Category Archives: American Jewry

The Bridge Between Rosh Hashanah and Yom Kippur

by Janet Ruth Falon (Elkins Park, PA)

It’s a long bridge, and high,
with pilings deep in the water,
dug into the foundation of earth.
It takes ten days to cross,
by foot,
(more, with baggage),
and you have to walk it yourself.
No one can carry you.
People have been known to jump off
but miraculously, survive,
as long as they’re willing to try again
the following year.
Each person decides
how many times to pay a toll
and to whom
along the way.
And you pay with words,
tokens of your repentence:
“I forgive you.”
“Please forgive me.”
But what’s most amazing
is that you’re supposed to keep turning around
as you walk,
turning around
to face four corners
and everything in between,
turning around
to make sure you’ve seen every person
and the scope of your past year
so you can pay up and start fresh
on the other side.
And instead of getting dizzy
as you cross
you feel lighter, and cleaner,
more at-one with yourself
and all the other travelers
and the earth below the water
beneath your feet.
Venice has its Bridge of Sighs;
but this is the Bridge of Awe.

Janet Ruth Falon, the author of The Jewish Journaling Book (Jewish Lights, 2004), teaches a variety of writing classes — including journaling and creative expression — at many places, including the University of Pennsylvania. She leads a non-fiction writing group and works with individual students, and is continuing to write Jewish-themed readings for what she hopes will become a book, In the Spirit of the Holidays.

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What Really Happened That Day

by Rick Black (Arlington, VA)

At Dunkin’ Donuts,
I sip my coffee, bite into a chocolate-
frosted donut and mull over your fate.
Would you like a taste, Isaac?

I know: everything falls this time of year–
acorns, leaves, even knives
fall by accident,
of course.

Tell me, Isaac, you can confide in me,
“What really happened that day?”
If only you were not so
reticent.

A survivor, you figure no one
would believe you. You’re probably right.
Your father, a knife, a ram–
how absurd.

Everything falls this time of year–
spiky chestnuts, ripening apples
even knives fall by accident,
of course.

Rick Black is a prize-winning poet and former journalist who creates hand-crafted books at Turtle Light Press in Arlington, VA. You can see his work at http://www.turtlelightpress.com/

This poem was reprinted with permission of the author. It first appeared in U.S. 1 Worksheets, (Vol. 56),  U.S. 1 Poets’ Cooperative, Princeton, NJ. (http://us1poets.com)

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I Never Asked

by Natalie Zellat Dyen (Huntingdon Valley, PA )

My bubba taught me to knit European style, yarn on the left.
What hands had guided her hands,
Which now guided mine?
I never thanked her for that gift.
Or for filling empty jars with cinnamon cookies.
Al heit shehatanu. For the sin of ingratitude.

My bubba could have shared memories:
Of a long-ago village
Of lost traditions
Of melodies sung by her father, the cantor
Who passed on the gift of his voice
Before dying on the passage from old world to new.
But I never asked her to sing those songs.
Al heit shehetanu. For the sin of not asking.

So I must speak for her.
“I remember my own grandmother,” she would have said,
“And you will probably live to see your own grandchildren.
So right now, between the two of us, we share two-hundred years of history.”
And if I had looked into her eyes,
I might have seen her great-grandparents, her great-great-grandparents,
And all who came before.
But I never looked.
Al heit shehetanu. For the sin of turning our backs on the past.

Natalie Zellat Dyen is a freelance writer and photographer living in Huntingdon Valley, PA. Her work has appeared in The Willow Review, Global Woman Magazine, Intercom Magazine, The Philadelphia Inquirer, and other newspapers and journals. Links to Natalie’s published work are available at www.nataliewrites.com.

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Reunion in Oswego

by Ellen Norman Stern (Willow Grove, PA)

Late summer of 1945.  The war was finally over.

It was a strange time, an unreal time. True, Germany had been defeated. There would be no more casualties among the sons of friends. But the revelations had begun in the spring and what we read in the papers and saw in the newsreels surpassed the worst nightmares we could have had.

That summer I sat in a train traveling from Kentucky to Oswego, New York,  headed for an encounter which took place because Mimi spotted a photograph in a newspaper.

Amazingly determined to make their new life in Louisville a total success, my middle-aged parents worked very hard at jobs they would have never dreamed of doing in their earlier European existence before 1939. Now that the war had ended they came home from work every evening and faced the letterbox with fear. They dreaded finding the telegram or the official letter from Europe confirming the unbearable.

My father especially, feared that mail: three brothers, one sister, their spouses and their children were unaccounted for.

One Sunday afternoon that fall Mimi, who saved stacks of newspapers and magazines during the week to read on her day off, sat surrounded by papers in her favorite armchair in our living room, her feet up. In the dining room my father was trying to teach me how to play chess. Suddenly my mother jumped up, scattering the reading materials all over the floor.

“Max,” she screamed. “It’s Max. Leo, Ellen, come look.”

Her voice was higher than usual, all color had left her face. She stood in the doorway and pointed to a front page photograph in the Aufbau, the German refugee weekly.

Together the three of us bent over the dining table and passed the paper from one to the other in silence as we studied the picture intently. We squinted at the photograph time and time again, wishing it into the shape of Max Nussbaum, my father’s older brother.

After searching frantically in a kitchen drawer, I located the magnifying glass among matches and clothes-pins. With the enlargement Uncle Max became real. A balding, chubby man, he leaned over the railing of an incoming ship, one of the eagerly waving passengers entering New York harbor. A caption explained that thanks to an act of Congress an entire camp load of prisoners liberated in Italy was to be relocated at a site in Oswego, New York.

“My God, I’m almost sure it is Max. Is it possible?” said my father. The cigarette in his hand trembled. “We must go to him.”

I had not heard him mention the name of his siblings since the day we arrived in Louisville. Perhaps he hid his anguish in silence. But now, after learning that his favorite brother might still be alive, my father seemed near panic. He had to make certain it was Max.

The next morning a long distance call to the newspaper editor in New York confirmed the name of Max Nussbaum on the passenger list.

Wartime travel restrictions were still in effect. Military personnel had priority and Pullman reservations were not available. None of that mattered: coach was all my parents could afford.

For a day and a night the three of us took turns sitting on any seat we could, standing in the aisle or guarding our suitcases at the rear of the compartment. It was a long emotion-filled trip. What thoughts must have gone through father’s head as we moved through vast stretches of farmland and stopped at dozens of anonymous railroad stations. Did he feel anticipation, joy, a sense of loss over the others?

Seven years had gone by since I had last seen Uncle Max but I remembered the occasion.

“I’ll never emigrate,” he said that spring evening in Berlin in 1938, leaning back comfortably into the brocaded purple sofa of my parents’ apartment, his face well-barbered and pink.  “Why should I?”

He was deep in conversation with my father, unaware that the little girl playing with her doll nearby overheard him. Above their heavy pouches Uncle Max’s brown eyes twinkled in perennial optimism.

As he watched his brother strike a match to light his pipe, my father’s expression was far more serious. The match’s swift glare reflected the heavy gold of the watch chain hanging over the belly of Uncle Max’s dark suit.

“I simply don’t believe it…this talk of secret arrests,” he said.

“You are a fool, Max,” my father’s voice was harsh. “You must make plans to emigrate before it is too late. And for heaven’s sake, be careful about being seen out with Else.” Else was Uncle Max’s Christian girlfriend.

Max blew out the match carefully, then deposited the charred wood in the ashtray.

“What would they want with me?” he asked, “I’m so unimportant.” A small wreath of pipe smoke encircled his round face before disappearing behind his balding head. He smiled at my mother who had just finished playing Chopin and rose from the piano bench heading for the kitchen to prepare some coffee.

I was very young and Uncle Max appeared old to me because he had already lost most of his hair. But I liked him very much. He always brought me presents and told me stories. I looked forward to Sunday mornings when my father and Uncle Max visited the Cafe Kranzler and I was allowed to come along. I could order anything I wanted there but I always chose the same: a meat-filled pastry, the specialty of the house.

The café kept a rack of sophisticated magazines for the pleasure of its guests. I always pretended to look at the magazine pictures, but it was Uncle Max’s stories I tried to hear. The stories he told my father were more exciting and spicier than the ones he told me.

The men chatted freely assuming I did not understand. Hiding under the expression of boredom I listened intently, fascinated by the delicious details of my uncle’s amours. None of my girlfriends could boast of an uncle married to a genuine countess, even if that marriage lasted only three days. Unfortunately no one in the family ever mentioned Uncle Max’s marriage and I could never ask, for that would unmask me as a spy. But the image remained with me for years: my jolly, pipe-smoking Uncle Max sitting on a throne like some oriental pasha while his countess, clad in white fur, nestled at his feet. One of my more delightful fantasies, never substantiated by anyone.

The visits to the Café Kranzler ended all too soon when Jews were no longer welcome in public restaurants. But listening to Uncle Max continued to be refreshing during the rumor-ridden days of that pre-war spring. Most of the people who came to our apartment uttered dire predictions about the future. Uncle Max alone radiated confidence. Only he asked, “Why leave all this behind for the unknown?” pointing in the direction of the Bluethner grand piano and the porcelain-filled vitrines of which Mimi was so proud. That was enough for me. Within seconds he had me forget “quotas, affidavits, passports, and passage,” all the strange new words around which daily conversation now turned.

I even forgot the fears that came with darkness when the world outside our second floor balcony became a cauldron of shadows and evil. Our guests arrived during late evening hours: friends who were afraid to sleep in their own homes because of the secret arrests Uncle Max smiled off. They accepted gratefully the hospitality of Mimi’s extra mattresses spread on the living room floor, the use of her sofas, or even the hard floors.

“Kindchen, what would you like me to bring you next time?” Uncle Max never called me by my name and I thought he might not know it. But his words were always comforting. Strange, on the night of his last visit to us the darkness outside our balcony did not even bother me. I watched him knock out his pipe and bid us goodbye and wished all our visitors were as positive as he.

Early the next morning he was arrested. In the pre-dawn hours two Gestapo agents knocked on his door. The neighbors on either side were asleep and heard nothing.

Someone who knew him saw Uncle Max later that morning en route to the local police precinct and quickly called Else. She took a taxi to the Central Police headquarters on the Alexanderplatz and watched as prisoners from all over Berlin were unloaded into the grim old building. After the big gates were shut she walked to the nearest telephone booth. She wept as she reported to my parents that the shipment she had awaited had gone astray, which was her coded way of letting us know the Gestapo had arrested Uncle Max.

Oswego came up with the sun. From the railroad station it appeared a small and sleepy town.

We carried our bags across the street to the hotel which could not possibly have seen grander days. Now it had become the center of heavy traffic. When we lined up at the front desk we discovered other relatives who had come to visit camp inmates.

“Reservations?” In the early morning light the room clerk looked gaunt and gray like a Dickens character. He appeared angry when my father told him yes, we did have a reservation. He leafed through a big book and shuffled through some cards before he parted with one of his rooms.

The room was on an upper floor and overlooked an air shaft. No elevator.
We washed up in a hurry. Then, searching for a fast breakfast, we crossed the square in front of the hotel and looked for a coffee shop. Wooden benches surrounded the war memorial in the town square. A few early morning occupants stared at us with suspicion as we walked past. Even the pigeons avoided our path.
After breakfast we started out for the camp. My father remembered his brother’s sweet tooth and had us stop at a candy store for a welcoming gift.

“Good morning, I want the biggest box of dark chocolates you have,” he said to the saleswoman. His voice quivered with excitement.

The woman behind the counter eyed us with distaste through her rimless glasses. She did not seem anxious to sell her candy. She stood motionless while her glance traveled over each one of us.

“Strange sales technique,” Mimi mumbled under her breath. She worked as a saleslady in a store at home.

Quietly my father repeated his request. He was red in the face. I could tell he was holding in his temper. Only the desire to bring a present to his brother kept him in the store.

A taxi took us to the old army barracks in the suburbs which had been converted to house the refugees. A guard at the fenced-in gate issued us passes. A bright sheet of sunlight touched even the gray paint of the barracks with hope, promising a golden autumn. It was a going to be a good morning.

We had written to Uncle Max and told him to expect us.  Now we sat in a waiting room until he could come to us.

When he walked through the door, cold, unlit pipe in hand, there was no more doubt. All four of us burst into tears. But they were happy tears. Afterwards my father and Uncle Max stood for a long time with their arms around each other. Neither man said a word, but every few seconds my father shook his head ever so gently. Perhaps he was trying to convince himself that he was not imagining the scene. Were there words for this kind of occasion?  We couldn’t find them.

Uncle Max was no longer chubby. I did not remember him being so short. Of course, I had grown in the meantime. Now, at seventeen my perspective had changed. In his drab army fatigues with the pert black beret hiding his totally bald head my uncle looked like a jolly padre serving as an armed forces chaplain.
He indicated he wanted to show us around. With a courtly gesture he opened the door to Mimi and me. We went to his room first.

The barrack cubicle sparkled in the light falling through the barred window. Books leaned against each other on a shelf over his bunk. There were photographs of his parents, of his brothers as children. A multicolored woven blanket repeated the reds and blues of the book covers. A battered shofar hung on one wall. I remembered that shofar from my grandparents’ home.

We sat on his bunk while he spoke to us. It was incredible that this gentle, kind man had survived several notorious concentration camps. How had he survived Dachau?

“I walked south,” he answered smiling, “toward Italy.”

We did not believe him. My parents looked at each other, then back at him. He nodded his head.

“I escaped, yes. You know I always felt that I was too unimportant for the Nazis to go to a lot of trouble over me. And I remembered that you thought me a fool. Believe me, I thought of that often. I had enough time to think. Disguised as a peasant, with a burlap bag slung over my shoulder, I walked straight through Germany. I avoided borders. I crossed into Italy from Austria. I no longer remember how many weeks it took me. I traveled at night and slept in caves during the day. I was fortunate: most people were kind. It was the closing months of the war. Even farmers had little to eat. They believed me a beggar – it wasn’t hard – and gave me food. Sometimes it was a piece of dark bread, a few potatoes, sometimes even a piece of sausage.”

“By the time I arrived in the Abruzzi Mountains in Italy, I was in big trouble. From all that walking my shoes had fallen into shreds. I spoke no Italian, so I pretended to be a deaf-mute. Had I opened my mouth it would have been the end of me. So I used my hands to communicate. Occasionally that landed me a little food for my bag.”

“Shall I tell you something? I was almost relieved when the carabiniere picked me up. My feet were so frozen and bloody they barely carried me. And I was tired of hiding. I wanted to be in the sunshine so badly, I no longer wanted to live in caves. I was prepared to die I was so weary. To let them shoot me on the spot.” He dropped his arms in a gesture of surrender.

“But they didn’t shoot you, Uncle Max.”

“I was close to it. I was a mighty suspicious character, a German-speaking beggar in the middle of Italy, German-occupied Italy yet. I didn’t understand the Italian interrogation. And so I landed in the jaws of Il Duce and yet another camp…” Suddenly he stopped, ready to terminate the recital of his troubles. Instead he invited us to meet some of his friends.

A celebration surprised us in the mess hall. Planked tables had been pushed out of the way. In their place chairs were set up in rows. In the front row my parents and I sat with Uncle Max and listened to an older camp inmate welcome us in German. He ended with a Shehechyanu, grateful that the assembled group had been saved and for the reunion like ours that day.

Someone played a Schubert sonata on the tinny upright in the hall. Strains of “The Linden Tree” followed. I noticed several people mouthing its words: “Am Brunnen vor dem Tore, da steht ein Lindenbaum…” and saw the tears in their eyes over the song familiar to them since childhood, reminding them of homes long lost.

At one end of the mess hall refreshments were set out. As we juggled paper plates filled with cake along with army-style coffee mugs, Uncle Max’s friends came to greet us, one after another.

Suddenly an old woman laid her hand on my arm.

“Excuse me, young lady,” she said, “but do you know that your uncle is a hero?” Her dress hung loosely, her face told its own tales of past dangers and flight. “Of course, he will never tell you this, but many of us were kept alive because of Max’s optimism. Not a day went by but someone in our camp was ready to give up hope.”

“We were all so discouraged…no food, no warm clothes, so little chance of finding our families again. But this man,” and she pointed a bony finger at Max, “this man hobbled around on his sore feet and spoke to those who just sat, ready to die. ‘Just wait,’ he said to them, ‘hang on just a little longer. One of these days we will be freed…another week, another month. It won’t be long.’ He wouldn’t let any of us give up.”

I turned to Uncle Max puffing on his freshly-stuffed pipe, pretending he hadn’t heard. A shadow of the twinkle I remembered was in his eyes as he put his arm around my shoulders.

“I just promised your father I would visit you in Louisville after they discharge us here. Tell me, Kindchen, what would you like me to bring you?”

Born in Germany, Ellen Stern came to the United States as a young girl and grew up in Louisville, Kentucky. She’s the author of numerous books for young adult readers, including biographies of Louis D. Brandeis, Nelson Glueck, and Elie Wiesel. Her most recent publication is The French Physician’s Boy, a novel about Philadelphia’s 1793 Yellow Fever epidemic.

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Sh’ma – On the Matter of Hearing

by Elliot Holin (Dresher, PA)

When I was a child, I loved hearing the phrase “Hero Israel” because it brought to mind such wonderful and powerful images of men riding horses across the desert, swords held high, whooping with delight, their robes billowing in the wind. I admit that my vocabulary was more limited then, but I am sure that the pictures in my mind were vivid. In time, my list of heroes expanded from Moses to Abraham, but I don’t think Aaron ever made it. He wasn’t even on the ‘B’ list, though I’m guessing that David might have been because the Goliath story was pretty cool.

You can imagine my stunned disbelief when adults got around to telling me it wasn’t “Hero Israel,” it was “Here, O Israel.” That called for a new way to frame the image, and so I quickly decided that it was a call to being somewhere, but where, exactly? Where is “here”? I understood it when the words were recited at our synagogue, but I also knew that friends of mine worshiped at other synagogues, so could “here” be “everywhere”? Yes! Now I understood what my parents and other adults meant when they told me that God was everywhere! Here, too, and there, as well! That certainly made the phrase that people said and sang with such fervor all the more personal. I mean, heroes from a distant past were one thing, but to say that God is “here” made the possibility of relationship with a God who cares so much to be “here” for me pretty dramatic and meaningful.

But then (here we go again), people told me that the word isn’t “Here,” it’s “Hear.” That was pretty deflating. I mean, I went from heroes, to God being “here,” to something that my parents told me I didn’t do very well. All of a sudden a word that had meaning suddenly sounded, well, parental and disapproving. “You’re not paying attention! Do you hear what I’m saying! Why do I have to repeat things three times?”

When I calmed down, I wondered what it was that I was supposed to hear. The sounds of the world around me? The words of Torah or prayers speaking to me? God addressing me? How would I know if what I was hearing was important? If it was, what was I supposed to do?

“Now hear this! Now hear this!” Like the sound of a submarine dive alarm blaring throughout my adolescence whenever girls entered a room, scaring me to death with their poise and grace, and rendering me mute most of the time that I was around them, all that I really heard was the sound of my heartbeat, pounding me into submission through embarrassment. I had no vocabulary around those giggling, pretty female forms, and so I entered a new phase of my life.

Later, when things sorted themselves out – by which I mean that my silence was often interpreted as introspection, an assumption that worked so totally to my advantage that if ever proof of a miracle was needed, well there you had it: a bull’s eye scored by a blind man shooting blanks –  I came to understand over time the difference between just hearing and really listening. It wasn’t a dramatic moment that brought me to that realization; it was more like years spent connecting the dots.

But here’s the interesting thing: in the midst of those journeys, I always considered myself to be one of the children of Israel, and that always made me feel special. I heard something right for me pretty early on. Then I listened to the wisdom of our sages throughout the ages, and my hearing got better.

Elliot Holin, a native of San Francisco, is the founding  rabbi of Congregation Kol Ami in Elkins Park, PA. He is married with three sons, enjoys people, world travel, photography, and the San Francisco Giants and 49ers.

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One Holocaust Movie Too Many

by Mel Glenn (Brooklyn, NY)

How many times can you see
the broken bodies piled high
at Auschwitz or Bergen-Belsen?
How many times can you stare
into the vacant eyes of prisoners
crammed into three-tiered bunks?
How many times can you cringe
at the frightened people wedged into boxcars?
Apparently there is always room
for one more picture of piled shoes,
pajama-clad skeletons, empty suitcases.
I say this sitting comfortably
at a cafe in a Jewish neighborhood
where I can see a young man
wearing Sandy Koufax’s #32 baseball jersey,
knowing that the world seems safe – for now,
knowing, too, that I do not hear the awful trains
rumbling towards their final destination,
except in a generational memory
never to be ignored or forgotten.

The author of twelve books for young adults, Mel Glenn has lived nearly all his life in Brooklyn, NY, where he taught English at A. Lincoln High School for thirty-one years.  Lately, he’s been writing poetry, and you can find his most recent poems in a new YA anthology, This Family Is Driving Me Crazy,  edited by M. Jerry Weiss.

If you’d like to learn more about his work, visit: http://www.melglenn.com/

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Beaming on the Bima

By Lesléa Newman (Holyoke, MA)

When I enrolled in my synagogue’s two-year adult B’nai Mitzvah class, I knew somewhere in the back of my mind that eventually I’d have to stand up on the bima in front of the entire congregation and lead them in prayer. But I didn’t believe that would ever really happen.

It came about sooner than I expected.

The class began in October with basic Hebrew lessons. Of the ten of us, all women ranging in age from mid-thirties to early sixties, only one of us had a solid Hebrew background. As a child, I was exempt from Hebrew school because I was a girl, and my brothers envied me. As an adult, I envied my brothers and their ability to sit in shul on a Saturday morning and actually comprehend the service.

Two years before the B’nai Mitzvah class began, embarrassed by my ignorance, I took a “Hebrew Marathon” which is something my temple offers every year before the High Holy Days. This eight hour course, given all in one day, starts with the assumption that many of us already know some Hebrew words. Most of us have read the word “kosher” written in Hebrew letters on the side of matzo boxes during Passover every year of our lives and seen the word “shalom” written in Hebrew on countless Rosh Hashanah cards. The Hebrew marathon gently builds on this knowledge and introduces participants to the entire Hebrew alphabet.

After the marathon ended, I took a ten week follow-up course, and now, in the B’nai Mitzvah class, I was learning the basic rules of Biblical Hebrew grammar. It was thrilling and mind-boggling at the same time. My classmates and I quickly learned that Hebrew resembles English as much as a matzo ball resembles a slice of watermelon, and eventually we stopped asking, “Why?” whenever a new grammatical concept was introduced along with the one or two or twenty exceptions that went along with it.

After studying Hebrew for several months with an excellent teacher who pronounced our vocabulary words in a charming British accent, we began a new course of study with a new teacher. We began to really look at the Saturday morning service and learn the different components of it. What does the Torah service consist of? What is Musaf? Now that we could read, or at least stumble along somewhat, Teacher Number Two helped us learn the “choreography of the service,” as she put it. She taught us when to sit, when to stand, when to bend at the knee and when to bow.  Each class ended with her thanking us. “It was a pleasure davening with you this morning,” she’d say, despite the fact that the majority of us could barely carry a tune.

And then it was May.

Teacher Number Three took over the class, and began by handing around a sign-up sheet. On this piece of paper, we were to put our names next to a date: a Saturday morning in July or August. We did what we were told and when the sheet made its way back to our teacher, she calmly announced that on the week each of us had just signed up for, we would be chanting a Haftorah portion during Shabbat services.

Pandemonium broke out.

“There’s no way…”

“We weren’t told…”

“I thought we had another year…”

Though we were a group of (supposedly) mature adults, we were acting like a class of junior high students whose teacher had just announced a surprise quiz. I half-expected someone to stamp her foot and yell “That’s not fair!” but no one did. We were all too busy panicking.

Now my class is hardly a group of slackers. There is a doctor, a social worker and a college professor among us. There is even a woman who makes her living as a public speaker (that would be me). But clearly the thought of singing Haftorah in public filled each of us with sheer terror.

Our fearless leader assured us that we would all “get it” and it was her job to make sure of that. She told us no one steps up to the bima unprepared. “There’s always a first time,” I mumbled. Then I tried to comfort myself with the knowledge that I was only chanting one-fourth of a Haftorah portion, so I’d be up on the bima with three of my classmates. Plus, my portion was only four-and-a-half minutes long. And furthermore, thousands of twelve and thirteen year-olds had learned to chant Haftorah before me. If those little pishers could do it, how hard could it be?

Don’t ask.

The second week of class, our teacher handed out our Haftorah portions. Each of us were also given a box of Highlighters: blue, pink, orange, yellow, purple and green. If we had acted like junior high school students the week before, now we regressed into elementary school children, as playful fights broke out over who got a purple box and who got a pink one.

Once we had settled down, our teacher explained the concept of trope marks. Every word was accompanied by one trope mark. Of course, this being Hebrew, in some cases a word had two trope marks. (Why? Don’t ask.) Each trope mark stands for a melody. Some trope marks appear over their Hebrew words. Others appear under, in and among the dots that stand for vowels. They have different shapes: one looks like a diamond, one looks like an apostrophe mark, and a third—my favorite—looks like a chicken bone. Trope marks also come in groups. Each group is assigned a color. Our assignment was to look at each word of our portion, find the trope mark, figure out what color group it belonged to and color it accordingly. And of course some trope marks share the same name but appear in different groups and carry different melodies. If this sounds confusing, it is.

It only gets worse.

After the Haftorah portion is appropriately marked by color, we each had to learn to sing our part. This involved reading the Hebrew words, which by the way were printed in some fancy-shmancy font none of us had ever seen before, memorizing the tune that each trope mark represented, and putting it all together. Our teacher sent us home with a sheet of paper that translated the trope marks into notes, which helped only those of us who could read music. She also gave each of us a tape. The tape did not contain our individual trope portions; that would come later. No, this first tape contained the names of the trope marks, grouped together and sung to the melody they represented. After each grouping was sung, there would be a pause on the tape so the line of melody could be repeated. (Remember “ecoutez et repetez” from high school French class?)

Have I mentioned that I’m tone deaf?

Obediently I took my tape home, popped it into my Walkman, and immediately burst into tears. When I caught my breath, I phoned my teacher.

“I can’t.” I gulped down the sobs that were threatening to erupt again. “I’m really sorry, but I’m just not capable of doing this, and I think it would be better for me to drop out now so you can find someone else to fill my slot on July 24th and…”

My teacher interrupted my babbling with exactly four words: “You’re not dropping out.”

When I arrived at the synagogue for the third meeting of our Haftorah class, I learned that I wasn’t the only one who’d had a meltdown during the week. The self-doubt in the room was so thick, you could have spread it on a piece of challah. One woman pinpointed the problem. “I don’t even know how to attack this,” she said. “Should I try to learn all the Hebrew first? Should I color in all the trope marks? Should I listen to the tape over and over? How should I learn?”

We all leaned forward eager to hear our teacher’s reply. Master of the four-word response, she smiled and said, “You’ll find your way.”

Back home, my spouse who is quite musical, volunteered to help me by playing the trope melodies on a portable keyboard and listening to my attempts to recreate them. Now despite my years of singing “Don’t Rain On My Parade” in the shower pretending I’m Barbra Streisand, whom I really sound like is The Nanny’s Fran Drescher. With a frog in her throat. And my spouse, poor thing, has perfect pitch. Night after night I serenaded my family, trying my hardest to stay in tune.

“How did that sound?” I asked my spouse one particular evening when I thought I did rather well.

“You changed keys three times on that line.”

I was impressed. “Only three times?” I said.  “I must be improving.”

The following week was June which meant that July was just around the corner. And something finally clicked. I remembered that a writing teacher of mine had once advised me to study another art form, any art form other than writing. I was crushed. Obviously my teacher thought I had no talent.

But that wasn’t the case. “It’s a good way to learn how you learn,” he said and he was right. I chose to study karate, having no attachment to how good a karate student I would become. In fact, I knew I’d be a slow learner as I’ve never been physically inclined. The first time I saw my sensei perform the kata, or series of choreographed punches, blocks and kicks that each white belt had to learn, I knew I’d never master it. (I probably cried then, too.) But I did master it. I practiced every single day. And I didn’t go on to move #2 until I had completely mastered move #1. Which took a very long time.

I arrived at our fourth class with one phrase under my belt. From here on in, class time would be devoted to hearing each of us sing by ourselves as much of our Haftorah portion as we had managed to learn. Before each “performance” our teacher allowed us two minutes of what we came to call therapy. To the untrained ear it would appear that each of us were eager to share our learning process with our classmates. In truth—at least in my case—this was merely a stalling tactic.

When my turn came, I told my Haftorah comrades how scary it was for me to sing in front of them. “I’d rather write a five-hundred page book,” I told them, which, though I am a seasoned writer is a terrifying undertaking. I also told the class the dream I’d had the night before: I opened a brand new copy of my latest novel and each word was accompanied by a trope mark which had to be color-coded! When the laughter died down, I took a deep breath and sang the two words I had managed to learn. When I was finished, I felt proud as if I’d performed an aria from Carmen at the Metropolitan Opera House. My teacher could not have been more pleased.

As the weeks passed, each student’s classroom solo grew longer in length. Each student also had to face her own demons. One woman felt confident about her singing but had fears about her ability to read Hebrew. Another woman read Hebrew easily but was self-conscious about her singing. I had serious doubts about my ability to read Hebrew and my singing, but nevertheless I forged ahead. (I also decided that I was not going to sing my Haftorah, I was going to chant it, which seemed much less intimidating.)

Since practice makes perfect, I practiced my portion every single day. The weekend before my big debut, I packed my tape and color-coded Haftorah portion and traveled to Colorado to teach a writing retreat being held at a convent. There, at the foothills of the Rocky Mountains among the deer, the writers and the Poor Sisters of Saint Frances Seraph of the Perpetual Adoration, I had another dream: my friend Victor who had died of AIDS  when he was 51 and who hadn’t set foot inside a synagogue since his Bar Mitzvah, sat beside me and, with infinite patience and love, helped me sound out the Hebrew words. I took enormous comfort from the fact that Victor had come all the way down from Heaven to give me his blessing.

And then the big day came.

As is my habit, I focused my anxiety on the all-important decision of what to wear. Pants or skirt? Glasses or contact lenses? Hair loose or swept back? I got myself together and did a last minute check in the mirror. Even though I looked okay, something was missing. What was it? In a flash, I knew: my Bubbe’s gold watch which I only wore once a year, on the High Holy Days. My grandfather, whom I had never met but was named for, gave the watch to my grandmother as a Mother’s Day gift from the children—my mother and two uncles—long before I was born, and I do not remember ever seeing her without it. I fastened the timepiece around my wrist, wound it up, and raised it to my ear to hear its tick. Now I was ready to make my way to the synagogue. Once there, I took my seat with the other three members of my Haftorah group and the service began. There up on the bima, leading the opening prayers, was one of my former karate teachers! I took this as a sign that everything would be okay.

And it was.

My group of four climbed the steps to the bima at the appropriate time. Our teacher, who coincidentally was wearing the same outfit as I was—a pink blouse and black slacks—stood beside us, ready to provide a prompt if necessary. I looked out at the congregation and caught sight of my spouse sitting with my best friend. In front of them was my Hebrew teacher, near a dear friend who has known me since the year I graduated from college. I am a regular at our shul’s Sisterhood meetings, and many of my “sisters” were sitting on the pews as well. Everyone’s face was awash with kindness.

I did not chant my Haftorah portion. I opened my mouth and sang those ancient Hebrew words with all the passion I could muster. When the last member of our group was done, our teacher sang the blessing after the Haftorah in her beautiful, melodious voice. When she was finished, my group started moving off the bima to take our seats but our teacher stopped us. She had us stand there while she told the congregation that it was our first time on the bima and how proud of us she was. A spontaneous chorus of “Simen Tov und Mazel Tov” broke out. I grasped hands with two members of my group and cried. And beamed.

After my Hebrew teacher gave the D’var Torah and one of my classmate’s daughters led the Musaf service, I retired to the social hall with my spouse and my friends for the kiddish. There I was hugged, kissed, and kvelled over. By the end of the morning, my face literally hurt from smiling so much.

Right before I left the synagogue, my Haftorah teacher gave me a hug. “See you in the fall,” she said. “We’ll be studying Torah trope in September. It’s a bit different from Hatftorah troupe, but I think you’ll manage it.”

Sure, I thought. Piece of (honey) cake.

Lesléa Newman is the author of the novel, The Reluctant Daughter; the short story collection, A Letter to Harvey Milk; the poetry collection, Still Life with Buddy, and the children’s book, Heather Has Two Mommies.  You can visit her website to learn more about her work: www.lesleanewman.com

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Ellis Island

by Mel Glenn (Brooklyn, NY)

i

Hi, Dad.
Today I discovered the manifest
of the ship you sailed on
when you crossed the Atlantic alone
and arrived in New York, November 7, 1923.
The basic facts jump off the computer screen:
Age 18, single, male, brown hair,
$40 in your pocket and a
second class ticket in your hand.
Name of vessel – the “Polonia”
Ethnicity – Hebrew, Lithuanian
Port of Departure – Libau
But the pages before my eyes
say little how you felt
passing the Statue of Liberty,
said nothing of your dreams and fears.
Were you excited? Scared? Or both?
What words did you reserve
for your running thoughts then?
What words do you have for me now?

ii

You never told me tales of your youth,
except to say how hard life was,
and how you had to go without.
You never told me lessons you learned,
or what private words your parents presented,
and if they gave you blessing to cross the sea.
You never told me at the end of your life
what conclusions you had drawn
or whether you’d be leaving the world at peace.
I suspect you didn’t.
I suspect you withheld large portions of your years
that were to remain completely unopened.
Perhaps if I had known you better,
and did not gather information
off a ship’s manifest, it might have
made a difference, then again, perhaps not.
I do wish your life hadn’t been
such a Cracker Jack’s surprise box,
as I hope the airing of this and other poems
won’t be such a revelation to my own children.

The author of twelve books for young adults, Mel Glenn has lived nearly all his life in Brooklyn, NY, where he taught English at A. Lincoln High School for thirty-one years.  Lately, he’s been writing poetry, and you can find his most recent poems in a new YA anthology, This Family Is Driving Me Crazy,  edited by M. Jerry Weiss.

If you’d like to learn more about his work, visit: http://www.melglenn.com/

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Meditation and Organic Torah: The Missing Link

by Natan Margalit (Newton, MA)

“Narcissistic navel gazing” was an accusation thrown around a lot when meditation and other forms of spiritual practice started making inroads into Jewish communities a couple of decades ago. Now, a lot of us meditate, and far from taking Jews away from the traditional Jewish emphasis on community, tzedakkah, and social justice, Jewish meditation has greatly enriched our lives.

And yet, anyone who meditates knows that it often is a struggle to connect our spiritual practice with the rest of our lives. I try to meditate in the morning. Actually, I do my own combination of davenning (Jewish prayer) and meditation. It usually isn’t a transcendent experience, but it can get me to slow down, feel my body, breathe, accept myself for a few moments before I start rushing around trying to solve my problems — or the world’s. On a good day, I get a feeling of something that, on reflection, I might call presence, or even Presence. But all that quickly gets swept away once I come downstairs and face the music: The kids need to get to school on time but Nadav won’t put on his clothes and Eiden wants to play baby dinosaur. I’d love to play with them but instead I’m aggravated because I need to rush them off to school and myself off to work. Maybe it’s just the dynamic rhythm of life: a time to meditate, a time to dress the kids, a time to make a living — to everything there is a season.

But I think that’s not the whole story.

We live in a society and economy that kills Presence more than it needs to. Let me go on with more tales of my mornings: some mornings after I come downstairs I can escape the chaos in the house for a moment by doing one of my favorite chores: taking out the compost. Putting the compost on the pile and covering it up with dry grass clippings, I take note of how it’s doing. It’s like cooking — is there too much liquid, or is it too dry? How does it smell? Like rich, plant-nourishing compost or still yucky? I’m checking its progress from last week’s rotting food scraps to fertilizer for our garden, and in a couple months, more veggies for our table. It’s a mundane but also magical cycle that always amazes me. And it reminds me of what most people say when they are asked where they feel spiritually connected: “in nature.” And it’s true. There is something about the patterns of nature that inexplicably affects our consciousness. Perhaps it’s that everything is connected and nothing is wasted. Nature is a set of cycles and patterns that bring us back to Presence and the Oneness beneath all existence. So composting can feel like a continuation of my meditation.

But, most people don’t compost. The default in our society is tossing it. Out of sight and out of mind. And it does something to our spirit as well as the world when we cut off our minds from the natural cycles. Go to YouTube (or the sidebar of the Organic Torah blog) and check out the short video The Story of Stuff. It powerfully illustrates how our economy is all about a linear fantasy that we can take all the resources we want from somewhere, use them up and dump the waste into an infinite somewhere else. This is the Industrial Age worldview that gets us to rush around in work schedules more suited to machines than to people. Family and community take a back seat to production and GDP.

When I compost valuable organic matter (last night’s dinner scraps) instead of tossing “waste” I’m also keeping a bit of Presence in my life. It not only helps reduce the size of the landfill, but it also expands the breath of my soul. OK, but beyond composting, how can we connect more to Presence in our work and daily lives? Where can we start shifting the structure of our lives to include more natural patterns?

I get at least part of the answer when I do my combination davenning/meditation in the morning. When I think of patterns in daily community life, I think of a little quote from the Babylonian Talmud (Shabbat 127a) that comes right near the beginning of the daily morning blessings. “These are the things of which a person eats their fruit (the yield, or reward) in this world, and the principle (Hebrew: keren, horn) remains for him/her into eternity: honoring father and mother, acts of loving kindness, arriving early to the study house in the morning and evening, welcoming guests, visiting the sick, supporting (a poor) bride, attending to the dead, concentration in prayer, making peace between people. And the study of torah is equal to them all.”

The daily rhythm of saying these words (and the Hebrew does have a beautiful, poetic rhythm to it) reinforces actions that we as individuals can do to strengthen the natural rhythms and patterns of community. The seemingly mundane actions mentioned in the Talmud — honoring parents, visiting the sick, helping out at a wedding, or welcoming guests — recognize the patterns of communal life. These actions, and actions like composting, strengthen those patterns at their most vulnerable and fragile points: the relationship between generations, the cycles of birth and death, and the easily frayed fabric of community. Underlying and emerging from all these actions is the torah. It is “equal to them all” because it enables us to reflect on them together as one interlocking whole. The Sages said about the torah: “turn it and turn it, for all is in it,” because the torah is but another level of the weave of life in which nothing is wasted.

We can do a better job of connecting our meditation and spiritual practice to our daily lives, but we have to realize that the cards are stacked against us. The dominant culture and economy are still operating on a mechanical model that keeps us running away from Presence, away from the patterns that lead us to the One. In order to spread that sense of Presence beyond the sitting cushion and throughout our lives we need a more organic model of daily life. For that, the (organic) torah is a good place to start.

Natan Margalit was raised in Honolulu, Hawaii, studied Anthropology at Reed College in Portland, Oregon, made aliya, and studied for many years in Israeli yeshivot. He received rabbinic ordination at The Jerusalem Seminary in 1990 and earned a Ph.D.  in Talmud from U.C. Berkeley in 2001.  He has held teaching positions at Bard College , the Reconstuctionist Rabbinical College and the Rabbinical School of Hebrew College in Boston.
Natan is Director of Oraita, a program of continuing education for rabbis of Hebrew College , as well as spiritual leader of The Greater Washington Coalition for Jewish Life, in Western Connecticut .  He is President of Organic Torah, inc. a non-profit organization which fosters holistic thinking about Judaism, environment and society. He has written and taught for many years on Judaism and the environment, innovative approaches to Jewish texts, Jewish mysticism and spirituality, and gender and Judaism. He lives in Newton, MA with his wife Ilana and sons, Nadav and Eiden.
This piece first appeared on Organic Torah’s website (http://organictorah.org/) and is reprinted here with the kind permission of the author.
 

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Wednesday the Rabbi Said Kaddish

by Pamela Jay Gottfried (Atlanta, GA)

Growing up, all I knew about the Kaddish was that it was recited by children whose parents were dead, thus I was absolutely forbidden from saying it.  An important tenet of folk religion –otherwise known as superstition– is that a child who recites Kaddish tempts the Angel of Death to take his or her parents from this earth.  Traveling the country and teaching, I have found this tradition to be universally known and observed by Jews.

During my second year in rabbinical school I studied the history of the Kaddish and its role in Jewish liturgy.  I was already aware that the words of the prayer had nothing to do with death, and that the person leading the recitation was in fact heaping praise upon God.  But I was surprised to learn that the origin of the Kaddish was not as a mourner’s prayer at all.  In its ancient formulation, as the Rabbi’s Kaddish or Kaddish d’Rabbanan, it was recited upon the conclusion of Torah study. The custom of mourners saying Kaddish arose centuries later.

It was in Rabbi Joel Roth’s classroom that I abandoned my attachment to superstitions about not saying the Kaddish and allowed the prayer to assert its primacy in my daily life. Like his colleagues in the Talmud & Rabbinics department, Rabbi Roth followed a pedagogic approach to the text that included calling upon the students to read, translate and explain passages without warning. This somewhat intimidating practice ensured that no student would attend class unprepared.  Every class period was effectively a pop quiz, at least for the students called upon to read that day.  It was also an opportunity for individual students to demonstrate their progress, which Rabbi Roth both encouraged and rewarded.

Toward the end of every 90-minute class, before we closed our volumes of Talmud, Rabbi Roth would take a laminated sheet from his desk and hand it to the student who “stood out” that day from among the group.  Then we all stood together to recite the Rabbi’s Kaddish. When this privilege, an invitation to lead the prayer, was bestowed upon me for the first time that semester, my heart rejoiced.  I felt my praises of God’s name rise up to join the chorus of angels in heaven.  I still remember how I felt that morning, nearly half a lifetime ago.

These days, I attend a weekly Torah study at my doctor’s office. It is comprised of adult learners who are professionals in other fields. As a rabbi and the assigned facilitator, I am often the only one present who has prepared the text prior to class.  Usually other members of the group volunteer to read aloud from the text, ask questions about the translations and commentaries, and readily offer their own interpretations of the material.  At a well-attended session, six to eight friends sit around a conference table, enjoying coffee and snacks with Torah study and conversation.  This past Wednesday, however, our host spent half the class moving chairs from every exam room into the break room.  At the end of the hour I realized that we had a minyan – the quorum needed to say the Rabbi’s Kaddish.  We quickly ascertained which direction was east, and I scrolled through the prayer book on my iPhone to find the words, fondly recalling Rabbi Roth’s laminated sheet.  My heart sang as the chorus of students stood with me to praise God’s name.

Pamela Jay Gottfried is a rabbi, parent, teacher, artist, and the author of Found in Translation: Common Words of Uncommon Wisdom.  A New York City native and graduate of The Jewish Theological Seminary, Rabbi Gottfried teaches students of all ages in churches, colleges, community centers, schools, and synagogues. She strives for balance in her life by spending as much time writing at the computer as she does working at the pottery wheel.

You can read more of her work on her blog, Pamela’s Pekele (http://rabbipjg.blogspot.com/), where this piece first appeared. It’s reprinted here with the author’s kind permission.

And for more information about Gottfried, visit her website: http://www.pamelagottfried.com/

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