Tamar and Yehudah

I wish I were Tamar

Who kept her pledge

And cast her net

wider than Yehuda’s,

whether he liked it or not

Who are you, Tamar?

“A lethal woman,

methinks”,Yehuda’s

delusory prejudice.

Beware the fatherless

widow’s oppression.

Disgrace.

I know who you are,

whether you like it or not

Chagall-Tamar_the_daughter-in-law_of_Judah

-Who are you, veiled

woman?

– Don’t you know?

For money, but a kid

shall do, you may know

me better. No kid, no mo-

ney? I bet you can pledge

thy seal, cord and staff,

whether you like it or not

-Who do you think

you are, Tamar?

You show, my girl

A harlot methinks,

and only fire may pur-

ify thy offense. Pray,

Who’s the father?

-The Man who  pledged

this seal, cord and staff,

Whether he liked it or not

-Whether you like it or not,

You are more in the right

than I, Tamar: I did not give

you to my son Shelah.

Who am I?

I am Tamar, a woman of

valor who, to establish seed,

no shame, no scruple

may stop at hollow men,

made him swallow

hook, line and sinker,

so his sons

find their way home

and fulfill his pledge

Amen

Happy Heuristics

Image credits

http://www.rogallery.com/Chagall_Marc/Book-Lithos/Drawings_Bible/chagall-tamar.html

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The Feminist Icarista: Ana Mendieta

Last Silueta

You fell into the pit of Cuban revolution, first exodus

And you were told: “it’s no good lingering over the pit

In war anything and everything goes, if you want to fit”

Peripheral excavating of thy heritage wills your uprising

 Pedro Pan girl in American exile, won’t states’ plaything

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Mythology 1: Evolution as Revelation?

Mytology I_Michal

Mythology 1    

The myth is the public dream and the dream is the private myth. If your private myth, your dream, happens to coincide with that of the society, you are in good accord with your group. If it isn’t, you’ve got an adventure in the dark forest ahead of you. Joseph Campbell

The figure head of the dragon (in the foreground down on the left when facing the picture), found by chance, was the impetus for this piece. I used the technique grottage with strings of different width, on acrylic paint on a cardboard box that I, first, carefully gessoed black. Beyond recycling and its connotations, I liked working with the box for its unfolding and folding characteristics, as historical (un)folding, from center to periphery, personal to universal, but not only. I left the outer areas of the folds with little covering in comparison with the central image, as a statement of possibilities, however, in dialectic with the overall picture which reveals itself in the same way the whole dinosaur (along the right fold) is reconstructed by the expert archaeologist with only one vertebra of it. Continue reading