some of the Dead Sea Scrolls‘Dead Sea Scrolls Trilogy’: Poems by Brian Yapko The Society February 2, 2025 Culture, Poetry 31 Comments . Dead Sea Scrolls Trilogy “Yet it was the Lord’s will to crush him and cause him to suffer, and though the Lord makes his life an offering for sin, he will see his offspring and prolong his days, and the will of the Lord will prosper in his hand.” —Isaiah 53:10 by Brian Yapko . I. 66 A.D. The Scribe The sun, God’s furnace, kilns me past endurance. I pant and thirst. Inside, at least, it’s dim. Strange. Brother Ruben says he likes it here. But as for me, I miss Jerusalem. At least these Dead Sea caves provide us haven. Rome’s Legions would have all of us enslaved— Those sword-bent hecklers posed beneath an eagle. They serve the vulture-emperor, whose grim Pronouncements strive to make all things depraved. Jerusalem, my heart! What could I do? For your salvation it was best I leave. Such times as these demand we make a choice: Shadow or Light. But as for me I cleave To God! My life exists to serve the Lord And fight the poison of Rome’s cruel abuse! False gods. Perversity. Fools who dare mock Jehovah! They arrest those who believe, And fuel humiliation of us Jews! I was a peaceful scribe; a man well-taught; But when last year the Legions raised their steel In violence, Brother Ruben took my arm: “The desert beckons us to soul-strong zeal! Let’s join the Essene monks near the Dead Sea. We’ve expert scribal skills; we’ll read and pray With Qumran’s hermits in Judea’s wastes. Rome’s won for now. So let us write and kneel And hope we live to fight another day.” So now my life is here in this dank cave As I transcribe Isaiah in the dark. Though God is here, this desert shows no mercy. We’ve water from the spring but food is stark. A monk from Jaffa, Brother Asher, clears His throat. He whispers, “Ezra, it is late And I need help to roll up Lamentations. If I’m to find us bread I must embark.” I’ve five words left. I beg Asher to wait. He’s patient but I know that time is short. The sun will soon be too hot to withstand And he must climb down fearsome rocks to reach Ein Gedi on a trail of stone and sand. He’ll be disguised. Samaritan, perhaps, To fool the Roman scouts and purchase grain. I’ll finish up this scroll so he can go. I take the reed into my cramping hand And mark the vellum. I ignore the pain. Just so. Isaiah’s done—his final words Condemning those who mock God to His face. Once dry this parchment shall be rolled, then set Into a jar placed in the earth’s embrace. There it will stay, a traveler through Time. And someday our descendants who Rome scatters Will find this cave. Astonished, they will read These prophecies which mark God’s fiery grace. They’ll find new life and seek what truly matters. . II. 1948 A.D. The Archaeologist Though Mussolini’s bullets bled me lame, My crippled faith hurts worse. How World War II Wreaked havoc on the world—and my soul, too! The Middle East has made that anguish flame To ash within this crucible of hate Where ancient-modern Israel faces war From Egypt, Jordan, Syria and more— All poised to kill the newborn Jewish State. Despite the odds, these stubborn Jews remain. Historic justice says they’ve earned that right. I saw the death camps. From the depths of night They clawed through darkness to find home again. A one-time pastor, I embrace their goal Of peace, though pessimism fills my head. Or so I thought. My faith was all but dead Until a miracle restored my soul! While hunting for some books in the bazaar In Bethlehem (a sleepy town to read in— Once Christian but now mostly Mohammedan) I heard the muezzin calling from afar. “The Mosque can wait,” a man said from his door— A trader in antiques. He took my wrist. “Effendi, you’re an archaeologist. Please favor me by entering my store.” He said just three days past he had been sold A parchment, yellowed, old and somewhat tattered. A forgery? The object was too battered. He saw my interest. “Sir, let me unfold…” I stopped him lest his unskilled hands deface This scroll which I suspected was a treasure. No forgery, but ancient beyond measure! I held my breath. My pulse began to race. I asked him for its source as my hands shook. “A Bedouin boy had found it in Qumran While herding goats. The cave where he was drawn Housed scrolls. His father brought one to the suk. The merchants sneered and said it was mere trash. But then a sheik of some sagacity Referred him to an antique merchant—me. I gave him 30 U.S. dollars cash.” Such ancient vellum! I bent down to look And read the Hebrew—clear despite the grime. The language hasn’t changed since Herod’s time. The scroll looked like Isaiah. The whole book! How could this ancient testament survive? I scanned some words. I gasped for I could see This fragment was Isaiah 53: “Though he be crushed he’ll see his offspring thrive…” I bought the parchment. The Trustees won’t mind. The university funds my intent. I brought the scroll up to the room I rent. Isaiah! What a miracle to find! Unchanged from how we read it in the pews! “Though he be crushed he’ll see his offspring thrive.” This scroll—its ancient words have come alive And documents the story of the Jews! These words are echoes of an ancient nation Which veers from crushing blow to crushing blow. They nearly died two thousand years ago Yet live as watchmen for God’s revelation. A tortured people who, despite their dole, Can read Isaiah’s blessing in this scroll. O, faith reborn! That God now makes them whole Astonishes my soul… my very soul. . III. 2025 A.D. The Curator The tourists come by busloads every day. They chat with docents, some buy souvenirs. Few see me hover by the main display. But some old, mystic souls may catch a glimpse: Shalom! Am I the guard? From UNICEF? A plain-clothes soldier from the I.D.F.? An archaeologist, perhaps? No, ma’am. A gray-haired shepherd of these Scrolls. I am A sentry noted for his dedication. Museum Yisrael. For years I’ve served Heikhal hasefer—The Shrine of the Book; The place the Dead Sea Scrolls have been preserved. Protecting what they stand for is my aim: To keep these Scrolls alive despite harsh threats. Jerusalem, God’s High Place, is not tame. The Jewish soul is here—laid bare and pure— From Roman times. The reign of Claudius? No, Nero. That’s a fact of which I’m sure. The Scrolls are seen through glass that’s bullet-proof In chambers stronger than a hand grenade. Here parchment—and survival—are displayed. They’re carbon dated to 60 A.D. And writ in soot on vellum with reed quills Ensconced in vaults of leaded glass and sills, Held deep beneath this Abrahamic land Where they’re protected from atomic strikes Should World War III blast all above to sand. Though men may die, these Scrolls and all they mean Must live, this vellum from an ancient cave— These artifacts which men would die to save. Each word: the self-same Hebrew we still speak In modern Israel—Yes, this I recall. We die and die—yet rise more than we fall. I’ve stayed to see these ancient, holy words Exalted; to give hope (at least I’ve tried) While watching, ever watching from the side— A guardian whose visage few have seen; Who witnesses but cannot intervene In such events as test this people’s faith. Though my heart breaks I do not dare intrude. Yet here I am as I have always been, So very much concerned, yet misconstrued— A wizened soul who penned those words you cherish, Who never rests though nations rise and perish; Who’s never left; who chose to furl his wings. The nations come and go, but here I stay. God’s prophet? An old curator? Why choose? You never can be certain with us Jews. . Poet’s Note The Dead Sea Scrolls are a set of ancient Jewish manuscripts from the Second Temple period. Created by the Essenes—an ascetic sect of Jews—during the years 200 B.C. to roughly 70 A.D., they were discovered over a period of 10 years, between 1946 and 1956, at the Qumran Caves on the north shore of the Dead Sea. The Dead Sea Scrolls include the oldest surviving manuscripts of multiple books of the Bible including the entire book of Isaiah. Almost all of the 15,000 scrolls and scroll fragments discovered to date are held in the Shrine of the Book at the Israel Museum in Jerusalem, Israel. Most of the manuscripts are written in Hebrew, with some written in Aramaic, Nabataean and a few in Greek. The ancient texts fall into three general groups: 40% are copies of texts from the Hebrew Scriptures; 30% are texts from the Second Temple period that ultimately were not canonized in the Hebrew Bible, and the remainder are sectarian manuscripts of previously unknown documents that shed light on the rules and beliefs of the Essenes. These scrolls are among the most priceless historic treasures of Western civilization. . . Brian Yapko is a retired lawyer whose poetry has appeared in over fifty journals. He is the winner of the 2023 SCP International Poetry Competition. Brian is also the author of several short stories, the science fiction novel El Nuevo Mundo and the gothic archaeological novel Bleeding Stone. He lives in Wimauma, Florida. NOTE TO READERS: If you enjoyed this poem or other content, please consider making a donation to the Society of Classical Poets. The Society of Classical Poets does not endorse any views expressed in individual poems or commentary. Trending now: 31 Responses Mark Stellinga February 2, 2025 Brian, you’ve outdone yourself again, my friend. Juxtaposing their discovery – their thankfully being recognized for what they represent – and explaining how they’re now rightly protected to the great extent they are is a beautiful and heart-lifting trilogy, and a wonderful way to start a Sunday. Thank you for submitting what is clearly ‘a labor of love’. Reply Brian A. Yapko February 3, 2025 Thank you so much for your kind comment, Mark! You have indeed recognized this is as a labor of love, Mark. I have long been interested in archaeology with a particular fascination for the Dead Sea Scrolls and all that they represent both theologically and historically. Reply Roy Eugene Peterson February 2, 2025 Greatness comes in many forms and your poems far exceed the norms. This is a labor of love that required intimate knowledge of historic facts, massive creativity and unmatched intellect to compose and render me speechless. Your dedication and mission of delivering such a message should be recognized internationally and kept with the Dead Sea scrolls as a scintillating homage. Once I began reading, I slowed down in an effort to absorb every sentence, phrase, and rhyme. My admiration for this fantastic poetic masterpiece knows no bounds. You have blessed us with a gift for the ages. Reply Brian A. Yapko February 3, 2025 Roy, you do me too much honor with such a generous and kind comment! Thank you so much. Your support means a great deal to me. And you have given me the idea to send the link to these poems to the Israel Museum in Jerusalem. It’s a long shot, but maybe someone there will find these poems of interest. Reply Michael Vanyukov February 2, 2025 This is epic – by definition. In addition, it’s poetically masterful and filled with emotion and truth, both historic and of the present, which no modern hate and revisionism can destroy. Brian, mazel tov! Reply Brian A. Yapko February 3, 2025 Thank you so much, Michael. It’s great to see you here! You understand exactly what I’m aiming for. The Dead Sea Scrolls represent more than just the immense value of a phenomenal archaeological find. They present unassailable scientific proof of the indigeneity of the Jewish people in the Holy Land. Modern hate and revisionism seeks to trivialize or even erase the Jewish presence in Israel but the truth is the truth is the truth. Archaeology doesn’t lie. And the unbroken modern Jewish connection to the ancient Jews is one of the reasons I emphasized the fact that modern Hebrew is the same Hebrew that was written and spoken 2000 years ago. Reply Joseph S. Salemi February 2, 2025 The beginning, the discovery, and the modern day — this is a great scaffolding on which to place the story of the Dead Sea Scrolls. It reminded me of a novel from the 1960s called “The Source” (I think the author was Michener) about a place in ancient Israel that was described from the earliest primitive times right up to the present, with attention to various artifacts unearthed there. I’m intrigued by the uncertainty of the speaker in the last section. The first two sections have unambiguous speakers — the scribe who creates the manuscript, and the archaeologist who purchases the scroll. But the third speaker is mentioned in the title as “the curator,” but then identifies himself as a guard or sentry at the exhibit. Even then it gets complicated: is he from UNICEF? From the IDF? Or is he an unseen ghost hovering over the place? I think the poet is suggesting that this third speaker is “the curator” in the original Latin sense of that word. He is the “caretaker.” He is the speaking embodiment of Judaic identity, who watches over the scrolls as a divinely appointed guardian. Reply Brian A. Yapko February 3, 2025 Thank you very much indeed for your comment, Joe. As it happens, James Michener was my favorite author when I was a teenager. I was a fan of Tales of the South Pacific, Hawaii, Centennial, Chesapeake and — above all — The Source, which follows the archaeological dig at (fictional) Tell Makor in the Galilee and in which a different chapter is devoted to each artifact found, from prehistory through Canaanite, Babylonian, Greek, Roman, Crusader, Ottoman and finally the modern state of Israel. But until you mentioned the novel, I did not recognize that I had done what Michener did, by telling the story of the artifact’s deposit and it’s potential impact on the recoverer. Of course, Michener never brought in the “curator” component of spiritual and historical significance going into the future. I appreciate your mention of the ambiguity of the third speaker, The Curator. I very much wanted to add a mystical component to a poem series which had focused on the material and then socio-historical aspects of the artifact. The Curator brings in some theological and mystical context as well as the acknowledgment of what protection of the Scrolls requires since “Jerusalem, God’s High Place, is not tame.” Who is the Curator? Your answer is about as good a one as I can come up with, although if backed into a corner I would probably say it’s the spirit of Isaiah himself — but even I as the author can’t commit to this interpretation. Still, he is clearly a supernatural figure who identies as Jewish and who further describes himself as someone who never left and who is “a wizened soul who penned those words you cherish.” But your reference to the original Latin sense of caretaker” is exactly right and I wanted this poem to be open to interpretation. (“Why choose?”) It is rare that I aim for ambiguity in a poem but I felt it to be the right choice in this one. Joe, I owe you some thanks here because you actually helped give me that idea for the literary value of ‘the mystery.” You might not recall, but in comments regarding my “White Whale” poem you brought up the mysterious significance of Ahab’s nemesis and the fact that Melville never gives an explicit answer. That allowed you the breathing space to offer some fascinating interpretations, Moby Dick seemed richer for never giving us a precise answer. Sometimes a mystery is more interesting if it remains a mystery. Reply Dan Tuton February 2, 2025 Brian, as Michael points out above, this truly is epic in the highest sense of the word. The timelessness of the scrolls echoes down through history, providing a substratum for Jewish identity and an anchor of Christian hope. Michele and I were privileged to see some of the scrolls in the Israel Museum on a cold, blustery day in January of 2016. I’ll never forget it. Thanks for bringing back the memory. Reply Brian A. Yapko February 3, 2025 Thank you so much, Fr. Dan! I appreciate your insightful view and, in particular, your deep understanding of why I chose the Book/Scroll of Isaiah to be spotlighted in this poem. I was struck by the fact that of all the many thousands of biblical parchments to be recovered, it was the Book of Isaiah alone which survived in its entirety. It seemed extremely providential. I especially appreciate your story about seeing the Scrolls in person. I had comparable experiences to yours when I saw the Dead Sea Scrolls at the Israel Museum in Jerusalem back in 1973 when I was Bar Mitvahed, and again in 1992 on a tourist visit. I well remember getting goose-flesh seeing these ancient Scrolls both times — as if I were in the presence of something unseen and holy. And, indeed, I’m certain I was. Reply Cheryl A Corey February 2, 2025 Brian, just when it looks like you’ve reached your poetic zenith, you once again surprise. I think you’ve really outdone yourself with this trio. I especially enjoyed the second about the actual discovery. Love how you rhyme “see” with “53” too. Reply Brian A. Yapko February 3, 2025 Thank you so much, Cheryl. I appreciate the supportive words and congratulate you for your own great work in the contest. Your poem “On Learning of a Lover’s Death” was extremely moving. Reply C.B. Anderson February 2, 2025 You almost always tackle big themes, Brian, in painstaking detail, something I can scarcely imagine myself doing. You are a Laureate, and I, a scribbler in comparison. There is little or nothing I could teach you that you need to know, and I am just glad that you decided to plant your stakes at this site, for otherwise I would have missed many a history lesson. I very much liked your decision to be sparing with rhyme in the first section. Reply Brian A. Yapko February 3, 2025 C.B. thank you so much for this generous comment. I will always be grateful to you for your criticism of one of my earliest poems “A Sonnet on Taking a Leap of Faith” — criticism which did not make me shrink but which challenged me to do better, to find clearer ways of communicating and not to settle for unexceptional craftsmanship. You do not give out participation prizes. Thank God. And while I appreciate your praise more than you can know, to me you will always be the Laureate and an important influence. I too am grateful to be “planted” at this site. It’s given me great satisfaction and the honor and joy of sharing experiences and some of the crumbs of learning that I’ve picked up. There’s no where else in the poetry world where such a thing is possible. Reply Yael February 2, 2025 Brilliant poetry Brian, you are really bringing this awesome subject matter to life in your trilogy. This is what I love about this website: every day there is something new to enjoy and learn. This is real brain candy, thank you! Reply Brian A. Yapko February 3, 2025 Thank you so much, Yael. “Brain candy!” I like the sound of that! I totally agree about this website. There’s always something new to enjoy and learn! Reply Julian D. Woodruff February 3, 2025 Dittoing CB’s comment Brian. Further, I really like the detail of the archeologist worrying about the merchant’s handling of the ms. Reply Joseph S. Salemi February 3, 2025 You can’t trust non-professionals to deal with rare manuscripts. They are simply careless and ignorant. When the Nag Hammadi collection of early Christian and gnostic texts was discovered buried in a jar in 1945 by Bedouins, a few of the priceless manuscripts were used by some idiot woman to light her cooking fire. The Nag Hammadi finds were just as important for Christianity as the Dead Sea scrolls were for Judaism. One of the manuscripts in that jar gave us the long-lost Gospel of Thomas. Reply Brian A. Yapko February 3, 2025 Joe, thank you so much for introducing me to the Nag Hammadi Codices. Up to now I was completely unfamiliar with this treasure of Western civilization. I must do some reading on the subject — it’s fascinating. A brief Wikipedia exploration describes thirteen leather-bound papyrus codices of Christian and Gnostic texts buried in a sealed jar found by a farmer in Egypt in the 1940s — codices which may have belonged to a nearby Pachomian monastery and were presumably buried after Saint Athanasius condemned the use of non-canonical books in his Festal Letter of 367 A.D. Books include: The Gospel of Thomas: A sayings gospel that includes the words of Jesus The Apocryphon of John: A cornerstone of Gnostic cosmology that describes the creation of the material world The Secret Book of John: Recounts details about the creation of the world The Reality of the Rulers: Recounts details about the creation of the world On the Origin of the World: Recounts details about the creation of the world The Gospel of Philip: A Gnostic text The Hypostasis of the Archons: A Gnostic text The Exegesis on the Soul: A Gnostic text The Book of Thomas the Contender: A Gnostic text Back to the subject of the Dead Sea Scrolls. I would submit that they are of as much importance to Christianity as to Judaism since they offer many insights into the society into which Christ was born (especially the Essenes who are said to have greatly influenced Him) and offer corroboration of the accuracy of Old Testament texts. As I mentioned above to Fr. Dan, I find it particularly signficant that the only book that is entirely intact happens to be Isaiah. This has, I believe, deep theological resonances for both faiths. Brian A. Yapko February 3, 2025 Thank you so much, Julian! I’m not sure where I drew that detail from but it seemed to work for the situation. I’ve been in enough libraries which housed illuminated manuscripts or the like where great care had to be taken to protect the pages. I’ve heard too often of disastrous mishandling of priceless artifacts through negligence or sheer ignorance. To expand on Joe’s report of bedouins burning pricess manuscripts I’m reminded of reports that in the 19th Century, Egyptians burned mummies as firewood. It’s even worse when destruction is knowledgable and intentional like the Taliban’s destruction of the Bamiyan Buddhas in Afghanistan. Reply Joseph S. Salemi February 3, 2025 I’m not a Buddhist, but when I heard of the wanton destruction of the Bamiyan Buddhas I was sick to my stomach. Brainless, fanatical, iconoclastic vandals! What the bloody hell kind of maniacs are driven to commit that sort of anti-cultural atrocity? And the Taliban’s name means “students.” Students of what? How to be boorish, uneducated jackasses? Joseph S. Salemi February 3, 2025 Paul, there’s a difference between melting down gold because you are greedy, and destroying ancient stone statues simply because some asshole imam is fanatically opposed to any non-Moslem religious expressions. I guess you don’t see distinctions like that when you’re reflexively defending non-Westerners. By the way, it’s the Gulf of America now. Get used to it. Brian A. Yapko February 4, 2025 Joe, it might interest you to know that when Jordan had sovereignty over the Old City of Jerusalem from 1948 to 1967 the good people of Jordan destroyed 34 synagogues and desecrated thousands of ancient Jewish graves whose stones were used for roads and latrines. Just last year, Iranians vandalized the Tombs of Esther and Mordechai, remnants of ancient Persia. The religion of peace seems to favor destroying the patrimony and artifacts of non-Muslims. https://www.jewishvirtuallibrary.org/jordan-s-desecration-of-jerualem-1948-1967 https://www.iranintl.com/en/202404036381 Margaret Coats February 4, 2025 Brian, what a puzzle you create for anyone who knows a few facts about the Dead Sea scrolls! At first these three poems seem to be unified as a story about the Great Isaiah Scroll, now the chief treasure of the Shrine of the Book. Impossible. It already had a long existence before your “Scribe” in 66 AD. It did pass through the hands of a Bethlehem dealer who sold it to a Syrian bishop in 1947. Do you have the same dealer tell the same story of discovery in 1948 to some war-wounded “Archeologist” who’s lost his faith? And sell him something described both as a “scroll” and a “fragment”? There is at least one Isaiah fragment from Qumran as well as the Great Scroll. And then that “Curator” who in 2025 thinks he “penned those lines you cherish” and says they are carbon dated to 60 AD. That’s close enough to 66 AD to tentatively identify him with your “Scribe.” Shades of the Seven Sleepers of Ephesus! So the Trilogy is not about the Great Isaiah Scroll, but creates three fictional characters who have something to say about the scrolls and their existence. The Scribe seems not to be an Essene, but a professional from Jerusalem, who would still be there if he weren’t a war refugee. By sect he may have been a Pharisee. He’s a disgruntled opponent of the Romans, who’s decided to serve God and contribute to Jewish survival with scribal work deposited for future. His Isaiah does not survive as a whole, but perhaps bits exist among the many fragments. The discovery of manuscripts at Qumran began in 1946 and continued for about ten years. My unrefreshed recollection of reading about this has many individuals and institutions involved. Your “Archaeologist,” Brian, would have been one funded by a university. He’s here in your work to describe how the mere existence of these ancient manuscripts, found as a world war had just ended, brought a sense of continuity and a rediscovery of faith to certain individuals. Scholars, antiquarians, historians, linguists, paleographers and others participated in a long haul of preservation, deciphering, and publishing. They’re still at it. I think what you say here is that it goes beyond professorial work to the glory of God by the saving of souls. The “Curator” is a mystery, as you have explained in Comments, and in the poem itself you ask readers not to choose who or what he is. In addition to what I’ve already noted in describing him, I’ll point out that he’s very sure of some date being in the reign of Nero. That too makes him like your Scribe, also fictional and incapable of being pinned down. Ghost? Sleeper? You also have angel imagery here. And you have him self-describe in several roles. Rather than decide, I’ll recommend that any reader go back and count. One piece of history that has not come up here is the effect of the Six Day War in 1967. You may know more than I, but I believe this enabled Israel to exercise “eminent domain” of sorts over scroll material in the occupied territories. Museum politics is complicated, and the related publishing yet more so, but that War speeded up scroll processing, and may have encouraged return of fragments in private hands. One scholarly benefit is greater deference paid to all ancient texts in interpretive efforts. The verse (Isaiah 53:11) following the one chosen for your epigraph is difficult, but the Qumran reading matches that of the Septuagint, rather than the Masoretic text. Thus some important modern language Bible translations have adopted it as clearer and authoritative. And the Septuagint (an ancient Jewish translation of Hebrew texts into Greek) has rightly gained greater luster and more study. Reply Joseph S. Salemi February 4, 2025 Margaret, you don’t seem to want to give Brian the poetic license to write his Trilogy in whatever way he finds aesthetically best. If he wants to add fictive elements to the story of the discovery, that is his right. Reply Margaret Coats February 4, 2025 I treat Brian’s creations precisely as fiction, with the Scribe and the Archaeologist serving particular purposes of his, and the Curator representing the mystery he wishes to underline. I have pointed out that his procedure is more subtle than the ordinary method of historical fiction. Brian A. Yapko February 5, 2025 I have read and reread this comment and have found it to be ineffably sad. Keats did not speak of a poetry critic when coining the term “unweaving the rainbow” but he might as well have. Your devotion to ideological literalism, Dr. Coats, misses the entire point of this poetry trio as you pursue historic and religious truth. You are free to take that approach as a critic of course. But from my standpoint, this demonstrates a gift for sucking the joy and spirit of poetry right out of the room. From the historic standpoint… I was not there. I have no idea – nor do you – when the individual Dead Sea Scrolls were scribed. Nor did I purport to claim any type of historical accuracy or certainty here. Nor did I ever once mention The Great Isaiah Scroll. This is your identification – not mine. As you sometimes do, you brought yourself and your agendas into the poem rather than allow the poem itself to set the scene. In other words, who gives a good goddamn about the historical accuracy of the object I selected as a central metaphor for the survival of the Jewish people through the Ages? From a critical standpoint, this type of literalism is outrageous. You would blast Longfellow for getting details of Paul Revere’s ride wrong? Or the life of Hiawatha? Any criticism of the Grecian Urn that Keats generalized? You would blast Shakespeare for getting every single one of his histories wrong? Or, in modern terms, the play and film Amadeus for depicting Mozart and Salieri inaccurately? Or the film Gladiator for mangling the history of Marcus Aurelius and Commodus? What do you do with The Robe or Ben Hur? To pursue the type of historical accuracy you demand would unweave almost all historical literature. And for what? So that you can feel like the carbon dating lines up? Must poets now add disclaimers to their work as they do at the end of the credits in motion pictures? The purpose of these poems was NOT to tell the literal story of the Dead Sea Scrolls or, specifically, the Great Isaiah Scroll. The purpose of these poems was – like the historical novels of James Michener or James Clavell – to get to the spiritual heart of a history by using fictional characters, by blending events, by selecting objects for their metaphoric and symbolic value. How incredibly dull my work would have been if I was forced to slavishly comply with expert witness accuracy in all details. We live in horrible times for Jews, Dr. Coats. A time in history when the Jewish people are being viciously divorced from their own history by ideologues bent on seeing Israel dismantled, by erasing their history, by trying to deny their connection to the Holy Land. As pushback on this awful situation, I sought to create a trio of poems which demonstrated the deep roots Jews have in Israel. I am already told that this trio of poems has brought a small shred of hope to a wounded people. Do you sincerely think I give a flying damn about the correct carbon dates for the poetic symbols I’m using (a blending of various objects) or for the characters I chose (who are reasonably representative)? Would you hold me to this same precise standard if I wrote poetry about a fragment of the True Cross or a panoply of holy relics or the Shroud of Turin, all of which have vague provenance? I think you would have been more willing to suspend your disbelief when weighing vagaries of creation against the poem’s devotional value. I am sorry that a poem that is very specifically Jewish and which does not purport to be anything else earns flat-out disbelief rather than its suspension. I’m sorry to have written poetry which displeases you, Dr. Coats. To spare you the burden of further displeasure, please do not feel obligated to comment on my poetry in the future. I mean that. Reply Susan Jarvis Bryant February 4, 2025 Brian, I admire the way you breathe life into history with beautifully crafted poetry and this symbolic trilogy shines. I appreciate the way you give the reader the gift of a story and the way that story progresses through time from the viewpoint of rounded and relatable characters (and a rather mysterious one) – characters that feel so real, I feel they’re in the same room talking to me personally. Your portrayal of the human condition and how mere mortals mesh with the spiritual astounds me – you have a gift. The humble, painstaking dedication of the scribe; the awe of the disillusioned architect and his renewed faith; and oh, that amazing curator who dares not intrude – that “gray-haired shepherd of these Scrolls” has captured my heart and my imagination. Who is he? To me he is the embodiment of Jewish history, faith, and endurance. No dry history book can capture the spirit of a nation… only a trio of poetic gems by Brian Yapko can do that. Thank you! Reply Brian A. Yapko February 5, 2025 Bless you for this generous comment, Susan. You understand exactly what I was aiming for with this trilogy — poems which were intended to present the heart and soul of Jewish ties to the Holy Land through the mechanism of art rather than scholarship. I love your discussion concerning “mere mortals” for that’s exactly who the first two poem speakers are (with some ambiguity regarding the third one.) But the fact of the matter is, as mere mortals these characters are caught up in the sweeping tides of history (how little has changed between the times of Nero and Mussolini!) My speakers face dire events far greater than they can control, yet they nevertheless find ways not only to survive but to create, discover knowledge and develop faith. Now, as the third speaker demonstrates, it is up to us to see if we can hold on to that faith — whether via bullet proof glass, the wisdom gained through tradition or, returning to basics, putting trust in the holy scriptures. Thank you again for this kind and insightful comment, Susan. You’ve turned a frown into a smile. Reply LAURA R. SCHWARTZ February 7, 2025 I always procrastinate when commenting on your unmatched poetry, Brian, since my writing skills fall far below the rest of your erudite audience. But I must speak now, coming from a different angle, as well as responding to one remark in particular. This trilogy in particular moved me to tears, as your words have a unique way of resonating with my own thoughts and emotions, often capturing the essence of what I feel but cannot articulate myself. Everyone else has so finely praised your powerful mélange of (now more-than-relevant) ancient times most creatively, so I want to touch upon your gift of motivation; you inspire me to dig deeply into subjects which I thought were far beyond my ken, going on historical expeditions I never would have considered had it not been for your archeological digs, supporting Truth. Reading your poetry is like gazing into a mirror that reflects my inner world—each verse and metaphor so often echoes my experiences and perspectives, making me feel understood and connected in a profound way. Your ability to weave intricate emotions into such beautiful and poignant language is truly a gift. In particular, your trilogies’ trajectory took me back to the unending attacks of antisemitism I endured throughout my childhood and well into my 30’s, punctuating the need for someone with your talent, strength, and grace to speak for plaintive voices not heard. You have painstakingly thrust the sword of historical truth through the flimsy, false jabbering of those who wish to deny us our Homeland, yes, even our lives. Brian, you are the “traveler through Time” for the Jewish people today, using your gorgeous words to hopefully enjoin others to crush “this (ongoing) crucible of hate”. Truly, “We die and die–yet rise more than we fall.” This was all too little, too late, I know, but thank you, Brian, for sharing your talent with the world and for being a source of inspiration and connection for me personally. And one last thought; it would appear, Dr. Coats, by your written comments and thinly veiled contempt, that you have loudly painted yourself for who you really are. Reply Brian A. Yapko February 7, 2025 Laura, I had tears in my eyes reading this heartfelt comment. I am so grateful for this generous view of my poetry and how it made at least one thoughtful reader react. I am so saddened by your history of encounters with antisemitism. Sadly it never stops and I think many of us with Jewish backgrounds can describe being subjected to irrational hatred and contempt. I have experienced far more antisemitism in my life than homophobia. It’s not even close. It is easy for those who do not experience it first-hand to be dismissive of it. I cannot. My German-Lutheran mother lived in the Third Reich throughout the entirety of Hitler’s reign. She was safe but she had Jewish friends taken by the gestapo — friends who could not ever be spoken of again. My father was a Jewish American soldier who was part of the Occupation Forces in vanquished Germany and Austria immediately after World War II. He saw the Concentration Camps and their victims first hand. And my mother, fluent in English as well as German, translated documents at the Nuremberg Trials. Both of my parents saw too much and as a result I know too much. I am a child of World War II and knowledgable enough to hear the alarm bells go off. Alarm bells at the modern leftist incarnations of the same old lie-based murderous impulse to wipe our historic homeland off the face of the Earth and to slaughter Jews for being Jews. As was done to an entire branch of the Yapko family at Auschwitz in the 1940s. Forgetting is not an option. Thank you for understanding exactly what I was trying to do with this trio of poems, Laura. You made me think, you made me cry. And you made my day. Reply Leave a Reply Cancel ReplyYour email address will not be published.CommentName* Email* Website Δ This site uses Akismet to reduce spam. Learn how your comment data is processed.
Mark Stellinga February 2, 2025 Brian, you’ve outdone yourself again, my friend. Juxtaposing their discovery – their thankfully being recognized for what they represent – and explaining how they’re now rightly protected to the great extent they are is a beautiful and heart-lifting trilogy, and a wonderful way to start a Sunday. Thank you for submitting what is clearly ‘a labor of love’. Reply
Brian A. Yapko February 3, 2025 Thank you so much for your kind comment, Mark! You have indeed recognized this is as a labor of love, Mark. I have long been interested in archaeology with a particular fascination for the Dead Sea Scrolls and all that they represent both theologically and historically. Reply
Roy Eugene Peterson February 2, 2025 Greatness comes in many forms and your poems far exceed the norms. This is a labor of love that required intimate knowledge of historic facts, massive creativity and unmatched intellect to compose and render me speechless. Your dedication and mission of delivering such a message should be recognized internationally and kept with the Dead Sea scrolls as a scintillating homage. Once I began reading, I slowed down in an effort to absorb every sentence, phrase, and rhyme. My admiration for this fantastic poetic masterpiece knows no bounds. You have blessed us with a gift for the ages. Reply
Brian A. Yapko February 3, 2025 Roy, you do me too much honor with such a generous and kind comment! Thank you so much. Your support means a great deal to me. And you have given me the idea to send the link to these poems to the Israel Museum in Jerusalem. It’s a long shot, but maybe someone there will find these poems of interest. Reply
Michael Vanyukov February 2, 2025 This is epic – by definition. In addition, it’s poetically masterful and filled with emotion and truth, both historic and of the present, which no modern hate and revisionism can destroy. Brian, mazel tov! Reply
Brian A. Yapko February 3, 2025 Thank you so much, Michael. It’s great to see you here! You understand exactly what I’m aiming for. The Dead Sea Scrolls represent more than just the immense value of a phenomenal archaeological find. They present unassailable scientific proof of the indigeneity of the Jewish people in the Holy Land. Modern hate and revisionism seeks to trivialize or even erase the Jewish presence in Israel but the truth is the truth is the truth. Archaeology doesn’t lie. And the unbroken modern Jewish connection to the ancient Jews is one of the reasons I emphasized the fact that modern Hebrew is the same Hebrew that was written and spoken 2000 years ago. Reply
Joseph S. Salemi February 2, 2025 The beginning, the discovery, and the modern day — this is a great scaffolding on which to place the story of the Dead Sea Scrolls. It reminded me of a novel from the 1960s called “The Source” (I think the author was Michener) about a place in ancient Israel that was described from the earliest primitive times right up to the present, with attention to various artifacts unearthed there. I’m intrigued by the uncertainty of the speaker in the last section. The first two sections have unambiguous speakers — the scribe who creates the manuscript, and the archaeologist who purchases the scroll. But the third speaker is mentioned in the title as “the curator,” but then identifies himself as a guard or sentry at the exhibit. Even then it gets complicated: is he from UNICEF? From the IDF? Or is he an unseen ghost hovering over the place? I think the poet is suggesting that this third speaker is “the curator” in the original Latin sense of that word. He is the “caretaker.” He is the speaking embodiment of Judaic identity, who watches over the scrolls as a divinely appointed guardian. Reply
Brian A. Yapko February 3, 2025 Thank you very much indeed for your comment, Joe. As it happens, James Michener was my favorite author when I was a teenager. I was a fan of Tales of the South Pacific, Hawaii, Centennial, Chesapeake and — above all — The Source, which follows the archaeological dig at (fictional) Tell Makor in the Galilee and in which a different chapter is devoted to each artifact found, from prehistory through Canaanite, Babylonian, Greek, Roman, Crusader, Ottoman and finally the modern state of Israel. But until you mentioned the novel, I did not recognize that I had done what Michener did, by telling the story of the artifact’s deposit and it’s potential impact on the recoverer. Of course, Michener never brought in the “curator” component of spiritual and historical significance going into the future. I appreciate your mention of the ambiguity of the third speaker, The Curator. I very much wanted to add a mystical component to a poem series which had focused on the material and then socio-historical aspects of the artifact. The Curator brings in some theological and mystical context as well as the acknowledgment of what protection of the Scrolls requires since “Jerusalem, God’s High Place, is not tame.” Who is the Curator? Your answer is about as good a one as I can come up with, although if backed into a corner I would probably say it’s the spirit of Isaiah himself — but even I as the author can’t commit to this interpretation. Still, he is clearly a supernatural figure who identies as Jewish and who further describes himself as someone who never left and who is “a wizened soul who penned those words you cherish.” But your reference to the original Latin sense of caretaker” is exactly right and I wanted this poem to be open to interpretation. (“Why choose?”) It is rare that I aim for ambiguity in a poem but I felt it to be the right choice in this one. Joe, I owe you some thanks here because you actually helped give me that idea for the literary value of ‘the mystery.” You might not recall, but in comments regarding my “White Whale” poem you brought up the mysterious significance of Ahab’s nemesis and the fact that Melville never gives an explicit answer. That allowed you the breathing space to offer some fascinating interpretations, Moby Dick seemed richer for never giving us a precise answer. Sometimes a mystery is more interesting if it remains a mystery. Reply
Dan Tuton February 2, 2025 Brian, as Michael points out above, this truly is epic in the highest sense of the word. The timelessness of the scrolls echoes down through history, providing a substratum for Jewish identity and an anchor of Christian hope. Michele and I were privileged to see some of the scrolls in the Israel Museum on a cold, blustery day in January of 2016. I’ll never forget it. Thanks for bringing back the memory. Reply
Brian A. Yapko February 3, 2025 Thank you so much, Fr. Dan! I appreciate your insightful view and, in particular, your deep understanding of why I chose the Book/Scroll of Isaiah to be spotlighted in this poem. I was struck by the fact that of all the many thousands of biblical parchments to be recovered, it was the Book of Isaiah alone which survived in its entirety. It seemed extremely providential. I especially appreciate your story about seeing the Scrolls in person. I had comparable experiences to yours when I saw the Dead Sea Scrolls at the Israel Museum in Jerusalem back in 1973 when I was Bar Mitvahed, and again in 1992 on a tourist visit. I well remember getting goose-flesh seeing these ancient Scrolls both times — as if I were in the presence of something unseen and holy. And, indeed, I’m certain I was. Reply
Cheryl A Corey February 2, 2025 Brian, just when it looks like you’ve reached your poetic zenith, you once again surprise. I think you’ve really outdone yourself with this trio. I especially enjoyed the second about the actual discovery. Love how you rhyme “see” with “53” too. Reply
Brian A. Yapko February 3, 2025 Thank you so much, Cheryl. I appreciate the supportive words and congratulate you for your own great work in the contest. Your poem “On Learning of a Lover’s Death” was extremely moving. Reply
C.B. Anderson February 2, 2025 You almost always tackle big themes, Brian, in painstaking detail, something I can scarcely imagine myself doing. You are a Laureate, and I, a scribbler in comparison. There is little or nothing I could teach you that you need to know, and I am just glad that you decided to plant your stakes at this site, for otherwise I would have missed many a history lesson. I very much liked your decision to be sparing with rhyme in the first section. Reply
Brian A. Yapko February 3, 2025 C.B. thank you so much for this generous comment. I will always be grateful to you for your criticism of one of my earliest poems “A Sonnet on Taking a Leap of Faith” — criticism which did not make me shrink but which challenged me to do better, to find clearer ways of communicating and not to settle for unexceptional craftsmanship. You do not give out participation prizes. Thank God. And while I appreciate your praise more than you can know, to me you will always be the Laureate and an important influence. I too am grateful to be “planted” at this site. It’s given me great satisfaction and the honor and joy of sharing experiences and some of the crumbs of learning that I’ve picked up. There’s no where else in the poetry world where such a thing is possible. Reply
Yael February 2, 2025 Brilliant poetry Brian, you are really bringing this awesome subject matter to life in your trilogy. This is what I love about this website: every day there is something new to enjoy and learn. This is real brain candy, thank you! Reply
Brian A. Yapko February 3, 2025 Thank you so much, Yael. “Brain candy!” I like the sound of that! I totally agree about this website. There’s always something new to enjoy and learn! Reply
Julian D. Woodruff February 3, 2025 Dittoing CB’s comment Brian. Further, I really like the detail of the archeologist worrying about the merchant’s handling of the ms. Reply
Joseph S. Salemi February 3, 2025 You can’t trust non-professionals to deal with rare manuscripts. They are simply careless and ignorant. When the Nag Hammadi collection of early Christian and gnostic texts was discovered buried in a jar in 1945 by Bedouins, a few of the priceless manuscripts were used by some idiot woman to light her cooking fire. The Nag Hammadi finds were just as important for Christianity as the Dead Sea scrolls were for Judaism. One of the manuscripts in that jar gave us the long-lost Gospel of Thomas. Reply
Brian A. Yapko February 3, 2025 Joe, thank you so much for introducing me to the Nag Hammadi Codices. Up to now I was completely unfamiliar with this treasure of Western civilization. I must do some reading on the subject — it’s fascinating. A brief Wikipedia exploration describes thirteen leather-bound papyrus codices of Christian and Gnostic texts buried in a sealed jar found by a farmer in Egypt in the 1940s — codices which may have belonged to a nearby Pachomian monastery and were presumably buried after Saint Athanasius condemned the use of non-canonical books in his Festal Letter of 367 A.D. Books include: The Gospel of Thomas: A sayings gospel that includes the words of Jesus The Apocryphon of John: A cornerstone of Gnostic cosmology that describes the creation of the material world The Secret Book of John: Recounts details about the creation of the world The Reality of the Rulers: Recounts details about the creation of the world On the Origin of the World: Recounts details about the creation of the world The Gospel of Philip: A Gnostic text The Hypostasis of the Archons: A Gnostic text The Exegesis on the Soul: A Gnostic text The Book of Thomas the Contender: A Gnostic text Back to the subject of the Dead Sea Scrolls. I would submit that they are of as much importance to Christianity as to Judaism since they offer many insights into the society into which Christ was born (especially the Essenes who are said to have greatly influenced Him) and offer corroboration of the accuracy of Old Testament texts. As I mentioned above to Fr. Dan, I find it particularly signficant that the only book that is entirely intact happens to be Isaiah. This has, I believe, deep theological resonances for both faiths.
Brian A. Yapko February 3, 2025 Thank you so much, Julian! I’m not sure where I drew that detail from but it seemed to work for the situation. I’ve been in enough libraries which housed illuminated manuscripts or the like where great care had to be taken to protect the pages. I’ve heard too often of disastrous mishandling of priceless artifacts through negligence or sheer ignorance. To expand on Joe’s report of bedouins burning pricess manuscripts I’m reminded of reports that in the 19th Century, Egyptians burned mummies as firewood. It’s even worse when destruction is knowledgable and intentional like the Taliban’s destruction of the Bamiyan Buddhas in Afghanistan. Reply
Joseph S. Salemi February 3, 2025 I’m not a Buddhist, but when I heard of the wanton destruction of the Bamiyan Buddhas I was sick to my stomach. Brainless, fanatical, iconoclastic vandals! What the bloody hell kind of maniacs are driven to commit that sort of anti-cultural atrocity? And the Taliban’s name means “students.” Students of what? How to be boorish, uneducated jackasses?
Joseph S. Salemi February 3, 2025 Paul, there’s a difference between melting down gold because you are greedy, and destroying ancient stone statues simply because some asshole imam is fanatically opposed to any non-Moslem religious expressions. I guess you don’t see distinctions like that when you’re reflexively defending non-Westerners. By the way, it’s the Gulf of America now. Get used to it.
Brian A. Yapko February 4, 2025 Joe, it might interest you to know that when Jordan had sovereignty over the Old City of Jerusalem from 1948 to 1967 the good people of Jordan destroyed 34 synagogues and desecrated thousands of ancient Jewish graves whose stones were used for roads and latrines. Just last year, Iranians vandalized the Tombs of Esther and Mordechai, remnants of ancient Persia. The religion of peace seems to favor destroying the patrimony and artifacts of non-Muslims. https://www.jewishvirtuallibrary.org/jordan-s-desecration-of-jerualem-1948-1967 https://www.iranintl.com/en/202404036381
Margaret Coats February 4, 2025 Brian, what a puzzle you create for anyone who knows a few facts about the Dead Sea scrolls! At first these three poems seem to be unified as a story about the Great Isaiah Scroll, now the chief treasure of the Shrine of the Book. Impossible. It already had a long existence before your “Scribe” in 66 AD. It did pass through the hands of a Bethlehem dealer who sold it to a Syrian bishop in 1947. Do you have the same dealer tell the same story of discovery in 1948 to some war-wounded “Archeologist” who’s lost his faith? And sell him something described both as a “scroll” and a “fragment”? There is at least one Isaiah fragment from Qumran as well as the Great Scroll. And then that “Curator” who in 2025 thinks he “penned those lines you cherish” and says they are carbon dated to 60 AD. That’s close enough to 66 AD to tentatively identify him with your “Scribe.” Shades of the Seven Sleepers of Ephesus! So the Trilogy is not about the Great Isaiah Scroll, but creates three fictional characters who have something to say about the scrolls and their existence. The Scribe seems not to be an Essene, but a professional from Jerusalem, who would still be there if he weren’t a war refugee. By sect he may have been a Pharisee. He’s a disgruntled opponent of the Romans, who’s decided to serve God and contribute to Jewish survival with scribal work deposited for future. His Isaiah does not survive as a whole, but perhaps bits exist among the many fragments. The discovery of manuscripts at Qumran began in 1946 and continued for about ten years. My unrefreshed recollection of reading about this has many individuals and institutions involved. Your “Archaeologist,” Brian, would have been one funded by a university. He’s here in your work to describe how the mere existence of these ancient manuscripts, found as a world war had just ended, brought a sense of continuity and a rediscovery of faith to certain individuals. Scholars, antiquarians, historians, linguists, paleographers and others participated in a long haul of preservation, deciphering, and publishing. They’re still at it. I think what you say here is that it goes beyond professorial work to the glory of God by the saving of souls. The “Curator” is a mystery, as you have explained in Comments, and in the poem itself you ask readers not to choose who or what he is. In addition to what I’ve already noted in describing him, I’ll point out that he’s very sure of some date being in the reign of Nero. That too makes him like your Scribe, also fictional and incapable of being pinned down. Ghost? Sleeper? You also have angel imagery here. And you have him self-describe in several roles. Rather than decide, I’ll recommend that any reader go back and count. One piece of history that has not come up here is the effect of the Six Day War in 1967. You may know more than I, but I believe this enabled Israel to exercise “eminent domain” of sorts over scroll material in the occupied territories. Museum politics is complicated, and the related publishing yet more so, but that War speeded up scroll processing, and may have encouraged return of fragments in private hands. One scholarly benefit is greater deference paid to all ancient texts in interpretive efforts. The verse (Isaiah 53:11) following the one chosen for your epigraph is difficult, but the Qumran reading matches that of the Septuagint, rather than the Masoretic text. Thus some important modern language Bible translations have adopted it as clearer and authoritative. And the Septuagint (an ancient Jewish translation of Hebrew texts into Greek) has rightly gained greater luster and more study. Reply
Joseph S. Salemi February 4, 2025 Margaret, you don’t seem to want to give Brian the poetic license to write his Trilogy in whatever way he finds aesthetically best. If he wants to add fictive elements to the story of the discovery, that is his right. Reply
Margaret Coats February 4, 2025 I treat Brian’s creations precisely as fiction, with the Scribe and the Archaeologist serving particular purposes of his, and the Curator representing the mystery he wishes to underline. I have pointed out that his procedure is more subtle than the ordinary method of historical fiction.
Brian A. Yapko February 5, 2025 I have read and reread this comment and have found it to be ineffably sad. Keats did not speak of a poetry critic when coining the term “unweaving the rainbow” but he might as well have. Your devotion to ideological literalism, Dr. Coats, misses the entire point of this poetry trio as you pursue historic and religious truth. You are free to take that approach as a critic of course. But from my standpoint, this demonstrates a gift for sucking the joy and spirit of poetry right out of the room. From the historic standpoint… I was not there. I have no idea – nor do you – when the individual Dead Sea Scrolls were scribed. Nor did I purport to claim any type of historical accuracy or certainty here. Nor did I ever once mention The Great Isaiah Scroll. This is your identification – not mine. As you sometimes do, you brought yourself and your agendas into the poem rather than allow the poem itself to set the scene. In other words, who gives a good goddamn about the historical accuracy of the object I selected as a central metaphor for the survival of the Jewish people through the Ages? From a critical standpoint, this type of literalism is outrageous. You would blast Longfellow for getting details of Paul Revere’s ride wrong? Or the life of Hiawatha? Any criticism of the Grecian Urn that Keats generalized? You would blast Shakespeare for getting every single one of his histories wrong? Or, in modern terms, the play and film Amadeus for depicting Mozart and Salieri inaccurately? Or the film Gladiator for mangling the history of Marcus Aurelius and Commodus? What do you do with The Robe or Ben Hur? To pursue the type of historical accuracy you demand would unweave almost all historical literature. And for what? So that you can feel like the carbon dating lines up? Must poets now add disclaimers to their work as they do at the end of the credits in motion pictures? The purpose of these poems was NOT to tell the literal story of the Dead Sea Scrolls or, specifically, the Great Isaiah Scroll. The purpose of these poems was – like the historical novels of James Michener or James Clavell – to get to the spiritual heart of a history by using fictional characters, by blending events, by selecting objects for their metaphoric and symbolic value. How incredibly dull my work would have been if I was forced to slavishly comply with expert witness accuracy in all details. We live in horrible times for Jews, Dr. Coats. A time in history when the Jewish people are being viciously divorced from their own history by ideologues bent on seeing Israel dismantled, by erasing their history, by trying to deny their connection to the Holy Land. As pushback on this awful situation, I sought to create a trio of poems which demonstrated the deep roots Jews have in Israel. I am already told that this trio of poems has brought a small shred of hope to a wounded people. Do you sincerely think I give a flying damn about the correct carbon dates for the poetic symbols I’m using (a blending of various objects) or for the characters I chose (who are reasonably representative)? Would you hold me to this same precise standard if I wrote poetry about a fragment of the True Cross or a panoply of holy relics or the Shroud of Turin, all of which have vague provenance? I think you would have been more willing to suspend your disbelief when weighing vagaries of creation against the poem’s devotional value. I am sorry that a poem that is very specifically Jewish and which does not purport to be anything else earns flat-out disbelief rather than its suspension. I’m sorry to have written poetry which displeases you, Dr. Coats. To spare you the burden of further displeasure, please do not feel obligated to comment on my poetry in the future. I mean that. Reply
Susan Jarvis Bryant February 4, 2025 Brian, I admire the way you breathe life into history with beautifully crafted poetry and this symbolic trilogy shines. I appreciate the way you give the reader the gift of a story and the way that story progresses through time from the viewpoint of rounded and relatable characters (and a rather mysterious one) – characters that feel so real, I feel they’re in the same room talking to me personally. Your portrayal of the human condition and how mere mortals mesh with the spiritual astounds me – you have a gift. The humble, painstaking dedication of the scribe; the awe of the disillusioned architect and his renewed faith; and oh, that amazing curator who dares not intrude – that “gray-haired shepherd of these Scrolls” has captured my heart and my imagination. Who is he? To me he is the embodiment of Jewish history, faith, and endurance. No dry history book can capture the spirit of a nation… only a trio of poetic gems by Brian Yapko can do that. Thank you! Reply
Brian A. Yapko February 5, 2025 Bless you for this generous comment, Susan. You understand exactly what I was aiming for with this trilogy — poems which were intended to present the heart and soul of Jewish ties to the Holy Land through the mechanism of art rather than scholarship. I love your discussion concerning “mere mortals” for that’s exactly who the first two poem speakers are (with some ambiguity regarding the third one.) But the fact of the matter is, as mere mortals these characters are caught up in the sweeping tides of history (how little has changed between the times of Nero and Mussolini!) My speakers face dire events far greater than they can control, yet they nevertheless find ways not only to survive but to create, discover knowledge and develop faith. Now, as the third speaker demonstrates, it is up to us to see if we can hold on to that faith — whether via bullet proof glass, the wisdom gained through tradition or, returning to basics, putting trust in the holy scriptures. Thank you again for this kind and insightful comment, Susan. You’ve turned a frown into a smile. Reply
LAURA R. SCHWARTZ February 7, 2025 I always procrastinate when commenting on your unmatched poetry, Brian, since my writing skills fall far below the rest of your erudite audience. But I must speak now, coming from a different angle, as well as responding to one remark in particular. This trilogy in particular moved me to tears, as your words have a unique way of resonating with my own thoughts and emotions, often capturing the essence of what I feel but cannot articulate myself. Everyone else has so finely praised your powerful mélange of (now more-than-relevant) ancient times most creatively, so I want to touch upon your gift of motivation; you inspire me to dig deeply into subjects which I thought were far beyond my ken, going on historical expeditions I never would have considered had it not been for your archeological digs, supporting Truth. Reading your poetry is like gazing into a mirror that reflects my inner world—each verse and metaphor so often echoes my experiences and perspectives, making me feel understood and connected in a profound way. Your ability to weave intricate emotions into such beautiful and poignant language is truly a gift. In particular, your trilogies’ trajectory took me back to the unending attacks of antisemitism I endured throughout my childhood and well into my 30’s, punctuating the need for someone with your talent, strength, and grace to speak for plaintive voices not heard. You have painstakingly thrust the sword of historical truth through the flimsy, false jabbering of those who wish to deny us our Homeland, yes, even our lives. Brian, you are the “traveler through Time” for the Jewish people today, using your gorgeous words to hopefully enjoin others to crush “this (ongoing) crucible of hate”. Truly, “We die and die–yet rise more than we fall.” This was all too little, too late, I know, but thank you, Brian, for sharing your talent with the world and for being a source of inspiration and connection for me personally. And one last thought; it would appear, Dr. Coats, by your written comments and thinly veiled contempt, that you have loudly painted yourself for who you really are. Reply
Brian A. Yapko February 7, 2025 Laura, I had tears in my eyes reading this heartfelt comment. I am so grateful for this generous view of my poetry and how it made at least one thoughtful reader react. I am so saddened by your history of encounters with antisemitism. Sadly it never stops and I think many of us with Jewish backgrounds can describe being subjected to irrational hatred and contempt. I have experienced far more antisemitism in my life than homophobia. It’s not even close. It is easy for those who do not experience it first-hand to be dismissive of it. I cannot. My German-Lutheran mother lived in the Third Reich throughout the entirety of Hitler’s reign. She was safe but she had Jewish friends taken by the gestapo — friends who could not ever be spoken of again. My father was a Jewish American soldier who was part of the Occupation Forces in vanquished Germany and Austria immediately after World War II. He saw the Concentration Camps and their victims first hand. And my mother, fluent in English as well as German, translated documents at the Nuremberg Trials. Both of my parents saw too much and as a result I know too much. I am a child of World War II and knowledgable enough to hear the alarm bells go off. Alarm bells at the modern leftist incarnations of the same old lie-based murderous impulse to wipe our historic homeland off the face of the Earth and to slaughter Jews for being Jews. As was done to an entire branch of the Yapko family at Auschwitz in the 1940s. Forgetting is not an option. Thank you for understanding exactly what I was trying to do with this trio of poems, Laura. You made me think, you made me cry. And you made my day. Reply
