"poetry now, which also partly (and necessarily) feeds off such continuous threatening atmosphere, as been instilled in youth yet also still as lively manner of being geopolitically "embedded", needs its fierceness and its frailty both. it is the mysterious force binding them together, "back to back", lovingly sharing an existence not only in love "after all those years" but also being productive and actualist poets able to, mutually, "give it a look first" as connoisseurs and critics of both their poetries themselves. somehow this "back to back-vignette" radiates the power as also being condensed in the star of David, with its strong lines, its secret heliotropism as it follows the Mediterranean sun and the rich content of its intricate emblem of a people, willing never to give up such majestic and strewn identity.
Elazar's poetry is always spot-on, you can not miss it for the world. yet as his voice bears such power, if needed feral or tribal or, both, inmidst his poems there always sits an almost mystical kernel, not so easily to analyze or discard or discern. it is first when reading several of Elazar's poems one grows slowly into his idiom of purposeful "spoken quality" with all the ramblings, for instance New York dialogue goes, interspersed with traffic, loudmouthing, the stream of big city events and yet the strong line of what he determined to be conveyed. these are as charming as intense and loving observations of always humanly endeavors, the sight of an old man sitting on a bench just so, a vaudeville little sketch of a real-life mugging, described with all the layers such, now almost common event, bears, in the end somehow cinematically frozen in its hilarity and with the means to describe it in as sparsely used words as to highlight the event itself without an overburdening of unnecessary rhetoric or redundancy. this common feature he is sharing with his wife, although with Elazar we are always left with a feeling of grandiose empathy either or, if asked for, an acrid countering of the assaults still so very much actual to eradicate the Jewish people and their historic sites of their life. a hereditary weight as much as privilege and wisdom is sprinkled through his dense as light poetry, which makes his poems as delightful as, weighed with the wisdom of ages this yet sprinkled along with the lightness of word and touch in a very personal poetry.
Lois' poetry has in common with Elazar's that it always shall incorporate a lightness of expression, almost deceptively so because that has never shunned her poetry away from topics ephemeral as, on the other side, the more "heady" content of what it means to live in the assigned Jewish country as it is now, and what it meant in years of yore, being of the Jewish ascend, carving out existence with her children and husband both in the U.S. as in Israel. Lois' poetry is a rare treat. these often are pure gems, with a disliking for redundancy and the tenet to cut through the core, but this, in eversolightly of touches, that each sentence almost could work on its own, building up enigma as well impetus in what must be a rare clarity of language, what with Lois accomplishes what her husband does, to write a perfectly intelligible poem yet with the stretch of which she brushes some deep sense of value in, which holds long after the poem has been read. all is clear yet it is clear that there is more. in her transparency the hush of deeper, weightier layers linger, as to be seen, felt, yet not so much said, not yet. here we have two poets both of whom accredited their deep wisdom of living life to the fullest without ever to sell out of their strong beliefs, yet always cut to the modern world, if even rooted in one of the oldest heritages of mankind. it would be an omission to not speak of the "natural" fire which drives the poetry of these poets both. it is the power of G-d, and to the accomplishment of their both lives they truly learned me to say: B'ezrat Ha Shem.
Aad de Gids - Poet (Rotterdam, The Netherlands)