Category Archives: Publications

The Point of a Compass

Photo by Ylanite Koppens on

This is a lyric essay dear to my heart and a deeply personal piece that was recently published in the online literary journal Identity Theory. It was the first lyric essay I wrote under Professor Marcela Sulak’s tutelage, inspired by The Balloonists, by Eula Biss. (I recently found out that she had been published in the same journal which doubles the honor! By the way, I also love her book Notes from No Man’s Land. You should definitely check it out.)

I’m grateful for the existence of this non sequitur genre that was the first language that allowed me to fully articulate what is difficult to express, to Marcela for revealing the gorgeous world of hybrid literature to me, and to my dearest Geula– the best type of friend a writer could have– for the feedback that helped me polish it. It feels like a second birth seeing it out in the world.

Here is a clip from the piece:

I left home before graduation and moved in with him when I was seventeen. My mother called the police and said he was “harboring a minor.” The police car picked me up at his apartment to take me home. I went back the next day. She also took my passport. I reported it as stolen, and he bought me a new one. We went to the courthouse on my 18th birthday and signed the marriage certificate. A month later, we were on a plane to Israel.

The first compasses did not always point north. Early compasses pointed east.

Mother: “You need to ask yourself, why did you decide to marry him, and go to a foreign country with him? Why have you stayed together this long? Do any or all of these reasons still exist? Whatever you have done or not done, or whatever he has done or not done, is it forgivable? Can you move on and stay together?”

Compassare, from Vulgar Latin, “to pass or step together.”

I left him when I was 25—when I met Sasha.

Elisheva: “Some of the things you say sound eerily familiar. I tell you when a man or woman does not feel satisfied it takes on a life of its own. I’m glad about the way he has made you feel. Every woman wants to feel lost in love (or lust) as you are.”

It has a magnetized pointer free to align itself with Earth’s magnetic field.

Mother: “I know this may sound strange to you, but somehow I feel that I am to blame for your present situation. Maybe if I had been a better parent, or maybe if I did not give you money to go out, you would not have met or become involved with this guy.”

Read the rest of “The Point of a Compass.”

Multicultural as the New Multiracial



Being multiracial is about answering the question “Who are you?”, as Marcia Dawkins asked me when we met at a café in Israel.  It was the first time I had ever been asked this question. I answered: 

My instinct is to tell you what I am not, because I have always been fighting being defined. I’m not American. I’m not Israeli. I’m not Russian. I’m not black. I’m not a woman—as in I’m not defined by my status or sex. I’m not a mother, as in I’m not defined by this role. I am nothing; but not in the way of being unimportant. I just want to be. I’m just me. I’m Shoshana.

What I forgot to tell Marcia is that I don’t have the luxury of knowing who I am. When I mentioned these thoughts to my mother she said, “There’s something about U.S. society that makes you choose,” which are the remnants of the “one-drop rule” that refuses to die— a rule of Jim Crow segregation defining an individual with any known African ancestry as black, a form of hypodescent. Mom also told me I do not get to choose not to be black, exclaimed that I am American, and called this paragraph “poppycock!” when I read her my first draft. She has never been asked “What is your eda” (loosely translated as “ethnicity” in Hebrew) and not known the answer. I recently rediscovered a journal entry from 2007 where I wrote, “I have been told and told and told…who to be until I literally, actually don’t know who I am anymore.” Now, I know that because of who I am I don’t know who I am.

Perhaps Mom’s response is one reason why neither she nor I consider ourselves multiracial. My mother has curly hair, but I assume this is the result of history. All I know is that my great-great-grandmother was half Cherokee and half black and my great-great-grandfather was white. In America this ancestry does not allow me to define myself as multiracial. Why?  Because my mixture is not immediate, and allegedly all black people in America have some Native American ancestry. My daughters are another story.  One is multiracial and two are not.  What is interesting is that one of my monoracial daughters is lighter than the mixed one.  We bring these differences, these “what we are nots” to our blended family, though this is not where I take my credibility to discuss the subject. The fact that I even believe I need credibility is perhaps more of the issue.  Though I have never considered myself multiracial, I have always felt as though I am.  I have been taken for multiracial. I find myself drawn to multiracial people in the U.S. and in Israel, where I have lived for nearly half of my life. I even used to wish I were multiracial (at the time my preference was half-French) so that I would have another native tongue and an additional culture to enjoy. Perhaps this is because I share their way of being/ belonging nowhere and everywhere at the same time, of not being wholly of one culture.

In Israel, mixed race is more complex than in America mainly because religion is, simultaneously, more important than race and is race, in the context of Judaism. The Ashkenazi (European Jews)/Mizrachi (Eastern Jews) discourse parallels the American black/white discourse culturally, but due to the shared religion/race of Judaism, multiracial identity in this context is much less poignant. Alternatively, the interaction between Jews of Ethiopian decent and those of European decent is slightly more riddled with discontent. This is due to the influence of American media, and the borrowing of language from the Civil Rights movement and race issues which leave stronger sentiments and scars of racism. Nevertheless, sharing Jewishness is a neutralizing factor. The real disquieting issue in multiracialism in Israel is mixing which crosses religious/racial boundaries—for instance, a Jew marrying a Muslim/Christian Arab or a Druze marrying a Jew.

The mere existence of an American living outside of the American context creates a multicultural experience. When there is an attempt to define an expatriate individual based on local identity categories, an even stronger parallel to the multiracial experience is created. This is the case when Israelis try to define me within a local context. Almost no American would mistake me for multiracial because I do not pass “the comb test” (a test of blackness based on hair texture; my hair would not easily concede to a comb). Because Israelis are not aware of the comb test, I am often assumed to be multiracial. In the Israeli context, there are the assumptions that (a) anyone not a tourist or a student who would come to live in Israel must be Jewish, (b) Ethiopian Jews are the only black Jews, and, therefore, (c) based on my complexion, I must be either a convert or half-Jewish. Aside from the assumption of my half-Jewishness, I am mistaken for various other mixed race combinations and nationalities—anything from Jamaican or Brazilian to Indian or French—which would not happen in America.

Just as in America as a child I was told I “acted white,” I am told in Israel that I fit into the Ashkenazi category because I am American. This is paramount to being told I “pass” into the “white” category, in terms of having an elevated social status. In other words, in Israel, I am culturally white!

Being an extensively acculturated resident of Israel for half of my life has blurred my identity. Sometimes I think in Hebrew, and despite not being Jewish, or even an Israeli citizen, I find myself and am found by Americans and Israelis alike to be culturally more Israeli than American, or experienced as just not American period. (My Egyptian American friend who works at the US Consulate threatens to revoke my US passport for lack of up-to-date American cultural innuendos.) When I was observant of a religious Jewish lifestyle, I was found by some secular Israelis to be “more Jewish” than they considered themselves.

Amongst Israelis, most of my friends in the country are from the former Soviet Union, including my Ukrainian Jewish husband. I have learned intermediate Russian (now Russian words pop into my head when I try to speak French), our kitchen is a mosaic of dishes from the Crimean Peninsula region, I wear a tryzub (the Ukrainian seal) necklace, and identify more with this segment of Israeli society than other groups, including Americans living in Israel, and especially African Americans living in Israel. My next largest category of friends in Israel is either mixed or “black sheep” (no pun intended) defined as not “fitting” into the cultural-racial group they were born into. These include friends who are Ukrainian Togolese (he calls himself a “Black Russian”), African American Israeli, Ukrainian American, Jewish Russian, Egyptian American, Ethiopian Israeli, and Palestinian American who “act white” as defined by their peers, and Russian Israelis who “pass” for native Israeli because they are “dark.”

I am reminded via social networking sites that I am disconnected from issues that concern many of my African American peers in the United States. This is clear in old debates such as the “Why is it hard to find a good black man?”; I tend to be the only voice saying, “Why not look for a good man, period?” Or during discussions of the Trayvon Martin tragedy where I was the only one of my black Facebook friends who did not dedicate a status update to the case. “Honestly,” I responded to another friend’s status, “because I believe it’s a human issue and I don’t normally toot my horn about most of what I find appalling news in this world I hadn’t planned on addressing it at all.” I have felt estranged from blackness, yet simultaneously suffered from it since childhood, mainly from my strongest black feature, my hair.

My identification with the multiracial experience began in childhood as a multicultural individual within the American black/white context. In the United States, the story is so old it feels redundant to even give a small review. There was slavery, there was Jim Crow, there were “Our Kind of People,” there was the Civil Rights Movement, there was desegregation, and there was “re-segregation” (the repolarization of black and white communities and schools), and this is where I come in. My earliest school memories, in an elementary school in Brewton, Alabama, in a relatively racially mixed school, were of the boy who made fun of my “BB buckshots” and the “pots and pans in my kitchen.” These were references to the texture of my hair. This boy was black. I also remember being told that I “spoke white.” Speaking white is a term referred to one speaking grammatically correct English as opposed to African American vernacular English. I ended up having mostly white friends because my black classmates told me that I was not black. To this day, I am still not 100% sure what that means. I just did not fit in culturally. I suffered no such self-consciousness with my white classmates, and this was Alabama. To be fair, during my summers in Buffalo, NY, my cousins told me I “sounded country” so maybe I had accent issues.

Fast forward to high school in Baltimore, MD, in the 1990s. This was a predominately black school and I still “wasn’t black” enough. I was told I didn’t have rhythm and teased for the unfashionable hairstyles with the nappy hair clearly not straightened properly in the back. Though I’d started off closed-minded mainly due to the ignorance of my inexperience, I began listening more to alternative music, defined by my classmates as “white music,” and less to “black music” like the R&B and rap popular amongst my peers.  I was called out for that as well. It was once said of me: “Shoshana doesn’t drink Kool-Aid, she drinks Perrier. She doesn’t eat Oodles of Noodles, she eats Fettuccine Alfredo.” Guilty as charged. So, I was very empathetic when a foreign-educated mixed friend, said “They say I’m not black until they see that I’m smart and then they say, ‘She’s a smart black person.’ Why don’t they make up their minds?” On one hand, she was rejected as “not black” culturally; on the other, blacks wanted to claim her achievements in the name of black prestige. It is but one example of the limbo suffered by the multiracial and multicultural alike.

I am not multiracial, but I was never allowed to feel black enough either. Strangely, when I went natural with my hair and started my locks in 11th grade, I became “too black” or at least too nappy for some. I was called a wannabe Erykah Badu, as Afrocentricism was becoming the new style on the fringes of high school society. But I did not change my hair because I was becoming Afrocentric. I did it because one day while returning from a band trip (I’d found the courage to dance as a flag girl with the marching band— turns out I had rhythm after all), I suddenly remembered that boy from elementary school who made fun of my “buckshots” and realized that I hadn’t permed my hair because I thought it was more beautiful; I did it because I had been teased. I decided to break free, and I have loved my hair ever since despite the loaded message it sometimes sends to others. I have locks simply because they are beautiful and easy—no, I don’t like reggae music. Really.

These experiences with my family, peers, and hair, combined with my indefinite relocation to Israel, contributed to the weakening of my black/African American identity and the strengthening of my “refusing definition/multicultural/citizen of the world” identity. In the United States, historically, multiracial identity—usually biracial identity—has meant having to choose sides: Either pass for white according to the paper bag and comb test or be black according to the one-drop rule. Currently, multiracial identity in America seems to mean simultaneously belonging to two or more groups and yet really belonging to none. It is a debate of being defined and about rejecting definition. Yet, just as race in itself is a social/cultural construct, so are these definitions and the sense of belonging that accompanies them. It’s less about belonging to a color than belonging to a culture.  Paradoxically, as much as I oppose this discourse insisting on defining me, I am caught in it. I have been defining myself as not multiracial when I, very literally, am. We African Americans are multiracial, but we weren’t allowed to be multiracial. Why are we still following the one-drop rule? And why are blacks victimizing other blacks concerning their blackness, knowing we are all mixed anyway? Why?  Because someone in history said that I don’t get to choose. Well, I say that I do. I can choose not to choose.  According to Cassar (2008), “the identity is not several but one, made up of all the elements (which we could call tesserae) that have shaped and continue to shape it” (p. 19). Perhaps this is why I love making collages—I am one.

The core of multiracial identity is blurring identities: simultaneously belonging to multiple categories and yet belonging exclusively to none. Multicultural people share a blurring of identities in a way very similar to those born multiracial, which is why in today’s global village, multicultural may be considered as the new multiracial. Multicultural individuals are loosely defined including, but not restricted to, those who are extensively acculturated expatriates and immigrants; partners in interracial relationships or parents of multiracial children; converts, particularly to Judaism where the lines between religion and race are blurred; individuals whose physical appearance causes them to be mistaken for multiracial or of the “wrong race”; individuals who define themselves as citizens of the world or even individuals who, for whatever reason, do not fit comfortably into the social/cultural/racial category they were born into but mesh well across other social/cultural/racial categories and carry an elusive sense of belonging nowhere and everywhere simultaneously.

This is not an essay about how I am not black or not American. It is about insisting upon the self-determination of my identity and hopefully giving others permission to do the same. In fact, perhaps in all that I have said, I make a stronger claim on my Americanness, for Harper and Walton (2000) have found that “to be ‘American’ is to be in constant search of one’s identity” (p. xxiv). Yet this still makes me cringe, and I get angry when people tell me to “come home.” I am still figuring this out. I embrace my American blackness in dance, jazz, and especially poetry, since I am a poet—these are a few of the many tesserae that I am composed of. Hughes (1995) once declared, “A poet is a human being. Each human being must live within his time, with and for his people, and within the boundaries of his country” (p. 5). But what is my country? Who are my people? Am I of my times? Perhaps telling me to come home is upsetting because I am not American, but I am; I am not Israeli, but I am; I am not black, but I am. It’s not about coordinates. It’s that everywhere I find mosaic people like me, I am home, in my country, with my people…and I defend my nomadic homeland of the heart fiercely.


Cassar, A. (2008). Muzajk: An Exploration in Multilingual Verse. Valletta, Malta: Edizzjoni


Harper, M. S., and Walton, A. (Eds.). (2000). The Vintage Book of African-American

 Poetry. New York, NY: Vintage Books.

Hughes, L. (1994). Introduction. In A. Rampersad and D. Roessel (Eds.), The Collected Poems

of Langston Hughes (pp. 3-7). New York, NY: Alfred A. Knopf.

Originally published: “Multicultural as the New Multiracial,” Mixed Race 3.0: Risk and Reward in the Digital Age, 2015    

Check out the entire Kindle book on Amazon! 

The Babel in Us


These days we are all a bit confused. In English, “confusion” is one way to translate “Babel” but it also means “a mixture of sounds and voices” and that’s what Poets of Babel, the multilingual poetry club that I created, is about.

I could say it all started, after talking the night away on the subject of poetry versus hip hop, when a friend suggested we start a poetry club. But it wasn’t until I came across an article, with one magic word, which led me to find a poet who would transform my perspective on language and poetry, that I made the first move.

The article, a literary critique, taught me the word “macaronic.” And, yes, it does come from the same root as macaroni. It means “composed of a mixture of languages.” It was while reading everything I could online about macaronic usage that I discovered: Antoine Cassar, a Maltese poet and translator.  His multilingual poem Merħba, a poem of hospitality, was the Grand Prize winner of the United Planet Writing Contest in 2009, which incorporated over 70 languages, including Hebrew and Yiddish. I fell in love with it. I couldn’t even understand all of it but loved it. It’s not just the love of speaking languages or even hearing them, but just seeing the text of another language is a mysterious pleasure. Merħba and my silent obsession with the Tower of Babel liberated me from the unrealistic expectation and limitation of a single language. I decided then and there that I would read Merħba at the opening event of Poets of Babel and, indeed, it even became a Poets of Babel tradition.

Israeli society is a cultural mosaic. Even Hebrew is macaronic. The slang is Arabic; the academic world and everyday language uses English daily; there are Russian suffixes. How many of you, reading Space,are bilingual? How many of you speak or have learned English, Arabic, Russian, or another language? 99% of the people I know are at least bilingual and I wanted anyone who was a poet there. This is why I did not want to limit Poets of Babel to only Hebrew, or only English, my native tongue. Poets of Babel is a place where poets are not limited in participation based on the language they write poetry in. With a common lingua franca (any language that is widely used as a means of communication among speakers of other languages, such as Hebrew or English), people who speak different languages can sit together and share their tesserae, their piece that is part of the mosaic. Thus, Poets of Babel was born, the slogan: “If you are a poet, we speak the same language.” The mission: to enjoy the human voice in variation, to love the spoken word, both poetic and foreign.

I believe there is a hunger for the expression of the multicultural identity that we all live in. There is evidence in the existence of Space, Poets of Babel, “Simply Sing,” and the groups that we have yet to discover or yet to create. We just have to find each other. There is a lot of ‘Babel’ everywhere, many mixtures of voices, and they all have a story to tell. Poets of Babel is the attempt to learn everyone’s stories. It reflects our generation of widespread multiculturalism, complicated identities of people in immigration countries, and breaks the boundaries of poetry or identity belonging to a single language. Walt Whitman once said, “My dearest dream is for an internationality of poems and poets binding the lands of the earth closer than all treaties or diplomacies.” Babel does not only mean “confusion” or a “mixture of voices.” Its origin is the Akkadian, word Babilli which means “the gateway to god.” It is my dearest dream is that we become bound in the shift of Babel from “confusion” to “the gateway to god,” the place where we find holiness in coming closer davka in our differences.

Originally published & translated into Hebrew:  “The Babel in Us,” מרחב الفضاء Space Poetry Magazine, Issue 3, August 2013. (print)


spaceSpace or מרחב/Merhav in Hebrew, is a multilingual poetry journal based in Tel Aviv that I felt I had to get in touch with the moment I discovered them. I wrote one of the editors, “I’m a multilingual poetry club. You’re a multilingual poetry journal. Let’s get married!” While we haven’t ‘gotten married’ yet, I had the pleasure of getting 3 pieces published in their August issue, two poems (“Tom” and “Dareen,” in English) and an article (“The Babel in Us” translated into Hebrew, if you’re interested, I’ll post an English version).

Last week, Yekum Tarbut/ יקום תרבות (rough translation: “Culture will rise”), a website for culture in Israel, wrote about Space’s Launch of the August Issue Event that took place at the Cheetah Gallery in Tel Aviv called “Going Out Into Space.”  Here’s the article (in Hebrew) where they mentioned me, Poets of Babel and sport a photo they asked for when I told them that I recited poetry at Cafe Tav (just in case you were wondering why I’m in costume and no one else is). So here’s what I really looked like at the Space poetry reading/launch event:


me at merhav reading

For more cool photos from the event, see Space’s album from the event.  The 3rd issue of Space is available for purchase at Indibook. Enjoy!

Going Out into “Space”

“Amphitrite, The Third One Who Encircles” published in Eternal Haunted Summer


After over half a year of not submitting, I’m happy to announce my 3rd published poem, “Amphitrite, The Third One Who Encircles” was published in the Winter Solstice edition of the ezine, Eternal Haunted Summer! Check it out!

*(Note: my original spacing of the poem was a bit different from the published version, but oh well, I’m still excited!)

Featured Guest Poem on Flashlight City Blues, Poetry by Brice Maiurro



Congratulations! You won! I have posted a blog entry congratulating you, and your poem has been added to the Featured Guest Poem tab of my blog. I would love to put up a picture of you, if you’d like, and a short bio. Would you send me something to that effect?
i.e. “Shoshana was born… Shoshana began writing… etc.
Whatever you’d like to say, really!
I received dozens of entry, so really, congratulations. I am glad to feature your wonderful poem.

There is currently a problem with the link so for now I will in the meantime attach the poem as was featured on the site here:


Daddy told me once to be careful
He said, I might get stepped on
like an ant
It won’t be on purpose
just at the wrong place
at the wrong time
Since that day
(it must have been years ago by now)
I think of Daddy
every time I see ants
And I try not to step on them
I skip over their trails at the bottom
of the stairs outside my building
I even go out of my way not
to step on them
even when they have infiltrated
my kitchen and have begun to
have their way with the crumbs
at my kitchen table
I stare at them wondering
was it really me…
or him
Who is the ant here?
I carefully scoop them up and
drop them into

Out of dozens of entries into the first ever Rant Poetry Competition, where poets competed to write a poem somehow involving a theme, this time “Ants,” Shoshana’s poem crushed (pun slightly intended the competition) with 39 votes. You can see much more of Shoshana’s incredible writing on her blog:

“No Name” Yes, Poetry, Vol. 2, Issue 11: November 2011


Yes, Poetry, Volume 2, Issue 11, November 2011

Yes, Poetry, Volume 2, Issue 11, November 2011

Sarah, Shoshana. “No Name” Yes, Poetry Volume 2, Issue 11: November 2011.

And while I’m at it, I know it’s a bit late, nevertheless, here it is. My second published poem is on page 7:


“Bread, Water & Gas” The Ilanot Review, Vol.2, No. 3, Autumn 2011


The Ilanot Review, Volume 3, No. 2, Autumn 2011

The Ilanot Review, Volume 3, No. 2, Autumn 2011

Sarah, Shoshana. “Bread, Water & Gas.” The Ilanot Review Volume 2, Number 3, Autumn 2011.

Now that it’s official and in print an all, I would like to share with you my first publication:

Also, PLEASE check out the entire issue:

At the poetry reading that took place on December 15, 2011, I enjoyed listening to my fellow writers immensely and left with a renewed sense of respect for prose in particular and inspiration.



Shoshana Sarah

Second Published Poem!


The Spring 2008 issue of Tar River Poetry. Cov...

Image via Wikipedia

“Dear Shoshana,

Thank you for your submission to Yes, Poetry. Yes, Poetry would like to include “No Name” in our November issue. Please reply to this message with any questions you may have. You will receive an email when the issue is online. Thank you again for submitting.

Also, feel free to friend us on facebook for updates:

I’m super-excited!!

Check out Yes, Poetry ( I just love the name of the journal!

Also, I know I’ve been bad at posting, but I’m trying to do something else big, soon! More news to come!

Love & Joy,


p.s. What do you think of my blog’s name change? It was totally spontaneous from two quotes I’ve loved for a long time…

First Published Poem!!!

“Dear Shoshana
We’re happy to inform you that your poem, Bread, Water and Gas, has been selected for publication in the Fall 2011 edition of The Ilanot Review.”
The perfect gift for my 30th birthday this Friday!