Tag: Psalm 27

We are about to leave the month of Av — with its mournful cry of “eichah/how?!” — and enter the month of Elul, the final one of the old year. As we make this transition, a few more words about a poem, a poet, and a translator I first encountered during this past year.

The Hebrew poem, “Ka-shir ha-‘olam [The world is like a poem], by the U.S.-based writer, “Annabelle Farmelant, z”l, first appeared in the journal Gilyanot, in 1949, and later in the 1960 Iyyum bodedim (Desert Islands). Here is a 2016 translation by Adriana X. Jacobs:

“The World is Like a Poem”

The world is like a poem
in all its glory,
even in the thick of its aches
terrors and cries
its grandeur is reflected.
Man [ha-adam] enters the world like a wanderer
Like a wanderer man enters the world
and declares that he will roam
always, always.
But how — he asks — just how*
does beauty rule a poem
when a line is erased?
How does splendor** shine
when its form is wiped out?
Man is not in these things
for a poem’s beauty is not in a line
an unnamed [lo-karu] wanderer
in the world’s splendor**
— Women’s Hebrew Poetry on American Shores, p.149

*Eichacha — yisheil — eichacha. “Eichacha” is an unusual form of “how.” The Evan Shoshan Concordance lists 78 occurrences of eich/eichah, plus four instances of “אֵיכָכָה eichachah: two in the Book of Esther and two in Song of Songs.
**”Tifereth” is a feminine word for an attribute of the divine, one right at the center of the Kabbalist tree of life.
tiferet ba-olam. splendor in the world.
tiferet ha-olam. splendor of the world.

The translation is Jacobs’ (see below), but these footnotes are mine.

Unnamed?

Jacobs often writes about the translator’s role in rendering poetry, generally, and more specifically about the poet-translator’s role in modern Hebrew literature. (See Strange Cocktail: Translation and the Making of Modern Hebrew Poetry. Ann Arbor, MI: University of Michigan Press, 2018; preview on Google Books; related articles via Academia.edu.)

Farmelant was something of an outlier in Hebrew poetry due to time, gender, and geography. And Jacobs shares some of her process around translating her work in “Hebrew on a Desert Island: The Case of Annabelle Farmelant” (Studies in American Jewish Literature, Volume 34, Number 1, 2015, pp. 154-174 — also available via Academia.edu).

In her introductory remarks in Women’s Hebrew Poetry on American Shores, Jacobs speaks about the poem, “The World is Like a Poem”:

I understood wandering to mean the ways in which a poem circulates through time and place, how it is exchanged between readers, and also how it travels in and through translation….

But in what way is the poem “unnamed”? I thought of how translating a poem simultaneously assumes and undermines the poet’s authority by replacing her textual voice with my own but at the same time acknowledges that whatever origins the original text could claim — the influences and materials that brought it into being — can no longer be claimed….
— Jacobs, p.103

I read the line she is discussing differently, however. Perhaps because I have quite a few years on Jacobs, or maybe because I spent an evening this past week at an event highlighted by GoGo performers known as “Uncalled 4 Band.”

Unnamed? Uninvited? “Uncalled 4”?

As with my reading of Farmelant’s “Skyscraper,” I suspect that our different takes are probably colored by our age (I have decades on Jacobs, although I am quite a bit younger than Farmelant was). For someone who grew up female in the middle of the 20th Century reading “lo-karu” as “not invited” makes a great deal of sense.

The penultimate line of the poem in Hebrew —
והוא הלך לא-קרוא
is translated by Jacobs as “an unnamed wanderer.”
But קרוא can also has the meaning of “called, summoned, invited.” We were so often not unwanted in, even prohibited from, physical and intellectual spaces back then. So, I thought that, like the wandering earthling [ha-adam], the poem is trying to manage in a world which really hasn’t room for it, whose beauty is so easily erased:

??”And he walks uninvited — or uncalled for — in the world’s splendor.”??

Elul and the World Like a Poem

As we enter the month of Elul, our language shifts from “how!?” to more specific seeking as we prepare for the new year and begin reciting Psalm 27 through the season of repentance and return:

One thing I ask YHVH, only that do I seek:
to live in the house of YHVH all the days of my life,
to gaze upon the beauty of YHVH to frequent God’s temple.
…In Your behalf my heart says: “Seek My face!”
O LORD, I seek Your face.
— Psalm 27:4, 8

Farmelant’s poem includes that “how?!” — how, he asks, will this work? — but also offers some thoughts about one’s place in the world, a world of splendor, even “in the thick of its aches, terrors and cries.”


With gratitude to Jacobs for making Farmelant accessible…like many readers of Hebrew in translation, I can puzzle out words here and there, recognize biblical and rabbinic allusions, but I would find a whole volume of Hebrew poetry formidable…and for so many ideas about Hebrew literature more generally.

And in memory of Annabelle (Chana) Farmelant, who died shortly after I last wrote about her poetry for Shavuot and whom I find myself missing, though I never had the opportunity to meet her.

NOTES

Translations by Adriana X. Jacobs, Women’s Hebrew Poetry on American Shores: Poems by Anne Kleiman and Annabelle Farmelant. (Detroit: Wayne State University Press, 2016). See also: information on Farmelant, including an article on her work by Jacobs.

In 1960, Annabelle Farmelant, z”l, a U.S.-based writer, who was living at the time in Israel, published a book of Hebrew verse called Iyyum bodedim (Desert Islands). A second volume, Pirchei zehut (Flowers of Identity), was released in 1961. Shortly afterward Farmelant returned to the U.S. and abandoned the writing of poetry in any language; she lived in New York City until her passing, on June 14, 2019, at age 93. In 2016, Adriana X. Jacobs published translations of her poems in Women’s Hebrew Poetry on American Shores: Poems by Anne Kleiman and Annabelle Farmelant. (Detroit: Wayne State University Press, 2016).
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