Lately it seems to be the season of haredim on screen. My immersion in this very particular oeuvre began with Shtisel, the 2013 runaway hit Israeli TV series, which depicts a haredi family in Jerusalem in all of its complicated, charming dysfunction. (The first two seasons are now available with English subtitles on Netflix.) More recently, Autonomies (2018) presents a dystopian division of Israel into separate secular and religious states. In the United States, two recent documentaries showcase radically divergent ways of understanding the New York Hasidic community and the experience of marginal figures within it. Haredi Jews are not always interchangeable with Hasidic ones, and Israeli soap operas are different than American art-house documentaries. Yet in considering all of these offerings, certain patterns inevitably emerge. Counterintuitively, the more serious offerings in this genre are the ones with a lighter touch.
Jewish history has not always been characterized by laughter, but in Genesis it evokes the freedom and joy of a life in partnership with God.
Last week’s Torah reading of Lekh-L’kha (Genesis 12-17) tells the story of the birth of Abraham’s elder son Ishmael. By contrast, this week’s reading of Vayera (Genesis 18-22) has at its center the birth of his younger son Isaac. I say “by contrast” because, from the very start, beginning with the circumstances of their birth and their respective names, the text makes the difference between the two boys especially stark. Nor are these differences just a matter of literary curiosity; rather, they present divergent ways of relating to God.