Hanoch Guy Kaner – författare

If you like to meet new people the book offers you a hundred and twenty chances. real people as well as imaginary ones populate the book.Engage with characters in sickness and healing.Each one is full of life force,sadness and smiles

Different genres of poetries created by the author.

Hanoch Guy Kaner calls these poems "e;micro-poems,"e; and as such they need not be subject to or constrained by comparisons with English approximations of 'haiku' nor the conventions that govern such according to any given arbiter of what and what is not--if anything is, a 'haiku' in English. Still, these poems may be read as Hanoch Guy Kaner's own sense of what a 'haiku-like' poem in English can and may do. For, Hanoch Guy Kaner is a polymorphous poet; he is polymorphous-in-verse. Through an imaginative empathetic resonance, and because he is polymorphous poetic, he has intuited (from within, and because of, his own poetry writing) something Basho taught: "e;When you use words as kireji, every word becomes kireji. When you do not use words as kireji, there are no words which are kireji. From this point, grasp the very depth of the nature of kireji on your own."e; These micro-poems use words as kireji; thus every word of them has become kireji. These poems are written in, call it, the 'disjunctive tense'--"e;the now, the here, through which all future plunges to the past,"e; as Joyce wrote. Each line of a poem is disjunctive, working with and against itself, with and against those lines before and after. The poem is not trying to 'be in the moment' while trying not to be 'caught' in remembering the past (that illusory, false impasse), no. These are poems of "e;afterwards-ness,"e; nochdemkeyt, the after-now, the recollected-present, awakening the moment-after. For Hanoch Guy Kaner, each of these poems is a haiku d'etat, a "e;finale of seem."e; They are too, sometimes, what the poet Rachel Bluwstein named, "e;flowers of Maybe."e; From this point, Hanoch Guy Kaner invites us to grasp the very depth of the nature of "e;the now, the here"e; on our own. --Robert G. Margolis

The Yiddish writer Moyshe Leyb Halpern wrote, in his poem Momento Mori, "e;And should Moyshe-Leyb, the poet, say / That he saw Death... /Just as he sees himself in the mirror... / Will they believe Moyshe-Leyb?"e; These poems by Hanoch Guy-Kaner may occasion a like incredulity. After all, if, as Wittgenstein asserted, "e;Death is not an event in life: we do not live to experience death,"e; then what about the contending, equally experiential statement by Rebbe Bunam of Przysucha about himself that "e;All my life I have been learning how to die"e;? Hanoch Guy-Kaner does not care to explain or reconcile the seeming paradox----if there is one, or even to prefer one assertion to the other. Himself a poet, like Moyshe-Leyb, he too sees his long-familiar neighbor, Death, just as he sees himself in the mirror. Thus these poems, each of them a momento vitae, are each a kind of self-portrait as well. And as with late Rembrandt self-portraits, these poems too, in the words of John Berger, "e;contain or embody a paradox: they are clearly about old age, yet they address the future. They assume something coming toward them apart from Death."e; A "e;something"e; which he, the poet, sees already, remembers already (and for which, it would seem, Death itself is the mirror). But will they believe Hanoch Guy-Kaner? Death stands behind youOn the supermarket long lineAs other unexpected events Robert MargolisWe dread it. We avoid thinking about it but it is present all the time. The poems in this book are explorations of the unknowable and nightmares. The poet pulls veils from what is beyond but so close and tangible for a journey like no other in which we call upon angels.spirits and souls. We visit heaven and hell and hope to enter though the gate of mercy. HGK