At Rock Housing Projects they were all refugees from big water
Everyone came on ship after ship from Libya so they sat them down opposite the ocean
Apart from my one grandpa who couldn’t bear the SS officers no more
And one day out of longing and because his guts reeled on him walked into the ocean
Thought he’d find the Land of Israel there.
At Rock Housing Projects there was a Zura midget fortune teller
That had a colander but not for making couscous
Through its holes our future would fall and the past too would filter.
At Rock Housing Projects the future was clear – why? No money, no work, no educatshun,
And yet everybody would go to the fortune teller
There are some whose future comes to them all by itself
There are some whose past turns round and comes back at them round the other side
There was this midget fortune teller there sitting on the floor on a rug
But now all the tools of her trade:
There were on the rug:
Beans, black eyed peas, buttons, wheat barley and a safety pin
And just like her there was a woman there who made
Unction and ointments, both would sit on the rug with a bottle of Arak between them
And reckon up the living and the dead, reckon without a timepiece
One day my grandmother went by her and she said:
‘Black morning’
Today your morning will be black.
That night my second grandpa died
All who hear will laugh
I’m Isaac, I did not pass there but one day of black clouds
The sun couldn’t filter, grains of light were seized like a torn string of pearls
And holes in the colander were big, so big, ginormous
And the pearls dropped through the holes, how they dropped, smithereen by smithereen
Big ones too, like beans, like black eyed peas
Round ones too like grains of wheat and barley and no safety pin
Ever managed to tie that string again
Oh the colander that tipped on me
And oh the black cloud that snatched me up
But enough of black mornings
Gathering pearls now among the rocks, in inner chambers
At Rock Housing Projects in the scale inside whose catacombs we live
And from whose windows we are falling
Gathering a few of my falls, of how I’m snatched, scraped, smothered
A ray of thick dark penetrates the air lending a light
Going down the street marking the rug with my eyes
Gathering a stub of time, joining up heaven to earth with a safety pin
And feeling for a second gathered up, the precision I will have and the timepiece
A man goes
From Damascus to Paris
If he passed through a tunnel or cut through air
That I don’t know
Suddenly he saw the East was roaming
And no central pillar was there that didn’t stir
I walked years away from Jerusalem to Beersheba
But didn’t make a travelling sack
Like Ezekiel that’s lying on his left side
In a bed in Babylon
A year of days
But his beloved died and Zion is exiled
Abraham went from Beersheba to Moriah
Three days
Tying and untying his son in his mind
Three days slaughtering and crying
We are still tied and untying
Who are the slaughterers who cry
Who the slaughterers laughing
Here everyone’s walking
And somebody already went ahead to the metropolis of the dead
Is it that place we’re headed?
Whereas I want to be quarried outside of the catacombs
Here
Until the time when there is nothing
Apart from life running the other way
A mask face and my face
Were I am man trapped in a woman
Were I a prayer in sealed tight sentences
Were the mountains of Jerusalem in Beersheba’s deserts
I’ve wandered many deserts
But never reached Moriah
Now I feel in the homeland
Suddenly I’ve cottoned on this land how much it writhes
And how uneasy its tremors
But in amongst my brethren I am lost
And some go from Iraq to America
And some from Lebanon to Nicosia
And some from Israel to Palestine
And some from Israel to Israel to Israel to Israel
But don’t find anything for Israel in Israel is missing
You who wanted to be free in your home
Make yourself a travelling sack
There’s nobody free in the world who wasn’t driven out
Am I not a girl
Am I not a woman
Driven away from a man
And there’s no mother and no father
Am I not a person deprived of a tongue
Cleared off but not in exile
Rather in my land, my kin
Being buried but not in the desert
Rather my coffin is surplus to requirement
Exiled but not far away
Rather in this dust that pents up blood and tears
Inside and chokes
A man climbs and climbs
If in tears or in vodka
That I don’t know
If it always will be so in the east
Either spirit or soil
Meantime I’ll prefer indeed to lodge inside a word
No other home as yet exists
Perchance has never been
Inside my Hebraic, myopic, Arabic,
For this is a music that is only played
My lips stir
But my voice isn’t heard
For this is the language in which big ones cursed adored and cursed
I was cleared away from it to be ransomed: a Hebrew speak Hebrew
Now nevertheless the whole East is clamouring.
There where the sun comes from we rose
And here we’re setting
On a bare trunk inside our empty instruments are hanging
Dragged there they were, and there they still hum with our tears running through them
That’s from here
But we were prisoners of hope
And now are slaves of a land and desolation
Acknowledgements
Image credits: © Gaetano Pesce (1939-2024). The Period of Great Contaminations: Housing Unit for Two People, (1971). Material: Gouache, watercolor and graphite on paper. Dimensions: 39 3/8 x 26 3/4″ (100 x 67.9 cm). Image courtesy: MoMA.
Pesce’s project emerge from a fun question: what if an architect from the next millenium were to come across a buried inhabitation from the past? What would they conclude about the people who built them? As Atar Hadari’s translation shows, poems can also turn into excavation projects.
Translator | Atar Hadari
Atar Hadari came to England from Israel at the age of eight and studied writing and acting at the University of East Anglia before winning a scholarship to study poetry and playwrighting with Derek Walcott at Boston University. His Songs from Bialik: Selected Poems of H. N. Bialik was a finalist for the American Literary Translators’ Association Award and the Pen Translates award winning Lives of the Dead: Collected Poems of Hanoch Levin appeared from Arc Publications. He has also translated popular Hebrew novels, notably Liad Shoham’s Key Witness and Gabi Nizaqn’s Badulina and was awarded the British Centre for Literature in Translation mentorship to translate Haim Hazzaz’s classic study of condemned men The Gallows under the supervision of Nicholas de Lange. He was Vice-Chancellor’s PhD fellow in Theology at Liverpool Hope University and received a doctorate for his thesis on Tyndale’s translation of Deuteronomy and its revisions into the King James Version.
Author | Haviva Pedaya
Haviva Pedaya is an Iraqi Jewish author whose work chronicling the exiles of her grandfathers bridges between the secular past and a new religious phase in both Israeli and Middle East postcolonial culture. Her poems grapple constantly with resisting a colonial narrative and fashioning a language of her own out of a dialogue with English poetry, pop-songs by British groups (such as ‘The Clash’) and the ecological disaster of contemporary population movement across the Middle East.
