In Miron Izakson’s poet­ry Jew­ish and sec­u­lar sources inter­act with abstract images to elic­it an incom­plete yet explo­sive reac­tion from the read­er. For exam­ple, read the stark descrip­tion from the bib­li­cal ​“Adam:” ​“Save for my creation/​You would not live,/Save for my choice of good and evil/​You would not die…Save for my sons/​You would not kill…Though eons old/​I am in your mind/​I have a hide-away/Y­ou will nev­er find.” Imag­ine the attempt to name ​“New Streets:” ​“I will build a city for my son…I will name the streets loose­ly as follows/​Apprehension Avenue, Uneasy Street/​Wonder Boule­vard and Skeptic’s Way.” And con­tem­plate the metaphors of the lean and fat cows in the Bib­li­cal Joseph’s dream with com­plex, amor­phous after­ef­fects in ​“Like Josef:” “…the next morn­ing every­one bickers:/Who woke up first, who’s still asleep,/Who dreamed one dream, who many,/Who will lis­ten to inter­pret the dream/​Who will lis­ten only to lie.” Lin­ear sto­ry­lines progress to lim­it­less, abstract pos­si­bil­i­ties in these vers­es from a remark­ably tal­ent­ed poet.