Meet the Iconoclast of Israel's Poetry World - Israel News _ Haaretz Daily Newspaper
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Meet the iconoclast of Israel's poetry worldYehuda Vizen doesn't care how many people read his literary journal. And forget Facebook it's for the rabble.
By Maya Sela | Aug.31, 2012 | 12:48 PM
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Poet a nd editor Yehuda V izan. Photo by Nir Kafri
Yehuda Vizan dropped out of Tel Aviv university just before he was due to
complete his bachelor's degree. "On the day that they taught me
Shakespeare as if it were post-colonialist literature, I got up and left class,
and never went back. I still have a semester to go toward my B.A., but I am
not willing to do it. As far as I'm concerned, the academic world is a
disgrace. Shakespeare is not post-colonialist literature; that is not how you
read Shakespeare."
Vizan has strong opinions about his field of study - the poetry, the
journals, the foundations and politics of literature, the academic world,
the "herd" and the fashionable politics of identities. And he's determined
to make those opinions heard. He's even been known to speak out against
friends, if he feels that they have stray ed from the path, as he sees it. He isyoung and he is angry. Vizan is derisive of today's "love and be loved"
culture.
Vizan, 27, is a poet and translator, and the founder and
editor of the literary journal Dehak. To date, he has
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"As opposed to the usual type of person found in semi-intellectual circles,
I am not a pluralist, to say the least, and I do not sanctify pluralism. On the
contrary, from where I stand, I can testify to the paradox in which
pluralism finds itself ov er and over again, an inherent paradox, which is
basically the non-possibility of including within the framework of
pluralism he who is not a pluralist - in the very same way that democracy
sees anyone who is not a democrat as a barbarian; in the same way that a
liberal excludes, with a level of violence that would not embarrass [Soviet
politician] Andrei Zhdanov, anyone who does not share the same values
with him. Standing up to pluralism, the capacity to make your own
decisions, the ethic that necessitates decisions and choices and hierarchies
- these are the primary elements in the enterprise that is known as Dehak."
In Dehak you declare that the publication does not accept manuscripts.
Usually, literally journals solicit manuscripts. Are y our gates shut?
"[Israeli poet] Alex ander Penn wrote 'Suru Mimeni' [Stay Away from Me].
For me, that is the difference between me and [Gabriel] Moked [long-time
editor of the literary journal Ah'shav]. He is forever experiencing the joy
of discov ery, he finds new talents, whereas I, I am not Indiana Jones. I'm
not interested in discovering new talents. I want to create a c ommunity,
even if it is reduced in size. If Bialik, when he was putting together Sefer
Ha'agadah [The Book of Legends], spoke about convening a conference of
the past, I am speaking of convening a conference of the present. I like the
fact that in the same issue we have Aminadav Dykman, [Moshe] MukiRon, Shimon Sandbank, Amos Edelheit, Amnon Navot, Natan Zach,
Aharon Shabtai, Efrat Mishori and Roee Chen all together. I choose them
very very carefully."
What about new poets?
"In poetry , it is harder, because it is in a dreadful state. The vast majority
of poets today are crappy, and this derives from the same brand of
ignorance, and lack of thinking about the issue of 'nusah'" - a term Bialik
had used to refer to an established and commonly accepted literary and
cultural convention style. "Not a single one has a well-arranged continuum
in mind. Right now, we find ourselves, horrifyingly enough - if I am
reading the map right - hopping along the Anglo-Saxon axis. Before Zach,
you had what was happening in Russian. We broke free from the Russiansand now we are behind the English.
"I am trying to find an intersection at the corner of Zukofsky and [Eliezer]
Hakalir, the place where the song of the language connects with the
Hebrew language, where the poetry is contemplative without being
philosophy and prose. Not unlike Dory Manor, music is very important to
me, but I do not believe in a single chord. Baudelaire, Mallarme and Dory
Manor all sound the same."
Vizan asks if I read the review of Dehak that appeared in the newspaper
Makor Rishon. "Do you know how the review began? It begins with the
sentence, 'The journal Dehak is the most intelligent platform ex isting
today in the State of Israel.' Period. And it is true."
So you can confirm it?
"I confirm the report. Not only is it true, but it is also valid for the past 30
years, going back to the days when Siman Kria was closed and Moked's
Ah'shav began to decline. Not since then has there been any such journal
in Israel, although Hadarim was an interesting attempt."
With a single blow you dismiss things like the journal Mita'am, which is
edited by Y itzhak Laor, about which you simply c annot claim that it was
not serious.
"I always had a feeling that in the context of Mita'am, they use writers and
harness them to a certain agenda, which is okay, ev ery journal has anagenda. It had essays and at times some wonderful things, but how many
times can you print [Gilles] Deleuze and [Slavoj] Zizek? It is a very 'bon
ton' journal, at the bottom line. The occupation, the occupation, the
occupation. The binding is occupation, the articles occupation, the poetry
occupation. At the end of the day, there isn't too much literature in it.
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"Laor is very enthusiastic about it. I don't know why a person who speaks
German and Italian, such an intelligent and sharp-witted person like him,
busies himself so much with this thing. The same holds true for a person
like Hannan Hever. There are a lot of people for whom this is their prism,
so very narrow. Everything is viewed through the occupation. And they
say that we have no ex istence with the occupation. But we do exist!
Empirically. You can say it isn't good, that there are problems, but
empirically speaking we are here and are speaking Hebrew."
The thinking is that if you are a moral person, you cannot permit yourself
to live a seemingly normal life while you are occupying another people.
"Look, there's a commercial on TV with a guy listening to a Walkman, and
he's kind of skinny, and he says, I have big muscles. But just because he
says it doesn't mean that he actually has big muscles. All of the poor
wretches who were at the demonstrations here in Tel Aviv earned their
gloomy state of existence the honest way. If they put David Grossman up
on the stage, they have earned their dismal state. Their symbol is the
golden calf. If all of them would sit with [Yosef Haim] Brenner, they would
be more moral people, people of greater action, but in the end all they
want is to cry. It's the same impotence."
I understand that you did not go to the social protest demonstrations.
"I did not go to the demonstrations, and I received a ton of phone calls,where are you, why aren't you here. I said that I wish them nothing but
bad, I am opposed to everything they represent, and then some. That's
all."
Against social justice?
"It's all simulacra. T hey put up a sculpture of a guillotine, erect a pseudo
tower and stockade. What's up with that? It's all one big summer camp.
Head over to a spot near the Hiriya [the former garbage dump], there are
citrus groves there. Build a city out of real stone, and when they come to
evacuate it, put up a battle. But that won't happen and shouldn't happen,
for one simple reason. The situation is not bad enough. We don't know
what a bad situation is, one that leads people to action. When I visit my
family in Yehud, I see the Ethiopian contract workers. We are talkingabout people who earn NIS 4,000 a month; they have eight children who
they send to the Chabad kindergarten. They are people in a state of
distress, but they are too busy to demonstrate. They're busy working."
A Zionist
The poetry situation is terrible, the wheeler-dealers are doing their thing,
and the readers are few in number, but Vizan sees magic in this landscape,
and even declares himself a Zionist.
"I can't understand how a poet could not be a Zionist. I live in a country in
which there is a newspaper in Hebrew, television in Hebrew, people
around me speaking Hebrew. As a poet, there is nothing dearer to me than
Hebrew, and here we have a country that is maintaining this language.
Gabriel Moked called me last week at 2 in the morning. 'Yuda, you won't
believe it,'" says Vizan, imitating Moked, "'I open my Bible and there is a
verse here, "And in the room is a chair, a table and a lamp." Incredible!'
And it really is incredible.
"The thought that in spite of the gap in years, that if King David were here
we could talk and he would understand me, is inconceivable. Meanwhile,
there a constant patronizing attitude, and derisiveness. People say, 'Okay,
Hebrew literature is a young literature.' This is by no means a young
literature, and they are more v irtuoso than any of us, but people can't read
them."
Why not?
"Amos Edelheit said that a first generation of illiterate poets is growing up
here. I don't believe in linguistic registers at all, as far as I'm concerned all
of the Hebrew language is laid out in front of you, grab and take it. T here
is no difference. One time a word is in a palace, the next time it's in the
market. The greatest compliment I've ever received was when someone
-
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looked at the list of authors appearing in Dehak and said, there's not a
single dunce here, and that really is the filter . Maybe it seems snobbish or
elitist. I called it conservatism, out of a desire to c harge the word with a
slightly different meaning."
What is the meaning of your conservatism?
"Conservatism, in the way that I see it, is the belief in the existence of
elements that you cannot do without. For instance, as I said, there is no
writing without reading. Most poets today are not conscious of the issue of
'nusah'; it's alien to them. I often emphasize in Dehak that the poetic
struggle of the journal is being waged against the 'Zachian' style that has
been ruling for 50 y ears. It is a language-poor, music-poor version, which
places at its center a whimpering psychological me. Me and me and me."
You also speak out in favor of public denunciation.
"We don't know how to criticize publicly, poetry is a wide-open field, you
accept everyone because it would be unpleasant not to. All of the
wretched and the despondent come to poetry. You're seeing it now with all
the demonstrators, with all the protests. People write poetry for an
anthology against a war or in favor of protest. Sometimes I receive these
press releases. I know who will respond to this e-mail, I know the speed
with which they produce this text, how easy it is, how meaningless. That's
the problem. In general, every link-up between society and poetry is sowrong. You can see the chase after high ratings in literature, too. There's
no separation.
"The demonstrators will supposedly hold a demonstration against capital,
but whom will they run to first? Straight to the media. Can you see
Robespierre running to Channel 2 and saying, 'Hey guys, at 5 P.M. we're
going to be lopping off a few heads, bring your c ameras'? I'm seeing people
maintaining their Facebook pages, responding to every person
individually, writing abominable things like 'Woe is me, I've gone
bourgeois, they've put a translation of my writing on the matriculation
exam,' all the sort of things that a 15-y ear-old girl does."
Facebook is the new world.
"The rabble is the rabble, and it has human weaknesses. You c an see on
Facebook the speed with which people seek others' opinions and join in,
and the pressure that is placed on people to join and to do a Like. Notice
that there is no 'Dislike' button on Facebook. We are a society that is
incapable of doing Dislike. Either you shut up or you like. It is astounding.
The answer to this lies in education. In order to truly educate, and I
declare this in the preface of Dehak, we have to ease up a bit on
democracy. We have to decide for people, because people aren't always
capable of deciding for themselves."
Yes, democracy is a foundering business, but the problem is who decides.
Right now, for ex ample, Gideon Sa'ar is deciding that we will go to v isit
Hebron and not that the children will read Brenner.
"Gideon Sa'ar decides that the children need to v isit Hebron and Yair
Lapid declares that Bible should be removed from the core studies
curriculum. Both are unacceptable. And for me, both represent the same
thing. I do not differentiate between the Israeli left and the Israeli right."
Whom do you vote for?
"I don't participate in the democratic system. Are you kidding? Most of
the choices are not intelligent. Once I suggested to Yossi Sarid in a
conversation we had that the right to vote be conditioned on a basic test
that would show if the individual knows what the platforms of the parties
are. He said, 'But then the more educated people would immediately win.'
I said that wasn't the case, that every party would want to enhance itsvoters' voice, and would invest more heavily in them. But all this is just
talk."
The things you are saying sound like you are in despair, but you don't look
like you are in despair.
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"Because I am always doing something, and always learning. I sit and think
about what I feel like putting into the next Dehak. So now I found an
article of Baudelaire's that never appeared in Hebrew, about the
philosophy of toys. It is fascinating. I began to investigate the subject and
discovered that Edgar Allan Poe has an essay on the philosophy of
furniture. So I have these two. Roee Chen is giving me his translation of
Gogol's 'The Inspector General,' and Ronen Sonis is about to translate
something for the first time from Joyc e's 'Finnegans Wake.' There is
constant thinking about what else we can do, and what is missing here."
You don't mind that your journal has no readers? Whom are you doing all
this work for?
"I believe in a discourse of the higher-ups, I do not believe in culture of
the masses. Natan Sharansky was chosen as one of the most influential
people in the world because he wrote an unsuccessful book about which
George Bush said it had a strong effect on him vis-a-vis the doctrine of
warfare in Iraq. That is a discourse among the higher-ups."
Where did you grow up? What do your parents say about all this?
"They're still try ing to figure it out. I was raised in a home that, had I not
been raised in it, I would not have the perspective that I have. I grew up in
a family that has no bullshit and has laws: Respect older people, no
cursing. Dad has the last word. T here is something about the traditional inthe atmosphere in which I was raised. I keep kosher. I fast on Yom Kippur
and that is my favorite day of the year. I arrange piles of books for myself,
prepare a reading light beforehand, and read all Kippur long. Three hours
before it begins, I make a round of the synagogues. This way, I have quiet,
I have my hubris philosophy, and the spirit of God is walking in the park."
'East Jerusalem is theirs'
Vizan's father is the deputy managing director of the Yehud municipality
and his mother is a kindergarten teacher. Says the son: "My father started
out as a contractor, doing house renovations. He and [novelist] Haggai
Linik were plastering partners. They would build a house, and as a child I
would come to put sand in the rooms that needed to have a floor installed.
He's a Likudnik whom I am not so certain the Likudniks would accept. Ilook up to him. He's very pragmatic."
Vizan is also quite pragmatic, and feels that reality forces one to be so.
"We don't really have to give back East Jerusalem because it's already
theirs. On the other hand, we don't have to return Ariel because Ariel is
already ours. T his is where the left, and also in many instances the right,
disregard the details, ignore what is happening on the ground, take no
notice of 20,000 people here, of 30,000 people there. They draw maps
and when they go through an olive orc hard they go out to demonstrate.
History has influenced the map. If we went back a hundred years, all of
Europe would have to change its location."
When he is asked how he pays for Dehak, Vizan laughs and says with the
help of all sorts of building contractors, friends of his father, whom he
asks for support - and for whom NIS 7,000, the c ost of publishing the
journal, isn't real money. One of these backers was very touched when he
saw in the latest issue of Dehak the poems of 1 7th-century rabbi Moses
ben Mordecai Zacuto. He himself earns his livelihood, like his father
before him, from doing renovations.
"Once I built a little house on a moshav, a housing unit. I built walls, put up
the tiles, everything. In the end I came to the guy and said, 'Listen, take off
NIS 5,000, because I don't know how to build a roof. Bring in someone
else to do the roof.' But you know, when you are offered work, the first
you say is yes."
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