Israeli-American poet Morani Kornberg-Weiss breaks with conventional poetics and mainstream politics. But who, exactly, is Dear Darwish for?
Dear Darwish, Morani Kornberg-Weiss’s first collection of poetry, opens with a prose poem that that doubles as an indictment of Israeli society. Cleverly disguised as a letter, it is addressed to the late Palestinian poet Mahmoud Darwish. Like the poems that follow it, “Dear Mahmoud” does many things at once. It captures the violence inherent in establishing and maintaining the Jewish state. It accurately depicts Israelis’ objectifying and dehumanizing view of Palestinians. It shows how the state’s violence against Palestinians has seeped into Israeli society, permeating all aspects of life.
It’s no short order to do all this without losing the poetry to polemics. But Kornberg-Weiss manages to stay true to the horrible, tragic content of this book—including the nakba, the occupation, torture, death, and dispossession—while rendering a beautiful collection. That doesn’t mean that she dresses things up or distorts reality to make it palatable. Rather, she uses the lyrical to strip things down and offer them up to the reader, who is unable to tear their eyes away from Kornberg-Weiss’s searing, heartbreaking images.
Take for example:
That marks one difference between Israelis and
Palestinians: so many Israelis walk around with blood on their
hands, hands soaked in red, red hands shaking, exchanging
blood, patting a bloody hand on one’s shoulder, leaving a trace of
a hand, a hand running through one’s hair, scratching a nose,
leaving creases of liquid clotted and dried up on the cheekbones,
taking a bath and then running a hand over one’s arms, arm pits,
breasts then thighs, genitals, feet all covered with blood, blood
trying to wash itself but it’s a blood so ordinary you cannot even
I write this letter.
Red fingerprints smear on the page.
But Dear Darwish isn’t just about confronting the occupation, nor does it fall into the “shooting and crying” genre. As the title of the book and the title of the first poem both suggest, this collection is about creating dialogue. While one reviewer slammed Kornberg-Weiss for writing the collection “to” Darwish, I would argue that Kornberg-Weiss is acknowledging the inescapable power dynamic of the occupier/occupied and the deeply narcissistic nature of Israeli society. In a poem titled “david antin talked about tuning,” she writes:...Read More