Al gedot hamishigan tz’i lach…
Go forth to the banks of Lake Michigan
and skip among the rocks…
the waves will lash
and scatter at your feet.
…drenched in the smell of lakes,
lean your dew-fresh hand on my forehead…
and my soul will rest.
— “My Longings,” by Anne Kleiman, translated by Yosefa Raz
On this snowy day, far from Chicago, I open a new book — found in search for something else, ordered largely because it was on sale, without particular expectations or knowing thing-one about these poets — and through it, a strange woman is telling me in Hebrew that the same light touches us both, as we look out our separate windows, and that the prospect of peace awaits on Lake Michigan’s rocky shore.
How is this poet speaking straight to me? Here are just a few of the ways:
Set in Chicago. (My first hometown).
Composed in Hebrew. (A language I am still learning but already love).
By a woman addressing a female friend. (Thus, speaking to me in a way that so much fails to do).
In dialogue with ancient text and classic Hebrew poetry. (Some of my favorite topics.) In fact, reworking a poem our study group read not too long ago.
Referencing the Song of the Sea — from this week’s Torah portion, itself a favorite and also our daughter’s bat mitzvah portion, a decade-plus ago.
Enhanced by nerdy endnotes…
The material in Women’s Hebrew Poetry on American Shores, is itself unlikely in some ways. The introduction, by Shachar Pinsker, touches on many forces working against the material’s creation and publication. Its authors were women educated in a system designed by and for men. They’re U.S.-born in a field focused on Israel and a culture centered in Europe and the Land. And, most fundamentally, they write in a gendered language and a tradition that made it difficult for women to “express themselves poetically as the subjects rather than the objects of masculine desire, a metonymy for the nation, or a projection of masculine self-images” (Pinsker, p.7).
The very structures which gave “American women Hebrew education and access to its riches were also precluding them from writing and especially from publishing Hebrew poetry” (pp.5-6). And “when a work was finally published,” there was no guarantee that “it was received and understood properly” in its day or accessible to later readers and scholars.
Anne (Chana) Kleiman (1909-2011 — yes, she lived to 101) was born to Russian immigrants in St. Joseph, Missouri. According to Pinsker’s introduction, Kleiman received an extensive Jewish education before moving to Chicago at the age of 19. There, she studied at the College of Jewish Studies (instruction in Hebrew), and at the University of Chicago (in English). She later worked as a Jewish educator and remained active in adult Jewish education after retirement. Her Hebrew poetry appeared in the 1940s.
In her translator’s preface, Yosefa Raz speculates that existing Hebrew literature formed for Kleiman a “made-up Hebrew landscape (which could include Lake Michigan!), beyond which the words [of her poems] could not travel” (p.18). Raz also describes the challenge of what the poet’s daughter calls “Sabbath Hebrew,” a fancy, heavily inter-textual language.
“My Longings” was originally published in the 1947 collection Netafim[Droplets]. It appears in Women’s Hebrew Poetry on American Shores: Poems by Anne Kleiman and Annabelle Farmelant (Detroit: Wayne State University Press, 2016).
In “My Longings,” Kleiman alludes to Exodus, Kabbalat Shabbat, and some images from H.N. Bialik. She also turns Leah Goldberg’s “The Love of Theresa de Meun” on its head: where Goldberg’s 16th Century French noblewoman experiences unrequited longing for her children’s male tutor, Kleiman’s female Chicagoan treats a meeting with “my sister” — part Sabbath bride, part woman of damp skirts — as possible, perhaps imminent.
Raz calls “My Longings” her favorite poem:
…[it] mixes language from Isaiah, Bialik, and Goldberg is able to strike a balance between the prophetic and the lyrical, imagining sharing a blessing of “light beams” with her female interlocutor, who can also “slake [her] thirst with their radiance.” Thus the poet rewrites the traditional language of the shekhinah, filtered though Bialik’s erotic address to a female lover, into a poem of female friendship.
— Yosefa Raz, “Translator’s Preface,” p.20
Less Traveled Territory
There is so much to explore in this less traveled corner of U.S.-born Hebrew poetry. Beyond these particular poets and their work are wider topics, including the way non-Israeli Hebrew poets view their relationship — or lack thereof — to the Land.
I have not spent much time with the work of Annabelle (Chana) Farmelant (b.1926) yet, but it appears to be quite different from Kleiman’s. Marcela Sulak, who translated Orit Gidali’s Twenty Girls to Envy Me, discusses and reads some of Farmelant’s work in this TLV1 podcast.
Kleiman herself employs a variety of styles and covers a wide range of topics. Only two of her poems in this volume explicitly touch on Lake Michigan. These have a special resonance for readers who’ve lived somewhere around the lake. But it’s also interesting to consider what “To Lake Michigan,” the second poem referencing Chicago’s lake, might say about Rachel and her poems to the Galilee or what it means to have this Midwestern body of water as “l’megaleh razi ‘ad [my revealer of eternal mysteries].”
After all, I myself, spent just a few days on the shores
of Lake Kinneret, AKA the Sea of Galilee,
while it was Lake Michigan —
sometimes as apparently motionless as glass,
sometimes roiling with white caps,
either way, with opposite shores as invisible as any sea’s
— which witnessed years of my longings,
like the woman’s in this poem,
to break free and
be at rest.
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.
Yosefa Raz, for Anne Kleiman. Adriana X. Jacobs, for Annabelle Farmelant.
Each offers notes and a preface.