MOTL
TALALAYEVSKI (1908-September 22, 1978)
He was a poet, playwright, and prose
author, born in the village of Mokhnachka, Ukraine. One can see from his first autobiographical
poems that he came from an exceedingly poor home with numerous children: “Some
had two, some four, and my mother eight—she had four by day and four by night.”
All were boys and when WWII erupted, all went to the front to fight, among them
Motl. In 1919 the family moved to Kiev, and there at eleven years of age he earned
his keep by selling cigarettes and nuts on the street corners. Five years later
the future poet was working in a candy factory. Only later did he receive an
education in a Soviet Jewish school. Over the years 1927-1929, he studied in
Kiev initially at an “Arbfak” (Workers’ faculty) and later at the Jewish
Pedagogical Institute and the Yiddish division of the Literature Department of Kiev
University, but he interrupted his education after the latter course of study. In
1926 he debuted in print with a poem in the Moscow magazine Yungvald (Young forest); one year later,
his work appeared in a Kiev one-off publication in honor of the tenth anniversary
of the October Revolution. His first poetry collection—Geslekh un gasn, lider 1926-1930 (Alleys and streets, poems,
1926-1930)—is lyrically tinged and naively sincere, mostly drawn from
autobiographical episodes and feelings, but in subsequent collections he turned
to conventional sloganeering poetry, a social requisite laid down by the
Communist Party. Like the majority of young Soviet poets who came to literature
at that time, his poems were full of enthusiasm and empty rhetoric:
The engines need resound, the
walls tremble here—who’d bother, who’d interfere with this din and clamor?! No
one would dare bar us, no one would fetter us, the din and clamor of the
machines—this is our construction on the march!
So
screams the poet in his “In tsekh” (In the shop), from the volume Komyugisher farmest (Jewish Communist
youth competition). He was a member of the Kiev group of young poets and prose
writers, led by Dovid Hofshteyn, and from that point on he published his poetry
in the daily newspaper Shtern (Star)
in Kharkov and in the journals: Prolit
(Proletarian literature) in Kiev; Royte
velt (Red world) and Yunger boy-klang
(Young sounds of construction) in Kharkov; Shtern
in Minsk; in Kiev’s Literaturna hazeta
(Literary gazette) in Ukrainian; and numerous other newspapers and magazines.
He wrote and published not only in Yiddish, but in Ukrainian
and Russian as well. He sobered up from this false rhetoric only later, after
the severe war years and especially after the pogrom in Yiddish culture in the
late 1940s. On November 15, 1951, when he was on a creative assignment in the
southern Ukrainian city of Nikolayev (Mykolayiv), during a meeting with readers
to whom he was reading Ukrainian poems, he was arrested. He was banished for
ten years to a camp with a severe regimen—the “reason” for such a harsh
sentence: In his notebook there was discovered a poem entitled “Mayn tsveyter
onheyb” (My second beginning):
I have forgotten that I am a
Jew,
Though not once in this life
has it been mentioned to me,
Then a new poem came to me
And I swore never to forget
And released from this distinct
sin, neither who, what, or where I am….
This poetic oath remains deep
in my heart,
But who can say if I’ll survive
the war….
And so I write down this poem
in my notebook,
Confusing the color with my own
blood,
Written so thickly.
He was rehabilitated three years
later, following the death of Stalin, for whom the poet sang paeans in the
1930s. Only many years later, however, did the opportunity return for him once
again to publish in his mother tongue. Characteristic of this era was his poem “Far
vemen shrayb ikh” (For whom do I write) which might generally be considered a
justification for all Soviet Yiddish writers in those bitter years:
For whom do you write?—I was
asked by a neighbor,
Who had forgotten his mother
tongue….
A faint light which once
burned,
Had for so long been
extinguished,
As one puts out a light
together with shadows on the walls….
For whom do you write? Wretched,
depraved
Is your word now, what good is it
for you to kindle it?
It’s like Latin—it was, no
more, dead,
Your children won’t begin to
understand your writing….
For whom do I write? My conscience
offers up an answer for you.
Does one asks a tree for whom it
is green,
Or the sun how it weaves so
neatly with gold
The very least corners of our mother
earth?
I write for those with whom it’s
destined to speak my language,
It’s unimportant—whether their
number is large or small—
In the great choir of mankind,
it rings in my voice!
He wrote not only poetry but also
prose. He published several novels in Sovetish
heymland (Soviet homeland): Heyse
hertser (Warm hearts) 11-12 (1970); Geknipt
un gebundn (Closely linked) 11-12 (1974); and Yorshim (Heirs) 8-10 (1979); and a long story, Der mames bukh (Mother’s book) 3-5 (1977). When little time
remained for him, he brought out his last poetry collection, In lebn farlibt (In love with life).
During WWII, he was a major in the Red Army, and he survived
the road from Stalingrad to Poland, working on the editorial boards of front
newspapers. He also took part in battles against the Germans and in 1945 was
decorated with the “Order of the Patriotic War” and other distinctions. Soon
after WWII, at a Sholem-Aleykhem celebration in Czernowitz, he chastised
Russian and other Jews among the Holocaust survivors for escaping from the
Soviet Union. Together with the Kharkov poet Z. Kats, he wrote two volumes of
poetry in Russian, entitled [in English translation]: The Soldier and the Banner and Legend
(published by the association of Soviet writers in Ukraine, “Radianski
Pismenik”). Together with Hershl Polyanker and Yekhiel Falikman, he was (in
1947) a member of the organizing bureau of the revived section of Yiddish
writers in the association of Soviet writers in Ukraine. In 1948 he published
poems in Eynikeyt (Unity) in Moscow. He
also translated from Ukrainian literature into Yiddish, and his plays were
staged in the Ukrainian theater. Among his dramas in Ukrainian, there is one
about Johannes Gutenberg, the inventor of printing, translated by the Soviet
Jewish writer M. Danyel (Daniel Meierovich).
He died in Kiev.
His published books include: Geslekh un gasn, lider 1926-1930 (Kharkov: Central Publ., 1930), 188 pp.; Oyfshteyg (Ascent) (Kharkov, 1932), 55
pp.; Komyugisher farmest (Kiev:
Literatur un kunst, 1932), 157 pp.; Erdn
kolvirtishe (Earthen collective farm) (Minsk: Byelorussian State Publishers,
1934), 94 pp.; Af der vakh (On
guard), poetry (Kiev-Kharkov: Ukrainian State Publishers for National
Minorities, 1934), 137 pp.; Fun fuln
hartsn, lider (With a full heart, poems) (Kiev-Kharkov: State Literary
Publishers, 1935), 165 pp.; In mayn
ukraine (In my Ukraine) (Kiev, 1937); Heymland,
lider (Homeland, poetry) (Kiev: Ukrainian State Publishers for National
Minorities, 1939), 204 pp., with drawings by A. Fayershtuk; Libe (Love), poetry (Kiev: Ukrainian State
Publishers for National Minorities, 1940), 104 pp., with a picture of the
author; Vi a soldat, lider 1941-1945
(As a soldier, poems 1941-1945) (Moscow: Emes, 1946), 125 pp.; a poetry cycle
in Horizontn (Horizons) (Moscow:
Sovetski pisatel, 1965); In lebn farlibt,
lirishe lider (In love with life, lyrical poems) (Moscow: Sovetski pisatel,
1978), 133 pp.
His work also appeared in: Shlakhtn (Battles) (Kharkov-Kiev:
Ukrainian State Publishers for National Minorities, 1932); Komsomolye (Communist Youth) (Kiev: Ukrainian State Publishers for
National Minorities, 1938); Heymland (Homeland) (Moscow: Emes, 1943); and Tsum zig (To victory) (Moscow:
Emes, 1944). The Sholem-Aleykhem state theater in Kiev in 1947 staged his play Afn gantsn lebn (For a whole life). He
also wrote a second play in 1947 entitled An
ort unter der zun (A place beneath the sun), which was neither published nor
produced, as well as a new book of poems entitled Lekhayim (To life).
Sources:
A. Holdes, in Farmest (Kharkov)
(May-June 1934); I. Druker, in Farmest
(February 1936); Druker, in Sovetishe
literatur (Kiev) (February 1938); N. Y. Gotlib, in Keneder odler (Montreal) (October 3, 1941); Gotlib, Sovetishe shrayber (Soviet writers)
(Montreal, 1945), pp. 51-52; A. Kushnirov, in Naye prese (Paris) (July 27, 1945); Kushnirov, in Eynikeyt (Moscow) (February 4, 1947);
Kushnirov, in Yidishe kultur (New
York) (April 1947); Y. Dobrushin, in Eynikeyt
(August 9, 1945); A. Kipnis, in Eynikeyt
(September 25, 1945); H. Vaynraykh, Blut
af der zun (Blood on the sun) (New York, 1950), p. 21; Y. Katsenelson, in Morgn-frayhayt (New York) (March 11,
1956); N. Mayzil, in Dos yidishe shafn un
der yidisher arbeter in sovetn-farband (Jewish creation and the Jewish
worker in the Soviet Union) (New York, 1959), see index; oral information from
Y. Birnboym in New York; E. I. Simons, Through
the Glass of Soviet Literature (New York, 1953), pp. 146, 148, 150.
Zaynvl Diamant
[Additional
information from: Berl Kagan, comp., Leksikon
fun yidish-shraybers (Biographical dictionary of Yiddish writers) (New
York, 1986), col. 275; and Chaim Beider, Leksikon
fun yidishe shrayber in ratn-farband (Biographical dictionary of Yiddish
writers in the Soviet Union), ed. Boris Sandler and Gennady Estraikh (New York:
Congress for Jewish Culture, Inc., 2011), p. 158-60.]