Samuel Rawet ( 1929-1984) Contista judaico brasileiro/Brazilian Jewish Short-Story Writer– “O profeta”/”The Prophet” — conto de importȃncia histórica/short-story of historical importance

       

Samuel Rawet

________________________________

_________________________________________

Aclamado como um pioneiro da moderna literatura judaico-brasileira, Samuel Rawet escreveu contos e romances que exploraram temas de alienação e deslocamento. Nascido perto de Varsóvia, na Polónia, Rawet fez do Brasil, país católico romano, o seu lar adoptivo, mas a sua escrita revela um forte sentido de alteridade dentro desta sociedade mais ampla. Rawet mudou-se para o Brasil aos sete anos. Engenheiro formado, morou no Rio de Janeiro até 1957, quando se mudou para a nova capital nacional, Brasília, para ajudar a projetar e construir sua infraestrutura. Sua vida foi isolada; o escritor morava sozinho e raramente viajava. Sua primeira coletânea de contos, Contos do Imigrante, é considerada um marco. As histórias de Rawet não apenas introduzem temas da experiência judaica no Brasil, mas também usam esses temas para desafiar a ideia comum do Brasil, ou mesmo de toda a América Latina, como uma entidade cultural única. Como observou seu tradutor inglês Nelson H. Vieira, ” Rawet” questiona o comportamento demonstrado em relação a alguns ‘outros étnicos’, que não refletem a cultura predominantemente cristã do Brasil e seus costumes tradicionais. Em outras palavras, no nível estrutural profundo, as histórias de Rawet abordam as dificuldades de conciliar as crenças e a cultura judaicas com as normas nacionalistas e culturais brasileiras.”

_______________________________________

__________________________

Toda as ilusões perdidas, só lhe restara mesmo aquele gesto. Suspenso já o passadiço, e tendo soado o último apito, o vapor levantaria a âncora. Olhou de novo os guindastes meneando fardos, os montes de minérios. Lá embaixo correrias e fugas estranhas. Pescoçoa estirados em gritos para os que o rodeavam no parapeito do convés. Lenços. De longe o buzinar de automóveis a denunciar a vida que continuava na cidade que estava agora abandonando. Pouco lhe importavam os olhares zombeteiros de alguns. Em outra ocasião sentir-se-ia magoa­ do. Compreendera que a barba branca e o capotáo além do joelho compunham urna figura estranha para eles. Acostumara-se. Agora mesmo ririam da magra figura toda negra, exceto o rosto, a barba e as mios mais brancas ainda. Ninguém ousava, entretanto, o desafio com os olhos que impunham respeito e confiavam um certo ar majestoso ao conjunto. Relutou com os punhos trançados na remora a fuga de seu interior da serenidade que até ali o trouxera. Ao apito surdo teve consciência plena da solidei-o em que mergulhava. O retomo, única saída que encontrara, afigurava-se lhe vazio e inconsequente. Pensou, no momento de hesitação, ter agido como criança. A ideia que se fora agigantando nos últimos tempos e que culminara com a sua presença no convés tinha receio de vela esboroada no instante de dúvida O medo da solidão aterrava-o mais pela experiencia a querida no contacto diário coma morte. Em tempo ainda de em o passadio, por favor, de em!…

A figura gorda da mulher a seu lado girou ao ouvi ou ao julgar ouvir, as palavras do velho.  

       -O senhor falou comigo?

Inútil. A barreira da língua, sabia-o, não ilhe permitiria mais nada. O rosto da mulher desfigurou-se com a negativa e os olhos de súplica do velho. Com exceção o recurso mesmo seria a mímica e isso! hei acentuar a inutilidade que o dominava. S6 então percebeu que murmurara a frase, e envergonhado fechou os olhos.

    -Minha mulher, meus filhos, meu genro.

Aturdido mirava o grupo que ia abrasando e beijado, grupo estranho (mesmo o irmão e os primos, na fossem as fotografias remetidas antes ser-lhe-iam estranhos, também), e as lágrimas que então rolaram não e de ternura, mas gratidão. Os mais velhos conheceram-no. quando crianças. O próprio irmão havia trinta anos e pouco mais que um adolescente. Aqui se casara, tive filhos e filhas, e casara a filha também. Nem recolhido as molas macias do carro que o genro guiava cessaram de correr as lágrimas. As perguntas em assalto respondiam com gestos, meias-palavras, ou então com o silencio. O corpo magro, mas rijo, que apesar da idade produzira trabalho, e garantira sua vida, oscilava com as hei situações do tráfego, e a vista nenhuma vez procurou paisagem. Mas parecia concentrar-se como que respondendo a avalanche de ternura. O que! hei ia por dentro seria impossível transmitir no contacto superficial que iniciava agora. Deduziu que seus silêncios eram constrangedores. Os silêncios que se sucedi aquesto ­ rio sobre si mesmo, sobre o que mais terrível experimentara. Esquecer o acontecido, nunca. Mas como amesquinhá-lo, tirar-lhe a essência do horror ante urna mesa bem-posta, ou um chá tomado entre finas almofadas e macias poltronas? Os olhos ávidos e inquiridores que O rodeavam não teriam ouvido e visto bastante para também se horrorizarem e com ele participar dos silêncios? Um mundo só. Supunha encontrar aquém-mar 0 conforto dos que como ele haviam sofrido, mas que0 acaso pusera, marginalmente, a salvo do pior. E conscientes disso partilhariam com ele em humildade o en­contro. Vislumbrou, porém, um ligeiro engano-o apartamento ocupado pelo irmão ficava no último andar do prédio. A varanda aberta para o mar recebia a noite o choque das ondas com mais furor que de dia. Ali gostava de sentar-se (voltando da sinagoga após a prece noturna) com o sobrinho-neto no colo a balbuciarem ambas as coisas não sabidas. Os dedos da criança embarcavam-se na barba e as vezes tenteavam com forca urna ou outra mecha. Esfregava então seu nariz duro ao. arredondado e cartilaginoso e riam ambos um riso solto e sem intenções. Entretinham-se até a hora em que o irmão voltava e iam jantas.

Nas primeiras semanas houve alvoroce o e muitas casas a percorrer, muitas mesas em que comer, e em todas revoltava-o o apecto de coisa curiosa que assurgia. Com o tempo, arrefecidos os entusiasmos e a curiosidade, ficara só com o irmão. Falar mesmo só com este ou a mulher. Os outros quase não o entendiam, nem os sobrinhos, muito menos o genro, por quem principiava a não trair antipatia.

          Aí vem o “Profeta”!

Mal abrira a porta, a frase e o riso debochado de genro surpreenderam-no. Fez como se não tivesse no do o constrangimento dos outros. Atrasara-se no caminho da sinagoga e eles já o esperavam a mesa. De ré! céu, percebeu o olhar de censura do irmão e o risco do de um dos pequenos. Só Paulo (assim batizaram neto, que em realidade se chamava Pinkos) agitou as más num blá-blá como a reclamar a brincadeira perdida. Mudo, depositou o chapéu no cabide, ficando só coma preta de seda. Da lingua nada havia ainda aprendido. Mas, observador, se bem que não arriscasse, consegue por associação gravar alguma coisa. E o “profeta” que o riso moleque lhe pespegara a entrada, ia-se tornando familiar. Seu significado não o atingia. Pouco improva, no entanto. A palavra nunca andava sem um o irónico, urna ruga de riso. No banheiro (lavava as mãos recordou as inúmeras vezes em que os mesmos sons foram pronunciados a sua frente. E Iigou cenas. Do fundo boiou a lembrança de coisa análoga no templo.

O engano esbozado no primeiro dia acentuava-se. A sensação de que o mundo deles era bem outro, de que não participaram em nada do que fora (para ele) a noite horrível, ia se transformando lentamente em objeto con. ciente. Eram-lhe enfadonhos os jantares reunidos no. quais ficava a margem. Quando as crianças dormiam outros casais vinham conversar, apalermava-se com a toda palestra, as piadas concupiscentes, as cifras sem jogadas, a propósito de tudo, e, a vezes, sem nenhum.

      A guerra o despojara de todas as ilusãos anteriores e afirmara-lhe a precariedade do que antes era sólido. Só ficara intacta sua fé em Deus e na religião, tão arraiga­ da, que mesmo nos transes mais amargos conseguira expulsar. (Já o tentara, reconhecia, em vão.) Nem bem se passara um ano e tinha a sua frente numa monótona repetirão o que julgava terminado. A situação parasitária do genro despertou-lhe ódio, e, a muito custo, dormitou-o. Vira outras mãos em outros acenos. E as unhas não tratadas e os anéis, e o corpo roliço e o riso estúpido e a inutilidade concentravam a revolta que era geral. Quantas vezes (meia-noite ia longe) deixava-se esquecer na varanda com o cigarro aceso a ouvir numa fala bilíngue risadas canalhas (para ele) entre um cartear e outro.

–  Então é isso?

Os outros julgariam caduquice. Ele bem sabia que não. O monólogo fora-lhe útil quando pensava endoidar. Hoje era hábito. Quando só, descarregava a tensão urna que outra frase sem nexo senão para ele. Recordava-se que um dia (no início, logo) esborrara em meio a alguma conversa um tênue protesto, dera um sinal fraco de revolta, e talvez seu indicador cortasse o ar em acenos carregados de intenções. O mesmo na sinagoga quando a displicência da maioria tumultuara urna prece.

– Esses gordos senhores da vida e da fartura nada tem a fazer aqui – murmurara algum dia para si mesmo. Talvez daí profeta. (Descobrira, depois, o significado.)

Pensou em alterar um pouco aquela ordem e principiou a narrar o que havia negado antes. Mas agora não parecia interessar-lhes. Por condescendência (não compreendiam o que de sacrifício isso representava para ele ouviram-no de as primeiras veres e não faltaram lágrima nos olhos das mulheres. Depois, botou-lhes aborreci-me tão, enfado, pensou descobrir censuras em alguns olhar e adivinhou frases como estas: “Que quer com tudo só? Por que nos atormenta com coisas que não nos d’ rem respeito?” Havia rugas de remorso quando reco davam alguém que ilhes dizia respeito, sim. Mas era rápidas. Sumiam como um vinco em boneco de borracha. Não tardou que as manifestações se tornassem abetas, se bem que mascaradas.

      -O senhor sofre com isso. Porque insiste tanto calou. E mais que isso, emudeceu. Pouca veres Ilhe ouviram a palavra, e não repararam que se ia colocam numa situação marginal. Só Pinkos (ele assim lo chamaba) continuava a transitar sua barba, esfregar o nariz, contar histórias intermináveis com seus olhos redondo. Inutilidade.

O mar trazia lembranças tristes e lançava incógnitas. Solidão sobre solidão. Interrogava-se as veres, sobre sua capacidade de resistir a um meio que não e mais o seu. Chiados de ondas. Um dedo pequeno me grulhado em sua boca e um riso ao choque. Riso sacudi do. Poderá condenar? Não, se fosse gozo após a tormenta. Não, não poderia nem condenar a si mesmo se por qualquer motivo aderisse, apesar da idade. Mas os ou três? Cegos e surdos na insensibilidade e autossuficiência! Erguia-se então. Caminhava pelos cómodos, perscrutando no conforto um contraste que sabia de antemão não existir. Aliciava argumentos contra si mesmo inutilmente. E do fundo um gosto amargo, decepcionante. Os dias se acumulavam na rotina ele há era penosa a estado os sábados na sinagoga. O livro de orações aberto (desnecessário, de cor murmurava todas as preces) fechava os olhos as intrigas e se punha de lado, sempre de lado. No caminho admirava as cores vistosa das vitrinas, os arranha-céus se perdendo na volta do pescar o .incessante arrastar de automóveis. E nisso tudo lhe pesava a solidão, o estado de espírito que não encontrara afinidade. Soube ser recente a fortuna do irmão.

Numa pausa contara-lhe os anos de! uta e subúrbio, e triunfante, em gestos largos, concluía pela segurança atual. Mais que alaotaras sensações essa ecoou fundo. Concluiu ser impossível a afinidade, pois as experiencias eram opostas. A sua, amarga. A outra, vitoriosa. E no mesmo intervalo de tempo!? Deus, meu Deus! As noites de insônia sucederam-se. Tentou concluir que um sentimento de veja carregava-lhe o ódio. Impossível. Honesto consigo mesmo entreviu sem forcas essa conclusão. E suportou o oposto, mais difícil. As formas na penumbra do quarto (dormia com o neto) compunham cenas que não esperava rever. Madrugadas horríveis e ossadas. Rostos.de angústia e preces evolando das cinzas humanas. As feições da mulher apertando o xale no último instante, onde os olhos, onde os olhos que mudos traíram o grito animal? Risada canalha. Carteado. Cifras. Olha o “profeta” aí! E caras de gozo gargalhando do capote suspenso na cadeira. Impossível.

Gritos amontoados deram-lhe a notícia da saída. Olhou o cais. Lentamente a faixa d’água aumentava aos acenos finais. Retesou todas as fibras do corpo. Quando voltassem da estação de águas encontrariam a esta sobre a mesa. E seriam inúteis os protestos, porque tardios. Aproveitara a duas semanas de ausência. O suporte de turista (depois pensavam em tomá-lo pernente) facilitara-lhe o plano. O dinheiro que possessgotou-se a compra da passagem. Regresso. A empegada estranhou um pouco ao vê-lo sair com a mala. juntou o fato afigura excêntrica que no início! Ihle dirá um pouco de medo. Planos? Não os tinha. La a nas em busca da companhia de semelhantes, semelhe-te, sim. Talvez do fim. As energias que o gesto e agiu esgotaram-no, e a fraqueza trouxera hesitações. E te o irremediável os olhos frustrados dilataram-se na sia de travar o pranto. Miúda, já, a figuras acenando. O fundo montanhoso, azulando num céu de meio dia. Blocos verdes de ilhotas e espumas nos sulcos dos lanchãoes. (Há sempre gaivota. Mas não conseguiu lá.) Novamente os punhos cerrando e trançando, as te porás apoiadas nos brazos, e a figura negra, em for de gancho, trepidando em lágrimas.

_______________________________________________________

_________________________________________________

All illusions lost all, all he had left was that gesture. With the bridge already suspended, and the last whistle having sounded, the steamer would raise the anchor. He looked again at the cranes moving bales, the piles of ore. Down there, strange runs and escapes. His neck stretched out in yelling to those around him on the deck railing. Scarves. From afar, the honking of cars denouncing the life that continued in the city that he was now abandoning. He didn’t care much about the mocking looks of some people. Another time he would feel hurt. He understood that the white beard and the overcoat above the knee made for a strange figure for them. He got used to it. Right now, they would laugh at the thin figure, all black, except for the whiter face, beard and hands. However, no one dared the challenge the eyes that commanded respect and gave a certain majestic air to the whole. With his fists tightened and braided in remorse, he resisted escaping from his inner serenity, that had brought him there. At the dull whistle he was fully aware of the solidity he was diving into. The return, the only way out he had found, seemed empty and inconsequential. He thought, in the moment of hesitation, that he had acted like a child. The idea that had been growing in recent times and that had culminated in his presence on deck was a fear of a shattered sail in the moment of doubt. The fear of loneliness terrified him more because of his experience in daily contact with death. There’s still time to get to the walkway, please, get to it!… The fat figure of the woman at his side turned as she heard, or thought she heard, the old man’s words.

            -Did you speak to me?

            Useless. The language barrier, he knew, would not allow him anything else. The woman’s face was disfigured by the old man’s denial and pleading eyes. With the exception of the resource itself would be mime and that! I will accentuate the uselessness that dominated him. He then realized that he had mumbled the phrase, and in shame he closed his eyes.

    -My wife, my children, my son-in-law.

In the first weeks there was excitement and many houses to visit, many tables to eat at, and in all of them he was revolted by the appearance of some curious thing that appeared. Over time, as his enthusiasm and curiosity cooled, he was left alone with his brother. Talk only to this person or the woman. The others hardly understood him, not even his nephews, much less his son-in-law, for whom he began to show no antipathy.

Here comes the “Prophet”!

As soon as he opened the door, his son-in-law’s mocking laugh and statement surprised him. He acted as if he didn’t care about other people’s embarrassment. He was late on the way to the synagogue and they were already waiting for him at the table. Back up! Heaven, he noticed his brother’s look of reproach and the risk of one of the little ones. Only Paulo (that’s how they named his grandson, who was actually called Pinkos) made a fuss about it, as if to complain about the lost joke. Mute, placed his hat on the hanger, keeping only the black the silk kippah. He had not yet learned anything about language. But, as an observer, although he didn’t take any risks, he manages, by association, to record something. And the “prophet” that the kid’s laughter had spit out at him at the entrance, was becoming familiar. The kid had caught him at the entrance; it was becoming familiar. Its meaning didn’t reach him. It was hardly surprising, however. The word was never without an ironic edge, a laugh line. In the bathroom (he was washing his hands) he remembered the countless times he the same sounds were uttered in front of him. And he saw scenes. From the background floated the memory of a similar thing in the temple.

The deception outlined on the first day became more accentuated. The feeling that their world was very different, that they had not participated in anything in what had been (for him) the horrible night, slowly transforming into a conscious object. aware. Diners at dinner were boring to him, the limit of what he could take. When the children were asleep, other couples came to talk, they were amazed by all the talk, the concupiscent jokes, the numbers without plays, about everything, and, sometimes, about none.

The war had stripped him of all previous illusions and confirmed the precariousness of what was once solid. Only his faith in God and religion remained intact, so deep-rooted that even in the most bitter moments he didn’t manage to expel it. (He had already tried, he admitted, in vain.) Barely a year had passed, and he had in front of him a monotonous repeat of what he thought was finished. His son-in-law’s parasitic situation aroused hatred in him and, at great cost, put him to sleep. Turn other hands in other waves. And the untreated nails and the rings, and the plump body and the stupid laughter and uselessness concentrated the general revolt. How many times (midnight was long gone) would he let himself forget on the balcony, with a lit cigarette listening to scoundrel laughter (for him) in bilingual speech between one card game and another.

–  Then that’s it?

Others would judge it as obsolete. He knew better than that. The monologue had been useful when he was thinking about going crazy. Today it was habit. When alone, he released the tension with just another phrase, meaningless except for him. He remembered that one day (at the beginning, of course) he had blurted out a faint protest in the middle of some conversation, he had given a weak sign of revolt, and perhaps his index finger cut the air in waves full of intentions. The same in the synagogue, when the negligence of the majority had disrupted a prayer.

– These fat lords of life and plenty have nothing to do here – he had once muttered to himself. Maybe hence prophet. (I later discovered the meaning.)

He thought about changing that order a little and began to narrate what he had previously denied. But now it didn’t seem to interest them. Out of condescension (they didn’t understand what a sacrifice this represented for him), they heard it the first time they saw it and there was no shortage of tears in the women’s eyes. like these: “What do you want with everything alone? Why do you torment us with things that don’t give us any respect?” There were wrinkles of remorse when they recognized someone who concerned them, yes. But they were quick. They disappeared like a crease on a doll. It wasn’t long before the demonstrations became loud, albeit masked.

– You suffer from this. Why do you insist so much? And more than that, he was silent. Shortly after one am, they heard the word, and didn’t notice that they were putting themselves in a marginal situation. Only Pinkos (as he would call it) continued to groom his beard, rub his nose, tell endless stories with his round eyes. Uselessness.

The sea brought back sad memories and raised questions. Loneliness about loneliness. He often questioned himself about his ability to resist an environment that was no longer his own. Waves hiss. A small finger stuck in his mouth and a shocked laugh. Shaking laughter. Can you convict? No, if it was joy after the storm. No, he couldn’t even condemn himself, if for any reason he joined, despite his age. But the others? Blind and deaf in insensitivity and self-sufficiency! Then he stood up. I walked through the rooms, peering into the comfort of a contrast that I knew in advance didn’t exist. He vainly encouraged arguments against himself. And underneath, a bitter, disappointing taste. The days accumulated into a routine. and it was painful to spend Saturdays in the synagogue. The open prayer book (unnecessary, he mumbled all the prayers by heart) closed his eyes to the intrigues and set himself aside, always aside. On the way, I admired the eye-catching colors of the shop windows, the skyscrapers getting lost in the fishing lane and the incessant dragging of cars. And in all, this he was weighed down by loneliness, by a state of mind that he had not found affinity with. He learned that his brother’s fortune was recent.

During a pause, he told her the years in suburbia, and triumphantly, in broad gestures, concluded for current security. More than shouting sensations, this one echoed deep. He concluded that affinity was impossible, as the experiences were opposite. Yours, bitter. The other, victorious. And in the same time frame!? God my God! Sleepless nights followed one another. He tried to conclude that a feeling of seeing was carrying his hatred. Impossible. Being honest with himself, he saw this conclusion without force. And he endured the opposite, more difficult. The shapes in the dim light of the room (he slept with his grandson) composed scenes that he did not expect to see again. Horrible, bony mornings. Faces of anguish and prayers rising from the human ashes. The woman’s features tightening her shawl at the last moment, where the eyes, where the mute eyes betrayed the animal scream? Bastard laugh. Carded. Figures. Look at the “prophet” there! And happy faces laughing from the coat suspended on the chair. Impossible.

        Loud yelling gave him the news of his departure. He looked at the pier. Slowly the strip of water increased into the waves. It tensed every fiber in the body. When they returned from the water, they would find it on the table. And the protests would be useless, because they are too late. He had made the most of his two weeks away. The tourist support (later they thought about making it permanent) made his plan easier. The money he had was used up to buy the ticket. Return. The waitress was a little surprised when she saw him leave with the suitcase. put together. The fact appears eccentric than at the beginning! I say a I’m little scared. Plans? I didn’t have them. There you go in search of the company of others, similar to you, yes. Maybe from the end. The energies that the gesture and action had exhausted him, and the weakness had brought hesitations. And the hopelessly frustrated eyes widened in an effort to stop crying. Girl, the shapes lighting up. The mountainous background, blue in a midday sky. Green blocks of islets and foam in the wakes of the boats. (There is always a seagull. But he didn’t make it there.) Once again, his fists clenched and braided, he placed them on his arms, and the black figure, like a hook, trembled in tears.)

______________________________________________

__________________________________________________________________________________

Mauricio Avayu–Artista judío-chileno, radicado en EEUU/Chilean Jewish Artist, living in the United States–“La Torá como fuente de arte”/”The Torah as a source of art”

El artista judío nacido en Chile, Mauricio Avayu,(1968- ) dijo: “Al principio quería hacer toda la Torá, pero cuando comencé a estudiar para el proyecto me di cuenta de que sería imposible”, aunque comenzó el proyecto a fines de 2013 y solo completó la sección del mural para Génesis. Cada libro de la Torá se representará a través de ocho pinturas; incluirá 40 pinturas que representarán secuencialmente los eventos de la Torá. Avayu se refiere constantemente a la Torá antes de continuar con su trabajo. Su proceso consiste en leer la Torá , Midrash y Rashi varias veces; solo entonces las imágenes comienzan a venir a su cabeza, dice: “La parte difícil en comparación con lo que he hecho antes es que aquí no soy totalmente libre”, dice Avayu. “Con otros proyectos, tendría la inspiración y las herramientas y comenzaría a pintar. Con este proyecto, no puedo hacer eso. Tengo que comenzar a estudiar, y solo después de eso puedo comenzar mi trabajo”. Comenzó a asistir a la escuela judía en Ecuador a los 10 años y realizó dibujos de personajes y eventos de la Biblia para el anuario escolar. Hasta el momento, la obra solo se ha exhibido en Chile y EE. UU. Fue inaugurada la primera noche de Hanukkah en diciembre de 2013 en la casa del presidente de Chile.

Adaptado del Jerusalem Post

_____________________________________________________

Chilean-born Jewish artist Mauricio Avayu (1968- ) said, “At first I wanted to do the whole Torah, but when I started studying for the project I realized it would be impossible,” though he started the project in late 2013 and only completed the mural section for Genesis. Each book of the Torah will be represented through eight paintings; It will include 40 paintings that will sequentially represent the events of the Torah. Avayu constantly refers to the Torah before continuing his work. His process involves reading the Torah, Midrash, and Rashi multiple times; only then do the images start to come to her head, she says, “The hard part compared to what I’ve done before is that I’m not totally free here,” says Avayu. “With other projects, I would have the inspiration and the tools and start painting, “says Avayu. “With other projects, I would have the inspiration and the tools and start painting. With this project, I can’t do that. I have to start studying, and only after that can I start my work.” He began attending a Jewish school in Ecuador at the age of 10 and drew pictures of characters and events from the Bible for the school yearbook. So far, the work has only been exhibited in Chile and the United States. It was inaugurated on the first night of Hanukkah in December 2013 in the house of the President of Chile.

Adapted from the Jerusalem Post

_______________________________________________________________

El arte bíblico/Art from the Bible — Mauracio Avalu

The Mural

Divine Inspiration

Bereshit Torah

The Wind Warrior

Ezequiel’s Bull

The 12 Israel Tribes

Gabriel Archangel

The Binding of Issac

Shofar

Sunset in Zell

The Mural

72 G-D names

The Hug

_____________________________________________________

Manuela Fingueret (1945-2013) Poeta y escritor judío-argentina/Argentine Poet and Writer — “Soy el silbido de la noche”/ “I am the whistling of the night” — “Mi padre” y otros poemas/”My Father” and other poems

Manuela Fingueret

Amazon

Manuela Fingueret​ fue una escritora y periodista argentina, especialista en gestión cultural.​ Era hija de inmigrantes lituanos.​ En sus escritos se refleja una fuerte connotación porteña y judía. Colaboró con diversos medios gráficos, nacionales y latinoamericanos. En 1993 fue directora artística y de programación cultural de la emisora FM Jai (Buenos Aires), la primera radio judía de América Latina.En 1995 dirigió la revista cultural Arca del Sur.​​ Entre 2000 y 2004 fue directora general de la Red de Bibliotecas Públicas de la Ciudad de Buenos Aires.​ En 2000 asumió como titular de la Dirección del Libro y el Fomento de la Lectura, dependiente de la Secretaría de Cultura de la Ciudad de Buenos Aires.​ Entre 2005 y 2006 fue coordinadora general de Programas Culturales de Buenos Aires.​ Entre 2004 y 2006 fue directora de la Casa del Escritor y directora de la revista de literatura Gúlliver.​ Durante muchos años integró la Comisión de Cultura de la Fundación del Libro, que anualmente organiza la Feria Internacional del Libro en Buenos Aires. Fue creadora de la Noche de las Librerías, y columnista de Caras y Caretas. Entre 2000 y 2010 publicó en varias editoriales sus reflexiones sobre la memoria y la barbarie, sus investigaciones educativas para transmitir el Holocausto judío y sobre la cuestión de las dictaduras en América Latina.

___________________________

Manuela Fingueret was an Argentine writer and journalist, specialist in cultural management. She was the daughter of Lithuanian immigrants. In her writings a strong Buenos Aires and Jewish connection is reflected. She collaborated with various national and Latin American graphic media. In 1993, she was the artistic and cultural programming director of the FM Jai radio station (Buenos Aires), the most important Jewish radio station in Latin America, and in 1995, she directed the cultural magazine Arca del Sur. Between 2000 and 2004 she was general director of the Public Libraries Network of the City of Buenos Aires. In 2000 he assumed as head of the Directorate of Books and the Promotion of Reading, dependent on the Secretariat of Culture of the City of Buenos Aires. Between 2005 and 2006 she was general coordinator of Cultural Programs of Buenos Aires. Between 2004 and 2006, she was director of the Casa del Escritor and director of the literature magazine Gúlliver. For many years, she was a member of the Culture Commission of the Book Foundation, which annually organizes the International Book Fair in Buenos Aires. She was the creator of the Night of the Libraries, and a columnist for Caras y Caretas. Between 2000 and 2010, she published in various editorials his reflections on memory and barbarism, her educational research in order to transmit the Jewish Holocaust and on the question of dictatorships in Latin America.

____________________________________________________________

POEMAS/POEMS

MI PADRE

No fue sabio
No fue justo
No fue valiente

Sólo un pobre carpintero judío
recorriendo el verano
en bicicleta

Detenido en Tolstoi
entre los cielos de Chagall
hacia la tierra prometida
Jerusalem fue un sueño
que terminó en abandono

No fue músico
No fue rabino
Ni fue maestro

Solo un padre carpintero judío
remontando la guerra
y el origin
para vivir a tiempo
en la palabra de la hija
____________________________________________

MY FATHER

He was not a wise man
He was not a righteous man
He was not a valiant man

Only a poor Jewish carpenter
traveling through summer
on a bicycle 

Tarrying over Tolstoy
among the heavens of Chagall
towards the promised land
Jerusalem was a dream
that ended in abandonment

He was not a musician
He was not a rabbi
He was not a teacher

Only a poor Jewish carpenter
overcoming the war
and his origin
to live for eternity
through his daughter's words

                                                            Translation by Celeste Kostupolos-Cooperman
                                           __________________________________
SEGUNDO RETRATO

Soy el silbido de la noche
que huye ante el ave cazadora
en una barca encallada

Una espera que descansa
en un árbol de Magritte
y acude salvaje
al llamado de su amo
cuando huele la lluvia en las axilas.

Un movimiento fugaz
antes de la siesta
cuando la telaraña
teje las miradas del piel

Soy una pirata de abordajes continuos
que huele el pan casero
y los profana con un alarido
hasta devorar los pecados
--manzana quieta con los colores en el cuerpo—

Un frágil cordón
que flota sin sobresaltos
o una pantera que asusta al desprevenido
y los devora en pequeñas vibraciones
para gozar del ritual
cada vez que su sangre es sacrificio

Soy la sobreviviente de alabanzas y exterminios
en una aldea en Lituania
que aún arde en la memorias

Una maga púrpura
a la que recitan salmos
y no desea despertarse
porque es tan blanca la mañana
y breve el encantamiento
que un resplandor la agita

Soy una flecha en el universo
que tiembla cuando un hijo crece
y cuyo destino
es un manto dorado de hojas secas
en un punto ascendiente de la vida láctea.
____________________________________

SECOND PORTRAIT

I am the  whistling of the night
that flees before the bird of prey
in a boat run aground

A sphere that rests
in a tree by Magritte
and savagely rushes in
at the call of the master
when he smells rain in his armpits.

A fleeting movement
before the siesta
when the cobweb
weaves glances into the skin.

I am a pirate of constant boardings
who smells homemade bread
and profanes it with a scream
until the skins are devoured
--peaceful apple with colors on its body—

A fragile cord
that floats without fright
or a panther that frightens the unprepared
and devours him in small vibrations
to enjoy the ritual
each time his blood is a sacrifice

I am the survivor of prayers and exterminations
in a Lithuanian village
that still burns in memory

A purple enchantress
to whom they recite psalms
and who does not wish to awaken
because morning is so white
and enchantment so brief
that a flash of light can stir her

I am an arrow in the universe
that trembles when a child grows
and whose destiny
is a golden mantle of dry leaves
in an ascendent point of the Milky Way.
                                                                             Translation by Roberta Gordenstein







Soy una flecha en el universo
que tiembla cuando un hijo crece
y cuyo destino
es un manto dorado de hojas secas
en un punto ascendiente de la vida láctea.
____________________________________________________

____________________________________
TOU-VABOU

                     A Eliahu Toker,  A Héctor Yánover

Jehová evoca los signos prometidos
para evitar a los vivos
su espanto cotidiano
únicos espectadores
anónimos y perversos
de un pueblo
que arrastra
el milagro y la duda

__________________________________________


TOVU-VAVOHU

To Eliahu Toker,  to Héctor Yánover

Jehovah evokes the promised signs
to avoid the quotidian fright
of the living
the only witnesses
anonymous people
who carry with them
miracles and doubt

                                                                                         Translation by Roberta Gordenstern
_______________________________________________

GÉNESIS (CAP. VII. VERS. 5)

Vinieron, pues, con Noé al arca

De dos en dos de toda carne

Que había espíritu de vida.

Se sentaron uno al frente del otro

Y por primera vez se reconocieron

Comenzaban a caer las primeras gotas

Talladas y precisas

Las semientes hervían con el contacto

Y se colmaron los surcos de maravillas anegadas

Las manadas

Sobre los árboles que cubrían sus lamentos

Y todo fue otra vez como el comienzo

Una línea verde continúa y trasparente

Donde el silencio era sonido perecedero.

________________________________________________

GENESIS (CAP. VII. VERS. 5)

They came, then, with Noah

two by two all flesh in

which there was the spirit of life.

They sat down one in front of the other

And for the first time they recognized each other.

the first drops began to fall

carved and precise.

Semen boiled with the contact

And furrows were filled to the brim with flooded marvels.

The flocks

above the trees that covered their laments

and everything was as it was in the beginning

A continuous and transparent straight line

where silence was the sound doomed to peris

Translation by Celeste Kostopulos-Cooperman

___________________________________________________________

LEVÍTICO  (CAP. XII.  VERSE 2-5)

     Porque el varón será inmundo

     siete días, . . .y se diere a luz hija

     será inmunda dos semanas.

Por que el varón será de mi honor y mi miseria

Y por tal

puro estás cuando esté en ti.

Más la mujer

Que a ti te ha cuidado

Y de su pecho has bebido la miel.

Se inscribirá la sumisión en tus noches.

Porque el goce ha de ser

Engendrado y sepultado.

Al varón alabarás

y de la mujer cuidarás sus raíces.

_________________________________________________

LEVITICUS  (CHAPTER VII. VERSE 2-5)

. . .and give birth to a male, he shall be unclean

seven days,. . .and if she gives birth to a female,

she shall be unclean two weeks.

Because the male will be

reason for my honor and mu misery

and therefore

you will be pure when he is within you.

But the woman

who has cared for you

and from whose breast you have drunk honey

will be inscribed with submission in your nights

because pleasure must be

begotten and buried.

You will praise the male

And you will care for the woman’s roots.

Translation by Roberta Gordenstein

_______________________________________

SALMOS (CAP. CXXXVII. VERS 5-6)

Si me olvidare de ti, O Jerusalén

pierda mi diestra su destreza. Mi lengua

e pegue a mi paladar. Si de ti

no me acordare; si no enalteciere a Jerusalén

como preferente asunto de mi alegría.

Si me acordare de ti, o Jerusalén,

sólo en las vigilias de las venganzas prolongadas

en las miradas pedregosas de los que sucumben

En mi estertor se haga lento y profundo,

porque entonces, mi recuerdo de ti.

Oh Jerusalén,

será una máscara

para ocultarlas razones de mi memoria

y serás preferente asunto de mi agonía.

_________________________________________________

PSALMS (CHAP. CXXXVII Verse 5-6)

If I forget thee, Oh Jerusalem,

let my right hand forget its cunning. May my tongue

cleave to my palate. If

I do not remember thee, if I do not exalt Jerusalem

as the preferred subject of my joy.

If I remember you, Oh Jerusalem,

only in the vigils of prolonged vengeances

in the stony glances of those who succumb

may my death rattle become slow and profound,

because then, my memory of you,

Oh Jerusalem,

will be in a mask

to hide the reasons of my memory

and you will be the preferred subject of my agony

Translation by Roberta Gordenstein

______________________________________________

JUEGOS A LA HORA DEL DESIERTO

Erial

de cuerpos y becerros

encarnan

a un tribu

lujuria errante

de tierra prometida.

Juegos

a la hora del desierto

mana en huecos

piel de pieles

nómade

en el goce

recuerda

a su amado

en la sal de otros brazos.

__________________________________________

GAMES AT THE HOUR OF THE DESERT

Wasteland

of bodies and calves

they embody

a tribe

wandering lust

for the promised land

Games

at the hour of the desert

manna in hollows

skin of skins

nomad

to pleasure

recalls

her beloved

in the salt

of other arms

Translation by Roberta Gordenstein

_____________________________________________________________

EVA EN EL EDEN

Barro la vereda una y otras veces en las tardes de

            verano,

Descalza como las shikses del barrio.

Mi madre mal dice, porque teme una

asimilación temprana.

___________________________________________________________

EVE IN EDEN

I sweep the sidewalk, over and over again, in the summer

              Afternoons

barefoot like the shikses* I the neighborhood.

My mother curses, because she fears an

early assimilation.

*Yiddish, young non-Jewish girls.

Translation by Roberta Gordenstein

______________________________________________

Estos poemas son de/These poems are from: Marjorie Agosín, ed. Miriam’s Daughters: Jewish Latin American Jewish Poets. Santa Fe, NM: Sherman Asher, 2001.

_______________________________________________

Manuela Fingueret–Poesía/Poetry:  1975: Tumultos contenidos./ 1977: Heredarás Babel. / 1980: La piedra es una llaga en el tiempo. / 1984: Ciudad en fuga y otros infiernos. /  1988: Eva y las máscaras. / 1992: Los huecos de tu cuerpo. / 1998: Uva y racimo. / 2001: Esquina./ 2009: Fábulas con moraleja/ 2010: La vida espuma, muestra con la artista visual Mirta Kupferminc.

_________________________________________________

Algunos libros de Manuela Fingueret/Some of Manuela Fingueret’s Books

_____________________________________________________

Bernardo Kordon (1915-2002) — Escritor judio-argentino/Argentine Jewish Writer — “La Biblia y yo”/ “The Bible and I”

 

download
Bernardo Kor

Bernardo Kordon, escritor y periodista argentino,  nació  1915 en Buenos Aires y falleció en Santiago de Chile en 2002. Es considerado como uno de los autores más importantes e influyentes de la narrativa argentina del siglo XX y se le considera parte de la “Generación del 50”. Kordon publicó tanto novela como relato y libro de viajes, siendo muy conocido por sus crónicas en países de América, Europa y Asia. Sus obras tienen un marcado todo realista que muestra las inquietudes de la población y el costumbrismo, con influencia de autores norteamericanos y del cine, sus novelas tienen un enfoque abierto y se centra en la vida de la gente corriente en ambientes marginales y suburbanos. Publicó más de veinte obras a lo largo de su vida y seis de ellas se han llevado al cine. Entre sus obras más destacadas se encuentran: La Vuelta de Rocha. Brochazos y Relatos Porteños (1936), Un horizonte de cemento (1940), Seiscientos millones y uno (1958), Vencedores y vencidos (1965), Historias de sobrevivientes (1983), entre muchas otras. En 1969 se vio obligado a exiliarse de Argentina a Chile por motivos políticos, allí se casó con la chilena Marina López. En 1983 recibió el Premio Municipal y en 1984 recibió el prestigioso Premio  Konex.

Adaptado de Lecturalia

_________________________________________________________

Bernardo Kordon, Argentine writer and journalist, was born in 1915 in Buenos Aires and died in Santiago de Chile in 2002. He is considered one of the most important and influential authors of the twentieth century Argentine narrative and is considered part of the “Generation of the Fifties”. Kordon published both novels and stories and travel books. He was well known for his chronicles in countries of America, Europe and Asia. His works have a realistic mark that shows the concerns of the population and costumbrismo, with influence of American authors and cinema, his novels have an open approach and focuses on the lives of ordinary people in marginal and suburban environments. He published more than twenty works throughout his life and six of them have taken to the cinema. Among his most outstanding works are: La Vuelta de Rocha. Brochazos y Relatos Porteños (1936), Un horizonte de cemento (1940), Seiscientos millones y uno (1958), Vencedores y vencidos (1965), Historias de sobrevivientes (1983). En 1969, he was obliged to go into exile from Argentina to Chile for political reasons, There he married the  a Marina López, a Chilean. En 1983, he received the Municipal Prize and in 1984, the prestigious Konex Prize.

Adaptado de Lecturalia

___________________________________________________

“La Biblia y yo”

Confieso que de la Biblia tuve poco tránsito y ninguna permanencia. Sin duda, la aprecié, dada mi condición de judío. En tal sentido y nunca traté de ocultarlo. Esa permanencia deriva de mi abuelo materno, que se llamó Isaac Piterbarg. Era cantor de sinagoga y oir ese motivo fue invitado a cantar en Buenos Aires. Se embarcó en compañía de familiares hasta este Río de la Plata donde nunca vio el mejor ápice de plata, ni de oro (hubiera sido un consuelo), Aquí don Isaac sufrió varios contratiempos y algunas satisfacciones;iletrado entre éstas seguramente figuraron mostrarme la Biblia, la recuerdo bien porque era una edición ilustrada que puso en mis manos, hecho muy importante dada mi condición circunstancial de niño iletrado. Con esa Biblia mi abuelo me marcó; el libro señalaba el camino de mi pueblo y señalaba mi propio camino. Mi abuelo me marcó el camino de arte. Su canto, escuchado casualmente a los cinco años, marcó mi destino. Nunca olvidé el canto de mi abuelo Isaac.

Debo aclarar que mi padre era “progresista”, seguramente de socialista. Por eso no me inició en la religión en costumbres ni idiomas judíos. A mi hermano, por ejemplo, lo gratificaron con el nombre de Jean Juarès. Pero un día con mis padres, porque allí cantaba mi abuelo. Nunca pude olvidar su canción, algo funebre… un kadish.

A mi alrededor los niños continuaron sus juegos, pero la impresión que a mí me produjo el canto de mi abuelo fue tremenda. Vuelvo a sentir lo mismo cuando escucho el cante-jondo o los actores cantores hacen sentir sus desgarradas melopeas en las óperas chinas. Desde el comienzo, quiero decir desde ese canto de mi abuelo escuchado a los cuatro o cinco años, el hedonismo nada tiene que ver conmigo. Lo que me desgarra, o me estremece, no lo sentía y no lo siento como arte.

No olvidé el ambiente de casarón del Paisaje del Carmen donde fue trasplantado mi abuelo y toda su familia, lo más parecido a un patio de sainete de Vacarezza.

A los inmigrantes los costaba dejar las características traídas de todo el mundo, hasta formar esa mezcla que comienza a clarificarse medio siglo después. Ya no era el mundo estático entre idn y goim  de Ucrania, sino que este supuesto nuevo mundo consistía en un hervidero de razas y naciones que convertían a todos los inmigrantes en especies de judíos, que si no se peleaban abiertamente, al menos se despreciaban  y ridiculizaban mutuamente.

En especial el idioma confundía a mi abuelo. “Aquí todo se dice lo mismo” -reflexionaba-. “Esto”- señalaba su cara – “es caro, y es caro lo que no es barato, y también es caro el carro que transitaba la calle”. Pero esto no me reía, nunca me reí de esas dificultades idiomáticas de los inmigrantes; por el contrario, me provocan lástima y solidaridad.

Por supuesto a mi abuelo no lo consideraba un extranjero. En especial su canto era tan profundo y misterioso como nuestro pasado y nuestro porvenir. Su canto era yo mismo. En verdad aspiro a que mi pobre literatura resulte algo parecido al canto de mi abuelo.

A mi abuelo lo entendí cabalmente en ese gesto de ensoñación que acompañaba sus cánticos y plegarias. En su contagioso estado de ensoñación aprendí a sentirme judío. Mi abuelo soñaba con la gloria de su religión y también soñaba en convertirse en un próspero comerciante. Un buen día concretó el sueño de instalar una taller de confección ojalillos de camisas de seda. Uno de mis tíos, aún niño, fue el encargado de entregar la mercadería elaborada. Salió mi tío Elías con su paqueton de camisas de seda y una cuadra después lo detuvo un tipo: “Querés pibe ganarte veinte guitas? Aquí están: te los pago adelantado. Solamente tenés que subir al segundo piso y le entregás esta carta a esa mujer que se llama Tita, así como dice el sobre. Ah, me olvidaba de decirte que del paquete no te preocupés, te lo cuido yo”. La tal Tita no vivía ni en el segundo piso ni en ningún otro piso. Cuando mi tío Elías volvió a la calle tampoco encontró el hombre del recado, y menos el paquete de camisas de seda. Hubo que pagarlas al fabricante, sin contar del descrédito del confeccionista que comienza dejándose robar la mercadería. Contratiempo que acentuó la dedicación de mi abuelo a sus cánticos. Los mejores jeremiadas no son dictadas por el ritual, sino por la vida.

En realidad, la Biblia la conocí por mi abuelo y la viví en su canto. No estudié, debo confesar que tuve que conformarme con estudiar Buenos Aires. Lo que no ocurrió con mi abuelo, hablo la lengua de Buenos Aires, inclusive la escribo. Ya lo confesé  en un cuento: al hablar su idioma trato de disimular mi condición de extranjero. Extranjero por identificación con mi abuelo. Escribo pero debo decir como mi abuelo: todo se dice el mismo.

Cuando su impronta y sus hijos crecieron, mi viejo se mudó al caserón de la calle Potosí, al lado de los fondos del Hotel Italiano. En el jardín habían varias palmeras y un par de rejas: allí me mantuve quieto como un pequeño preso, mirando la calle todo el día, desde entonces mi ocupación favorita. Después comenzaron mis peregrinaciones por el barrio, por la ciudad, y de algún modo Buenos Aires fue la Biblia soñado por mi abuelo Isaac Piterbarg.

____________________________________________

“The Bible and I”

I confess that with the Bible, I had little traffic and no continuity.  Without doubt, I appreciated it, give my condition as a Jew. In that sense, I never tried to hide it. That permanent condition derives from my maternal grandfather, named Isaac Piterberg. He was a synagogue cantor, and for that reason, he was invited to sing in Buenos Aires. He embarked the company of relatives until this Río de la Plata, where he never saw a speck of silver nor of gold (it would have been a consolation. Here don Isaac suffered several setbacks and some satisfactions. My illiteracy, among these, surely figured in showing me the Bible, I remember it well because it was an illustrated edition that he put in my hands, made very important given my condition circumstantial of being and illiterate child. With this Bible, my grandfather marked me; the book signaled the path of my people and it signaled my own path. His singing, casually heard at five years old, marked my destiny. I will never forget the chanting of my grandfather Isaac.

I should make it    clear that my father was a “progressive,’ surely a socialist. For that reason, he didn’t initiate me in the Jewish religion, customs or languages. They rewarded my brother, for example, with the name Jean Juarès, the socialist leader. But one day, I went with my parents to the synagogue because my grandfather was singing there. I never could forget his song, something funereal. . . a Kaddish.

Around me, the children continued playing their games, but the impression that my grandfather’s singing had on me was enormous. I felt the same way when I heard the cante-jondo or when the actors and singers made their licentious intonations feel in the Chinese operas. From the beginning, I want to say that this chanting of my grandfather, heard at four of five years old, with me, had nothing to do with hedonism.

I can’t forget the ambiance of the large house on the Plaza del Carmen where my grandfather and his entire family was transplanted. It was more like a courtyard for comic sketches in Vacarezza.

It was difficult for the immigrants to leave behind the characteristics brought from around the world, until forming a that mixture that began to be clarified a half century later. It was no longer the static world between idn and goim, Jews and non-Jews of the Ukraine, but rather this supposed new world consisted in a beehive of races and nations that were converted all immigrants in species of Jews, who, if they didn’t fight openly, least they looked down upon and ridiculed each other.

The language especially confused my grandfather. “Here everything is said the same way, he reflected: there are sheeps in the fields. there are sheeps on the river, and if something is not expensive it’s sheep.” But this didn’t make me laugh; I never laughed at the linguistic difficulty of the immigrants; on the contrary, it provoked compassion and solidarity in me.

Of course, my grandfather wasn’t considered to be a foreigner. Especially, his singing was so profound and mysterious as our past and our future. His singing was me myself. Truthfully, I aspire that my poor literature becomes something like the singing of my grandfather.

My grandfather understood precisely that gesture of dreaminess that accompanied his chants and prayers. In his contagious dream-like state, I learned to feel myself to be a Jew. My grandfather dreamed about the glory of his religion, and he also dreamed about becoming a prosperous merchant. One day, he realized his dream of setting up a workshop for the manufacturing of small button holes for silk shirts. One of my uncles, still a child, was put in charge of delivering the completed merchandise, My Uncle Elías left with his large package of silk shirts, and a block later, a guy stopped him: “Kid, do you want to earn twenty pesos? Here they are: I’ll pay them to you in advance. All you have to do is go up to the second floor and deliver this this letter to that woman named Tita, as it says on the envelope. Ah, I forgot to tell you not to worry about the package, I’ll look after it for you.” Such a Tita didn’t live on the second floor nor in any other floor. When my uncle Elías returned to the street he didn’t find the man with the message either, and even less the package of silk shirts. It was necessary to pay the manufacturer, without speaking of the loss of trust in the seamstress who began allowing the merchandise to be stolen. Setbacks that accentuated my grandfather’s dedication to his songs. The best Jeremiads and not dictated by ritual, but by life.

In truth, I knew the Bible through my grandfather and I lived it in his singing. I didn’t study; I have to confess that I had to be content with studying Buenos Aires. As didn’t happen to my grandfather, I speak the language of Buenos Aires, I even write it. I already confessed this in a short-story: by speaking its language, I try to dissimulate my condition as a foreigner. Foreigner by identification with my grandfather. I write, but I should say like my grandfather: everything is said the same way.

When his reputation and his children were grown, my old man moved to the large house on Potosí Street, next to the rear section of the Italian Hospital. In the garden, there were several palms and a pair of railings: there I kept myself quiet like a small prisoner, looking at the street all day long, since then my favorite occupation. Later, my peregrinations through the neighborhood, through the city, and in some way, Buenos Aires was the Bible dreamt by my grandfather Isaac Piterberg.

_________________________________________

Algunos de los libros de Bernardo Kordon/                                                Some of Bernardo Kordon’s Books

 

_________________________________________

 

 

 

 

Perla Sneh — Poeta y filósofa judío-argentina/Argentine-Jewish Poet and Philosopher — “bíblicos” — Comentarios poéticos sobre el Viejo Testamento/Poetic Commentaries on the Old Testament

N.York junio 2018.jpg

Perla Sneh es psicoanalista, escritora, investigadora y traductora literaria del ídish. Es Licenciada en Psicología por la Universidad de Buenos Aires (UBA) y Doctora en Ciencias Sociales por la misma universidad. Es egresada de la Akademia Le’omanut Ve’itzuv (Bezalel Academy of Fine Arts) en Jerusalén y del Instituto de Formación de la Asociación Psicoanalítica Argentina (Bs. As.). Es Investigadora Sr. en el Centro de Estudios sobre Genocidio de la Universidad Nacional de Tres de Febrero. Asimismo, es Coordinadora de Contenidos de la Especialización en Estudios Judaicos y Judeo-americanos de la Maestría en Diversidad Cultural de  UNTREF. Es docente invitada en posgrados de la Universidad Nacional de Rosario. Integra la revista Redes de la letra – Escrituras del Psicoanálisis. Colabora con medios del país y del exterior  con textos y ensayos.

Ha publicado, entre otros, ciudad autónoma (Zama/Paradiso, Bs. As., 2004); bíblicos (Del Dock, 2006), Jarabe de pico (Letranomada, 2011) y Palabras para decirlo – Lenguaje y exterminio (Paradiso, Bs. As., 2012). Este último fue distinguido en Octubre de 2013 con el Premio Nacional (Categoría Ensayo Sociológico – Producción 2009-2012) otorgado por el Ministerio de Cultura del Gobierno de la Nación Argentina.

_____________________________________________

Perla Sneh is a psychoanalyst, writer, researcher and a literary translator of Yiddish. She holds a bachelors degree in psychology from the University of Buenos Aires (UBA) y Doctor of Social Sciences from the same university. She graduated from the Akademia Le’omanut Ve’itzuv (Bezalel Academy of Fine Arts) en Jerusalem and the Institute for de Training of the Argentine Psychoanalytic Association (in Buenos. Aires). She is a Senior Researcher and the Center for Genocide Studies at the Tres de Febrero Federal University (UNTREF). As well, Sneh is the Content Coordinator for the Specialization in Jewish and Jewish-American Studies in the Masters Program in Cultural Diversity at UNTREF. She is a visiting post-graduate instructor at the University of Rosario. She is a member of the journal Redes de la letra – Escrituras del Psicoanálisis. Sneh writes articles and essays for national and international media.

She has published ciudad autónoma (Zama/Paradiso, Buenos Aires, 2004)bíblicos (Del Dock, 2006), Jarabe de pico (Letranomada, 2011) y Palabras para decirlo – Lenguaje y exterminio (Paradiso, Buenos Aires, 2012). in October 2013, that book was awarded the National Prize (Sociological Essay Category – 2002-2012) by the Ministry of Culture of the Government of Argentina.

___________________________________________

De:/From: Perla Sneh. bíblicos. Buenos Aires: Ediciones del Dock, 2006.

“Y contarás a tus hijos”/”And you will tell your children”

heme aquí

La mano bajo el muslo, materia loca que añora sangre, alberga la promesa, la derrota, la mañana

________________________

I am here

The hand under the thigh, crazy substance that yearns for blood, harbors the promise, the defeat, the future

___________________________________________

y que viese la mujer que el árbol 

era bueno para comer

a la hora del ave y el manzano, del aire liviano entre las ramas, que oiga el que ha dormido; no es bueno que el hombre esté solo, a la hora del fruto, de la voz, de la vergüenza, tome su bocado la piel que enrojece de luna; y es la noche y es la mañ; día de despertar

_____________________

and that the woman might see that the tree

was good to eat

at the hour of the bird and the apple tree, of the light air between the branches, that he who has slept may hear; it’s not right that the man is alone, at the hour of fruit, of the voice, of the shame, that he  take his bite the skin the reddens of moon; and it is night and it the morning; day to awake

_______________________________________________________

toma a tu hijo, a tu único hijo

al que amas

 mujer para mirar; la más hermoso que ha conocido; con ella está el niño que ríe, su boca delata el gesto que los que no saben que hasta una madre muere; su filo delata el gesto de los que no saben que hasta una madre muere; con él está el hombre que es padre de pueblos; su barba delata el gesto de los que temen la madrugada; con ellos; el puñal; su filo delata el gesto de que aún no encuentra su hora temible

________________________

take your son, your only son

who you love

woman to look at; the most beautiful that he has known; with her is the child who smiles, his mouth betrays the sign a mother dies; with him is the man who is father of peoples; his beard betrays the sign of those who fear the early morning; with them; the dagger, its blade betrays the sign that it still hasn’t found its feared hour

_________________________________________________

fue abel pastor de ovejas y caín labrador

ella mece a su hijo, el varón que adquirió ante yhvh; rumores de  lluvia y tierra vacía;      el hombre ha dejado la tienda; cabritos] y ovejas mansas rondan y buscan su sueño; tu padre ha salido, le dice, tu hermano muere; solos estamos con él; tiembla; así tembló a saber que su piel era suave porque le había tocado la vergüenza; ella ha gustado del árbol prohibido y no ha muerto por ello; sabe de hora que aguarda al hijo de sus ojos oscuros; sabe que los niños de mano tibia y cuello crecen para ser pastores; o labradores; o asesinos; porque ella ve su visión; y su visión no es joven y no es vieja; no es buena y no es mala; camina su rumbo, el bastón en la mano, cómo podría sin ello; mira y escucha que el bien es conmovedor; que el mal es elevado; y el hombre está solo en la vigilia de yhvh; ella maldice al que dejó la tienda; maldice a las ovejas mansas; maldice el favor que está con ella y nunca dejará de serlo; maldice saber y no haber muerto por ello; de la condena que miran sus ojos oscuros; hermoso es el niño como solo puede serlo un sueño; el hombre regresa; el aire se agita; la flauta es un pífano en la noche del desierto

_______________________

abel was a shepherd and cain a man of the fields

she rocks her son, the boy who she acquired before yhwh, noise of rain and empty land; the man has left the tent, little goats and tame sheep wander about and seek sleep; your father has gone out/left; he tells him, your brother dies,; we are alone with him; he trembles, as he trembled to know that your skin was soft because shame had touched him; she has enjoyed the prohibited tree and she has not died for it; she knows the time that awaits the son with dark eyes; she knows that boys with warm hand and fragile neck grow up to be shepherds; or farmers or murderers; because she sees her vision and her vision is not young and is not old; it is not good and it is not bad; it goes its own way, walking stick in hand, how could she without it; she looks and listens that the good is touching; that evil is elevated; and man is alone in the vigil of yhwh she curses him who left the tent, she curses the tame sheep; she curses the favor that is with her and will never stop being it so; she curses knowing and not having died for it; of the condemnation that his dark eyes see; the boy is beautiful as only dream can be; the man returns; the air moves to and fro; the flute is a fife in the desert’s night

________________________________________________________

alargó abraham la mano y tomó un cuchillo

he aquí: el hombre que va con el niño lleva la alianza en la carne; el niño lleva la leña; el cuchillo lleva la mano; el silencio lleva la piedad; un niño no sabe de uno ni otro; un escriba no sabe de niños; la mujer en la tienda vacía sabe que hay maldición o favor o piedad para el niño, quizás para el hombre mas no para el ángel que tarda en llegar

_______________________

abraham stretched out his hand and took a knife

here it is: the man who goes with the boy carries the bond in his flesh; the boy carries the firewood; the knife carries the hand; the silence carries piety; the child doesn’t know about one or the other; a scribe doesn’t know about children; the woman in the empty tent know that there is curse or favor or piety for the boy, perhaps for the man but not for the angel late in arriving

__________________________________________________________

los ojos de lía eran tiernos, rajel en cambio

era de bella promesa y de buen ver

la mayor lleva mandrágoras; la menor queda en la tienda; hablaron las palabras del secreto; camisa de seda; atavío de virgen; bordar bordaremos, hermana, siete años, hilo de cobre, el velo para tu rostro como espada de plata antigua; y el ave volverá a posarse el manzano

_________________________

leah’s eyes were weak, rachel in contrast

was of beautiful promise and good sight

the older wears mandrake; the younger stays in the tent; they spoke the secret words; silk shirt; virgin attire; embroider we will embroider, sister, seven years, copper thread, the veil for your face like a sword of ancient silver; and the bird will again perch on the apple tree

_______________________________________________________

ahí viene el soñador

en el pozo sin aguas flotan visiones, constelaciones flacas y gordas, vinos de bárbaro imperio; sueños que agitan gavillas y el espíritu de un rey; los hermanos ven en su angustia, ven su camisa de rayas; ven en la sangre, una gota y otra; diminutas, incontables, como la simiente, como las estrellas, como la arena en los caminos de yhvh

___________________________

here comes the dreamer

in the well without waters float visions, constellations skinny and fat, wines of brutal empire; dreams that shake sheaves and the spirit of a king; the brothers see in their anguish, they see his striped coat: they see in the blood; a drop and another; miniscule. uncountable, like the seed, like the stars, like the sand in the paths of yhwh

___________________________________________________________________

¿se acabó la palabra por todas las edades?

Setenta veces siete gimieron los hombres de la generación doliente; vino de vértigo bebieron en sus reinos; diademas de sus dientes coronaron altas llamas; frutos de entraña madura florecieron sus manzanos; ojos de pájaro en tierra, paladar enrarecido, la casa de yhvh se pudre bajo las estrellas; silencio de carne humana que cae dormida y ronca, la boca abierta al abismo; en las pascuas de aniquilación despierta y clama la ira; plegarias de esta legión no derramó el escriba

_____________________________

is the word lost for all time?

 Seventy times seven moaned the men of the painful generation; they drank wine of vertigo in their kingdoms, diadems of their teeth crown high flames; fruits of mature entrails flourished in their apple trees; bird’s eyes on earth; rarified palate; the house of yhwh rots under the stars; silence of human flesh that falls asleep and snores, mouth open at the abysm; in the Passover of annihilation it wakes and cries out rage; the scribe didn’t pour out the prayers of this legion

____________________________________________________________

en el día de mi angustia te invoco

Señor de lo celeste, juez de todos los pueblos, rey grande sobre la tierra, padre de mi alabanza, nombre de mi refugio, templo de mi oración; joven dios de patriarcas y cabritos, tú, bebedor solitario; devuélvenos el desierto

_____________________________

in the day of my anguish i invoke you

Lord of the celestial, judge of all peoples, great king over the earth, father of my praise, name of my refuge, temple of my prayer; young god of the patriarchs and little goats, you, lonely drinker, take us back to the dessert

_____________________________________________________________

y dijo a Abraham, despide a esa criada

y a su hijo pues no va a heredar el hijo

de esa criada juntamente a mi hijo

en la hora murmuró, para el hombre saciado de días el alba es una bendición; pero el patriarca atiende a la arena; y a la mujer que habrá de partir; con ella, su hijo y a la que habrá de quedar; con ella, su hijo; y lo que dura su odre con agua; la mujer toma la mano del niño que ya no es un niño; le duele recordar que no quería ese hijo nacido para otra; le duele la condena que hereda; le duele que ahora saber que ahora ha de partir, lo ama, dice en su corazón; es hermoso como sólo puede serlo un sueño; callan el sol, el hombre y la arena; el desierto es mezquino en amores; vase ella de su mano, el niño; y mirad; él no habrá de moverse hasta la hora de la mitad del día; oye el llanto del niño que duerme y dice en su corazón; es hermoso como sólo puede serlo un sueño; pero a esa hora la mujer se sienta en la roca y el niño yace en la arena; suena un llanto que no es de niños sino de odre que sangra hasta su última gota; la mujer no quiere mirar al niño que ya no es niño; el niño no sabe que el mensajero se acerca; y el hombre busca en su boca de viejo el grito que apure los pasos del ángel y abra los ojos del niño; aunque quizás no fue más que el viento que nunca es poco en las escrituras

____________________________

and he said to Abraham, send away that servant

 and her son since the son of that servant will not inherit together with my son

At the hour, he murmured, for the man fulfilled by day, dawn is a blessing; but the patriarch tended to the sand; and the woman who will have to depart; with her, her son; with her, his son and she who will stay; with her, her son; and how long the water in his wineskin will last; the woman takes the hand of her child who is no longer a child; it pains her to remember that she didn’t want that child born for another; it pains her the punishment that he inherited; it pains her to know that that now he has to leave. She loves him, she says in her heart; he is beautiful as only a dream can be; the sun, the sun, the man and the sand become quiet; the desert is stingy with love; she lets go of his hand, the boy, and watch; he won’t have to move until midday; she hears the weeping of the child who sleeps and says in her heart, he is beautiful as only a dream can be; but at that hour the woman sits on the rock and the child lies on the sand; he dreams a weeping that is not of children but of the wineskin that bleeds its last drop; the woman does not want to look at the child who is no longer a child; the boy doesn’t know that messenger approaches; and the man looks  for in his old man’s mouth the shout that will quicken the steps of the angel ant open the child’s eyes. Although perhaps it wasn’t more than the wind never is light in the scriptures

_____________________________________________

Scan 2018-8-25 19.44.21

Otros libros de Perla Sneh/Other Books by Perla Sneh

 

21dC-Ew7LOL._SY300_
Ciudad Atónoma-Poemas

perla
Palabras para decirlo: Lenguaje y exterminio

 

Evelyn Wertheimer — Poeta judeo-uruguaya/ Uruguayan-Jewish Poet — “Palomas, cuervos y sueños”/ “Doves, Crows and Dreams”

0
Evelyn Wertheimer

______________________________

 Evelyn Wertheimer – Nacida en Montevideo, Uruguay, en 1945. Fue alumna de la Prof. Sylvia Lago y de los poetas uruguayos Jorge Arbeleche, Washington Benavídes y Rafael Courtoisie. Su poemario Teshuvá obtuvo el Primer Premio en la categoría Poesía Inédita del Ministerio de Educación y Cultura de Uruguay, año 1997 

____________________________________

Evelyn Wertheimer – Born in Montevideo,  She was the student of Prof, Sylvia Lay and the Uruguayan poets Jorge Arbeleche, Washington Benavídes and Rafael Courtoisie. Her poetry book Teshuvá won First Prize for Unpublished Poetry from the Ministry of Education and Culture of Uruguay, 1997.

______________________________________

Julia Galimare – Uruguay – poemas

_____________________________________

images

___________________________________

Poemas de Evelyn Kliman (Wertheimer). TESHUVÁ. Montevideo, 2001:

____________________________

desde luego las calles y las casas

desde luego las plazas y la gente

mas no siempre los gestos de la aurora

simulacro    alternancia

juego sangriento en que una despedida

es para siempre

desde luego que sí que las he visto

y a las hijas sin suerte y a los hijos

los he visto al pasar

como suelen mirarnos las auroras

______________________________________________

of course the streets and the houses

of course the plazas and the people

but not always the gesture of the dawn

pretense    alternation

bloody game in a goodbye

forever

of course, yes, I have seen them

and the luckless daughters and the sons

I have seen them passing

as the dawn tends to watch us

___________________________________________

“Son formas del enigma

la paloma y el cuervo”

R. Darío

Ya no es el tiempo de la paloma.

La paloma mata también

y el cuervo tiene

todo el tiempo del mundo.

___________________________________

“They are forms of the enigma

the dove and the crow”

R. Darío

And it is no more of the dove.

The dove also kills

and the crow has

all the time in the world.

________________________________________

Cuando llueve los árboles piensan en los hombres.

Al sol el hombre les devuelve el pensamiento

que cantarán los pájaros

___________________________________

When it rains the trees think about men.

In sun the man returns the thought

that the birds will sing.

____________________________________

“A la lengua francesa”

L’autre

Ses genoux se dérobent

dit la diccionnaire.

Tu lis pour trouver ton mot.

Le froid voltige les branches nues.

Tu voltiges dans les vieilles feuilles.

Les branches nues se dressent involontontaires

de même que tu respires

pendant que ses genoux se dérobent

sous le poids d’une vie.

_______________________________________

Tus rodillas flaquean

dice el diccionario.

Lees para hallar tu palabra.

Revolotea el frío de ramas desnudas

Tú revoloteas entre las viejas hojas.

Las ramas desnudas se alzan involuntarias

igual que tú respiras

mientras sus rodillas flaquean

bajo el peso de una vida.

_____________________________________

Your knees falter

the dictionary says.

You read to find your word.

The cold flutters its naked branches.

You flutter amidst the old leaves.

The naked branches rise involuntarily

just like you breathe

while his knees falter

under the weight of a life.

_________________________________________________________

¿Qué me van a hablar de Auschwitz?”

Shoáh

impronunciable

el soplo el fuego

Shoáh Shoáh Shoáh

LO TIRSZJ*: alarido

seco como golpe de hacha

nuca rodilla pie desconsolados

¡Qué hijos de la ley

ni hijos del hombre!

memoria que

debía

borrarse para siempre

asesinato del asesinato

cultivo de la muerte

alimento

de alemanes animales

para mejor matar

ese adulto dolor

sobre los hombres niños

sobre brazos y frente

“entraña

dulce entraña”…

* LO TIRSAJ: en hebreo, no matarás.

__________________________________

 

“What are they going to say to me about Auschwitz?”

Shoah

Unpronounceable

exhalation roar fire

Shoah Shoah Shoah

LO TIRTSACH* shriek

dry as a hatchet blow

nape knee foot disconsolate

What children of the law

nor children of man!

memory that

should

have been

blotted out for all time

murder was murdered

cultivation of death

food

of German animals

to better kill

that adult pain

on child’s shoulders

on arms and foreheads

“guts

sweet guts”…

*LO TIRSACH: Hebrew, “Thou shalt not Kill”

_____________________________________________

Poemas recientes:/Recent Poems:

 

HAIKUS

Hojas de otoño

viejos libros ajados

pero aún vuelan

_____________________

Autumn leaves

old worn books

put they still fly

_______________________________________

Gotas de noche

disueltas en la aurora

rocío del canto

_______________________

Drops of night

dissolved at dawn

dew of song

_________________________________________

Círculos de sol

espirales de agua

los caracoles

____________________

Circles of sun

spirals of water

the snails.

__________________________________________

Tiesa paloma

prendida de su pico

blancura obliga

____________________________

Rigjd dove

Fastened with its beak

whiteness compels

_____________________________________________

Alza y zambulle

su fulgor azabache

la golondrina

______________________

Rise and dive

its jet-black brilliance

the swallow

_____________________________________________

El sol se ahoga

mientras bebe el caballo

su sed de cielo

________________________

The sun is drowning

while the eager horse drinks

his thirst of heaven

___________________________________________________________

NO ES HAIKU

La poesía desnuda

mi impotencia

y su reino

__________________________

NOT A HAIKU

Poetry undresses

my impotence

and its reign

____________________________________________

SOLIDEZ DEL SUEÑO

Viaja el gran sueño

por puertas entreabiertas

atraviesa las nieblas del otoño

allá donde se visten

de balbuceos

los niños recién nacidos

y los pájaros se despojan de sus plumas

para adornar su canto.

Densos ramajes

ocultan sus secretos

más sólidos que la dura roca

aferrándose al fondo del océano.

Desde el centro

de ese ningún lugar donde se expanden

sus ecos y colores invaden la sustancia

de todo pensamiento.

Susurran y susurran

sus hijos en la noche

como una gota eterna horada la cantera.

Penetra el sueño las raíces de su árbol.

Se hunde y lo sostiene.

21.11.2017

_____________________________________

DREAM’S  SOLIDITY

The grand dream travels

through half-open doors

crosses the Autumn fogs

there where are dressed

of babbling

the newborn children

and the birds shed their feathers

to adorn their song.

Dense foliage

hides its secrets

more solid than hardest rock

clinging to the bottom of the ocean.

From the center

of that no place where it spreads

its echoes and colors invade the substance

of all thought.

Its children in the night

murmur and murmur

like an eternal droplet erodes the quarry.

Dream penetrates the roots of its tree.

It sinks and it sustains it.

11/21/2017

_______________________________________________

Respiración del aire

danza del poema

venido de ninguna parte

posado en el límite del infinito

y a punto de volar sin desvelarse.

Haz crepitar la sombra.

No dejes que los dedos

suelten el hilo esquivo de los sueños

que el ojo se extravíe y no te vea.

Un ladrido en la noche

no es lo mismo

que ese mismo ladrido al mediodía.

La telaraña del sentido

se teje equidistante

del silencio y la música.

Una pluma es mucho más que una pluma.

Ya nadie escribe con plumas.

¡Pobres gansos! Siempre.

21.11.2017

__________________________________________

Breathing of the air

dance of the poem

come from nowhere

set at the limit of the infinite

and about to fly

without disclosing.

Make the shadow crackle.

Don’t let your fingers

let go of the allusive thread of dreams,

that the eye doesn’t stray and not see you.

A barking in the night

is not the same

as the identical barking at midday.

The spiderweb of sense

is woven equidistantly

between silence and music.

A feather is much more than just a feather.

Nobody writes with feathers anymore.

Poor geese! Always.

2/2/2018

_____________________________________________________

Okoshi Oshura produce catástrofes y milagros cuando escribe.”
Rafael Courtoisie

“y suben a canciones”.
Fernando Pereda

Es el comienzo siempre

la exigua voz

que trae la marea.

Prefiero hablar de pájaros

o escucharte

Okoshi Oshura.

Tu nombre es dulce

tu fruto amargo

lleno de inocencia.

Te desangras.

Rindes examen día a día.

Salvas las pruebas.

Las pruebas al canto.

__________________________________

Okoshi Oshura produces catastrophes and miracles when he writes.”
Rafael Courtoisie

“and they ascend to songs.”
Fernando Pereda

It is always the beginning

the meager voice

that brings the tide.

I prefer to speak of birds

or listen to you

Okoshi Oshura.

Your name is sweet

your fruit bitter

full of innocence.

You bleed.

Day by day you are tested.

You pass the test

The proof of song.

—————————————-

EL BORDE DE LOS SUEÑOS

Borrado por el tiempo

y las ganas

no, no era un vuelo

eran sus horas huidas

resbalando.

Implacable

y a un paso

a un instante fugaz

el borde se despeña

sobre la sangre real

sobre la herida.

8.03.2018

_________________________________

THE DREAM’S EDGE

Erased by time

and desire

no, it wasn’t a flight

it was your runaway hours

slipping.

Implacable

and at a step

at a fleeting instant

the edge falls from high

on the real blood

on the wound.

3/8/2018

_____________________________________________

EL SACRIFICIO

Kafka

las letras de su nombre

el diseño anguloso

el rostro austero.

Franz

sus ojos grises

cómplices

del afuera

y el adentro afilado.

La desgarrada entraña

se derramó en la tierra.

Creció la hierba amarga

entre las sílabas.

“Solo… como Franz Kafka”.

Su rebelión por siempre

reverdece.

El golpe necesario

a las prohibidas puertas.

Y la condena.

22.03.2018

______________________________

THE SACRIFICE

Kafka

the letters of your name

angular design

the austere face

Franz

your gray eyes

complicit

from afar

and inside sharp.

the tattered essence

spills onto the earth.

The bitter herb grew

among the syllables.

“Lonely…like Franz Kafka.”

your rebellion forever

blooms.

The necessary blow

on the prohibited doors.

And the condemnation.

03/22/2018

English translations by Stephen A, Sadow

in collaboration  with Evelyn Wertheimer