1 Representing Desert Wilderness in Jewish Narrative: Poetics and Politics
âThus says, the Lord,
I remember the devotion of your youth, your love as a
bride, how you
Followed me in the wilderness, in a land not sown.â
âJeremiah 2:2
My name is Solomon Levi,
The desert is my home,
My motherâs breast was thorny,
And father I had none.
The sands whispered, Be separate,
The stones taught me, Be hard.
I dance, for the joy of surviving,
On the edge of the road.
âStanley Kunitz, The Testing Tree
The Jewish textual and physical encounter with the desert is surely one of humanityâs most imaginative, spiritual, and in some ways mysterious adventures. The journey that began in Mesopotamia, traversed the Fertile Crescent, descended into the Nile, and culminated in a mysterious encounter with a demanding deity at the base of an unknown desert mountain would have expansive reverberations in humanityâs relation to the sacred throughout the centuries that followed. Site of privation as well as inspiration, the desert was a formidable presence in the moral vision of the Jewish prophets, a paradigm that would later prove intrinsic to some of Jewish literatureâs most imaginative approaches to the ethical dimensions of exile and homecoming, dispossession and occupation.1 Yet the present study is written out of a deep conviction that just as most of Western humanity is now oblivious to its nomadic origins, the vast majority of Jewish readers and critics have given little consideration to the immense relation between the stark, spare landscape of the desert and the most profound expressions of the Jewish ethical and literary imagination, beginning with the Hebrew Bible. Nevertheless, as a French scholar of ancient texts ironically notes, âthe symbol of the desert is one of the most fertile in the Bibleâ (Chevalier and Gheerbrant 187).2 Of late, there have been vital indicators that the field of Jewish Studies, joining disciplines such as critical anthropology, human geography, and political science, has begun to respond to the compelling need to intensify the exploration of the relationship between place and identity.3 This path offers exciting ways to transcend the well-worn binary opposition of Diaspora4 versus Israel that has often dominated discussions of contemporary Jewish identity.5 I welcome these efforts to consider the Jewish relation to crucial dimensions of spatial identity that transcend the neat antithesis between homeland and exile.
Since undertaking my own project it has become clear to me that the desert experience carries its own permutations of wandering; the Jewish imagination never strays far from the threat and promise of peripatetic movement of one kind or another. In the chapters that follow, I undertake to illuminate how the universality of desert space serves as an urgent reminder to many Jewish writers that exile and alienation remain the essential human condition in spite of the ostensible transformations wrought by Zionism and other territorial nationalisms. Beginning with Gaston Bachelardâs The Poetics of Space (1964) and as recently as Susan Brind Morrowâs remarkable meditation on language and the desolate spaces of Egypt and the Sudan in The Names of Things (1997), contemporary philosophers and poets have proposed exciting paradigms of what in essence is a notion of non-human space as haunted by an imaginative process that converts the world into emotionally and figuratively endowed geographies often in mysterious ways that transcend empirical or positive forms of knowledge. Indebted in part to these and other non-Jewish sources the reader will encounter in the chapters that follow, my work must also wrestle with the ways that nature is overwritten by the human. Similarly, though technically speaking a literary study, I adopt a flexible approach by referencing important non-literary sources. Therefore I hope to complement some of the most innovative recent cultural and theoretical work being done in Israel Studies, including Oz Almogâs The Sabra, Meron Benvenistiâs Sacred Landscape, Ilan Troenâs Imagining Zion, and Yael Zerubavelâs Recovered Roots. The question of space, place, and identity in Jewish culture has lately received critical attention in these and other important works.
My own theoretical point of departure is that ever since the composition of Exodus, many outstanding Jewish writers have âlistenedâ to the desert silence, interpreting the voidâas if responding to the challenge of Chateaubriandâs perception of the âmuteâ landscape (which serves as one of the epigraphs to this study) in order to situate the Jewish self in relation to place. For it has often been posited that monotheismâs origins were dependent on the vast expanses and simple oneness of desert and that the latter lends itself to resisting the tyranny of the image.6 For instance, one finds the theologian Belden Lane linking the âaniconic imagesâ of cloud, desert, mountain, to a revolutionary discourse that stirs us to âquestion the overconfidence in words that sometimes characterizes the theological enterpriseâ as well as expressing âthe deepest, virtually indescribable, human experiences of pain and joyâ (4). Or as Israeli anthropologist Zali Gurevitch says so evocatively, âBetween the place and the world lies the non-place, the desert, wherefrom the voice comes and where the book is givenâ (210). In the struggle of such writers to articulate an ancient mystery, it is clear that the desert of Exodus still provokes its interpreters, disengaging from any sentimental notion of the earth as merely nurturer and healer. Most significantly, in terms of the contemporary Jewish literary imagination, it is important to note that the desert experience is much more than an aberrant hiatus between slavery and the return to territorial possession. Indeed, it is a constituent of the earliest antiroyal strand of Israelite history which rejected any sovereign other than God. Hence, to a large extent, this study considers the dilemmas of present time against the desert and wilderness narratives of the past, investigating neglected intersections between geography and cultural production.
As if beckoning back toward Abrahamâs radically complete dependence on Godâs will, Moses and Joshua lead the people into an austere environment that necessitates the organic growth of the people under divine guidance.7 Unlike many other religious narratives of place and revolution, the Hebraic narration of the receiving of the Law in the desert exhibits no interest in ecstatic experience. Instead, Moses, who in his encounter with God sees only Godâs back or perhaps only the wake of Godâs passing, must return to engage the people with the concrete realities of a new social and ethical vision. When contemporary readers revisit the complaints of the Israelites (especially from the perspectives of their own deeply troubled age), they are reacquainted with the earth as a hostile and indifferent place in which human beings, if they survive, must do so as ethical beings in relation to other ethical beings.
After a silence encompassing four weighty centuries of slavery and oppression, the voice which spoke to Abraham now greets Moses, outside the constraints of empire, in the desert. When Moses encounters the burning bush, he is told by a disembodied voice: âPut off thy shoes from off thy feet, for the place whereon thou standest is holy groundâ (Exod. 3:5). In spite of this tangible suggestion of sacred ground, the desert of Exodus offers a stern rebuke to those who would fetishize place. As Gurevitch points out, the site of holiness is âan arbitrary unrecognized piece of landâ destined for obscurity immediately after the voice departs (212). In the monumental absence of the voice, one of the most critical spaces in the mythic mapping of Jewish destiny is not dignified as âholyâ (nor, for that matter, does the Pentateuch ascribe âholinessâ to Canaan itself). As for Moses, he is fated to remain in the desert, outside the contours of his own story as it were. In Gurevitchâs nuanced reading:
This book invites the reader into several of the pivotal literary texts of the recent Jewish engagement with the desert, the implications of ânon-placeâ for Zionist consolidation of space and territory,8 as well as diasporic considerations of power and powerlessness. For a striking range of modern Jewish writers, it would seem that the prospect of a world that permanently overcomes its desert spaces is apparently undesirable.
Even in the critical and often awkward phase of early-twentieth-century formulations of modern American Jewish identity, an influential Zionist essayist like Josephine Lazarus (sister of the poet Emma Lazarus) expressed the conviction that the spiritual and ethically beneficent legacy of the Eastern desert would be transmitted to the West if the latter was sufficiently open to the contributions of its Jewish Others. Through âinterdependence and interchange of gifts spiritual and materialâ Lazarus argued that the Jew would only achieve at-homeness in America by reclaiming a distant origin in the desert sands, the ethos of which would redeem the host nation:
As this grandiose passage suggests, Lazarusâs desert ethos struggles to transcend the smooth materialism of American democracy for a more inchoate spiritual essence of the âEast.â But as this study demonstrates, a far more fraught and consequential struggle ensues in the more recent literary works, the cultural products of the uneasy Zionist return to the desert. For instance, Abraham Shlonsky (1900â1973), one of the leading poets after Hayim Nahman Bialik, produced a vision of the desert that radiates a stridently Orientalist hostility in which the âEasternâ desert is desolate absence when juxtaposed with the âWesternâ program of industrious Zionism:
Many, many, many generations
The sands lay still like ivories,
Latent, their rebellion quelled:
None approach To disrupt them.
âŚâŚ
Suddenly the all-conquering shovel glimmered
And the sand herds bleat
âŚâŚâŚ
I have vanquished you on this day
Languishing camel:
It is you who shall bring the mortar
For the cement.
The hostile struggle against the desertâs obdurate futility (âWith a psalm of victory I desecrated/Your seed-hating desolationâ) eventually culminates in this triumphant image: âThus a roadâoh, bridle straps! Houses upon housesâlike fists in the void!â9 As Ariel Hirschfeld suggests, there is little room to doubt the ominous âethnic identityâ of Shlonskyâs threatening wastes:
Now I know: the wasteland
Howls by night a prayer of vengeance.
And from afar,
Above the high domed roof of the mosque:
A crescent moon moves,
Like a scimitar. (1022)
In sharp contrast we find another militant Zionist poet, Shaul Tchernichovsky (1875â1943), crafting a sequence of seven quasi-pagan sonnets that expresses a decidedly exuberant embrace of the Eastern desert as a wellspring for the poetâs imagination (perhaps because he was still far removed from the scene of Palestine in his native Russia):
In my heart the dew yet lodges that descends on Edomâs steppes
And moistens the sand in the desert of God,
And in my ears lives the song that comes with shadowâs coming
And a gentle star glitters to primeval ways.10
In these lines, the poet evokes the biblical term for the eastern borderlands of ancient Israel as well as Jacobâs desert sojourn on his return home from Aram. The scene delineated here and in the succeeding stanza seems to embrace the âprimitiveâ origin of the modernist Jewish poetâs imagination. As Arnold Band observes, the imagery is ânot from Greece or Canaanâ but Sinai (Mintz 87) expressing a fervent attraction to the desert origins of the Jewish story.
__________
One of my chief concerns is to demonstrate how the Jewish struggle for a coherent identity is intensified by existential as well as political debates over territorialism and occupation. In this regard it must be stressed that the significance that recent Hebrew writers assign to the symbolic geography of the desert is much more critical than it might be in other cultural contexts. To begin with, literary novels and their authors are taken very seriously in Israel. As Smadar Lavie notes, âIsraelis have one of the highest rates in the world for readership of literatureâ and âliterature plays a key role in forming Israeli national identity ⌠Hebrew literature, in the revived biblical language, has been central to imagining the new Israeli national identityâ (âBlowups in the Borderzonesâ 59). The desert of Exodus endures as a particularly inspiring template for the modern Jewish writerâs provocative interrogation of the limits of both the individual and the collective. I would like to think that this owes in part to the fact that, as Douglas Rushkoff observes, the talmudic imagination stresses that Sinai was a place where âGod was experienced differently by everybody. Accordingly, the Israelites who witnessed him âdirectlyâ at Mount Sinai, each saw a different image of Godâ (28). I see this as a difference that would resist the tyranny of the same, inaugurating an imaginative bridge between the individual and the official narrative unprecedented in previous spiritual and social constructions of reality. More often than not, the writers explored in the following chapters set their narratives in Sinai, perhaps because even today it is a stubbornly intangible and uninhabitable space that somehow always seems to transcend a conventional national identity, no matter which nation controls it.
Particularly in the final decades of the twentieth century, the renewal of writing about the desertâs empty spaces enabled an exuberantly performed expression of the Israeli writerâs religious, cultural, and political ambivalences. However, even in the diasporic perspective, it seems apt that French Jewish historians Jean-Christophe Attias and Esther Benbassa should declare in their compelling study of the role of geography in Jewish cultural and political discourse that âthe fundamental experience of wandering in the desert is no less central in Jewish memory than is possessing and then losing the landâ (19). Indeed, a number of scholars of the Hebrew Bible have gone so far as to insist that in certain books, notably Hosea, the desert is represented as the âideal period in Israelâs history.â11 And yet for all this, in our time the desert still remains a much neglected, little understood trope in the mythic and symbolic construction of Jewish space. Whereas, among critics of contemporary Hebrew literature, there seems to be general agreement that âdesert psychology has a prominent role in Israeli literatureâ (Joseph Cohen 135), little has been done to demonstrate either its pervasiveness or exactly how it functions. Yet it remains, a stubborn enigma that disrupts the supposed clarity of the past, rupturing into the present. As I will demonstrate in subsequent chapters, the appearance of the desert in the Israeli imagination has the startling capacity to rouse the unwelcome specter of âDiasporaâ that Zionist teleology had repudiated.
It is not difficult to discern just why the paradigm of the desert experience has so often been understood as the site of a revolutionary consciousness. Deuteronomy reveals to us that the ancient Israelite imaginationâs invention of a bodiless deity seemed to require the emptiness and vacancy of the Middle Eastâs most desolate spaces:
Here at least one highly suggestive reason emerges to explain why the desert was so critical to the spiritual perception and ethical innovations of monotheism. A disembodied God (whose âimpassionedâ voice is yet inimitable) seems essential to delegitimization of the royal authority and kingship that had been embodied in the representations of plastic art. But Joseph Cohenâs intriguing concept of âdesert psycho...