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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3/8



"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.


6/8



MORE FROM HAARETZ.COM FROM AROUND THE WEB

"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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Meet the Iconoclast of Israel's Poetry World - Israel News _ Haaretz Daily Newspaper