The paper presents the poet Ella Bat-Tsion as a distinctive voice in contemporary Hebrew poetry. In the 1970s and the 1980s, under her previous name, Gabriella Elisha she published five books of poetry surprising her readers with lesbian themes. During the 90's however, she changed her name to Ella Ban-Tsion, and published The Book of God's Dreams, which portrays new poetry revealing her new religiosity. The paper analyzes the poetic transformation she underwent, while examining whether her early poems hint at the process to come, and whether her later poetry holds motives and structures known from her early poetics.
In the book of God's dreams I found the calm stream of poetry On the bank of that stream I fell asleep
(The Book of God's Dreams, 1994. Translated from Hebrew by the author)
 Ella Bat-Tsion is a poet of the margins. In three decades of creative work, she has published more than ten books, many in the most distinguished publishing houses in Israel, as well as numerous publications in the daily press and in various journals from "Moznaim", "Iton 77" and "Siman Kri'aa" to "Meshiv Haruach", a journal of Jewish poetry, and the online journal "Hadag Ha-anonimy". Yet despite all this, Ella Bat-Tsion is a poet of the margins. She does not belong to any literary generation or group, and in her way even challenges traditional generational classifications; she deals with womanly love, and, unconventionally, with the love of God; she is not a political figure--she stays hidden from the public eye. Ella Bat-Tsion is a poet of the margins because all her books receive only a few lines of criticism and every mapping of Hebrew poetry will overlook her. Yet it is just for these reasons that I find it important to pay attention to her, to recognize her distinct voice and through the discussion of her poetry, to redeem the margins of Hebrew poetry from forgetfulness.
 Gabriella Elisha (b.1954) appeared on the Israeli poetry scene in the early 1970's with her book My Lips Breathed Darkness into the Body (1973). During the 1980's she published five books of poetry, surprising her readers with the lesbian themes of her poetry. During this period she also translated the 18th century Zen poet Rayokan and the poet Elsa Gidlow, one of the founders of the lesbian feminist community. Her poems of the 1970's and 1980's deal, in intimate and translucent language, with womanly love, music, loneliness and the writing process. Often they remind us of Japanese haiku poetry, seeming to follow a fleeting vision, to paint a short and focused picture describe an entire world in few words. Her longer poems usually address another person--usually her lover--present a dialogue, describe a memory, or draw a picture of an intimate moment. Although many of her poems invoke sadness, they do not express protest but acceptance. This is also true in her lesbian poems: the sexual relationships, described with tenderness and sensitivity, create a picture of intimate and personal love.
 In the early 1990's Gabriella Elisha changes her name to Ella Bat-Tsion, and in 1994 publishes The Book of God's Dreams. From this point on, Ella Bat-Tsion portrays different poetry: her loneliness mutates in to a will to merge with the Transcendent, and womanly love changes to intimate (non-sexual) relations with God. Her addressee is God, who gives her a new purpose but demands she turn her back on who she was before. Her poetic language is infused with a new vocabulary, religious and kabalistic in nature; the gentleness gives way to an intensive, sometimes violent, process of effacing a previous identity and assuming a new one which will lead, eventually, to peace and tranquility.
 Ella Bat-Tsion publishes four volumes of poetry after 1994, Half-Love Half-Hate (1996), Sub-Language or …