The Mnemosyne Weekly: Poem Thirty-Nine (Amichai)

San Carlos Wildflowers

John Fowler

This week I've fallen in love with a new (to me) poet, Yehuda Amichai, whose selected poems I picked up at Half Price Books a few weeks ago and have been devouring since. Amichai writes in Hebrew and has been translated into more than forty languages. The poems in The Selected Poetry of Yehuda Amichai (the collection I've been reading) were translated by Chana Bloch and Stephen Mitchell.

According to another well-known translator, Robert Alter, "Yehuda Amichai, it has been remarked with some justice, is the most widely translated Hebrew poet since King David.” And I have to say, I can see why. The poems are stunning. Both universal and deeply personal, they deal with the most important aspects of humanity through compelling, brilliant metaphors and images.

Before you read the poem I've selected for this week's Mnemosyne, here are a few lines that really struck me from other poems: "God's hand is in the world / like my mother's hand in the guts of the slaughtered chicken / on Sabbath eve" (From "God's Hand in the World," translated by Stephen Mitchell). And from another poem ("Yehuda Ha-Levi"), also translated by Stephen Mitchell: "But in the white fist of his brain / he holds the black seeds of his happy childhood. / When he reaches the belovèd, bone-dry land-- / he will sow."

Yehuda Amichai

Photo by Layle Silbert

Wildpeace
By Yehuda Amichai

Translated By Chana Bloch

Not the peace of a cease-fire,
not even the vision of the wolf and the lamb,
but rather
as in the heart when the excitement is over
and you can talk only about a great weariness.
I know that I know how to kill,
that makes me an adult.
And my son plays with a toy gun that knows
how to open and close its eyes and say Mama.
A peace
without the big noise of beating swords into ploughshares,
without words, without
the thud of the heavy rubber stamp: let it be
light, floating, like lazy white foam.
A little rest for the wounds—
who speaks of healing?
(And the howl of the orphans is passed from one generation
to the next, as in a relay race:
the baton never falls.)

Let it come
like wildflowers,
suddenly, because the field
must have it: wildpeace.

The Mnemosyne Weekly: Poem Three (Rilke)

Thanks to all of you who are participating in The Mnemosyne Weekly! If you're new to the blog, you might want to look at the first Mnemosyne post to find out what this project is all about. 

Our poem this week is by Rainer Maria Rilke (translated by Stephen Mitchell). This is my favorite translation of one of my all time favorite poems. It's a little bit longer than the other ones we've memorized, but I'm sure you'll agree that it's worth the effort. As well, I'd like to mention that Rilke was a wonderful prose writer. If you haven't yet read his Letters to a Young Poet, I highly recommend picking up a hardcover edition so that when you finish reading it you can keep it on your shelf forever!

I love hearing your thoughts about the poems and what your experience was of memorizing them, so please continue to leave comments at the posts. Leave comments for last week's poem by Emily Dickinson at The Mnemosyne Weekly: Poem Two.

Here is your poem for the week. Enjoy!

I.3 (from The Sonnets To Orpheus)

A god can do it. But will you tell me how
a man can penetrate through the lyre’s strings?
Our mind is split. And at the shadowed crossing
of heart-roads there is no temple for Apollo.

Song, as you have taught it, is not desire,
not wooing any grace that can be achieved;
song is reality. Simple, for a god.
But when can we be real? When does he pour

the earth, the stars, into us? Young man,
it is not your loving, even if your mouth
was forced wide open by your own voice – learn

to forget that passionate music. It will end.
True singing is a different breath, about
nothing. A gust inside the god. A wind.

— Rainer Maria Rilke (1923), trans. Stephen Mitchell (1989)