Yehuda Amichai

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Yehuda Amichai
Born (1924-05-03)3 May 1924
Würzburg, Germany
Died Script error: The function "death_date_and_age" does not exist.
Language Hebrew
Ethnicity Ashkenazic Jewry
Citizenship Israeli
Genre Poetry

Yehuda Amichai (Hebrew: יהודה עמיחי‎; ‎3 May 1924 – 22 September 2000) was an Israeli poet. Amichai is considered by many, both in Israel and internationally, as Israel's greatest modern poet.[1] He was also one of the first to write in colloquial Hebrew.[2]

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Yehuda Amichai [was] for generations the most prominent poet in Israel, and one of the leading figures in world poetry since the mid-1960s. (The Times, London, Oct. 2000)

He was awarded the 1957 Shlonsky Prize, the 1969 Brenner Prize, 1976 Bialik Prize, and 1982 Israel Prize. He also won international poetry prizes: 1994 – Malraux Prize: International Book Fair (France), 1995 – Macedonia`s Golden Wreath Award: International Poetry Festival, and more.


Yehuda Amichai was born in Würzburg, Germany, to an Orthodox Jewish family, and was raised speaking both Hebrew and German,his German name was Ludwig Pfeuffer.[3]

Amichai immigrated with his family at the age of 11 to Petah Tikva in Mandate Palestine in 1935, moving to Jerusalem in 1936.[4] He attended Ma'aleh, a religious high school in Jerusalem. He was a member of the Palmach, the strike force of the Haganah, the defense force of the Jewish community in Mandate Palestine. As a young man he volunteered and fought in World War II as a member of the British Army, and in the Negev on the southern front in the Israeli War of Independence.[4]

After discharge from the British Army in 1946, Amichai was a student at David Yellin Teachers College in Jerusalem, and became a teacher in Haifa. After the War of Independence, Amichai studied Bible and Hebrew literature at the Hebrew University of Jerusalem. Encouraged by one of his professors at Hebrew University, he published his first book of poetry, Now and in Other Days, in 1955.[5]

In 1956, Amichai served in the Sinai War, and in 1973 he served in the Yom Kippur War.[6] Amichai published his first novel, Not of This Time, Not of This Place, in 1963. It was about a young Israeli who was born in Germany, and after World War II, and the war of Independence in Israel, he visits his hometown in Germany, recalls his childhood, trying to make sense of the world that created the Holocaust. His second novel, Mi Yitneni Malon, about an Israeli poet living in New York, was published in 1971 while Amichai was a visiting professor at the University of California, Berkeley. He was a poet in residence at New York University in 1987.[2] For many years he taught literature in an Israeli seminar for teachers, and at the Hebrew University to students from abroad.[7]

Amichai was invited in 1994 by Prime Minister Yitzhak Rabin to read from his poems at the ceremony of the Nobel Peace Prize in Oslo.

"God has pity on kindergarten children" was one of the poems he read. This poem is inscribed on a wall in the Rabin Museum in Tel-Aviv. There are Streets on his name in cities in Israel, and also one in Wurzburg.

Amichai was married twice. First to Tamar Horn, with whom he had one son, and then to Chana Sokolov; they had one son and one daughter. His two sons were Ron and David, and his daughter was Emmanuella.[8]

He died of cancer in 2000, at age 76.


Amichai's poetry deals with issues of day-to-day life, and with philosophical issues of the meaning of life and death. His work is characterized by gentle irony and original, often surprising imagery. Like many secular Israeli poets, he struggles with religious faith. His poems are full of references to God and the religious experience.[9] He was described as a philosopher-poet in search of a post-theological humanism.[10]

Amichai has been credited with a "rare ability for transforming the personal, even private, love situation, with all its joys and agonies, into everybody's experience, making his own time and place general."[11]

Some of his imagery was accused of being sacrilegious.[12] In his poem "And this is Your Glory" (Vehi Tehilatekha), for example, God is sprawled under the globe like a mechanic under a car, futilely trying to repair it. In the poem "Gods Change, Prayers Stay the Same" (Elim Mithalfim, ha-Tfillot Nisharot la-Ad), God is a portrayed as a tour guide or magician.[7]

Many of Amichai's poems were set to music in Israel and in other countries. Among them: the poem Memorial Day for the War Dead was set to music for solo voices, chorus and orchestra in Mohammed Fairouz's Third Symphony.[13] Other poems were set by the composers Elizabeth A lexander "Even a fist was once an open palm and fingers", David Froom, Mate as Pintscher, Jan Dušek, Benjamin Wallfisch, Ayelet Rose Gottlieb, Maya Beiser, Elizabeth Swedos, Daniel Asia and more.

Language and poetic style

In an interview published in the American Poetry Review, Amichai spoke about his command of Hebrew:

"I grew up in a very religious household... So the prayers, the language of prayer itself became a kind of natural language for me... I don't try—like sometimes poets do—to 'enrich' poetry by getting more cultural material or more ethnic material into it. It comes very naturally."[11]

Robert Alter describes Amichai's poetry as a "play of sound." He "builds a strong momentum that moves in free association from word to word, the sounds virtually generating the words that follow in the syntactic chain through phonetic kinship."[14]

Amichai's work was popular in English translation, but admirers of his poetry in the original Hebrew claim his innovative use of the language is lost in translation. Subtle layers of meaning achieved using an ancient word rather than its modern synonym to impart a biblical connotation cannot always be conveyed. In Amichai's love poem In the Middle of This Century, for instance, the English translation reads: "the linsey-woolsey of our being together." The Hebrew term, shaatnez, refers to the biblical taboo on interweaving linen and wool, which a Hebrew reader would grasp as an image of forbidden union.[15]

Literary work

Amichai traced his beginnings as a poetry lover to when he was stationed with the British army in Egypt. There he happened to find an anthology of modern British poetry, and the works of Dylan Thomas, T. S. Eliot, and W. H. Auden. That book inspired his first thoughts about becoming a writer.

Literary scholar Boaz Arpaly wrote about the influence of biography on Amichai's poetry: "Literary criticism made the determination long ago that despite the autobiographical character of Amichai's poetry, the individual depicted in it is the typical Israeli everyman, and even in a wider sense, the individual as an individual of the twentieth century (a poetics that interweaves the private with the typically generic)... Amichai routinely conflates biographical details from different times into one poetic framework, and exploits drafts and poetic ideas that were recorded in different periods, for a poem that would be written years later".[16]

"Almost every poem by Amichai is a statement about the general human condition and Amichai, in a certain sense, is always a philosophical poet".[17]

He changed his name to Yehuda Amichai ("my people lives") around 1946. In her biography of Amichai,[18] literary critic Nili Scharf Gold writes that the idea for the name change, as well as the name "Amichai", came from his girlfriend, Ruth Herrmann, who moved to the United States and then married Eric Zielenziger.[19] Contrary to Gold's claim, Amichai said in an interview that it was his idea to choose the name Amichai: " was common at that time to change (foreign) names into Hebrew names... 'Amichai' was a right name, because it was Socialist, Zionist and optimistic."[20]

The only influence this relationship had on his poetry is on one poem "The Rustle of History’s Wings, As They Used to Say" in which he wrote:

"... For five shillings I exchanged the exile name of my fathers for a proud Hebrew name that suited hers. That whore ran off to America and married a man, a spice dealer, pepper, cinnamon, and cardamom, leaving me with my new name and with the war".

Gold also believes that a childhood trauma in Germany had an impact on Amichai's later poetry. She claims in her book that Amichai had an argument with a childhood friend, Ruth Hanover, which led to her cycling home angrily. Ruth was caught in a traffic accident, as a result of which she had to have a leg amputated, and Gold claims that Amichai felt guilt and responsibility.[19] Ruth later died in the Holocaust. Amichai occasionally referred to her in his poems as "Little Ruth". However, in Amichai's account of this episode in his journal, the accident happened some days after his dispute with Little Ruth, and there was no connection between the dispute and the accident:

"I remember that in 1934 the little Ruth accident happened. Days before, we argued a little because I easily gave up the leading part of Yehuda Maccabi in the school show and the son of the headmaster got it. She argued that I had to fight more and not to give up immediately".[21]

In an interview Amichai said: "Little Ruth is my Anne Frank", "I found out that she (Little Ruth) was in the last transport in 1944. This knowledge goes with me all the time, not because of guilt."[20] "If there is any guilty feeling it's like the guilt that soldiers feel when they survive the battle while their friends were killed".[21]

Robert Alter wrote about Gold's contention: "Again and again Gold asks why Amichai did not represent his German childhood in his poetry, except fragmentarily and obliquely. The inconvenient fact that his major novel, Not of This time, Not of This Place, devotes elaborate attention to Wurzburg (which is given the fictional name Weinburg) is not allowed to trouble Gold's thesis of suppression, because the book is fiction, not poetry, and hence is thought somehow to belong to a different category in regard to the writer's relation to his early years. But Gold's notion of Amichai's 'poetics of camouflage' rests on an entirely unexamined assumption- that it is the task of the poet to represent his life directly and in full..."[22] However, Gold argued that Amichai only wrote extensively about Wuerzburg in his novel because it was not his primary genre and therefore would be read by fewer people. Moreover, "Not of This Time, Not of This Place" does not hide the fact that it is based on Amichai's autobiography, including both his trip to his former hometown (and, explicitly, his search for closure about Little Ruth) and his affair with an American woman.[18]

Contrary to Gold argument, Amichi wrote many plays and radio plays.[23] a book of short stories,[24] a second novel[25] and he never said or wrote in any interview that he hoped that fewer people would read his prose. Boaz Arpaly wrote: "Amichai did not hide in his poetry the fact that he was an immigrant and a son of immigrants, but he chose to tell the story of his childhood in his hometown, in his novel Not Of This Time, Not of This Place, and like any other writer, he decided which material of his life will become material to his poetry.. ".

Did Amichai want to become a national poet?... his poetry embodied a silent but piercing revolution against the social and political institutions that enslave the life and happiness of the individual for their need – He should bother so much to build for himself the mythology of a national poet? All the things that Gold thinks he was hiding were not in any contrast to the unique "nationality" embodied in his poetry. I did not find in Gold's book an explanation to the concept 'national poet' but in the first place, this concept appears in her book she is pointing to my article (1997) that says: "of all the poets who began to at the time of Amichai, or in later years, since Alterman there was not a poet more popular than Amichai. In this he is unique. He is probably the only canonic poet read by so many, also by people that do not belong to the Literary Community. In this matter he has no rivals. From this aspect, at least, he may be considered a national poet, a title that does not suite him from any other point of view..." Gold's use of that title is not clear and not responsible."[16][26]

Critical acclaim

Amichai poetry in English appeared in the first issue of "Modern Poetry in translation" edited by Daniel Weissbort and Ted Hughes in 1965. In 1966 he appeared at the Spoleto poetry festival with Ezra Pound, W.H. Auden, Pablo Neruda and others. In 1968, he appeared at the London Poetry Festival. His first book in English, Selected Poems (1968), was translated by Assia Guttman, (Hughes' lover and mother to his daughter Shura).[27] Referring to him as "the great Israeli poet," Jonathan Wilson wrote in The New York Times that he "is one of very few contemporary poets to have reached a broad cross-section without compromising his art. He was loved by his readers worldwide...perhaps only as the Russians loved their poets in the early part of the last century. It is not hard to see why. Amichai's poems are easy on the surface and yet profound: humorous, ironic and yet full of passion, secular but God-engaged, allusive but accessible, charged with metaphor and yet remarkably concrete. Most of all, they are, like the speaking persona in his Letter of Recommendation, full of love: Oh, touch me, touch me, you good woman! / This is not a scar you feel under my shirt. / It is a letter of recommendation, folded, / from my father: / 'He is still a good boy and full of love.' "[28]

In the Times Literary Supplement, Ted Hughes wrote: "I've become more than ever convinced that Amichai is one of the biggest, most essential, most durable poetic voices of this past century – one of the most intimate, alive and human, wise, humorous, true, loving, inwardly free and resourceful, at home in every human situation. One of the real treasures."[29]

In the New-Republic,3 July 2000, C.K.Williams wrote:"If there really is such a thing as wisdom,it might well reside in the character that a master such as Amichai can fashion for himself,and so for us"

  • Paul Celan wrote to Amichai "What really belongs to you in your poems comes through with the most convincing, most conspicuous force. You are the poem you write, the poem you write is ... you yourself.--Right away I loaned the English selection of your work to my friend Andre du Bouchet, who writes poems as well, and to my great joy what had struck me came through to him too. Now this book is going round to other contributors and editors of the magazine L'Ephemere (I'm also among them). We'd be delighted to bring out a book of yours in French translation"

Letter to Amichai, 7 November 1969[30]

[31] Octavio Paz :"He is one of our great poets, a very accessible one. Once one has read his poems, one can never forget them- there can be so much life in sixteen lines. Yehuda Amichai is a master."

Author Nicole Krauss has said that she was impacted by Amichai from a young age.[32]

Amichai's poetry has been translated into 40 languages.[33]

Awards and honours

  • 1957 – Shlonsky Prize
  • 1969 – Brenner Prize
  • 1976 – Bialik Prize for literature (co-recipient with essayist Yeshurun Keshet)[34]
  • 1981 – Wurzburg's Prize for Culture (Germany)
  • 1982 – Israel Prize for Hebrew poetry.[35][36] The prize citation read, in part: "Through his synthesis of the poetic with the everyday, Yehuda Amichai effected a revolutionary change in both the subject matter and the language of poetry."[33]
  • 1986 – Agnon Prize
  • 1994 – Malraux Prize: International Book Fair (France)
  • 1994 – Literary Lion Award (New York)
  • 1995 – Macedonia`s Golden Wreath Award: International Poetry Festival
  • 1996 – Norwegian Bjornson Poetry Award

Amichai received an Honor Citation from Assiut University, Egypt, and numerous honorary doctorates. He became an Honorary Member of the American Academy of Arts and Letters (1986), and a Foreign Honorary Member of the American Academy of Arts and Sciences (1991).[37] His work is included in the "100 Greatest Works of Modern Jewish Literature" (2001), and in a great number of international anthologies such as:"Poems for the Millennium"by J.Rothenberg and P.Joris ,and "100great Poems of the 20th Century" by Mark Strand. He was nominated for the Nobel Prize several times, but never won.[33] Tufts University English professor Jonathan Wilson wrote, "He should have won the Nobel Prize in any of the last 20 years, but he knew that as far as the Scandinavian judges were concerned, and whatever his personal politics, which were indubitably on the dovish side, he came from the wrong side of the stockade."[28]

Amichai Archive

Amichai sold his archive for over $200,000 to the Beinecke Rare Book and Manuscript Library of Yale University. The archive contains 1,500 letters received from the early 1960s to the early 1990s from dozens of Israeli writers, poets, intellectuals and politicians. Overseas correspondence includes letters from Ted Hughes, Arthur Miller, Erica Jong, Paul Celan and many others. The archive also includes dozens of unpublished poems, stories and plays; 50 notebooks and notepads with 1,500 pages of notes, poems, thoughts and drafts from the 1950s onward, and the poet's diaries, which he kept for 40 years. According to Moshe Mossek, former head of the Israel State Archive, these materials offer priceless data about Amichai’s life and work.[38] In the Hebrew edition of 19 Oct.2012 the Haartz editorial board apologized for the incorrect facts that were published in Mr. Mosek article[39]

Works in other languages


  • The Poetry of Yehuda Amichai. Yehuda Amichai; Edited by Robert Alter. New York: FSG, 2015.
  • A Life of Poetry, 1948–1994. Selected and translated by Benjamin and Barbara Harshav. New York: HarperCollins, 1994.
  • Amen. Translated by the author and Ted Hughes. New York: Harper & Row, 1977.
  • Even a Fist Was Once an Open Palm with Fingers: Recent Poems. Selected and translated by Barbara and Benjamin Harshav. New York: HarperPerennial, 1991.
  • Exile at Home. New York: Harry N. Abrams, 1998.
  • Great Tranquility: Questions and Answers. Translated by Glenda Abramson and Tudor Parfitt. New York: Harper & Row, 1983.
  • Killing Him: A Radio Play. Translated by Adam Seelig and Hadar Makov-Hasson. Chicago: Poetry Magazine, July–August 2008.
  • Love Poems: A Bilingual Edition. New York: Harper & Row, 1981.
  • Not of this Time, Not of this Place. Translated by Shlomo Katz. New York: Harper & Row, 1968.
  • On New Year’s Day, Next to a House Being Built: A Poem. Knotting [England]: Sceptre Press, 1979.
  • Open Closed Open: Poems. Translated by Chana Bloch and Chana Kronfeld. New York: Harcourt, 2000. (Shortlisted for the 2001 International Griffin Poetry Prize)
  • Poems of Jerusalem: A Bilingual Edition. New York: Harper & Row, 1988.
  • Selected Poems. Translated by Assia Gutmann. London: Cape Goliard Press, 1968.
  • Selected Poems. Translated by Assia Gutmann and Harold Schimmel with the collaboration of Ted Hughes. Harmondsworth: Penguin Books, 1971.
  • Selected Poems. Edited by Ted Hughes and Daniel Weissbort. London: Faber & Faber, 2000.
  • Selected Poetry of Yehuda Amichai. Edited and translated by Chana Bloch and Stephen Mitchell. New York: Harper & Row, 1986. Newly revised and expanded edition: Berkeley: University of California Press, 1996.
  • Songs of Jerusalem and Myself. Translated by Harold Schimmel. New York: Harper & Row, 1973.
  • Time. Translated by the author with Ted Hughes. New York: Harper & Row, 1979.
  • Travels. Translated by Ruth Nevo. Toronto: Exile Editions, 1986.
  • Travels of a Latter-Day Benjamin of Tudela. Translated by Ruth Nevo. Missouri: Webster Review, 1977.
  • The World Is a Room and Other Stories. Translated by Elinor Grumet. Philadelphia: Jewish Publication Society, 1984.


Many of Amichai's poems have been translated into Nepali.

  • Some of his poems translated in Nepali are, "My Father" as "MERA BAA", "Forgetting Something" as "BIRSANU", "Do not Accept" as "SWEEKAR NAGARA", and "A Jewish Cemetery in Germany" as "JARMANIKO YAHUDI CHIHANGHRI" . These are translated by prominent Nepali poet and translator Suman Pokhrel and are collected in an anthology entitled MANPAREKA KEHI KAVITA.

See also


  1. Yehuda Amichai criticism. (2 May 1924).
  2. 2.0 2.1 Lua error in package.lua at line 80: module 'strict' not found.
  3. Love, War and History: Israel's Yehuda Amichai, All Things Considered, 22 April 2007
  4. 4.0 4.1 Gallery of People, Biographies, Yehuda Amichai. (28 July 2008).
  5. Yehuda Amichai papers, Beinecke Rare Book and Manuscript Library.
  6. Yehuda Amichai, Israel’s national poet, dies at 76. (29 September 2000).
  7. 7.0 7.1 Religious metaphor and its denial in the poetry of Yehuda Amichai.
  8. Poet of Israel's Soul, My Jewish Learning.
  9. ''Does David still play before you?: Israeli poetry and the Bible'', David C. Jacobson.
  10. Chana Kronfeld, "The Wisdom of Camouflage" Prooftext 10' 1990 pp469-
  11. 11.0 11.1 Yehuda Amichai. Poetry Foundation.
  12. Sacrilegious Imagery in Yehuda Amichai's Poetry, Yoseph Milman, 1995, Association for Jewish Studies
  13. Moore, Thomas (12 September 2010), Mohammed Fairouz: An Interview, Opera Today. Retrieved 19 April 2011
  14. Alter, Robert (31 December 2008). "Only a Man" The New Republic.
  15. Yehuda Amichai biography.
  16. 16.0 16.1 Boaz Arpaly, "Yehuda Amichai- The Making of Israel's National Poet," Shofar, winter 2010 vol.28 No.2
  17. Boaz Arpali: "The Flowers and the Urn" Amichai's Poetry – Structure, Meaning, Poetics, Hakibbutz Hameuchad, 1986
  18. 18.0 18.1 Nili Scharf Gold: ''Yehuda Amichai, The Making of Israel’s National Poet'', Brandeis University Press.
  19. 19.0 19.1 Feinstein, Elaine Nili Scharf Gold: ''Yehuda Amichai, The Making of Israel’s National Poet'. Jewish Quarterly.
  20. 20.0 20.1 Dan Omer: In This Burning Country, An Interview with Amichai, Proza 1978
  21. 21.0 21.1 Amichai Yehuda, Working Journal, 11.12. 1990, Beinecke Library, Yale University, Gen.Mss 572/
  22. Alter, Robert (31 December 2008), "Only A Man The New Republic".
  23. Yehuda Amichai, Bels and Trains, Shcken Israel,1992
  24. Yehuda Amichai,The World Is a Room and Other Stories. JPS 1984
  25. Yehuda, Amichai. Hotel in the Wilderness. Shocken,1971
  26. Boaz Arpaly, "Patuach Patuac", Haaretz, 16 January 2009
  27. Koren, Yehuda and Negev, Eilat A lover of Unreason: the Life and Tragic Death of Assia Wevill, Robson Books, London 2006
  28. 28.0 28.1 The God of Small Things, Jonathan Wilson, The New York Times, 10 December 2000
  29. Times literary Supplement , 9.1.1998
  30. Amichai papers,Beinecke Rare Books and Manuscripts Library of Yale University
  32. Lua error in package.lua at line 80: module 'strict' not found.
  33. 33.0 33.1 33.2 Yehuda Amichai (1924–2000) (.doc file)
  34. Lua error in package.lua at line 80: module 'strict' not found.
  35. Lua error in package.lua at line 80: module 'strict' not found.
  36. A Touch of Grace – Yehuda Amichai. (20 December 2001).
  37. Lua error in package.lua at line 80: module 'strict' not found.
  38. Could Yehuda Amichai's priceless archive have been kept in Israel?
  39. Haaretz,19 October 2012, Hebrew Edition

Further reading

  • Robert Alter: [Only a Man], The New Republic, 31 Dec 2008 [1]
  • Robert Alter:Israel's Master Poet, The New York Times Magazine,8 June 1986
  • Rick Black: Through Amichai's Window, Tikkun online magazine, November 2015
  • Adam Seelig: Introduction to "Killing Him," a radio play by Yehuda Amichai, Poetry Magazine, July–August 2008 [2]
  • Boas Arpali: "The Flowers and the Urn" Amichai's Poetry – Structure, Meaning, Poetics, Hakibbutz Hameuchad, 1986
  • Edward Hirsch: A Language Torn From Sleep,The New-York Times Book Review,3 August 1986
  • Boaz Arpali: Patuach, Patuach, Haaretz 16 Jan 2009 [3]
  • Miriam Neiger, “Half a saint”: Eschatology, Vision and Salvation in the Poetry of Yehuda Amichai, M.A. Thesis (in Hebrew), The Hebrew University of Jerusalem, The Department of Hebrew Literature.
  • Nili Scharf Gold: Yehuda Amichai: The Making of Israel's National Poet, Brandeis University Press, 2008.
  • Nili Scharf Gold:“Amichai’s Now and in Other Days and Open Closed Open: A Poetic Dialogue,” in Festschrift in Honor of Arnold Band, eds. William Cutter and David C. Jacobson, (Providence: Brown University Judaic Studies), 465-477, 2002.
  • Nili Scharf Gold: Not like a cypress: transformations of images and structures in the poetry of Yehuda Amichai, Schocken 1994.
  • Nili Scharf Gold:“A Burning Bush or a Fire of Thorns: Toward a Revisionary Reading of Amichai's Poetry,” in Prooftexts, (Bloomington: Indiana University Press) Vol. 14, 49-69, 1994.
  • Boaz Arpaly: "The making of Israel National Poet", Shofar, winter 2010, Vol. 28 N0 2 pp-213
  • Essi Lapon-Kandeslshein: To Commemorate the 70th Birthday of Yehuda Amichai: A Bibliography of His Work in Translation, Ramat Gan (Israel): Institute of the Translation of Hebrew Literature, 1994
  • Mel Gussow :Yehuda Amichai, Poet who turned Israel experience into verse, The New York Times',23 September 2000
  • Sephen Kessler: Theology for Atheists Yehuda Amichai's Poetry of Paradox' Express Books, September 2000
  • Charles M. Sennot :Poet Walks Jerusalem's Little Corners of Hope, The Boston Globe 9.5.2000
  • Robyn Sara:'Look to Amichai for Poetry that Endures, The Gazette', Montreal, 28 October 2000
  • Anthony Hecht: Sentenced To Reality, the New York Review of Books, 2 November 2000
  • Irreverent Israeli Poet With A Comic Eye For Detail, The Irish Times, 7 October 2000
  • Christian Leo: "Wischen Erinnern und Vergessen" – Jehuda Amichais Roman 'Nicht von jetzt' nicht von hier" im phiosophichen und literarischen Kontexext" Konigshausen&Neumann Wurzburg 2004
  • Dan Miron: Yehuda Amichai-A Revolutionary With a Father, Haaretz, 3,12,14,October 2005
  • Matt Nesvisky: Letters I wrote to you, The Jerusalem Report, 8 December 2008
  • Yehudit Tzvik:Yehuda Amichai: A Selection of critical essays on his writing, Hakibbutz Hameuchad, 1988
  • Lawrence Joseph (Spring 1992). "Yehuda Amichai, The Art of Poetry No. 44". Paris Review.
  • The Modern Hebrew Poem Itself, 2003, ISBN 0-8143-2485-1
  • Chana Kronfeld: "The Wisdom of Camouflage" Prooftexts 10, 1990 pp. 469–491
  • Adam Kirsch:Opening Up the Great Human Emotions:A New Collection of Poetry from an Israeli Master of Metaphor:Forwards,5 May 2000
  • Jonathan Wilson: The God of Small Things, New York Times Book Review,12.10.2000
  • Joshua Cohen; "The Poet Who Invented Himself", 4 Sep 2008
  • C.K.Williams: "We Cannot be foold, We can be fooled" The New Republic, 3 July 2000
  • Hana Amichai : "Little Ruth, my Personal Anne Frank" Haaretz, 22,10,2010
  • Hana Amichai: "The leap between the yet and the not any more" Amichai and Paul Celan, Haaretz,6 April 2012 (Hebrew)
  • John Felstiner, "Paul Celan and Yehuda Amichai: An Exchange between Two Great Poets," Midstream 53, no. 1 (Jan.–Feb. 2007)
  • john Felstiner "Writing Zion" Paul Celan and Yehuda Amichai: An Exchange between Two Great Poets, The New Republic, 5 June 2006
  • Chana Kronfeld- "The Wisdom of Camouflage" Prooftexts 10, 1990 pp. 469–491
  • Chana Kronfeld : “Reading Amichai Reading,” Judaism 45, no. 3 (1996): 311–2
  • Na'ama Rokem:" German–Hebrew Encounters in the Poetry and Correspondence of Yehuda Amichai and Paul Celan", Prooftext Volume 30, Number 1, Winter 2010 E-ISSN 1086-3311 Print ISSN 0272-9601
  • Vered Shemtov,Between Perspectives of Space:

A Reading in Yehuda Amichai's "Jewish Travel" and "Israeli Travel" ,Jewish Social Studies 11.3 (2005) 141-161

  • Naama Lansky : "A Poem of Protest " ; "Israel Hyom", 8 April 2011 pp ישראל היום", מוסף "ישראל שישבת", 41-38",( in Hebrew)
  • Robert Alter, Amichai: The Poet at play, Jewish Review of Books, Vol 2 Nu 2 Summer 2011

External links