In the company is a continued –exploration of spiritual alternative path that has begun in Nokaddish published by BenYehudah presr By presenting Hebrew folk and Hassidic tales as well as Arabic tales the poems suggest opposites of common beliefs worth consideration and further contemplation Examples are suggestions that heaven and hell are one and the same/or that disease heals. The author suggests you roam through the book and choose any poem you chose to explore.
If you like to meet new people the book offers you a hundred and twenty chances. real people as well as imaginary ones populate the book. Engage with characters in sickness and healing. Each one is full of life force,sadness and smiles
In the company is a continued –exploration of spiritual alternative path that has begun in Nokaddish published by BenYehudah presr By presenting Hebrew folk and Hassidic tales as well as Arabic tales the poems suggest opposites of common beliefs worth consideration and further contemplation Examples are suggestions that heaven and hell are one and the same/or that disease heals. The author suggests you roam through the book and choose any poem you chose to explore.
In his first Holocaust book, Terra Treblinka, the author, explores the searing legacy of the Holocaust present in Europe and over it. In Back to Terezin, the poet tears open the lie that the Holocaust is over. It did not end in 1945. The earth is still crying with the victims’ blood; their souls flutter bitterly above death camps. Waves of Holocaust denial, hate, racism, and genocides expand and threaten to drown democracy. The poet is left with deep sorrow and visions of revenge at nights. He is immersed in mourning family members; he does not know their names but keeps searching incessantly obsessively in deserted archives and desecrated cemeteries.
In his new collection Terra Treblinka: Holocaust Poems Hanoch Guy brings readers into the rough terrain of Holocaust memory. At once vivid and piercing these poems neither pretend immediacy nor do they shy away from exploring the intimacies of traumatic memory. Through these poems, Guy constructs links in the chain of memory. He shows us how extended and intimate engagements with the works of survivor poets and writers make this possible. What he recreates is not so much the physical landscape of Treblinka but rather its abiding haunting presence. These are fierce and heartbreaking poems. Bristling with passion and rage, in their specificity these poems demonstrate what it means to keep the legacy of the Holocaust alive in the present. Laura S. Levitt, Professor of Religion, Jewish Studies, and Gender, Temple University. Among other works, she is the author of American Jewish Loss after the Holocaust (2007) and an editor of Impossible Images: Contemporary Art after the Holocaust (2003).
Join in voyages to faraway places . Enjoy the scents and sounds of islands and mountains. Cross the seas to Newfoundland and the Sahara dessert to Timbuctu. Delve into the mystery of imaginary places.
The Yiddish writer Moyshe Leyb Halpern wrote, in his poem Momento Mori, “And should Moyshe-Leyb, the poet, say / That he saw Death... /Just as he sees himself in the mirror... / Will they believe Moyshe-Leyb?” These poems by Hanoch Guy-Kaner may occasion a like incredulity. After all, if, as Wittgenstein asserted, “Death is not an event in life: we do not live to experience death,” then what about the contending, equally experiential statement by Rebbe Bunam of Przysucha about himself that “All my life I have been learning how to die”? Hanoch Guy-Kaner does not care to explain or reconcile the seeming paradox----if there is one, or even to prefer one assertion to the other. Himself a poet, like Moyshe-Leyb, he too sees his long-familiar neighbor, Death, just as he sees himself in the mirror. Thus these poems, each of them a momento vitae, are each a kind of self-portrait as well. And as with late Rembrandt self-portraits, these poems too, in the words of John Berger, “contain or embody a paradox: they are clearly about old age, yet they address the future. They assume something coming toward them apart from Death.” A “something” which he, the poet, sees already, remembers already (and for which, it would seem, Death itself is the mirror). But will they believe Hanoch Guy-Kaner? “Death stands behind you On the supermarket long line As other unexpected events” Robert Margolis We dread it. We avoid thinking about it but it is present all the time. The poems in this book are explorations of the unknowable and nightmares. The poet pulls veils from what is beyond but so close and tangible for a journey like no other in which we call upon angels.spirits and souls. We visit heaven and hell and hope to enter though the gate of mercy. HGK
In his first Holocaust book, Terra Treblinka, the author, explores the searing legacy of the Holocaust present in Europe and over it. In Back to Terezin, the poet tears open the lie that the Holocaust is over. It did not end in 1945. The earth is still crying with the victims’ blood; their souls flutter bitterly above death camps. Waves of Holocaust denial, hate, racism, and genocides expand and threaten to drown democracy. The poet is left with deep sorrow and visions of revenge at nights. He is immersed in mourning family members; he does not know their names but keeps searching incessantly obsessively in deserted archives and desecrated cemeteries.
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