muchos vuelos.

         Más complicados aún son los cambios de reglamentación. En una salida la fila para validar el boleto es la roja, pero en salida contigua, puede ser la fila azul. Ya son innumerables las veces que he pasado horas haciendo cola, para luego descubrir que estaba en la fila equivocada y ver partir el vuelo sin poder hacer nada.

         Ha habido otras veces que he acertado en los reglamentos y he logrado montar el vuelo para luego percatarme que era el vuelo equivocado. Tantas veces rogué que detuvieran el avión y me dejaran bajar, pero siempre me hicieron caso omiso a mis súplicas.

         Durante todos esos años, he visto rondar a varios portadores de profecías que deambulaban por las alas del aeropuerto anunciando vuelos que nunca llegaban, o que ya habían partido o señalando con el rumbo equivocado. Por culpa de ellos he perdido incontables días de filas tumultuosas, amotinadas por el afán de montar el vuelo pronosticado sin resultado alguno.

         Sigo sin perder las esperanzas de alcanzar el vuelo. Tengo que alcanzarlo. Me espera mi propio ser.

_____________________________________________________

“I Was Born in the Southeast Terminal of the Airport”

I was born in the southeast terminal of the Airport. The airport consists of an infinite number of gates. Each terminal has its own style and design and its own regulations. Some terminals have sofas in the waiting rooms, others benches, others chairs, others hammocks, others seats or combinations of all these. The staff at each gate have a different uniform and a different language is spoken at each gate. In addition, the regulations for flight announcements are specific to each departure; so that by announcing the flights arriving and departing from each terminal, hopeless confusion is formed.

I have walked thousands of departures from the southeast wing of the airport and a few from the south area. I have learned the languages ​​of almost all those gates and I have tried to memorize thousands of regulations in order to get out on the flight that takes me to Destiny.

After all these years, I haven’t made it to any flight on time. In the confusion of the terminal, I can’t hear the flight announcements very well. Understanding the instructions is complicated, because each language uses a different expression to announce the same event. For example, “the plane is going to take off”, translated into the language of my terminal 9999, means, “the plane has already taken off”. Because of these linguistic idiosyncrasies, I have missed many flights.
Even more complicated are the regulatory changes. At one exit, the line to validate the ticket is the red one, but at the next exit, it can be the blue line. There are countless times now that I have spent hours queuing, only to find out later that I was in the wrong line and watch the flight depart without being able to do anything.

There have been other times that I have been correct in the regulations and I have managed to mount the flight only to later realize that it was the wrong flight. So many times I begged them to stop the plane and let me off, but my pleas were always ignored.
During all those years, I have seen several prophecy bearers wandering the wings of the airport announcing flights that never arrived, or had already departed, or pointed in the wrong direction. Because of them I have lost countless days of tumultuous ranks, mutinous by the desire to mount the predicted flight without any result.

I still do not lose hope of making the flight. I have to make it. My own being depends on it.

Translation by Stephen A. Sadow

Isidoro (Ike) Blaisten (1933-2004) Cuentista y novelista judío-argentino/Argentine Jewish Short-Short-story Writer and Novelist — “Adonai” y otros minicuentos rarísimos /”Adonai” and other very strange mini-short-stories

Isidoro Blaisten

Isidoro Blaisten (Ike). fue escritor y poeta argentino, nacido en Concordia (Entre Ríos), en 1933. Su primera obra fue el libro de poemas Sucedió en la lluvia (1965), sin embargo, nunca volvió a publicar poesía.Su primera colección de cuentos, La felicidad (1969), incluía el humor negro de “El tío Facundo” y el retrato social de “Los tarmas”, donde los miembros de una familia se alimentan de los canapés que sirven en fiestas donde no han sido invitados. Después llegaron La salvación (1972), El mago (1975) y uno de los libros más celebrados, Dublín al Sur (1980). Cerrado por melancolía (1981). Entre sus libros de cuentos fueron: Cuentos anteriores (1982), Carroza y reina (1986) y Al acecho (1995), En sus relatos, Blaisten presenta con gran humor las peculiaridades de la sociedad urbana actual, donde se funde con la ironía y lo crítico para describir las características lingüísticas de sus personajes. Poco antes de su muerte publicó su primera novela, Voces en la noche, Su protagonista es un vendedor de lencería que se convierte en el principal enemigo de una organización decidida a acabar con la literatura. En Anticonferencias (1983), consiguió unir el ensayo y la narrativa. Miembro de la Academia Argentina de Letras y miembro correspondiente de la Real Academia Española, Blaisten recibió, entre otras muchas distinciones, la Faja de Honor de la Sociedad Argentina de Escritores (SADE), el Premio Konex de Platino y el Premio Anual a la Trayectoria Artística del Fondo Nacional de las Artes. Falleció en 2004. Adaptado de Biografías.com

________________________________

Isidoro Blaisten (Ike)was an Argentine writer and poet, born in Concordia (Entre Ríos), in 1933. His first work was the book of poems It happened in the rain (1965), however, he never published poetry again. His first collection of short stories, Happiness (1969), included the black humor of “El uncle Facundo” and the social portrait of “Los tarmas”, where the members of a family eat the canapés that they serve at parties where they have not been invited. Then came Salvation (1972), The Wizard (1975) and one of the most celebrated books, Dublin to the South (1980). Closed for Melancholy (1981). Among his story books were: Cuentos anteriores (1982), Carroza y Reina (1986) and Lurking (1995), In his stories, Blaisten presents with great humor the peculiarities of today’s urban society, where he merges with irony and the critical CCC to describe the linguistic characteristics of their characters. Shortly before his death, he published his first novel, Voices in the Night. Its protagonist is a lingerie salesman who becomes the main enemy of an organization determined to put an end to literature. In Anticonferences (1983), he managed to unite the essay and the narrative. Member of the Argentine Academy of Letters and corresponding member of the Royal Spanish Academy, Blaisten received, among many other distinctions, the Honor Belt of the Argentine Society of Writers (SADE), the Platinum Konex Award and the Annual Lifetime Achievement Award. Artistic of the National Endowment for the Arts. He passed away in 2004. Adapted from Biografías.com

____________________________________________________

Imagino nuestro afecto mutuo nació porque éramos dos muchachos de barrio, con códigos similares. Una vez me contó que, cuando por alguna razón debía alejarse de sus calles amadas, al volver e ir recorriendo esas veredas conocidas los vecinos, a su paso, lo aplaudían. Ya entonces se distinguía su humor ácido e irónico, su caballerosidad pueblerina, su ternura de hermano menor criado por sus cinco hermanas, características que reflejaría  la prosa atrayente y precisa de sus relatos y poesías.  – Ricardo Feierstein, Novelista, poeta, escritor

______________________________________

I imagine that our mutual affection was born because we were two boys from the neighborhood, with similar values. Once he told me that, when, for some reason he had to get away from his beloved streets, when he returned and walked those familiar paths, the neighbors, as he passed, applauded him. Already then his acid and ironic humor was distinguished, his small-town chivalry, the tenderness of his younger brother raised by his five sisters, characteristics that would reflect the attractive and precise prose of his stories and poetry. Ricardo Feierstein, novelist, poet, writer

___________________________________________

___________________________________________

Cuentos raros/Unusual Short Short-Stories

El humor negro de Isidoro Blaisten/The Black Humor of Isidoro Blaisten

______________________________

ADONAI

Adonai iba por el mundo vendiendo las tablas de la

ley.              

Las llevaba sobre el hombro y pregonaba:

–A dié la tabla de la ley, a dié

            Nunca nadie le compró nada.

           Pero cuando murió, un carpintero que también

era hebreo escribió su nombre como escriben los he-

breos, de derecha a izquierda. Nunca nadie alcanzó

a entender que quería decir esa palabra escrita sobre

la losa con el lápiz del carpintero: IANODA.

           Pero eso si: nadie se animó a borrarla. Ni si-

quiera la lluvia.

_______________________________

ADONAI

Adonai went out in the world selling the tablets of the

Law.

           He carried them on his shoulder and proclaimed:

           –For sale, the tablet of the law, for sale.

Nobody ever bought anything from him;

        But when he died, a carpenter who was also

A Hebrew wrote his name as the Hebrews wri-

te, from the right to the left. Nobody ever managed

to understand the meaning of that word written over

the slab with the carpenter’s pencil: IANODA.

                 But this much is true: nobody had the courage to

erase it. Not e-

ven the rain.

__________________

EL BRINDIS

–Señores, es realmente lindo. También sé que es emotivo. Sí, amigos,

quiero decirles que sí, que hoy yo puedo decirles a ustedes: sí, ami-

gos, he crecido. He crecido por qué. Porque me sie-

nto realizado, porque realmente he comenzado a latir

con mi propio pulso, o sea, que, es decir, he tomado

conciencia, esto es, he tomado conciencia, he concien-

tizado Me asumí. ¿Vieron? He concientizado las po-

tencias yoicas. Viste? Asumir la realidad, amigos.

Tal cual. Lo que corresponde. Se terminó para mí

el abismo generacional, la confusión, el estar mal ins-

talado en la vida. Por eso, amigos, mis queri-

dos amigos, levanto mi copa, al cumplir ochenta

y tres años.

____________________

 THE TOAST

“Gentlemen, it’s really nice. I also know that it is moving. Yes, friends,

I want to tell say that yes,  that today I can tell all of you: yes, frie-

nds, I have grown. I have grown, why? Because I fe-

el fulfilled, because really I have begun to beat with my own pulse,

or rather, that is, that, that is to say, I have become aware, that’s it, I ha-

ve raised awareness. I have come to terms with myself. Do you see? I

have become aware of the potential of the ego. Do you see.

To come to terms with reality, friends. As it is. What is fitting. The generat-

ional abysm, the confusion, the malaise installed in life has end-

ed for me. Por that reason, my dear friends,

I raise my cup on turning eighty-three.

____________________

EL MAGO

–Nada por aquí, nada por allá. . . ¡Pero quién fue

el degenerado que me lo cambió de lugar.

__________________

THE MAGICIAN

“Nothing here, nothing there. . .But who was

the degenerate who moved it on me!

__________________

El EQUILIBRISTA

Lo que nunca alcanzó oír el equilibrista, antes de

ponerse a caminar sobre la cuerda floja, fue que en

el poste de la otra punta un peón del circo le dijo

al payaso.

–Pa mí que esta soga ya no da más.

___________________

THE TIGHTROPE WALKER

What the tightrope walker was never able to hear, before

setting out to walk on the slack rope was that at

the post at the other end, a circus worker said to

the clown.

“In my opinion, that rope is worn out.”

_________________________

EL DESARROLLO Y LA FE

Sólo los chicos creen. Pero los chicos creen.

_____________________________

DEVELOPMENT AND FAITH

        Only the children believe. But the children believe.

        _____________________________

MAGNITUDES Y DISTANCIAS

El mundo es ancho y ajeno. La cama es angosta y

nuestra. La cama está aquí no más.

__________________________

MAGNITUDES AND DISTANCES

The world is wide and foreign. The bed is narrow and

ours. The bed is right here.

____________________________

LOS PIES EN LA TIERRA

Él: ¿Cómo está el día? ¿De maravillas, despunta brumoso, hay melancolía. Reverbera? ¿Cómo está el día, che?

        Ella: Todavía no amaneció.

__________________________

FEET ON THE GROUND

He: “How’s the day? Is it of miracles, blunted by fog, is there melancholy, does it reverberate?”

           She: It’s not dawn yet.

_________________________________

EL TIEMPO

El tiempo no tenía tiempo. Corria apuradí-

simo.

–¡Caramba! –meditaba–. Voy a llegar tarde a oficina

otra vez, ¿Qué va a ser de mí,  qué va a

ser de la clepsidra, que va a ser de del nono Chrono, si

me echan? Así razonaba el tiempo colgado al colec-

tivo sesenta.

           Pero he aquí que una diminuta anciana, con cara

de vieja marihuanera que asomaba su rostro mar-

chito por la ventanilla, díjole desde el primer asiento:

–Tiempo al tiempo, hijo mío. No por mucho ma-

drugar se amanece más temprano. Mírame a mí, pe-

queño. Cuando era una mozuela dicharachera y feliz,

en los años twenty, en México, cantaba las mañani-

tas y hoy sólo una pobre mendiga harapienta.

–¡Por favor, señora! –le dijo el tiempo–. Vie-

jos son los trapos. Usted habrá tenido sus buenos fa-

tos. Si se le nota en la cara de picarona.

–Bueno, modestías aparte, hubo un gondolero

veneciano que me quiso poner un bulín.

–¿El de la calle Ayacucho?

–¡Cállese, loco! – contestó la viejita sacando la

mano por la ventanilla y palmeándole el glúteo pos-

terior izquierdo.

           El tiempo se asustó. Con la mente obnubilada cre-

yó que venía el peligro amarillo y se desprendió de

la manija. Lo juntaron con una cucharita. Una cuchari-

ta marca Gamuza que la pobre viejecilla llevaba en

el bolsón.

           Se detuvieron todos los relojes. Varios refranes

dejaron de existir: “El tiempo es oro”. “Todo tiempo

pasado fue mejor”, El tiempo es como el viento,

apaga los fuegos débiles y aviva los fuertes.

           De la Biblia se eliminó Eclesiastés, en la parte

que dice: “Hay un tiempo para todo”.

           Clausuraron el diario El Tiempo.

           Por eso no hay cosa mejor, en los días de estío,

cuando aprieta la canícula y sopla el siroco sobre las

altas torres, que matar a todas las viejitas marahua-

neras, haciéndoles tragar una cucharita marca Ga-

muza. 

______________________________

TIME

Time didn’t have time. He was running hast-

ly.

“Caramba,” he thought. “I am going to arrive late

at the office again. What’s happen to me, what’s going to

be of the hourglass, what’s going to happen to the nerd Chrono, if

they fire me? So thought time, hanging on to the bus, nu-

mber 60.

           But here is a diminutive old lady with the face of

an old marijuana smoker who showed her wizened face thr-

ough the little window. She said to him from the first seat:

           “Take your time, my son. Getting up early doesn’t make

the dawn come sooner. Look at me, little one. When I was happy

and talkative girl, in the twenties. In Mexico, I sang in the morning,

and today I am a poor beggar in rags.

“Please, Señora!” time said to her. The rags are old. You must have

had your good times. It shows in your roguish face.”

“Well, without modesty, there was a Venetian gondolier who

wanted set me up in a place.”

“On Ayacucho Street?”

“Shut up, asshole!” answered the little old lady, pushing her hand out through the little window and patting him on his left, rear gl

-uteus.

           Time was startled. With his mind confused, he believed

that the yellow peril was coming and he let go of the handle. They put him

together in a spoon. A Gamuza brand spoon that the poor little

old lady carried in her satchel.

           All watches and clocks stopped. Several adages ceased to exist:

“Time is money.” “All times past were better,” “Time is like the wind,

it puts out weak fires and strengthens the strong ones.”

           From the Bible, part of Ecclesiastes was eliminated, the part that says:

“There is a time for everything.”

           The shut down the The Times newspaper.

           For that reason, there is nothing better, in the summer days,

when the dog days are uncomfortable and the sirocco blows

over the high towers, than to kill all the little old marijuana smokers

making them swallow a Gamuza brand spoon.

______________________________________

EL ASCETA MENDICANTE

Ya soy asceta mendicante. Me dejé la barba y voy

por las casas solucionando problemas.

  Toco los timbres, golpeo los nudillos, doy alda-

bonazos, y alguna que otra, según las puertas,

la infraestructura y la condición social. Mi tarifa es

dispar y depende de los problemas del epifenómeno.

Tengo un precio para todo. Pero decía Napo-

León, “todo hombre tiene su estipendio”. Yo tengo

el mío. O sea es, esto es:

Complejos de Edipo no clarificados: un sobre de

sopa Royco o una cajita de cuatro caldos en cubo,

amén de cinco patys (por consulta).

Tendencias homosexuales (para varones y mujer-

es): 2 pollos (muertos).

Complejo de abandónico: una caja de postre Exqui-

sita, amén de un paquete de yerba Taragüi (que

es la mejor), o en su defecto dos de Polenta Mágica.

  Y así sucesivamente, timbrazo por aquí, aldabo-

nazo por allá, golpeteo por acullá, recorro com alto

espíritu las unidades de vivienda.

  A veces, cuando en núcleo habitacional no hay

aldabones, ni timbres, ni superficie alguna sobre la

cual golpetear, pongo las manos al costado de mi bo-

ca a guisa de altoparlante, megafone, baffle o reper-

cutor y grito:

  –¡Eeeech, de la casa!. . .

  No sé qué ven  en mi cara. Pero todas las señoras

me hacen pasar.

  “Dites mois”, le digo en francés. o “Tell me”, en

inglés, “tu trauma, por favor”.

         Barrunto que algo en mí, algo que tengo yo

las señoras también lo barruntan. Y si no lo ba-

rruntan, extiendo los dedos de sendas manos como

sarmientos secos o plegarias petrificadas. No en un

gesto de ruego o imploración, no. Sucede que me ven

como la conciencia de su propio mensaje de bruja,

su necio destino. La vida que se va y los complejos

que quedan. Entonces confían en mí.

  Sé que pasarán mucho más de treinta años hasta que yo sea comprendido.

Pero las señoras saben. ¡Caray, si saben!

  Y yo seguiré peregrinado. Pasaré junto a los

cercos y a los abetos, junto a las explanadas y gra-

derías, junto  las setas y las empalizadas, pregun-

tando, inquiriendo junto a cada rostro socavado por

la desdicha: ¿se siente usted realizada?

  Ahora, aquí, cabe el recuerdo para la primera se-

ñora que rescaté.

  Fue en las postrimerías de un octubre somno-

liento. Por entonces los álamos eran jóvenes y las

torcazas iniciaban su vuelo equinoccial.

  Preguntada si se sentía realizada, respondió que:

no. La paciente presentaba su cuadro maníaco-de-

presivo con síntomas de angustia.

  Casada, dos hijos, 14 y 10, el nivel socioeconómico era de alta

clase media y su marido realizaba frecuentes viajes al interior.

  Se comenzó la terapia un mes después, un desesperado

noviembre. Se fijaron los horarios en dos frascos de zapallos en almíbar.

De acuerdo, dijo ella, pase.

  Hoy en día la señora (la denominaremos N.N.)

se siente realizada, ha suspendido las prácticas de la

masturbación y su ánimo, ayer contrito, ha movibili-

zado sus defensas y se nota mayor preocupación por

los problemas societarios.

  Una luz nueva habita en su alma como una golon-

drina para siempre.

  Y en mi alacena, de su duelo tal vez olvidada, se

divisan las torres de cristal de los altos frascos, de

los altos zapallos, de los altos almíbares.

_________________________________                

THE ASCETIC MENDICANT

I am an ascetic mendicant. I let my beard grow and I go to house, solving problems.

           I push door bells, I hit the small knobs, I make loud kno-

ks, and once in a while, according to the type of door, the infrastructure

and the social level. My fee is inconsistent and depends upon the problems of the epiphenomenon.

I have a price for everything. But said Napo-

leon said, “Every man has his price.” I have mine. Or in other words, this is it:

Unresolved Oedipus complex: a packet of Royco soup or a

small box of four dried soups in cubes, as well as five crackers (for each consultation).

Homosexual tendencies (for men and women): two chickens (dead).

Abandonment complex: a box of Exquista dess-

ert, and also a packet of Taragüi mate

(which is the best) or lacking that, two of Polenta Mágica.

And, so, successively, a loud doorbell here, hard knocking there, banging

over there, I go around in high spirits the units of the building. At times, when in

the habitational nucleus, there are no door-knockers or doorbells

or any outside area on which to pound, I put my hands around my mouth

as a sort of loudspeaker, megaphone or baffle or repeater and I shout:

           “Eeech, you at home!. . .

           I don’t know what they see in my face. But all the señoras let me in.

“Dites mois”, I say to her in French. o “Tell me.” in English,

Your trauma, please.”

           I sense that something in me, something that I have, the señoras also sense.

And if they don’t sense it, I extend my fingers from straightened hands like

dry shoots or petrified prayers. Not in a gesture of begging or imploring, no.

It happens that the see me as the conscience of  their own message

of witchcraft, their stupid destiny. Live goes on and the complexes stay,

Then, they trust me.

           I know that many more than thirty years will pass until I am understood.

But the señoras know. My God, they know!

           And I will continue proclaiming. I will pa-

ss near the fences and the fir trees, near the esplanades and stands and

fences, asking, inquiring near each face, digging for the misfortune: “do you feel yourself

to be fulfilled?

           Now, here, brings back the memory of the first señora that I rescued.

It was in the last days of a sleepy October. In those days,

the poplars were young and large doves we-

re beginning their equinoctial flight.

           Asked if she felt fulfilled, she responded: no. The patient presented

manic-depressive case with symptoms of anxiety.

           Married, two children, 14 and 10, her socioeconomic level was upper

middle class and her husband made frequent trips to the interior of the country.

           Her therapy began a month later, a desperate November.

We set the schedule in return for two jars of squash in syrup. Okay, she said, come in.

           These days the señora (let’s call her N.N.) feels fulfilled. She has stopped her

practice of masturbation, and here spirit, before contrite, ha-

s mobilized her defenses and new she shows more interest in societal problems.

           A new light inhabits her soul as if it were a perpet-

ual dove.

           And in my cupboard, her grief perhaps forgotten, one sees the towers of crystal of the tall jars, of the tall squash, of the tall syrups.

Translations by Stephen A. Sadow

________________________________________________________

Libros de Isidoro Blaisten/Books by Isidoro Blaisten

____________________________________________________________