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Tag: wordplay

Galilee goes free, or the tetragrammaton only knows why a poem in Adeena Karasick’s Aerotomania: The Book of Lumenations is dedicated to me

According to the Babylonian Talmud (Eruvin 53b), the Hebrew-speakers of ancient Judea were so precise in their speech that they would never describe a cloak they were trying to sell as merely green, but would tell you instead that it was the colour of newly sprouted beet greens trailing along the ground. Galileans, on the other hand, were less punctilious:

“What do you mean when you say that Galileans are not careful in speaking? It is taught: There was a Galilean who used to go about [the marketplace] asking, ‘Who has amar? Who has amar?’ They said to him, ‘Stupid Galilean, do you mean khamor [donkey] to ride or khamar [wine] to drink? Amar [wool] to wear or imar [a lamb] to slaughter?’ And don’t forget the woman who wanted to say to her friend, ‘to-i de-okhlikh khalovo, come, I’ll give you some milk,’ only to have it come out as ‘tokhlikh lovya, may you be eaten by a lioness?’”

Where the ancient Galileans seem to have had no choice but to sound like themselves, Adeena Karasick has elaborated, over 14 volumes of poetry, a sort of deliberate neo-Galileanism that sometimes bridges, sometimes leaps and, on occasion, just fills the talmudic chasm between utterance and meaning in a way guaranteed to drive any artificial intelligence program out of its simulated mind. As she says in the poem “Talmudy Blues II” that is dedicated to me in her new collection, Aerotomania: The Book of Lumenations (Lavender Ink): “… sometimes the letters rule over her / and sometimes she rules over the letters / cleaving to the light of infinite possibility.” (p.31)

image - Aerotomania book coverIs Karasick cleaving to the light as she rules over the letters? Or do the letters ruling her do the cleaving? Have her consonants been endowed with the naissances latentes of Rimbaud’s “Voyelles”? Or, less goyishly, is Karasick turning Galilean imprecision into an aesthetic approach rooted in the modalities of elementary-level reading instruction – reading silently and reading aloud, the absorption and subsequent re-citation of a written text – as enacted in the traditional East European Hebrew school known as kheyder?

The basic level of instruction had three phases:

1. Alef-beys, literally, alphabet, in which students learn to recognize the consonants that make up the Hebrew alphabet, along with the sundry diacritical marks that take the place of alphabetic vowels. There are 11 of the latter, representing five vowel sounds.

2. Halb-traf leyenen, reading half syllables. Each diacritic is run, as it were, through all 22 of the consonants. So, for example, syllables formed with the vowel komets would be learned by reciting, “Komets alef, o; komets beys, bo; komets giml, go” … and so on, to the end of the alphabet, when the student would go on to the next vowel: “Pasekh alef, a; pasekh beys, ba; pasekh giml, ga.”

3. Gants-traf leyenen, reading whole syllables, i.e., combining the individual letters or syllabograms into words.

Karasick’s traffic is with the last two, the kheyder basics supplemented by the graphemically focused mysticism of Sefer Yetsira and Abraham Abulafia as refracted through a contemporary sensibility and range of reference: “The letter is matter which moves matter … these words are closer than they appear.” (p.31)

We see halb-traf in full flight in, say, the coda to “Eicha,” the long poem with which Lumenations opens: “In the eros of aching ethos / The caesura screams – / Through cirque’elatory sequiturs, resistances” and continues: “Here, her / in mired err / whose scar is clear // Hear her/here/whose heir / wears err’s // shared prayer / where // care is rare….” (pp.26-27)

All you have to do is imagine a phrase like “hear her/here/” in unvocalized Hebrew, רה רה רה, and then read it as “hair hare hoar,” to realize that Karasick’s poetry, like the airplane she anatomizes in Aerotomania, constitutes “a hybridized syncretic space between cultures and idioms / where that interlingual complexity doesn’t close down but builds dialogue” (p.83), a dialogue rooted in, but quickly soaring beyond, quotidian phonemic reality.

There is an upward thrust to the book, from the dust and cracked earth of “Eicha,” the recasting of the biblical Lamentations (eicha means how, as in, “How sits the city solitary”), through the rising rabbinic commentary of “Talmudy Blues II,” a romp through ways of thought – words, that is – that now stand in place of the things destroyed: Jerusalem and the Temple (known in Hebrew as the Holy House).

An excursus on the idea of house follows, then “Checking In II,” i.e., checking into the Aerotomania flight by stowing readers’ cultural baggage for the duration of their stay on the plane. Having shaken off our dust (Isaiah 52:2), we emerge from the fog of our associations. Our lumen is come (Isaiah 60:1); we rise through the ether to embrace The Shining.

As the dedicatee of “Talmudy Blues II,” it behooves me to say something about the poem. A continuation of “Here Today Gone Gemara” from Karasick’s 2018 collection Checking In (Talonbooks), “Talmudy Blues II” consists in large part of elaborations of dialogue (and dialect) culled from our ongoing conversations about the ways in which the Talmud is reflected and refracted in Yiddish. “Carpe verbum,” reads the epigraph to “Here Today” – pluck that word like it’s a Sabbath chicken, clear away the excrescences and bite into the thing itself, ever mindful that the Hebrew davar means both word and thing, utterance and entity; my honeyed words solidified into raw material, ore for Adeena’s gold, one davar turned into another. But, as it says in the Talmud (Megillah 15), “Whoever credits a davar to the person who said it brings redemption to the world.”

Amen. Thou hast conquered, O neo-Galilean. 

Michael Wex is author of three books on Yiddish, including Born to Kvetch. His songs have been recorded by such bands as the Klezmatics, and he has translated The Threepenny Opera from German into Yiddish. His one-person shows include Sex in Yiddish, Wie Gott in Paris and Gut Yontef, Yoko. I Just Wanna Jewify: The Yiddish Revenge on Wagner was recently revived (on Zoom) by the Ashkenaz Festival. His most recent major project, Baym Kabaret Yitesh, a recreation of a 1938 Warsaw Yiddish cabaret, was the surprise hit of Ashkenaz 2022 in Toronto. Bas Sheve, the long-lost Yiddish opera restored by Wex and composer Joshua Horowitz, was the not-so-surprising hit of the same festival. This book review was originally published in New Explorations: Studies in Culture & Communication, Vol. 3, no. 2 (2023).

Posted on December 1, 2023November 30, 2023Author Michael WexCategories BooksTags Adeena Karasick, Aerotomania, language, poetry, wordplay, Yiddish

Openings in wake of COVID

Inscribing what the philosopher Emmanuel Levinas might call espace vital (the space we can survive), Ouvert Oeuvre: Openings (2023) is an exploration of openings in a (never quite) post-COVID world. Written by poet, performer and cultural theorist Adeena Karasick and visualized by designer/author and vis lit creator Warren Lehrer, both the title poem and “Touching in the Wake of the Virus” track the trepidations and celebrations of openings read through socioeconomic, geographic and bodily space.

image - Ouvert Oeuvre book coverBoth poems explore a range of intralingual etymologies laced with post-consumerist and erotic language, theoretical discourse, philosophical and kabbalistic aphorisms. They foreground language and book-space as organisms of hope – highlighting the concept of opening and touching as an ever-swirling palimpsest of spectral voices, textures, whispers and codes transported through passion, politics and pleasure as we negotiate loss and light. 

In this first collaborative book, Lehrer choreographs Karasick’s words on the stage of the page through typographic compositions that give form to the emotional, metaphorical, historical and sonic underpinnings of the texts. Together, the writing and visuals engage the reader to become an active participant in the experience/performance of the work. The book also comes with a soundtrack recording (via QR code) of Karasick reading the poems with music composed and performed by Grammy award-winning composer and trumpet player, Sir Frank London. 

Produced in a smyth-sewn, three-colour foil stamped, three-piece hardcover binding, printed on acid-free paper, Ouvert Oeuvre: Openings bridges the gap between art book and trade publication that will speak to lovers of poetry, philosophy, art, design, new media, performance, and anyone trying to navigate opening and touching in the wake of pandemics and other mass maladies.

Ouvert Oeuvre: Openings can be purchased from most online booksellers. 

– Courtesy Lavender Ink

Posted on December 1, 2023November 30, 2023Author Lavender InkCategories BooksTags Adeena Karasick, COVID, language, Ouvert Oeuvre, pandemic, poetry, Warren Lehrer, wordplay
Playing with words, and more

Playing with words, and more

Think you’re not a puzzle person? Think again. “We solve puzzles of every sort, every day. They show up in so many of our life choices – in our decision-making, in our development of human relationships, in time-management, and so on,” writes local Jewish community member Jonathan Berkowitz. “Although puzzles are usually considered to be activities of recreation, having any facility with puzzle-solving enhances other life skills. It helps you with listening, parsing, decoding, defining, lateral thinking – in short, problem-solving.”

In his recently published book, The Whirl of Words: Puzzling Past and Present (FriesenPress), Berkowitz gets into the nitty gritty – history, philosophy, etymology, mechanics – of puzzle construction and solving in a conversational style that makes for good reading, even if you don’t absorb all the details on the first go. In fact, an ability to give something the once-over and then revisit it is an important aspect of puzzle-solving. It’s the second of eight steps that Berkowitz offers for solving puzzles, which would serve well for any puzzling situation.

Puns, by the way, are a part of wordplay, which, writes Berkowitz, “involves perceiving patterns where none were expected. Pattern matching is a hallmark of intelligence. It is at the root of science and art. Much of thinking is really just finding the underlying pattern.”

Berkowitz is adept at both science and art. He appears regularly on CBC Radio 1, where he is “the Word Guy” on the show North by Northwest. He creates and solves puzzles and is a member of the National Puzzlers’ League. Oh, and he’s a professor of statistics at the University of British Columbia’s Sauder School of Business.

image - The Whirl of Words book coverThe Whirl of Words is about all kinds of wordplay, the main types of which, Berkowitz explains, “involve letter play (wordplay involving the letters of the alphabet and their usage in words without regard to sound or sense), sound play (wordplay involving the sounds of words without regard to letters or meanings) and meaning play (wordplay involving the meanings of words without regard to letters or sounds).”

There is a chapter on numbers, both as words (one, two, three, etc.) and as mathematical concepts. There are discussions of the potential cognitive and other benefits of puzzle-solving, such as learning about a range of topics, from sports to geography to politics.

“Word puzzles improve vocabulary, grammar, spelling and communication skills, boost memory and enhance cognitive and analytical skills,” writes Berkowitz. “By improving your problem-solving skills, you may also improve your performance at work and in other areas of life. They can be a positive factor for your mental health, because focusing your attention on a puzzle can aid relaxation, ward off anxiety, and keep your emotions under control. After all, how can you think negative thoughts when you’re concentrating on a puzzle? And, doesn’t it feel fantastic when you solve a puzzle?”

Going back to his eight steps, out of context, they could be mistaken for a self-help guide:

  1. “The puzzle is in the details. Read the instructions carefully. Then read them again.”
  2. “Give it the once-over, twice. Assess the challenge.”
  3. “Don’t just sit there, try something.”
  4. “Don’t give up; persist.”
  5. “Open your toolbox.” What approach might lead to a solution?
  6. “Use the force wisely. Be systematic and efficient.”
  7. “Sleep on it…. Like a train, once you are on a track, it is difficult to change tracks. Put the puzzle aside and come back to it with fresh eyes and a refreshed brain.”
  8. “You are not alone. It is perfectly fine to seek help from resources.”

As is also true with general life circumstances, the key to getting better at something is to practise. And Berkowitz provides plenty of puzzles for readers to solve, as well as the answers to them at the end of each chapter.

The Whirl of Words includes a selected biography for those interested in further learning, and a much-needed glossary – most readers will discover many new words and terms while enjoying this book.

To read excerpts from The Whirl of Words and to purchase a copy of it for yourself or a fellow puzzle lover, visit thewhirlofwords.com.

Format ImagePosted on October 22, 2021November 2, 2021Author Cynthia RamsayCategories BooksTags Jonathan Berkowitz, puzzles, Whirl of Words, wordplay
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