“Shortly before the 1991 Gulf War, Rabbi Yaakov Smith, a father of six and an emissary of the Chabad Hasidic movement in the Old City of Jerusalem, hosted a Shabbat dinner. As the guests were leaving, one took Smith aside and said something that would reverberate with his host: “That was an amazing act you performed. Whatever is wrong, take care of yourself.” Fast forward thirty years and Yaakov has become Yiscah Smith, a transgender person who still lives and teaches in Jerusalem. Smith’s transformation is the subject of the documentary I Was Not Born a Mistake, created by the Israeli filmmakers Rachel Rusinek and Eyal Ben-Moshe. The film premiered at the Jerusalem Film Festival this past Hanukkah and made its U.S. debut in January.:
“In the last two weeks of seger (lockdown) in Israel, an almost laughably long list of public figures have admitted to violating the Covid-19 lockdown restrictions. Some of them are lawmakers who are themselves directly responsible for initiating the lockdown.”
“Ours is physically the healthiest and most affluent society that has ever existed, and, in some ways, raising children is also more convenient than it has ever been. Yet, children are increasingly perceived as a burden.”
As a particularly raucous Israeli election season enters the homestretch, a recent Israeli film, now making the Jewish film festival circuit with subtitles, provides some perspective. It’s called The Unorthodox (Ha-bilti Rishmiyim, literally “Those Without Permission”) and tells the little known story of the founding of the Shas political party, a punning acronym for “Torah observant Sephardim.”
In his essay on the poet Raḥel, Hillel Halkin offers a fascinating study of her too-brief life (1890-1931), her poetics, and the unique place she occupies in the Hebrew literary landscape. Certainly, against the background of the pioneering Zionist ethos of her time—nationalistic, idealistic, and collectivist—the intense individualism of Raḥel’s verse stands out. No less deeply committed to the Zionist enterprise than other poets cited by Halkin, notably Uri Tsvi Grinberg and Avraham Shlonsky, she devoted herself mainly to the exploration of such seemingly inward emotions as sadness, longing, humility, and self-doubt.
The study of poetry on its own terms is a noble literary ideal, but it is difficult to read the poetry of Raḥel without also ruminating upon the personal circumstances, especially the disease to which she would eventually succumb at the age of forty, that may account for the themes of suffering, loneliness, and longing that run through her work. It is perhaps for this reason that Halkin in the end deems her to be, with emphasis on both adjectives, a “great minor poet”: that is, one who deals with localized themes, seemingly without obvious public import, but who nevertheless addresses them with a clarity and virtuosity that ensures he or she will never be forgotten—as, in Israel, Raḥel has indeed never been.
Yet might this major/minor distinction, which Halkin applies with subtlety and generosity, ultimately be something of a false choice?
The final two Torah portions of Vayikra/Leviticus, Behar and Behukkotai, conclude a book largely oriented around rituals relating to the Mishkan or Tabernacle of the desert, the template for the future Holy Temple in Jerusalem. Many of Vayikra’s laws concern purity and impurity as they pertain to sacrificial worship in the Mishkan. Yet, the book’s final chapters extend this concern outside the precincts of the Mishkan, to encompass the sanctity of time and of place more broadly. The beginning of Parshat Behar discusses the sanctity of time in regard to the seventh day of each week, the Sabbath, the day of rest. Then, using similar language, the text introduces Shemitah, the requirement to allow the land of Israel to rest every seventh year. In fact, the language of “rest” punctuates the entire ending of Vayikra. Immediately when the Israelites enter the Land of Israel, God ordains that the land itself will observe a “sabbath of the Lord” (this referring to Shemitah).
The commandment to rest, both individually and nationally, does not appear for the first time in Vayikra. Both the commandments of Sabbath and of Shemitah appear earlier in Shemot. A comparison of the respective presentations of these commandments in each book sheds light on the paradox at the heart of what it means for the Jewish nation to rest as a society founded upon God’s order.
Read the full article in The Lehrhaus
The monarchy begins twice.
This week’s Torah reading of Shoftim (Deuteronomy 16:18-21:9) concerns itself, more than any other, with political matters. It begins with the commandment to appoint “judges and officers in all your gates,” and ends with the laws of war. As is true throughout Deuteronomy, many of the precepts found in Shoftimare repetitions or elaborations of injunctions from previous books of the Torah. But one passage stands out both for its significance and for its novelty:
If, after you have entered the land that the Lord your God has assigned to you, and taken possession of it and settled in it, you decide, “I will set a king over me, as do all the neighboring nations,” you shall surely set a king over yourself, one chosen by the Lord your God.
Most surprising about this verse is its ambiguity: is appointing a king a requirement, or simply an option? And that’s not all: to the modern Western reader, accustomed to constitutions, the setup appears counterintuitive. One would have thought the Torah would prescribe a particular regime, and that the people would have some say regarding who, exactly, should rule. Instead, the people are to choose the form of government—evidently a monarchy—but the monarch himself is chosen by God…
The full article may be read at Mosaic Magazine