Typogram
and translation by Ornan Rotem.
MEANWHILE
IN EIN KAREM
by
Rachel Shihor
I
have spent my entire life at the Scottish Convent and I
have
been musing over the convent in Ein Karem. Here we
heat
water by shoving mouldy logs into an overhead stove
that
takes up most of the space of the bathroom, and the
taps
are narrow and they heat up in such a way that you
cannot
touch them without slightly scalding yourself,
and
the cloisters and narrow, and the cells are rectangular,
and
in the dining room the carpet is frazzled and stained,
and
the flowers are slightly withered, since they are not
drowned
by the rays of sunlight that penetrate the room
obliquely
as the day nears its end, and days turn to night
so
quickly that the loss of light is barely noticeable, and the
dogs
dribble, and the grape harvest is never satisfying, and
all
the tools are rusty, and the main water valve has been
in
want of repair for ages.
Meanwhile in
Ein Karem the doves are coloured white
and
they are weightless, and the storks sojourn on the
pavilion
roofs as they make their way south, and the smoke
coming
out of the heating chimneys is bluish, with grey
only
on the rum. And the pancakes are wafer thin, and
the
prayer books are not stained, and Mother Superior
and
her assistant wear fresh collars every morning, and
unhurriedly
the evenings descend, and come to a close
when
Sister Wanda, after putting her dolls to sleep, plays
short
piano sonatas that extend over the whole valley and
then
beyond, over the lowly hills finally reaching us.
This cloister-shaped typogram is balanced on the same letter,
the terminal n [the long red and black L-shapes] but given
the direction of the text, they end up being presented horizontally
and as a mirror image of one another. The first n appears in Ein Karem,
the name of an ancient village near Jerusalem that is now a
neighborhood in the city. Ein Karem means 'Spring of the Vineyard'.
The other n is in lavan (white).
No comments:
Post a Comment
No Anonymous comments, please.