Women’s Hebrew Poetry on American Shores brings us the work of two quite different poets: Anne Kleiman (1909-2011) and Annabelle Farmelant (b. circa 1926). A few weeks ago, I shared a little about Kleiman and her poetry (see Lake Michigan as Hebrew Landscape). Here are some thoughts about Farmelant (brief bio below).
Rambling with Rachel
In a 1926 piece called “Niv” — translated by Shirley Kaufman as “A Way of Speaking” — Rachel (Bluwstein, 1890-1931) compares “fancy ways to speak, endless and elegant…mincing down the street,” with speech that is “as innocent as a baby, as modest as dust.” The former she knows, but it’s the latter she prefers. See The Defiant Muse (full citation below; preview, including this poem, Hebrew/English, at Google Books.)
In Farmelant’s, “Flowers of Identity,” from the 1961 collection of the same name, the speaker forgets “niv ha-tefilah [the prayer’s idiom]” on a morning ramble. A footnote in on American Shores explains how translator Adriana X. Jacobs rendered the phrase so as to preserve the link with Rachel’s poem; more about the connection:
Rachel’s poem rejects the maximalist poetics of her (male) contemporaries and celebrates the modesty and simplicity of her niv, or poetic idiom, over the ornamental and densely allusive that early twentieth-century Hebrew poetry had inherited from the Haskalah, or Jewish Enlightenment.
–Jacobs, Women’s Hebrew Poetry on American Shores, p. 222
Additional notes explain specific prayer references as well as the dual meaning of the ramble’s location: “siach” is both “bush” and “conversation.”
The translation of “Flowers of Identity” can be read, on its own, as reflections on formal and informal prayer: “My neighbor left his tefillin behind/ And wrapped a garland around his head/ Intoxicated by their ripe scent/ Even my senses roamed…A foreign prayer/ From dawn to dusk.” But the notes add layers for the non-Hebrew reader and/or one unfamiliar with Rachel’s “Niv“: Farmelant’s “ramble” and the “mincing” steps of Rachel’s poem, for example, and the simpler speech preferred in “Niv” and the [ramble] לַשׂוּחַ and [plant; conversation] לְשִׂיחַ of “Flowers of Identity.”
Depths of Reflection
Farmelant’s poem “Skyscraper [Gored Shechakim],” from the 1960 collection Desert Islands,” appears in Women’s Hebrew Poetry on American Shores and in Jacobs’ 2015 article, “Hebrew on a Desert Island,” which offers an overview of Farmelant’s work and Jacobs’ experience in translating:
Child, the plaza is flat./ Take care, the slope sets/ before you, the sky, immense….Descend up./ Spaceman
(Full poem and a link to the article below.)
In this poem, the speaker experiences the reflection of the sky on the plaza as both a doubling effect and a fata morgana. The reflection of the sky is both literal but also transformative, and it is in this context that the ungrammatical command “descend up” takes effect and makes any sense. In moving between American and Israeli Hebrew, moments of (mis)perception have proven to be comparably generative.
Jacobs’ article discusses, in some detail, Farmelant’s exposure to Hebrew language, and the relationship of her career to wider issues between U.S.- and Israel-based Hebrew writers. The article, as well as end notes in Women’s Hebrew Poetry on American Shores, also highlight issues in gender and gender politics relevant to Farmelant’s work and its reception. Despite the paucity of previous material and Jacobs finding Farmelant “entirely estranged from her poetry” (on American Shores, p. 104), a picture of the poet and her literary milieu emerges. The poet’s relationship to Judaism and Jewish text, however, remains more of a cipher….
Do we know enough about her background to say, for example : When Farmelant warns, “You will be like Adam [Adam ha-Rishon], scraping the whole sky,” is she referencing Talmudic legend? And is that odd locution of “descending up [תַּעֲמִיק מֵעָל]” meant to carry overtones of the sin that diminishes Adam in these legends, while also making him truly human?
R. Eleazar said: The first man reached from earth to heaven…But when he sinned, the Holy One, blessed be He, laid His hand upon him and diminished him…”B. Sanhedrin 38b; other legends speak of his size, East to West
Also wondering in this context if the “הוּא” (which can be “he” or masculine “it”) in “תְּכַסֵּהוּ, הוּא עֵירֹם [It’s naked. Cover it.]” — might, then, refer to Adam? So, more like “Cover him, he’s naked.”??
Knowing a little more about her Jewish background, beyond linguistics, might help place some of her images. Meanwhile…
The First, Giant, Adam’s Fall?
When I first met this poem, it reminded me of the many hours I have spent — as a child and later, too — gazing into puddles, speculating on life in “the upside down world.” And, as with some of the Kleiman poems that reminded me of Chicago, I loved the connection, in Hebrew, to my U.S. city life. (I know rural places have puddles, but they don’t have upside down apartment buildings and skyscrapers.)
After reading Jacobs’ article, about struggling with the mirages in Farmelant’s writing, I developed another kind of appreciation for those reflections. And now, after more time with this poem, and with the rest of Women’s Hebrew Poetry on American Shores, I am wondering if “Skyscraper” is talking about all the space that man took up in 1961.
So much of her writing itself — and her attempt to carve out a literary career — surrounds the difficulties women experience(d) just trying to take up space: on the sidewalk, in the home, in the workplace, and, most particularly, in any world of “ideas.” Farmelant and I are not the same age, but this, too, is an experience we shared.
As noted in a previous post, I recommend the TLV1 podcast from Marcela Sulak, discussing and reading some of Farmelant’s work. And I repeat my recommendation for getting hold of this volume of poetry. Once you meet these American Hebrew poets, you might discover that your horizon has been a mirage.
Annabelle (Chana Biala) Farmelant was born in Boston and has, with the exception of a few years in Israel in the early 1950s, spent most of her life on the east coast of the U.S. Prior to studying at Hebrew College in Boston, she attended local public schools as well as the high school program of Hebrew College. She wrote Hebrew poetry in college and for some years afterward but then focused on writing plays. See introductory material in Women’s Hebrew Poetry on American Shore and “Hebrew on a Desert Island: The Case of Annabelle Farmelant,” by Adriana X. Jacobs, Studies in American Jewish Literature, Volume 34, Number 1, 2015. Download full text here: Hebrew on a Desert Island,Return to TOP
Women’s Hebrew Poetry on American Shores: Poems by Anne Kleiman and Annabelle Farmelant. Detroit: Wayne State University Press, 2016.
Shachar Pinsker, professor of Hebrew literature and culture at the University of Michigan, editor. Introduction: “Meager Gifts” from “Desert Islands” American-Born Women and Hebrew Poetry.
Translators: Yosefa Raz, for Anne Kleiman. Adriana X. Jacobs, for Annabelle Farmelant. Each offers notes and a preface.
The Defiant Muse: Hebrew Feminist Poems from Antiquity to the Present, a Bilingual Anthology. Edited and introduced by Shirley Kaufman, Galit Hasan-Bokem, and Tamar S. Hess. Foreword by Alicia Suskin Ostriker. NY: Feminist Press at CUNY, 1999.
Poems borrowed from Adriana X. Jacobs, “Hebrew on a Desert Island: The Case of Annabelle Farmelant.” Originally in Studies in American Jewish Literature, Volume 34, Number 1, 2015. Download link: Hebrew on a Desert Island
יֶלֶד, הַכִּכָּר שָׁטוּחַ
זְהִירוּת, הַמּוֹרָד שָׁקוּעַ
מוּלְךָ, הַשַּׁחַק, עָצוּם.
תְּכַסֵּהוּ, הוּא עֵירֹם
תִּהְיֶה לְאִישׁ, כְּאָדָם הָרִאשׁוֹן
אֶת כָּל הַשְּׁחָקִים תִּגְרֹד
לְאַט יֶלֶד, הַיָּם עָמֹק.
הֱיֵה אִישׁ חָלָל. — (c) Annabelle Farmelant, 1960
Child, the plaza is flat.
Take care, the slope sets
before you, the sky, immense.
It’s naked. Cover it.
You will be a man, like Adam
you will scrape the whole sky.
Slowly, child, the sea is deep.
Spaceman. — (c) Adriana X. Jacobs, 2015