ZALI GUREVITCH [12.062] Poeta de Israel

Zali Gurevitch

Poeta y antropólogo, nació en 1949 en Berkeley, California. Sus padres eran israelíes y llegó a Israel a las seis semanas de nacer. Ha publicado diez poemarios y tres libros de ensayos: uno acerca de la noción y concepción judía e israelí de lugar, una lectura del Eclesiastés y el un estudio acerca de la antropología de la conversación. En 2012 se publicará su nuevo libro sobre El Cantar de los Cantares.

Gurevitch ha escrito ensayos acerca del arte israelí y la poesía hebrea, y ha traducido poesía del inglés (John Ashbery, Charles Olson, W.B. Yeats) y el francés (Francis Ponge). Es profesor emérito de antropología en la Universidad Hebrea de Jerusalén. Reside en Tel Aviv.

Bibliografía:

Poesía en Hebreo:

Excerpts from an open dream, Jerusalem, Ahshav, 1980

Broken line, Jerusalem, Keter, 1984

Land, Tel Aviv, Am Oved, 1989

Book of the voice, Tel Aviv, Hakibbutz Hameuchad, 1990

This and that, Tel Aviv, Hakibbutz Hameuchad, 1996

The book of the moon, Tel Aviv, Helicon, 1999

Days, Tel Aviv, Am Oved, 2002

Time baba, Tel Aviv, Am Oved, 2005

Double click, Tel Aviv, Am Oved, 2008

Verses, Tel Aviv, Helicon, 2009 

Poesía traducida al inglés desde el Hebreo:

John Ashbery, Self-portrait in a convex mirror, Jerusalem, Ahshav, 1982

Rachel Zvia Back, Azimuth, Tel Aviv, Hakibbutz Hameuchad, 2000

No ficción en Hebreo:

Al Hamakom (On place/God), Tel Aviv, Am Oved, 2007

Heshbono shel Kohelet (On Kohelet/Ecclesiastes), Tel Aviv, Babel, 2008

Seeha (A conversation), Tel Aviv, Babel, 2011

Ensayos en Inglés:

‘Poetry Conversation and Culture’ in Studies in Symbolic Interaction, ed. N. Denzin, Vol. 14 (1993), pp. 91–94

‘The Symposium: Culture as Daimonic Conversation’ in Human Studies, Vol. 21 (1998), pp. 437–454

‘The Tongue’s Break Dance: Theory, Poetry and the Critical Body’ in Sociological Quarterly, Vol. 40 (1999), 525–540

‘Eternal Loss: An Afterword’, in Revealment and Concealment: Essays by H. N. Bialik, Ibis Editions, Jerusalem, 2000

‘The Serious Play of Writing’ in Qualitative Inquiry, Vol. 6 (2000), pp. 3–8

‘What is a Field?’ in Cultural Studies: Critical Methodologies, Vol. 2 (2002), pp. 300–308

‘Writing Through: The Poetics of Transfiguration’ in Cultural Studies: Critical Methodologies, Vol. 2 (2002), pp. 403–413

La poesía está en los márgenes

Ayer - por la tele - rock.

Decenas de miles de personas en el público

¿y dónde está la poesía?

En los márgenes,

más y más en los márgenes.

A trasmano, en una pequeña sala 

de Jerusalén.

Han llegado unos pocos amigos

y ellos - en verdad - casi ni vienen.

La poesía está en el margen

de los márgenes

y yo en el margen de la poesía.

Es asunto de uno solo, a lo sumo de dos

y a veces soy yo mismo el otro

incluso si no hay alaridos

ni aplausos.

Traducción: Gerardo Lewin

POETRY IS ON THE MARGINS

On television yesterday

Rock

Tens of thousands in the audience

And where is poetry?

On the margins,

More and more 

In a small hall

In Jerusalem

A few friends gather

Hardly more than a few

Poetry is on the margins

Of the margins

And I

Am on the margins of poetry

A matter of one

Or two

Sometimes 

I myself am two

© Translation: 2012, Lisa Katz

EXCERPTS FROM TIME BABA

everyone wants their feet 

on the ground; but what about 

being in the air; on the ground 

in the air; 20:46

 . . .

air-poetry; 20:48

the back on the chair, 

the ass in the air, 

the legs (crossed left over right) 

on the table; 21:03

 . . .

baba – the full in the empty [what 

remains after everything is emptied, 

the maximum of the minimum]. 

Piano keys flying 

in dispersion; 22:55

 . . .

for tonight

the exercise is as follows

stand for a moment

spread your arms from your sides

now slowly slowly begin

in movements of wings not of 

an airplane but of a bird until you feel 

you are light and elevating don't 

stop the movement 

you can go a bit faster now 

and start looking for a direction 

don’t force your body let it 

just think high 

and your body will fly; 00:00

 . . .

the moderns and more so 

the postmoderns don’t like depth, 

depth is an illusion, the depth 

of things, deep people, deep thought, the depth of landscape, 

of perspective, because depth invites digging, 

penetration, sneaking in, entrance, 

arrival, coming, as if there’s where 

to come, where to come from, 

someone to come to, and there is none, 

no depth, no secret, the deep of the sea, yes, ’cause it 

can be mapped, measured, 

stretched out. Not in depth is their interest, then, 

but on surface, 

the breadth of planes, the folds of the brain, 

the open-ended fields, the faces of the page, 

let scientists have the outside, 

and poets the inside, that is their field; 12:49

 . . .

the curtain is rising: poetry is just 

a magic word to raise the 

curtain; 18:22

© Translation: 2012, Gina Franco and Zali Gurevitch

HOME & CAMP

I’m not in any camp

I live at home

Not in a camp

But even at home I’ve made myself a sort of camp

The rooms are spread out like tents

And we move about between them 

Sit in a tent

Especially in the kitchen tent

And at night sleep each in a tent of his own 

D in his and H and I in ours

At my desk too

What is this if not a camp

It’s quiet now 

But like headquarters

The telephone works

The computer works

The printer works

Full of papers and books, and files

And letters

And drafts, and what not

And everything jumbled and ordered in equal measure

This morning for some reason

The pile scattered 

There’s no other way

All day I tried to pile it up again

(It turned cold

I lit the stove in the room)

I sat by the fire

© Translation: 2002, Zali Gurevitch with Peter Cole and Gabriel Levin