‘WRITING IS THE CLOSING OF CIRCLES’: NAVA SEMEL
From R. Lentin, Israel and the Daughters of the Shoah: Re-occupying the Territories of Silence, (Oxford: Berghahn Books, 2000)
Introduction
I met the late Nava Semel on November 25, 1992 in the apartment she shared with her husband Noam Semel, director of the Tel Aviv Cameri Theatre, and their three children, Iyar and twins Eal-Eal and Nimdor. Semel was born in 1954 in Tel Aviv. Her father, Itzhak Artzi, a former Knesset member and deputy mayor of Tel Aviv, was born in Bukovina and is not a concentration camp survivor. Her mother, Margalit (Mimi) Artzi (nee Liquornik), also born in Bukovina, is a survivor of several concentration camps, including Auschwitz and Kleineshenau. The twins, born in the US while Noam Semel served with the Israeli consulate in New York, have American passports. ‘This too is part of my being a daughter of survivors,’ Semel explained, ‘at least when the helicopters come to rescue the survivors here, they would be saved.’ Semel’s brother, Shlomo Artzi, is a leading Israeli popular singer. Semel is small, short haired, and very intense. Her use of the Hebrew language is very precise. She had obviously done a lot of thinking about being a daughter of Shoah survivors and has written both fiction and journalism about it.
Nava Semel describes her childhood as an ‘ordinary Israeli childhood.’ She served in the army as a news producer with Galei Tsahal, the army radio channel. She began writing when she had her first child. Her collection of short stories, the first ‘second generation’ fiction collection published in Israel, Kova Zekhukhit (A Hat of Glass) (1985), met with a wall of silence when it first appeared, but has been written about extensively since then. The collection was re-issued in 1998 with an introduction by the literary critic Nurit Govrin. Several stories have been translated into English, German, Spanish, Turkish and French and appeared translations in Germany and Italy in 2000.
In all the stories there is a ‘child of’ persona and they are all based on the various stages of learning about and coming to terms with her parents’ survival as Semel explains in the following narrative. Indeed, in all her books, the reality is often viewed from a child’s point of view.
Her one-woman play Hayeled meAchorei Haeinayim (The Child Behind the Eyes) (1987), a monologue of a mother of a Down Syndrome child, had many showings in Israel and abroad and several radio broadcasts internationally. In 1996 it won the Austrian radio play of the year award. Her two novels for young people, Gershona Shona (Becoming Gershona) (1988/1990), and Maurice Havivel Melamed Lauf (Flying Lessons) (1991/1995) deal with young people living among Shoah survivors in search of an Israeli identity. Both were translated into English. In 1996 Flying Lessons was selected in Germany as one of the 30 best books of the year. The novel Rali Masa Matara (Night Games) (1993) is the story of a group of Israeli forty-something friends playing a treasure hunt on the 1987 Day of Independence, half a year before the Intifada broke out. The novel Isha al Neyar (Bride on Paper) (1996) tells of life in a pre-state Israeli moshava (collective settlement) in the 1930s. Semel also translates plays, mostly on Shoah-related themes.
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They called her Ms Y. She is a young asylum seeker who had been raped in her country of origin. When she arrived in Ireland she realised she was pregnant during the medical examination; she asked for an abortion and was told she could have one at eight weeks. But by the time she had spent weeks in hospital, being assessed by a variety of psychiatrists, psychiatric nurses and obstetricians, she was told that the only way of ending her unwanted pregnancy was to have a Caesarean section.
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