Yehuda Amichai

Yehuda Amichai was born in Würzburg, Germany, to an Orthodox Jewish family, and was raised speaking both Hebrew and German. His German name was Ludwig Pfeuffer.[3]

Amichai immigrated with his family at the age of 12 to Petah Tikva in Mandate Palestine in 1935, moving to Jerusalem in 1935.[4] [5]He attended Ma'aleh, a religious high school in Jerusalem. He was a member of the Palmach, the strike force of the Haganah, the defense force of the Jewish community in Mandate Palestine. As a young man he volunteered and fought in World War II as a soldier in the British Army, and in the Negev on the southern front in the 1947–1949 Palestine war.[4]

After discharge from the British Army in 1946, Amichai was a student at David Yellin Teachers College in Jerusalem, and became a teacher in Haifa. After the 1947–1949 1948 Arab–Israeli War, Amichai studied the Torah and Hebrew literature at the Hebrew University of Jerusalem. Encouraged by one of his professors at Hebrew University, he published his first book of poetry, Now and in Other Days, in 1955.[6]

In 1956, Amichai served in the Sinai War, and in 1973 he served in the Yom Kippur War.[7] Amichai published his first novel, Not of This Time, Not of This Place, in 1963. It is about a young Israeli who was born in Germany, and after World War II, and the 1947–1949 Palestine war, he visits his hometown in Germany, recalls his childhood, trying to make sense of the world that created the Holocaust. His second novel, Mi Yitneni Malon, about an Israeli poet living in New York, was published in 1971 while Amichai was a visiting professor at the University of California, Berkeley. He was a poet in residence at New York University in 1987.[2] For many years he taught literature in an Israeli seminar for teachers, and at the Hebrew University to students from abroad.[8]

Amichai was invited in 1994 by Prime Minister Yitzhak Rabin to read from his poems at the ceremony of the Nobel Peace Prize in Oslo. "God has pity on kindergarten children" was one of the poems he read. This poem is inscribed on a wall in the Rabin Museum in Tel-Aviv. There are streets named for him in cities in Israel, and also one in Würzburg.

Amichai was married twice. He was first married to Tamar Horn, with whom he had one son, and then to Chana Sokolov; they had one son and one daughter. His two sons were Ron and David, and his daughter was Emmanuella.[9]

Amichai died of cancer in 2000, at age 76.

Amichai's poetry deals with issues of day-to-day life, and with philosophical issues of the meaning of life and death. His work is characterized by gentle irony and original, often surprising imagery. Like many secular Israeli poets, he struggles with religious faith. His poems are full of references to God and the religious experience.[10] He was described as a philosopher-poet in search of a post-theological humanism.[11]

Amichai has been credited with a "rare ability for transforming the personal, even private, love situation, with all its joys and agonies, into everybody's experience, making his own time and place general."[12]

Some of his imagery was accused of being sacrilegious.[13] In his poem "And this is Your Glory" (Vehi Tehilatekha), for example, God is sprawled under the globe like a mechanic under a car, futilely trying to repair it. In the poem "Gods Change, Prayers Stay the Same" (Elim Mithalfim, ha-Tfillot Nisharot la-Ad), God is a portrayed as a tour guide or magician.[8]

Many of Amichai's poems were set to music in Israel and in other countries. Among them: the poem Memorial Day for the War Dead was set to music for solo voices, chorus and orchestra in Mohammed Fairouz's Third Symphony.[14] Other poems were set by the composers Elizabeth Alexander ("Even a fist was once an open palm and fingers"), David Froom, Mattias Pintscher, Jan Dušek, Benjamin Wallfisch, Ayelet Rose Gottlieb, Maya Beiser, Elizabeth Swados, Daniel Asia and others.

In an interview published in the American Poetry Review, Amichai spoke about his command of Hebrew:

I grew up in a very religious household ... So the prayers, the language of prayer itself became a kind of natural language for me ... I don't try—like sometimes poets do—to 'enrich' poetry by getting more cultural material or more ethnic material into it. It comes very naturally.[12]

Robert Alter describes Amichai's poetry as a "play of sound." He "builds a strong momentum that moves in free association from word to word, the sounds virtually generating the words that follow in the syntactic chain through phonetic kinship."[15]

Amichai's work was popular in English translation, but admirers of his poetry in the original Hebrew claim his innovative use of the language is lost in translation. Subtle layers of meaning achieved using an ancient word rather than its modern synonym to impart a biblical connotation cannot always be conveyed. In Amichai's love poem In the Middle of This Century, for instance, the English translation reads: "the linsey-woolsey of our being together." The Hebrew term, shaatnez, refers to the biblical taboo on interweaving linen and wool, which a Hebrew reader would grasp as an image of forbidden union.[16]

Amichai traced his beginnings as a poetry lover to when he was stationed with the British army in Egypt. There he happened to find an anthology of modern British poetry, and the works of Dylan Thomas, T. S. Eliot, and W. H. Auden. That book inspired his first thoughts about becoming a writer.

Literary scholar Boaz Arpaly wrote about the influence of biography on Amichai's poetry: "Literary criticism made the determination long ago that despite the autobiographical character of Amichai's poetry, the individual depicted in it is the typical Israeli everyman, and even in a wider sense, the individual as an individual of the twentieth century (a poetics that interweaves the private with the typically generic) ... Amichai routinely conflates biographical details from different times into one poetic framework, and exploits drafts and poetic ideas that were recorded in different periods, for a poem that would be written years later."[17]

"Almost every poem by Amichai is a statement about the general human condition and Amichai, in a certain sense, is always a philosophical poet."[18]

He changed his name to Yehuda Amichai ("my people lives") around 1946. In her biography of Amichai,[19] literary critic Nili Scharf Gold writes that the idea for the name change, as well as the name "Amichai," came from his girlfriend, Ruth Herrmann, who moved to the United States and then married Eric Zielenziger.[20] Contrary to Gold's claim, Amichai said in an interview that it was his idea to choose the name Amichai: "... it was common at that time to change (foreign) names into Hebrew names ... 'Amichai' was a right name, because it was Socialist, Zionist and optimistic."[21]

The only influence this relationship had on his poetry is on one poem "The Rustle of History's Wings, As They Used to Say" in which he wrote:

... For five shillings I exchanged the exile name of my fathers for a proud Hebrew name that suited hers. That whore ran off to America and married a man, a spice dealer, pepper, cinnamon, and cardamom, leaving me with my new name and with the war.

Gold also believes that a childhood trauma in Germany affected Amichai's later poetry. She claims in her book that Amichai had an argument with a childhood friend, Ruth Hanover, which led to her cycling home angrily. Ruth was caught in a traffic accident, as a result of which she had to have a leg amputated, and Gold claims that Amichai felt guilt and responsibility.[20] Ruth later died in the Holocaust. Amichai occasionally referred to her in his poems as "Little Ruth." However, in Amichai's account of this episode in his journal, the accident happened some days after his dispute with Little Ruth, and there was no connection between the dispute and the accident:

I remember that in 1934 the little Ruth accident happened. Days before, we argued a little because I easily gave up the leading part of Yehuda Maccabi in the school show and the son of the headmaster got it. She argued that I had to fight more and not to give up immediately.[22]

In an interview Amichai said: "Little Ruth is my Anne Frank," "I found out that she (Little Ruth) was in the last transport in 1944. This knowledge goes with me all the time, not because of guilt."[21] "If there is any guilty feeling it's like the guilt that soldiers feel when they survive the battle while their friends were killed."[22]

Robert Alter wrote about Gold's contention: "Again and again Gold asks why Amichai did not represent his German childhood in his poetry, except fragmentarily and obliquely. The inconvenient fact that his major novel, Not of This time, Not of This Place, devotes elaborate attention to Würzburg (which is given the fictional name Weinburg) is not allowed to trouble Gold's thesis of suppression, because the book is fiction, not poetry, and hence is thought somehow to belong to a different category in regard to the writer's relation to his early years. But Gold's notion of Amichai's 'poetics of camouflage' rests on an entirely unexamined assumption- that it is the task of the poet to represent his life directly and in full ..."[23] However, Gold argued that Amichai only wrote extensively about Würzburg in his novel because it was not his primary genre and therefore would be read by fewer people. Moreover, "Not of This Time, Not of This Place" does not hide the fact that it is based on Amichai's autobiography, including both his trip to his former hometown (and, explicitly, his search for closure about Little Ruth) and his affair with an American woman.[19]

Contrary to Gold argument, Amichi wrote many plays and radio plays.[24] a book of short stories,[25] a second novel[26] and he never said or wrote in any interview that he hoped that fewer people would read his prose. Boaz Arpaly wrote: "Amichai did not hide in his poetry the fact that he was an immigrant and a son of immigrants, but he chose to tell the story of his childhood in his hometown, in his novel Not of This Time, Not of This Place, and like any other writer, he decided which material of his life will become material to his poetry.. ."

Did Amichai want to become a national poet? ... his poetry embodied a silent but piercing revolution against the social and political institutions that enslave the life and happiness of the individual for their need – He should bother so much to build for himself the mythology of a national poet? All the things that Gold thinks he was hiding were not in any contrast to the unique "nationality" embodied in his poetry. I did not find in Gold's book an explanation to the concept 'national poet' but in the first place, this concept appears in her book she is pointing to my article (1997) that says: "of all the poets who began to at the time of Amichai, or in later years, since Alterman there was not a poet more popular than Amichai. In this he is unique. He is probably the only canonic poet read by so many, also by people that do not belong to the Literary Community. In this matter he has no rivals. From this aspect, at least, he may be considered a national poet, a title that does not suit him from any other point of view ..." Gold's use of that title is not clear and not responsible."[17][27]

Amichai's poetry in English appeared in the first issue of "Modern Poetry in Translation" edited by Daniel Weissbort and Ted Hughes in 1965. In 1966 he appeared at the Spoleto poetry festival with Ezra Pound, W.H. Auden, Pablo Neruda and others. In 1968, he appeared at the London Poetry Festival. His first book in English, Selected Poems (1968), was translated by Assia Guttman, (Hughes' lover and mother to his daughter Shura).[28] Referring to him as "the great Israeli poet," Jonathan Wilson wrote in The New York Times that he "is one of very few contemporary poets to have reached a broad cross-section without compromising his art. He was loved by his readers worldwide ... perhaps only as the Russians loved their poets in the early part of the last century. It is not hard to see why. Amichai's poems are easy on the surface and yet profound: humorous, ironic and yet full of passion, secular but God-engaged, allusive but accessible, charged with metaphor and yet remarkably concrete. Most of all, they are, like the speaking persona in his Letter of Recommendation, full of love: Oh, touch me, touch me, you good woman! / This is not a scar you feel under my shirt. / It is a letter of recommendation, folded, / from my father: / 'He is still a good boy and full of love.' "[29]

In the Times Literary Supplement, Ted Hughes wrote: "I've become more than ever convinced that Amichai is one of the biggest, most essential, most durable poetic voices of this past century – one of the most intimate, alive and human, wise, humorous, true, loving, inwardly free and resourceful, at home in every human situation. One of the real treasures."[30]

In the New-Republic,3 July 2000, C.K.Williams wrote: "If there really is such a thing as wisdom, it might well reside in the character that a master such as Amichai can fashion for himself, and so for us"

In The American Poetry Review, in May–June 2016, David Biespiel wrote: "He translates the hardness of existence into new tenderness; tenderness into spiritual wonder that is meant to quiet outrage; and outrage into a mixture of worry and love and warmth ... He is one of the great joyful lamenters of all time, endlessly documenting his anguish, throbbing pains, mistaken dreams, shortages of faith, abundances of ecstatic loves, and humiliations. And, like everyone else, he wants everything both ways. In particular, he wants to be a lover and a loner, a guy in the street and an intellectual, believer and infidel, while insisting that all manifestations of war against the human spirit be mercilessly squashed."[31]

• Paul Celan wrote to Amichai "What really belongs to you in your poems comes through with the most convincing, most conspicuous force. You are the poem you write, the poem you write is ... you yourself.--Right away I loaned the English selection of your work to my friend Andre du Bouchet, who writes poems as well, and to my great joy what had struck me came through to him too. Now this book is going round to other contributors and editors of the magazine L'Ephemere (I'm also among them). We'd be delighted to bring out a book of yours in French translation"

Letter to Amichai, 7 November 1969[32]

[33] Octavio Paz :"He is one of our great poets, a very accessible one. Once one has read his poems, one can never forget them - there can be so much life in sixteen lines. Yehuda Amichai is a master."

Anthony Hecht: "It is as deeply spiritual a poem as any I have read in modern times, not excluding Eliot's Four Quartets, or anything to be found in the works of professional religionists. It is an incomparable triumph. Be immediately assured that this does not mean devoid of humor, or without a rich sense of comedy."[34]

"not only superb, but would, all by itself, have merited a Nobel Prize."[35]

Author Nicole Krauss has said that she was affected by Amichai from a young age.[36]

Amichai's poetry has been translated into 40 languages.[37]

• 1957 – Shlonsky Prize[38]
• 1969 – Brenner Prize[38]
• 1976 – Bialik Prize for literature (co-recipient with essayist Yeshurun Keshet)[39]
• 1981 – Würzburg's Prize for Culture (Germany)[38]
• 1982 – Israel Prize for Hebrew poetry.[40][41] The prize citation reads, in part: "Through his synthesis of the poetic with the everyday, Yehuda Amichai effected a revolutionary change in both the subject matter and the language of poetry."[37]
• 1986 – Agnon Prize[38]
• 1994 – Malraux Prize: International Book Fair (France)[38]
• 1994 – Literary Lion Award (New York)[38]
• 1995 – Macedonia's Golden Wreath Award: International Poetry Festival[38]
• 1996 – Norwegian Bjornson Poetry Award[38]

Amichai received an Honor Citation from Assiut University, Egypt, and numerous honorary doctorates. He became an Honorary Member of the American Academy of Arts and Letters (1986), and a Foreign Honorary Member of the American Academy of Arts and Sciences (1991).[42] His work is included in the "100 Greatest Works of Modern Jewish Literature" (2001), and in international anthologies Poems for the Millennium by J. Rothenberg and P. Joris, and 100 Great Poems of the 20th Century by Mark Strand. He was nominated for the Nobel Prize several times, but never won.[37] Tufts University English professor Jonathan Wilson wrote, "He should have won the Nobel Prize in any of the last 20 years, but he knew that as far as the Scandinavian judges were concerned, and whatever his personal politics, which were indubitably on the dovish side, he came from the wrong side of the stockade."[29]

Amichai sold his archive for over $200,000 to the Beinecke Rare Book and Manuscript Library of Yale University. The archive contains 1,500 letters received from the early 1960s to the early 1990s from dozens of Israeli writers, poets, intellectuals and politicians. Overseas correspondence includes letters from Ted Hughes, Arthur Miller, Erica Jong, Paul Celan, and many others. The archive also includes dozens of unpublished poems, stories and plays; 50 notebooks and notepads with 1,500 pages of notes, poems, thoughts and drafts from the 1950s onward, and the poet's diaries, which he kept for 40 years. According to Moshe Mossek, former head of the Israel State Archive, these materials offer priceless data about Amichai's life and work.[43] In the Hebrew edition of 19 October 2012, the Haaretz editorial board apologized for the incorrect facts that were published in Mr. Mosek's article.[44]

• List of Israel Prize recipients
• Hebrew Literature

• Robert Alter: [Only a Man], The New Republic, 31 Dec 2008
• Robert Alter:Israel's Master Poet, The New York Times Magazine,8 June 1986
• Rick Black: Through Amichai's Window, Tikkun online magazine, November 2015
• Adam Seelig: Introduction to "Killing Him," a radio play by Yehuda Amichai, Poetry Magazine, July–August 2008
• Boas Arpali: "The Flowers and the Urn" Amichai's Poetry – Structure, Meaning, Poetics, Hakibbutz Hameuchad, 1986
• Edward Hirsch: A Language Torn From Sleep, The New York Times Book Review, 3 August 1986
• Boaz Arpali: Patuach, Patuach, Haaretz 16 Jan 2009
• Benjamin Balint: "Israel's Laureate: The Sacred and Secular Vision of Yehuda Amichai," in the Weekly Standard, 18 January 2016.
• Miriam Neiger, "Half a saint": Eschatology, Vision and Salvation in the Poetry of Yehuda Amichai, M.A. Thesis (in Hebrew), The Hebrew University of Jerusalem, The Department of Hebrew Literature.
• Nili Scharf Gold: Yehuda Amichai: The Making of Israel's National Poet, Brandeis University Press, 2008.
• Nili Scharf Gold:"Amichai's Now and in Other Days and Open Closed Open: A Poetic Dialogue," in Festschrift in Honor of Arnold Band, eds. William Cutter and David C. Jacobson, (Providence: Brown University Judaic Studies), 465-477, 2002.
• Nili Scharf Gold: Not like a cypress: transformations of images and structures in the poetry of Yehuda Amichai, Schocken 1994.
• Nili Scharf Gold:"A Burning Bush or a Fire of Thorns: Toward a Revisionary Reading of Amichai's Poetry," in Prooftexts, (Bloomington: Indiana University Press) Vol. 14, 49-69, 1994.
• Boaz Arpaly: "The making of Israel National Poet," Shofar, winter 2010, Vol. 28 N0 2 pp-213
• Essi Lapon-Kandeslshein: To Commemorate the 70th Birthday of Yehuda Amichai: A Bibliography of His Work in Translation, Ramat Gan (Israel): Institute of the Translation of Hebrew Literature, 1994
• Mel Gussow :Yehuda Amichai, Poet who turned Israel experience into verse, The New York Times',23 September 2000
• Sephen Kessler: Theology for Atheists Yehuda Amichai's Poetry of Paradox' Express Books, September 2000
• Charles M. Sennot :Poet Walks Jerusalem's Little Corners of Hope, The Boston Globe 9.5.2000
• Robyn Sara:'Look to Amichai for Poetry that Endures, The Gazette', Montreal, 28 October 2000
• Anthony Hecht: Sentenced To Reality, the New York Review of Books, 2 November 2000
• Irreverent Israeli Poet with a Comic Eye For Detail, The Irish Times, 7 October 2000
• Christian Leo: "Wischen Erinnern und Vergessen" – Jehuda Amichais Roman 'Nicht von jetzt' nicht von hier" im philosophichen und literarischen Kontexext" Konigshausen&Neumann Wurzburg 2004
• Dan Miron: Yehuda Amichai-A Revolutionary With a Father, Haaretz, 3, 12, 14, October 2005
• Matt Nesvisky: Letters I wrote to you, The Jerusalem Report, 8 December 2008
• Yehudit Tzvik:Yehuda Amichai: A Selection of critical essays on his writing, Hakibbutz Hameuchad, 1988
• Lawrence Joseph (Spring 1992). "Yehuda Amichai, The Art of Poetry No. 44." Paris Review.
• The Modern Hebrew Poem Itself, 2003, ISBN 0-8143-2485-1
• Chana Kronfeld: "The Wisdom of Camouflage" Prooftexts 10, 1990 pp. 469–491
• Adam Kirsch:Opening Up the Great Human Emotions:A New Collection of Poetry from an Israeli Master of Metaphor:Forwards,5 May 2000
• Jonathan Wilson: The God of Small Things, New York Times Book Review,12.10.2000
• Joshua Cohen; "The Poet Who Invented Himself," Forward.com 4 Sep 2008
• C.K.Williams: "We Cannot be foold, We can be fooled" The New Republic, 3 July 2000
• Hana Amichai : "Little Ruth, my Personal Anne Frank" Haaretz, 22,10,2010
• Hana Amichai: "The leap between the yet and the not any more" Amichai and Paul Celan, Haaretz,6 April 2012 (Hebrew)
• John Felstiner, "Paul Celan and Yehuda Amichai: An Exchange between Two Great Poets," Midstream 53, no. 1 (Jan.–Feb. 2007)
• john Felstiner "Writing Zion" Paul Celan and Yehuda Amichai: An Exchange between Two Great Poets, The New Republic, 5 June 2006
• Chana Kronfeld- "The Wisdom of Camouflage" Prooftexts 10, 1990 pp. 469–491
• Chana Kronfeld : "Reading Amichai Reading," Judaism 45, no. 3 (1996): 311–2
• Na'ama Rokem:" German–Hebrew Encounters in the Poetry and Correspondence of Yehuda Amichai and Paul Celan," Prooftext Volume 30, Number 1, Winter 2010 E-ISSN 1086-3311 Print ISSN 0272-9601
• Vered Shemtov, Between Perspectives of Space:

A Reading in Yehuda Amichai's "Jewish Travel" and "Israeli Travel" , Jewish Social Studies 11.3 (2005) 141-161

• Naama Lansky : "A Poem of Protest " ; "Israel Hyom," 8 April 2011 pp ישראל היום," מוסף "ישראל שישבת," 41–38,"(in Hebrew)
• Robert Alter, Amichai: The Poet at play, Jewish Review of Books, Vol 2 Nu 2 Summer 2011
• Chana Kronfeld : "The Full Severity of Compassion" Stanford University Press 2016
• Robert Alter;editor:" The Poetry of Yehuda Amichai" Farrar, Straus and Giroux New York 2016
• Elizabeth Lund : "The best poetry books for December" The Washington Post, 8 December 2015
• Rosie Scharp :"The Poetry of Yehuda Amichai " The New York Times, 24 January 2016
• MITCH GINSBURG :" Doors toYehuda Amichai Unforgettable Poetry" The Times of Israel, 21 January 2016
• Shoshana Olidort ":Review: 'The Poetry of Yehuda Amichai," Chicago Tribune, 10 December 2015
• James Wood:" Like a Prayer: The Poetry of Yehuda Amichai " The New Yorker, 4 January 2016 issue
• Stephen Greenblatt ;"The Jewish Poet of Love" The New York Review of Books, 14 January 2016 ISSUE

Wikiquote has quotations related to: Yehuda Amichai

• Poetry Foundation bio
• Academy of American Poets bio
• The Institute for the Translation of Hebrew Literature
• Octavio Paz on Amichai
• Lawrence Joseph (Spring 1992). "Yehuda Amichai, The Art of Poetry No. 44". The Paris Review.
• The Amichai Windows from Turtle Light Press, a blog about Yehuda Amichai, the man, his poetry and an artist book of his poems.
• luljeta lleshanaku on Amichai
• Yehuda Amichai's poetry in English translation at Poems Found in Translation
• Yehuda Amichai's Poetry Introduction to Amichai's poetry, in audio.
• Petri Liukkonen. "Yehuda Amichai". Books and Writers
• -luljeta-lleshanaku, 3Mmagazin
• Biography from the international literature festival berlin
• Reading of Yehuda Amichai's "I, May I Rest in Peace" by Chana Bloch
• Excerpts from the translation by Stephen Mitchell
• A poet who lives up to his Nobel Prize
• The 15 best poetry books of all time at The Daily Telegraph
• Yehuda Amichai Papers. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.