The Insa­tiable Psalm

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By – June 25, 2012
“…del­i­ca­cies to cel­e­brate a liberation/​that insist­ed upon blood and frogs/…redemption had to pro­ceed…” Ahron Taub fus­es his­to­ry and poet­ry, evok­ing per­son­al and col­lec­tive mean­ing. So Taub’s Passover” poem exem­pli­fies his love of Judaism’s core event, his own devo­tion to a moth­er who could deal with a son’s change, and cer­tain­ly his own evo­lu­tion into a life of redemp­tive mean­ing.

Caravaggio’s lat­est boy,” on the oth­er hand, expos­es the artist’s youth­ful and col­le­gial phys­i­cal con­nec­tions, per­vad­ed by all those com­mand­ments long branded/​between the eyes/​and limbs only just being seen— what can we say?/can you see the invisible?” 

Thus the poet glo­ri­fies the earthy but ques­tion­able nature of life’s poet­ry, sug­gest­ing that this is the work of the prophet”— to call to mind the essence of expe­ri­ence and long­ing. “…pray for this work, pray that they succeed./beloved.”
Deb­o­rah Schoen­e­man, is a for­mer Eng­lish teacher/​Writing Across the Cur­ricu­lum Cen­ter Coor­di­na­tor at North Shore Hebrew Acad­e­my High School and coed­i­tor of Mod­ern Amer­i­can Lit­er­a­ture: A Library of Lit­er­ary Crit­i­cism, Vol. VI, pub­lished in 1997.

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