My Reading at PoemAlley’s Green Fuse Event

The poems are from The Silence of Men. Here they are:

Light

In the dream, my life was smoke: I couldn’t breathe.
So I ran, unwrap­ping myself down the beach
till your skin, the ocean, lapped at my knees.
I dove in. Your voice was a cur­rent,
a melody gath­er­ing words to itself
for us to sing, and we sang them,
and they swirled around us, iri­des­cent fish
bring­ing light to the world you were for me;

and then I was water, a river
wash­ing the night from your flesh,
and I cra­dled your body ris­ing in me
till you were clean, glow­ing,
and when you sur­faced, glis­ten­ing,
there was not an inch of you I didn’t cling to.

Ethics Of The Fathers

Moses received the Torah from Sinai
and passed it on to Joshua, who gave
it in his turn to The Elders, and love
or duty, or maybe both, explain why
we still hand it down, even if we die
doing so. The Church burned us alive,
the Romans did worse…but you who give
your­selves to goy­ishe women, you lie
with their gods as well, and so we cast you out.

The rabbi paused, whis­pered Come back, and left
the stage. No applause. Behind me, a man laughed.
Beside me, a woman squirmed in her seat.

In love, my love, I’ve given myself to you,
nei­ther god nor god­dess, and not a Jew.

After Drought

Knees rooted in the bed on either side
of your belly, my body’s a stalk of wheat
bent in sum­mer wind, a bam­boo shoot
ris­ing, an orchid, and then all at once a cloud
swelling, a swal­low sculpt­ing air, a freed
white dove. You pull me down, but you are hot
beneath me, and the gust that is my own heat
lifts me away: I’m not ready. Out­side,
foot­steps, voices. Two men. Gig­gling, we pull
the sheet around us till they pass, but if some­one
does see, what will they have seen? A cou­ple
mak­ing love. No. More than that: They will
have seen the com­ing of the rain; they will
have seen us bathe in it, and they will say Amen.

What I’m Reading

Laid up with gout today, and for the past four days – the most seri­ous attack I’ve had in a while; I could barely walk on Thurs­day and Fri­day – but today is the first day my head feels clear enough that I can get some work done. I’ve been watch­ing TV and read­ing to dis­tract myself, and so this seemed like a per­fect time to start a “What I’m Read­ing” series of posts, which I’ve been want­ing to do for a while.

  1. Via Fate­meh Fakhraie: Why Tay­lor Swift Offends Lit­tle Mon­sters, Fem­i­nists, and Weirdos. I don’t know Tay­lor Swift’s music – or, if I do, because I’ve heard it on the radio, I don’t know that I know it – but I enjoyed this analy­sis of her image and music.
  2. From Crit­i­cal Mass: The Blog of the National Book Crit­ics Cir­cle Board of Direc­tors, which is doing a series called “30 Books in 30 Days,” each day given over to an NBCC award nom­i­nee, this brief review of a biog­ra­phy of John Cheever made me want to read Cheever’s work again for the first time in a long time.
  3. Also from Crit­i­cal Mass, this take on Louise Gluck’s new book, A Vil­lage Life. I have always liked Gluck’s work.
  4. I’d never heard of the poet Eleanor Ross Tay­lor, till I read this – yet one more from Crit­i­cal Mass–appre­ci­a­tion of Cap­tive Voices: New and Selected Poems, 1960 – 2008. She sounds like some­one I could learn some­thing from, not to men­tion I enjoyed the poems quoted in the piece. Now all I need is a semes­ter with the time to do noth­ing but read.
  5. New York Times writer Kather­ine Bou­ton reviews two books about Mary Anning, The Fos­sil Hunter: Dinosaurs, Evo­lu­tion and the Woman Whose Dis­cov­er­ies Changed the World, by Shel­ley Emling and Remark­able Crea­tures, by Tracy Cheva­lier. The first is a biog­ra­phy, the sec­ond is a novel. Here is Bouton’s lead: “Mary Anning was one of the few women to make a suc­cess in pale­on­tol­ogy and one of the fewer still whose suc­cess was not linked to that of a pale­on­tol­o­gist spouse (or any spouse: she was sin­gle). She made five major fos­sil dis­cov­er­ies from 1811 to her death in 1847 and many lesser ones. Why then is she best known as the inspi­ra­tion for the tongue twister “She sells seashells by the seashore?”
  6. In the same issue of the Times, Denise Grady writes about the eth­i­cal issues that arise when doc­tors take cells from patients and then use those cells in research and, some­times, in com­mer­cial ven­tures that make a whole lot of money. “A Last­ing Gift to Med­i­cine That Wasn’t Really a Gift” is a response to The Immor­tal Life of Hen­ri­ette Lacks, by Rebecca Skloot. Hen­ri­etta Lacks was an African-American woman who died of cer­vi­cal can­cer in the 1950s, and Skloot’s book is an attempt to come to terms with both sides of an issue mired in ques­tions of race, class, med­ical ethics and more: Lacks’ can­cer cells, which were taken for analy­sis, went on to become a main­stay of mod­ern med­ical research, being used in devel­op­ing the first polio vac­cine and in the devel­op­ment of drugs for dis­eases includ­ing Parkinson’s leukemia and the flu, and they not inci­den­tally have made some peo­ple in the med­ical field very, very rich. Lacks’ fam­ily, who can’t even afford their own health insur­ance, has never seen a dime of that money. The story is not as sim­ple a one of exploita­tion as that out­line would sug­gest, which is why Skloot’s book sounds like it is worth read­ing, but so is Grady’s opin­ion piece.
  7. Due in 2013, the fifth edi­tion of the Diag­nos­tic and Sta­tis­ti­cal Man­ual of Men­tal Dis­or­ders, will con­tain some sig­nif­i­cant revi­sions that could result, accord­ing to Times reporter, Bene­dict Carey, in “fewer chil­dren [get­ting] a diag­no­sis of bipo­lar dis­or­der[,] ‘[b]inge eat­ing dis­or­der’ and ‘hyper­sex­u­al­ity’ [becom­ing] part of every­day lan­guage” and a sig­nif­i­cant change in the way many men­tal dis­or­ders are diag­nosed and treated. This book is used to define the line between the so-called nor­mal and the so-called abnor­mal; changes in it could have a pro­found impact, there­fore, on soci­ety. It is, there­fore, worth pay­ing atten­tion to.
  8. If any of you, like me, have gout, you want to know about Gout­Pal, the only infor­ma­tional site about gout that I have found – and it’s got a ton of infor­ma­tion – that is not also try­ing to sell you some­thing. I have glanced through it a cou­ple of times, and I am begin­ning to real­ize that I need to read it. If you have gout, you prob­a­bly should too.
  9. An opin­ion piece on Tehran Bureau that’s worth read­ing about how to under­stand what hap­pened in terms of the Green Move­ment in Iran on Feb­ru­ary 11th: Were the Greens Defeated?
  10. Also from Tehran Bureau: Why North Tehra­nis Don’t Revolt: Why some peo­ple who clearly see the régime as “them,” don’t see the oppo­si­tion as “us,” or at least not enough of an “us” that they are will­ing to risk join­ing the protests.

“The Myths of Liberal Zionism,” by Yitzhak Laor — I want to read this book

Writ­ing in the Jan­u­ary issue of Harper’s Mag­a­zine, Joshua Cohen wrote this at the end of his review of Laor’s book:

It often seems that the Israeli-Palestinian con­flict is just […] a tex­tual prob­lem. If so, then the mud­dle of mean­ing that must be ana­lyzed lies in pars­ing not Pales­tin­ian from Israeli, but “Israeli” from “Jew.” Only once those epi­thets have been dis­sev­ered can some sort of dia­logue begin, between two polit­i­cal enti­ties and not between two (or three) reli­gions or Peo­ples. Until then, “Israel” will con­tinue to be vil­i­fied as a word that means some­thing other than what it should, while all crit­ics of Israel will be accused of anti-Semitism.

It is not clear to me from the review how much of this is Cohen, how much of this is Laor and how much of it is Cohen putting into his own words what he agrees with in Laor’s book, but any book that leads to this kind of think­ing, to ask­ing these kinds of ques­tions, whether I ulti­mately agree with the book or not, is a book worth read­ing. Now, if there were only 36 hours or more in a day. Sigh.

Reading Joshua Kryah’s Glean

“My faith lies else­where.” When I fin­ished read­ing Joshua Kryah’s Glean (Night­boat Books, 2007)[1. This review was orig­i­nally posted on a lit­er­ary blog that no longer exists called The Great Amer­i­can Pinup. My under­stand­ing is that the blog was hacked and that attempts by the peo­ple who ran the blog to resolve things using Google’s help screens were unsuc­cess­ful. I am repost­ing the review here because I think the books are impor­tant enough that the review should con­tinue to be avail­able.] and started think­ing about what I would write in my review of the book, that is the sen­tence that came to me, almost as if it had been wait­ing — who knows how long? — somewhere in the back or just below the sur­face of my con­scious­ness for me to read the final lines of “Come Hither,” the last poem in Kryah’s book:

Who will draw you out, now
that you’ve given your­self over?

Who dis­solve
your body like a host on their tongue?

What stop­ping place will be pro­vided, what
rest?

Where am I in this emer­gence—
who comes?

The “you” here is God, or, rather, the god that faith places on the other side of the absence that is all, accord­ing to the monothe­ism I was taught grow­ing up, human beings can ever really know of the one divine being. Yet the first two ques­tions here are not about this god per se, but rather about those whose task it is to draw this god out into the world and take him into them­selves. In the face of the absence that is also the divine — and that is, there­fore, in itself per­haps the deep­est and most fun­da­men­tal test of faith — who will those peo­ple be? At the same time, the speaker of the poem is clear that some­thing is emerg­ing — some­thing which, based on the first two ques­tions, we can assume the speaker believes to be God. Then, out of that clar­ity another ques­tion emerges. What is the speaker’s posi­tion in the emer­gence, not in rela­tion to it, as if he were stand­ing out­side of it, watch­ing what was hap­pen­ing, wait­ing to see the end result, but in it, as part of it, and once the speaker places him­self within this emer­gence, who is emerg­ing is no longer clear. The pos­si­bil­ity exists in the lan­guage that it is the speaker who is emerg­ing, that he is watch­ing him­self become, that he has dis­cov­ered his god within him­self, that he has come to accept that he is him­self, some­how, within his god.

Ques­tions of faith have been impor­tant to me since I was a teenager and I believed my future lay in the rab­binate. When I set aside the faith that being a rabbi would have demanded of me, how­ever, I did not set aside the strug­gle to come to terms with the final, indif­fer­ent and absolute absence that will fill the space where I used to be in the moment after my death. It is a mea­sure of Kryah’s suc­cess that, despite the fact my faith lies some­where very other than his — and since this is a review of his book, I am not going to turn it into an essay about my own spir­i­tu­al­ity — the poems in Glean nonethe­less con­fronted me with the ques­tion of just where, pre­cisely, my spir­i­tu­al­ity does lie. In large mea­sure, the poems accom­plish this through metaphors that ground the issues they raise firmly in the body. Here, for exam­ple, are the first few lines of “My Easter:”

Breath­bloom, the res­ur­rec­tion lily
spent on its stem,

the pale throat thrown back
announcing — what?

Behold, all at once,
the flesh-like knot
undone, each petal released, their beauty un–
mis­tak­ably and

already gone.

And here is “O Hiero­glyph (for­got­ten word, spread your lips around me)” in its entirety:

As if the wet vowel might speak.

As if, plun­dered,
it might give up its blank stare, and
sud­denly, shud­der in my mouth.

We exchange a lan­guage
dumb as flesh, pressed into and bruised
beyond recog­ni­tion, its only response the black eye’s dull cir­cle of speech.

Blue, blue-brown
each color off­set by the sur­round­ing skin,
the cal­cite thought of your return­ing again.

I can­not muster
what I should have lost, and in the wish gained
more stead­fast: your curio, what swings from a locket upon my chest,

a mes­sage that now only speaks
with its fist.

The note I wrote to myself on the page below this poem says, sim­ply, “Donne?” The fist in the final line recalled for me Holy Son­net #14, “Bat­ter my heart, three-personed God,” and, indeed, I found myself think­ing of Donne’s Holy Son­nets often while read­ing Glean, so much so that I read through the sam­pling of them in the edi­tion of the Nor­ton Anthol­ogy that I have on my shelf before I sat down to write this review. Donne’s poems, too, are rooted in the body, though very dif­fer­ently than Kryah’s. For while Kryah metaphorizes — if I can coin a term — the body, and the phys­i­cal world in gen­eral, to give pres­ence to the absence in the face of which he ques­tions, asserts and main­tains his faith, Donne posi­tions the body in his poems as Other to his god, whose pres­ence in the world the poems them­selves — at least the ones I read — do not doubt for a minute. I also thought of Donne’s Holy Son­nets while read­ing Glean because, despite the fact that Kryah’s poems are writ­ten in a very free verse — the sen­tence frag­ment and the uncon­ven­tional spac­ing of the poems seemed to me just about the only two for­mal devices used con­sis­tently through­out the book — his poem’s share with Donne’s a sense of lan­guage as some­thing phys­i­cal, some­thing to be felt, held in the mouth, savored and then released.

In all hon­esty, I don’t know that I will pick this book of poems up again. It has said to me what it has to say, and it’s not some­thing I need to hear again. Still, I admire, deeply, the craft and com­mit­ment, the hon­esty and courage that went into writ­ing it. It is the kind of book I think every­one should have to read once, the kind of book that those to whom it truly speaks will trea­sure for the rest of their lives.

Reading Suheir Hammad’s ZaatarDiva and Kazim Ali’s The Far Mosque

Talk about two very dif­fer­ent books by two very dif­fer­ent poets, but there are con­nec­tions, and since I read the books back to back, I want to talk about them side by side.[1. This review was orig­i­nally posted on a lit­er­ary blog that no longer exists called The Great Amer­i­can Pinup. My under­stand­ing is that the blog was hacked and that attempts by the peo­ple who ran the blog to resolve things using Google’s help screens were unsuc­cess­ful. I am repost­ing the review here because I think the books are impor­tant enough that the review should con­tinue to be avail­able.] I first met Suheir Ham­mad some years ago when she came to Nas­sau Com­mu­nity Col­lege (NCC), where I teach in the Eng­lish Depart­ment, to give a read­ing as part of a day-long pro­gram on the Palestinian-Israeli con­flict. The pro­gram was spon­sored by NCC’s Inter­na­tional Stud­ies Com­mit­tee and it gen­er­ated, even in the plan­ning, a lot of con­tro­versy. I was not involved in putting the day together, so I do not know the specifics of went on, but I do know that the col­lege admin­is­tra­tion voiced con­cerns about ade­quate secu­rity, about who the pan­elists would be and whether a bal­anced view of the con­flict would be pre­sented. What they meant by “bal­anced,” how­ever, at least as I under­stand it, was that no one who spoke for the Pales­tin­ian side should express views that were overtly hos­tile to Israel. It did not seem to bother them that peo­ple rep­re­sent­ing the Israeli side might express views overtly hos­tile to Pales­tini­ans and/or Arabs, and, sure enough, one of the speak­ers was a woman rep­re­sent­ing a far-right Jew­ish orga­ni­za­tion — not Israeli, but Jew­ish — who spoke quite force­fully about the Arab/Muslim plot to take over the world. It was almost as if she were quot­ing from the Pro­to­cols of the Elders of Zion,[2. The link is to an edu­ca­tional page about the Pro­to­cols that con­tains a link to a pdf ver­sion of the text, if you want an html ver­sion click here] except that all the ref­er­ences to Jews had been changed to Arabs.

Dur­ing lunch that day — her read­ing was in the evening — Suheir and I spoke about “One Stop (Hebron Revis­ited)” a poem from her first book, Born Pales­tin­ian, Born Black, that I had used in a class I’d taught the pre­vi­ous semes­ter called Intro­duc­tion to World Jew­ish Stud­ies. The poem is a response to Baruch Goldstein’s Feb­ru­ary 1994 mas­sacre of 29 Mus­lims — approx­i­mately 100 were injured — in which the speaker, a woman, imag­ines the vio­lence she would have done to a Jew­ish man she sees had she “caught [him] on the train/on an empty car into flat­bush.” The poem is painful to read, not only for the spe­cific details of the vio­lence it describes, but also for the naked­ness of the rage it expresses. The speaker is in pain, and it is hard not to feel implicit in the details of what the woman describes how much she hates her­self for even imag­in­ing that she would per­form those acts.

When I taught the poem, I asked my stu­dents, all of whom hap­pened to be Jew­ish and most of whom came from con­ser­v­a­tive and ortho­dox reli­gious back­grounds, if they thought it was anti-Semitic. I was truly sur­prised when they said no, that if they were in the writer’s shoes, they would have felt a sim­i­lar anger and that Suheir Ham­mad there­fore had every right to express her­self in the way that she did. I told Suheir this and she also was shocked and then she told me that “One Stop” was a poem she never read when she gave read­ings. I don’t remem­ber her pre­cise words, but I think she told me she was afraid to. It was so angry and so vio­lent that she was not sure how her audi­ences would react. I told her I thought it was a poem that peo­ple needed to hear, that she owed it to her­self and to her audi­ences to read it, pre­cisely because the pain and the vio­lence in the poem are so deeply embed­ded in the emo­tional cen­ter of the con­flict between Israel and the Pales­tini­ans, and no one should be spared a con­fronta­tion with that center.

My own opin­ion is that, to the extent the speaker in “One Stop” holds the Jew­ish man she sees on the train in New York City respon­si­ble for the views of Baruch Gold­stein and, by exten­sion, the poli­cies of the State of Israel, the poem is anti-Semitic, or, to be more pre­cise, the speaker expresses her rage in anti-Semitic terms. Because her rage is com­pre­hen­si­ble, how­ever, it is also an excus­able moment of Jew-hatred, no dif­fer­ent than the way, say, the rage of a Black South African dur­ing apartheid might be directed at all South African whites, despite the fact that there were many whites in South Africa who opposed apartheid. What mat­ters is whether the speaker, once she has calmed down, takes respon­si­bil­ity for that moment. In “One Stop,” she does not, nor do I remem­ber, frankly, whether Ham­mad takes on the ques­tion of that respon­si­bil­ity in any of the other poems in Born Pales­tin­ian, Born Black, and since I do not have the book handy, I can’t go back and check. My over­all rec­ol­lec­tion of the book, though, is that it is more angry than it is about com­ing to terms with anger. I remem­ber a cou­ple of with­er­ing poems protest­ing the way Mid­dle East­ern women are exoti­cized in the US, and I remem­ber poems that were clearly intended to con­front the reader with the phys­i­cal hor­rors of occu­pa­tion. (It occurs to me as I write this that I also should state explic­itly that I am not accus­ing Suheir Ham­mad of Jew-hatred in any form. Not only is it a mis­take to con­fuse a poet with the speak­ers of her poems, but I have met her and talked to her, and I just don’t think she har­bors that kind of hatred for any­one.) Con­tinue read­ing

Reading “The Man In The White Sharkskin Suit,” by Lucette Lagnado

I just fin­ished read­ing The Man in the White Sharksin Suit: My Family’s Exo­dus from Old Cairo to the New World, by Lucette Lagnado, a reporter for The Wall Street Jour­nal whom we have invited to read as part of Nas­sau Com­mu­nity College’s Lit­er­a­ture, Live! read­ing series, spon­sored by The Cre­ative Writ­ing Project (CWP). A mem­oir that is at once a love let­ter to her father, Leon, and also her mother, Edith, as well as to the city of Cairo and its way of life in the days of King Farouk, The Man in the White Sharksin Suit chron­i­cles the dif­fi­cul­ties Lagnado’s fam­ily faced as they nav­i­gated the often tor­tu­ous path they were forced to travel from the priv­i­leged life they enjoyed in Egypt to the dif­fi­cult and, espe­cially for her father, often humil­i­at­ing exis­tence that life as exiles forced them into. The book has a lot to say about the arro­gance with which Euro­pean and Amer­i­can Jews – as indi­vid­u­als and as work­ers in agen­cies that were sup­posed to help fam­i­lies such as Lagnado’s – treated their Mizrachi core­li­gion­ists, who fled or were forced to leave their home coun­tries in the years fol­low­ing Israel’s found­ing; and when she tells the story of Sylvia Kirschner, the New York Asso­ci­a­tion for New Amer­i­cans (NYANA) case­worker assigned to the Lagnado fam­ily, and how Kirschner refused to find any com­pro­mise between her pro­gres­sive val­ues relat­ing to women and Lagnado’s father’s deeply patri­ar­chal old world val­ues, it is hard not to sym­pa­thize with Leon. Not because there is any­thing defen­si­ble in his desire com­pletely to rule the lives of the women in his fam­ily, but because Lagnado makes it so clear that Sylvia Kirschner’s intol­er­ance only served to accel­er­ate the unrav­el­ing of the Lagnado fam­ily by encour­ag­ing the inde­pen­dence of Lagando’s older sis­ter Suzette. I’m not sug­gest­ing that Suzette should have allowed her­self to remain firmly held in place beneath her father’s patri­ar­chal thumb, but surely there were gen­tler ways of intro­duc­ing Leon and Suzette to the greater inde­pen­dence of women in the United States than Kirschner’s dis­missal of and dis­re­spect for the val­ues Leon had brought with him from an older gen­er­a­tion in a far more tra­di­tional part of the world.

There are many other moments in this mem­oir that are wor­thy of note – the Ital­ian Catholic friend Lagnado found and lost because of a hous­ing dis­pute between their par­ents and the neighborhood’s anti­se­mitic response to that dis­pute; the con­trast Lagnado draws between her expe­ri­ence being treated for Hodgkin’s dis­ease by a pri­vate physi­cian in New York City and her father’s dis­mal treat­ment at the Jew­ish Home and Hos­pi­tal, and then at Mt. Sinai Hos­pi­tal, in the last years of his life (and each of these con­trasted with the med­ical treat­ment the fam­ily had been able to com­mand when they lived in Egypt, and Leon could sum­mon the best doc­tors in Cairo to look after him and his fam­ily); Lagnado’s meet­ing with the woman whose father-in-law and uncle had nego­ti­ated the pur­chase of the Lagnado fam­ily home when Leon finally, reluc­tantly, real­ized he and his fam­ily could no longer remain in Egypt – but what struck me most as I read this book was how much it hinted at things I didn’t know about Mizrachi Jews. Leon’s fam­ily was from Aleppo, in Syria, and Lagnado’s dis­cus­sion of that culture’s fam­ily tra­di­tions left me frus­trated that I had never learned about them when I was in Hebrew School, or later when I was in yeshiva, and it was ham­mered into us that kol yis­rael are­vim zeh lazeh, all Jews are respon­si­ble for each other. That lofty sen­ti­ment notwith­stand­ing, the cur­ricu­lum we were taught cer­tainly made it seem like the only Jews in the world, or at least the only Jews in the world that mat­tered, were those of Euro­pean, and espe­cially east­ern Euro­pean, descent.

It’s not that I didn’t know Mizrachi Jews existed, and I cer­tainly can­not blame my con­tem­po­rary igno­rance on the faulty edu­ca­tion of my youth. After all, noth­ing has stopped me from edu­cat­ing myself other than the way I have set the pri­or­i­ties of my life (and it’s entirely pos­si­ble that I would not have picked Lagnado’s book up except that the CWP has cho­sen to invite her), but so much of my early Jew­ish edu­ca­tion was focused on Israel – the need for Israel, the value of Israel, the strug­gle to found Israel – that it’s sur­pris­ing I remem­ber no atten­tion being paid to the fact that, after Israel’s inde­pen­dence was declared in 1948, nearly a mil­lion Mizrachi Jews were either forced to leave their coun­tries or chose to leave because the con­di­tions there had become unten­able. Surely learn­ing about Israel ought to have meant learn­ing some­thing about the cul­ture of the mil­lions of Mizrachi Jews who chose to set­tle there. Equally sur­pris­ing to me is that nowhere in Lagnado’s mem­oir is Israel men­tioned except as either a pri­mary cause of the prob­lems the Jews of Egypt were start­ing to have after 1948 or as one the places where the Jews of Egypt could go that would accept them with­out fail. Lagnado does not laud Israel as the Jew­ish home­land, nor is there any sense from her book that the Jews of Egypt saw Israel in that way at all; even when she talks about the Egypt­ian Jews who chose to go to Israel, she presents the choice as matter-of-fact, even as des­per­ate, not as one that might con­tain within it some small part of the hope with which the Euro­pean Zion­ists clearly embraced the idea of a Jew­ish home­land there.

The Man in the White Shark­skin Suit, how­ever, is a mem­oir, not a his­tory. I am sure that there were Mizrachi Jews who embraced the found­ing of Israel as fer­vently and hope­fully as the Euro­pean Zion­ists did. More, I am sure that the feel­ing I had after read­ing Lagnado’s book, that the Jews of Egypt were far bet­ter off in Egypt than in any of the places to which they fled, has more to do with the priv­i­leged life her fam­ily lived there than with the real­ity of the lives of all Egypt­ian Jews. I am fully aware, in other words, that the story of the Mizrachi Jews is, has got to be, far more com­plex than any­thing I could learn from read­ing Lagnado’s mem­oir; and yet read­ing the book, espe­cially the chap­ter called “The Last Days of Tar­boosh,” brought me back to a trans­la­tion con­fer­ence panel I was on with Ammiel Alcalay and Sami Chetrit, a Mizrachi Jew (Moroc­can, if I remem­ber cor­rectly). Dur­ing his talk Chetrit spoke of how – and I am para­phras­ing here; I wish I could remem­ber his exact words – the Euro­pean Zion­ist Jews col­o­nized the Mizrachi Jews, replac­ing the Mizrachi nar­ra­tive with the Euro­pean Jew­ish nar­ra­tive, even to the point of usurp­ing the language(s) Mizrachi Jews had been speak­ing for cen­turies, if not mil­lenia, before Israel was founded. (I am not sure if this was a ref­er­ence to the European-based revival of Hebrew as the Jew­ish national lan­guage or to some other con­flict over lan­guage.) His state­ments sur­prised me in much the same way that read­ing Lagnado’s books did, because they hinted at a story I did not know, that felt like I should have known it.

Like Lagnado, Chetrit obvi­ously has a per­spec­tive, and a bias, and I am in no way informed enough to judge the accu­racy of what he said. What I can say is that any Jew­ish edu­ca­tion worth its salt should have as one of its goals mak­ing its stu­dents that informed, or at least teach­ing them that they should feel respon­si­ble for inform­ing them­selves; and that most cer­tainly is not the Jew­ish edu­ca­tion I received. Indeed, the Jew­ish edu­ca­tion I received ren­dered both Chetrit’s per­spec­tive and Lagnado’s story entirely invis­i­ble, and it did so not only in the inter­est of mak­ing Israel cen­tral to Jewish-American iden­tity, but also to estab­lish­ing the Zion­ist nar­ra­tive of the found­ing of Israel as the uni­ver­sal Jew­ish nar­ra­tive of the found­ing of Israel. Sto­ries like Chetrit’s and Lagnado’s demon­strate that such uni­ver­sal­ity is a myth. Con­fronting that myth is impor­tant not because it calls into ques­tion Israel’s right to exist (it makes me angry that I feel I even have to say that) but because com­ing to terms with the full com­plex­ity of the nar­ra­tive of Israel’s found­ing is the only way I know to come to terms with the fact that I, as a Jew – and maybe this applies to con­cerned peo­ple who aren’t Jew­ish as well – can­not not take a posi­tion regard­ing Israel’s exis­tence as a Jew­ish state.

(I’ve writ­ten more about this issue in the series I wrote called What We Talk About (And Don’t Talk About) When We Talk About (And Don’t Talk About) anti­semitism and Israel. The link will take you to part 4 of the series; there is a list of the other posts in the series at the bot­tom of that post.)

Lucette Lagnado’s read­ing at Nas­sau Com­mu­nity Col­lege is sched­uled for March 2010, date and time to be announced. For more infor­ma­tion, please visit the Cre­ative Writ­ing Project web­site.

Two Appearances in Maryland: A poetry reading from “The Silence Of Men” and “Translation as Plagiarism as Cultural Transmission: How Benjamin Franklin Helped Bring Classical Iranian Literature Into English”

I don’t know Mary­land geog­ra­phy well at all, but if you are any­where near either of the places where I will be appear­ing, it would be lovely to see you there.

Read­ing from The Silence Of Men

On Fri­day, May 15th, I will be read­ing from my book of poems The Silence Of Men at Coco’s But­ter Café, which is located at 7361 Assateague Dr., Unit 1040, Colum­bia, MD 20794 (direc­tions). From what I have been told, the café serves great choco­late and other desserts, great wine and lovely appe­tiz­ers. Here’s the rest of the rel­e­vant information:

Doors Open/Open mic signup: 7 PM
Open Mic Begins: 8 PM
Fea­ture Begins: around 9 PM
Cover: $10 gen­eral admission/$5 for open mic poets

Trans­la­tion as Pla­gia­rism as Cul­tural Trans­mis­sion: How Ben­jamin Franklin Helped Bring Clas­si­cal Iran­ian Lit­er­a­ture Into Amer­i­can English

On Sun­day, May 17, at a meet­ing of the Iranian-American Cul­tural Soci­ety of Mary­land, I will be giv­ing a talk and read­ing from my trans­la­tions of two mas­ter­pieces by the 13th cen­tury Iran­ian poet Saadi, Gulis­tan and Bus­tan. At the cen­ter of my talk is the story of a pla­gia­rism scan­dal involv­ing Ben­jamin Franklin that resulted from pub­li­ca­tion of a story that he claimed was a chap­ter of Gen­e­sis, but which had actu­ally been writ­ten by Saadi.

When: 1:30 – 3:00
Where: Tow­son Uni­ver­sity, 7800 York Build­ing, Room 121, Tow­son, MD 21252
Infor­ma­tion: (410) 258‑6651

Admis­sion is free.

Persian Arts Festival’s Shab-e She’r is Back in 2008 – 2009!

Wed, Sep­tem­ber 17th

Shab-e She’r, A Night of Per­sian Poetry

Bow­ery Poetry Club I 6-8pm I $12 cover incl. one drink
308 Bow­ery @ Bleecker

Shab-e She’r is back in action this Fall! Co-curated by PAF Lit­er­ary Arts Direc­tor, Richard Jef­frey New­man and Kaveh Bassiri, the event includes an open mic that is open to all who would like to read their favorite Iran­ian poetry or their own orig­i­nal work in Per­sian or Eng­lish. To sign up to read before the event, email poetry@​persianartsfestival.​org.

Safa picThis month’s fea­tured reader will be Safa Samiezade-Yazd, an Iranian-American solo the­atre artist who works to trans­form pol­i­tics into poet­ics. As a cit­i­zen of both coun­tries, Safa has always lived as “the other,” and does not try to change his­tory or pol­i­tics, but rather attempts to syn­the­size them into a new iden­tity that other Iranian-Americans may be able to claim. Works include “Cover Girl,” “Are You My Father,” “Khome­ini and Me,” and “Per­sian Princess Alchemy.

ABOUT PERSIAN ARTS FESTIVAL
Per­sian Arts Fes­ti­val, Inc. is a not-for-profit orga­ni­za­tion ded­i­cated to show­cas­ing the mag­nif­i­cence and diver­sity of Per­sian art and cul­ture through its voices, artists and vision­ar­ies. PAF pro­vides a truly unique oppor­tu­nity for local and global com­mu­ni­ties to gather and explore one of the world’s most ancient and rich civ­i­liza­tions. Per­sian Arts Fes­ti­val is a spon­sored project of the New York Foun­da­tion for the Arts (NYFA). More infor­ma­tion at www​.per​sia​narts​fes​ti​val​.org.

Forugh Farrokhzad’s Poetry at Persian Arts Festival’s Shab-e She’r on April 16th

pafladyCMYK On April 16th, Per­sian Arts Fes­ti­val wel­comes Maryam Habib­ian, author of the play Forugh’s Reflect­ing Pool: The Life and Work of Forugh Far­rokhzad, and Fawzia Afzal-Khan, edi­tor of Shat­ter­ing The Stereo­types: Mus­lim Women Speak Out. Dr. Habib­ian will read a sec­tion from her play and offer a dra­matic read­ing of some of Farrokhzad’s poems, in Eng­lish and Per­sian. Dr. Afzal-Khan will sing a selec­tion of Farrokhzad’s poems in Persian.

The event will take place on Wednes­day, April 16th from 6 – 8 PM at the Bow­ery Poetry Club. There is a $12 cover, which buys you one drink. As usual, an open mic will fol­low the fea­tured read­ers. If you would like to read your work, in Eng­lish and/or Per­sian, please email poetry@​persianartsfestival.​org to sign up. Any­one can read, as long as what you read has some con­nec­tion to Iran, Iran­ian cul­ture, Iranian-American expe­ri­ence and so on. If you sign up, please plan to read no more than 2 or 3 poems or about 5 – 7 min­utes worth of prose. Full bios of our read­ers appear below.

Con­tinue read­ing