ABSTRACT
Conventional feminine materials are clearly evident in the poetic rendering of the "I" and of the father who is his "metaphoric hero". The quality of giving without limit, without thought of self, at the risk of shaking the foundation of self-protection is a feminine quality par excellence. In effect, the perception of time and space, like the metaphorical description of the man through feminine convention, has political, ideological implications associated with Yehuda Amichai's "demonstration against death" and against the worship of heroism and victory monuments darting upwards. Juxtaposed to the male forceful eruption forward and upward stands the typical female option of survival and adjustment: staircase to a home, a flowerbed, and a kindergarten where a tower of blocks collapses and spreads over the floor. The meeting of plants and walking as a means of creating a bond with the land devoid of "heroic deeds and spoils of battles" is a feminine, Rahel-like connection.
