Yoel Hoffmann – författare

Although the consciousness of death is, in most cultures, very much a part of life, this is perhaps nowhere more true than in Japan, where the approach of death has given rise to a centuries-old tradition of writing jisei, or the death poem. Such a poem is often written in the very last moments of the poet's life. Hundreds of Japanese death poems, many with a commentary describing the circumstances of the poet's death, have been translated into English here, the great majority of them for the first time. Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan, and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined from the poems of longing of the early nobility and the more masculine verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.

In kaleidoscopic fragments, Hoffmann refracts Jewish popular lore and folk wisdom through a postmodernist prism, brightening his prose with snatches of verse, songs, diary excerpts, letters, ominous dreams, lush erotic passages and Yiddish sayings. "The Book of Joseph" tells the tragic story of a widowed Jewish tailor and his son in 1930s Berlin. "Katschen" gives an astounding child's-eye view of a boy orphaned in the new state of Israel. The novellas radiate the original poetry of Hoffmann's atomized hypnotic language, which Rosmarie Waldrop has called "utterly enchanting—it's like nothing else."

Shunra is Aramaic for “cat.” Schmetterling is German for “butterfly.” In Yoel Hoffmann’s new book, these and numerous other creatures, cultures, and languages meet in a magical shimmering hymn to childhood. Hoffmann traces his hero’s developing consciousness of the ways-and-wonders of the world as though he were peering through a tremendous kaleidoscope: all that was perceived, all that is remembered, is rendered in fluid fragments of color and light. With remarkable delicacy and sweep, Hoffmann captures childhood from the amazed inside out, and without the backward-looking wash of grown-up sentiment. Instead, the boy’s deadpan registration of the human comedy around him is offered up as strangely magical fact. Beautifully translated by Peter Cole, The Shunra and the Schmetterling is fiction for lovers of poetry and poetry for lovers of fiction––a small marvel of a book, and one of the author’s finest to date.

Devastated by the loss of his wife, Bernhard disconsolately walks thestreets of Jerusalem, considering Gandhi, analysis, the beauty of hiswife Paula's neck, his Arab neighbors, Kokoschka, the Messiah, and theinner life of his friend Gustav the plumber. As his hero tries to cometo terms with his grief and the disasters of WWII, Hoffmann shows theslow remaking of an inner world.

Yoel Hoffmann’s Curriculum Vitae is the remarkable summation of the writer’s life: his escape from the Holocaust; his arrival in Palestine; time in an orphanage; youth; two marriages; fatherhood; his studies of Japanese Buddhism; his travels; his ever-busy inner life. Curriculum Vitae begins quietly but becomes more and more hypnotic and amazing.Funny, gorgeous and utterly unique, Curriculum Vitae is Yoel Hoffmann’s triumphant look backward and inward: How stupid we are to let the world toss us from one place to another, while we need to speak to dentists and poets like warehouse clerks who keep an account of old equipment (bags here and belts there) and pile it up on the floor. What do we remember? The lake at Biwa and the houses across it. The cherry blossoms and Auschwitz, Treblinka, Maidenak....“Hoffmann,” as the Chicago Tribune put it, “is not just a good writer but a great one, with the ability to find, in the moment-to-moment dislocation of daily existence, epiphanies of revelatory force . . . What Hoffmann has achieved is a kind of magic.” Hoffmann has also been hailed as “miraculous” (A. B. Yehoshua), “spectacular” (The New Yorker), “radiant” (World Literature Today), and “stunning” (The New Leader).

Part novel and part memoir, Yoel Hoffmann’s Moods is flooded with feelings, evoked by his family, losses, loves, the soul’s hidden powers, old phone books, and life in the Galilee—with its every scent, breeze, notable dog, and odd neighbor. Carrying these shards is a general tenderness, accentuated by a new dimension brought along by “that great big pill of Prozac.”Beautifully translated by Peter Cole, Moods is fiction for lovers of poetry and poetry for lovers of fiction—a small marvel of a book, and with its pockets of joy, a curiously cheerful book by an author who once compared himself to “a praying mantis inclined to melancholy.”