Category Archives: history

On Transformative Works

by Rachel Barenblat (North Adams, MA)

1.

My first experience with writing liturgy came when I was in college. A group of women gathered in a dorm room where we argued passionately over words and metaphors. The question was how to retell the Passover story — the central narrative at the heart of Jewish peoplehood — in a way that would speak to us.

What were the critical pieces of the original haggadah text that we wanted to preserve? Where did we want to make radical changes? How would those radical changes sit with us, year after year? One year we excised all of the God-as-king language, preferring instead to use feminine God-language in both Hebrew and English. Another year, we shifted all of the language of sovereignty to metaphors that reflected immanent power rather than transcendence: instead of King or Queen we wanted to celebrate our source, wellspring, creator.

The Williams College Feminist Seder Project is only a memory now. The college community there doesn’t feel the need for a specifically “feminist” seder anymore… though I’ll bet the standard seder they do there now is still shaped by the ripples my era of students set in motion. (That’s how it goes with third-wave feminism.) But the work of creating my own Passover seder has shaped the way I think about Pesach, and about liturgical language, and about creativity, and about my place within the broader sphere of Jewish life.

I’m grateful to the women of the Williams College Feminist Seder Project, because they taught me how to take up the tools of transformation in my own liturgical life. Transforming the text of that beloved ritual was transformative for me.

2.

In the years after college, I didn’t belong to a congregation. I hadn’t yet found Jewish Renewal, and my dreams of the rabbinate seemed improbable at best. But I wanted a connection with Judaism.

Because the feminist seder project had been so formative for me, I tried my hand at writing other pieces of liturgy. I wrote a seder for Tu BiShvat, the New Year of the Trees. I wrote prayers for Sukkot and for Chanukah. I wrote, and then performed, a baby-naming ceremony for the son of two dear friends. When my sister became pregnant with her second child, she asked if I would write and perform a baby-naming for him, too.

Writing my own prayers and ceremonies helped me feel engaged. I was shaping my own quirky, idiosyncratic Judaism. I started writing about the fact that I was doing that, and encouraging other unaffiliated Jews — other Jews on the fringes: intermarried folks, queer folks, those who didn’t have a congregational home or who felt that there might not be a place at the Jewish table for them — to write their own liturgies and prayers, too.

I took my MFA at Bennington. At the end of my time there, one of my beloved advisors (the poet David Lehman) suggested that I try my hand at writing prayers and psalms. Although I’d thought I was keeping my Jewish self and my writerly self somewhat separate, he saw right through that flimsy divide.

Active Jewishness is a writerly thing. We’re obsessed with texts, and our tradition includes the strong expectation that each of us will be in conversation with those texts all our lives. Sometimes that conversation takes highly creative forms, so there’s a sense that creativity is a legitimate way to respond to the texts we hold dear. All of this was fermenting in me in 1999, the year I was first introduced to fanfiction and fanvids: transformative works of a different kind.

3.

I was working at The Women’s Times in those days. I planned issues of the newspaper, hired writers, wrote articles, and helped women in my region tell our stories. Meanwhile, I was also beginning to engage with womens’ stories via the creative community of media fandom. (More on media fandom, and fanworks, in a moment — stay tuned.) Maybe because women’s voices were central to my professional work, and maybe because of my collegiate experience with the feminist seder project, media fandom — as a “predominantly female community with a rich history of creativity and commentary” (Our Values) — felt immediately like home.

In 2000 I left The Women’s Times to found Inkberry with Emily and Sandy, two dear college friends. Inkberry is a literary arts nonprofit organization which still offers writing workshops and a reading series to the Berkshire region. Before we launched the org, the three of us sat around my living room and argued about the wording of our mission statement as only a trio of committed writers could do. In the end, we settled on this: Inkberry’s mission was to strengthen the connections between writing and life, and to help every writer to find their own unique voice.

Our central theory was that everyone can write, that everyone can become better at writing if they work at it, and that writing can be life-changing regardless of whether or not one ever publishes the Great American Novel or makes it into the Yale Younger Poets series.

What I remember most from those early years are the people who entered our team-taught introductory mixed-genre workshop saying things like “I’ve never shown anyone my writing before” and “I’m not sure I’m a writer,” and emerged with confidence in their writing abilities and the value of the unique stories they had to tell. The act of writing was personally transformative for them.

4.

During the Inkberry years, I was also writing poems and doing liturgical work. I created a wedding for two dear friends; wrote other lifecycle events, prayers and psalms. I started studying Jewish liturgy, wanting to know more about the tradition of which my creative liturgy was a part. In 2002 I attended my first retreat at Elat Chayyim, where I found Jewish Renewal.

In Jewish Renewal we talk a lot about Paradigm Shift ([pdf]). The term has its origin in science, but Reb Zalman (and others) saw it unfolding in Judaism. Moving from Biblical Judaism (based around sacrifice of animals on the Temple mount) to rabbinic Judaism (based around study and prayer and a set of texts which are entirely portable) was an enormous paradigm shift. A lot of folks in Jewish Renewal argue that we’re in the midst of another paradigm shift now, from rabbinic Judaism to whatever comes next. The next turning of the spiral.

I see the groundswell of creative liturgy work as part of this paradigm shift. In today’s world we presume that everyone has the capacity to add our voices to the conversation, whatever that conversation might be. On today’s read/write web, (almost) anyone can start a blog, post photos to a flickr feed, participate in online culture. Why would we be any less proactive in shaping our religious lives than we are in shaping our relationship with the news or the blogosphere? People who are writing our own prayers and psalms, our own wedding vows and our own baby-naming blessings are taking the tradition into our own hands, shaping it as we allow it to shape us.

Of course, the work we do wouldn’t be possible if it weren’t for the broad base of the classical tradition on which we build. And that classical tradition matters a lot to me. I cherish the texts in the siddur as they’ve evolved over the centuries; I thrill to the melodic motifs of traditional nusach as they shift over the course of each day and week and year.

But I might never have realized how much I love the classical tradition if I hadn’t started writing my own prayers, and been drawn through that into learning more about the deep structure of the liturgy as it’s been handed down. I think that creative liturgy work has the capacity to enrich and enlarge that tradition, even as it also enriches and enlarges our own spiritual lives. Writing liturgy is an act in which both the pray-er and the prayer are transformed. Writing liturgy is transformative work.

5.

Judaism has long been a read/write tradition. (Indeed: one of the last commandments in the Torah is for every Jew to write a Torah scroll — see Deut. 31:19.) Most of us don’t have the intense training and focus required for sofrut (the scribal arts), but we can fulfil the commandment by each adding her own voice and interpretations to the body of tradition.

At the heart of Jewish life is the Torah, and the shell of commentary which surrounds it, and concentric circles of commentary and conversation which surround that. It’s entirely reasonable for an author in the sixth century to be engaged in a conversation on the page with an author who lived four hundred years before, and for a twenty-first century author to cite (and argue with, and respond to) all of them at once.

Torah has often been termed The Law, and yeah, there’s a lot of law there. But there’s also a lot of storytelling, and the Jewish textual tradition mixes the two all the time. Halakha and aggadah (law and storytelling) are like yin and yang. They complement and complete one another.

When I say storytelling, one of the things I mean is midrash, the body of exegetical stories which seek to delve into loopholes or explain idiosyncrasies in our holy texts. There’s a vast body of classical midrash, of course, some of which makes astonishing and delicious assertions. (I’m partial to the teaching fromMidrash Tanchuma that the Torah is written in black fire on white fire; the “black fire” can be understood as the plain text and its basic meaning, while the “white fire” is found in our interpretations, the ways we creatively read between the lines.)

There’s also a growing body of contemporary midrash, including feminist midrash which aims to restore women’s voices to the tradition. All of this arises out of and often comments upon the classical material, which in turn is arising out of and commenting on the Torah texts. Like an infinite set of Matryoshka dolls, with the Sinai theophany at their ineffable heart.

It’s possible to be a Jew without engaging in this infinite conversation. But from where I sit, the conversation is the fun part. Reading, writing, talking back, using stories to make arguments — this is the fabric of Jewish life. And it’s also the fabric of fandom.

6.

Just as Jews create community through engaging around our shared stories, so do fans. But instead of writing stories or essays or making short films which offer exegeses of Biblical or Talmudic texts, fans write stories and essays and make short films which explore pop culture texts. We respond and re-purpose, turning and turning all kinds of stories to see what might be found inside. Often what we find there — what we foreground, or what we add — says as much about us as it does about the book or movie at hand. That’s part of the fun.

Fanfiction is fiction which takes an existing story as its starting point and then goes somewhere new. (This happens outside the fannish world, too. You could think of Jo Graham’s Black Ships as Aeneid fanfiction, or the musical Joseph and the Amazing Technicolor Dreamcoat as Bible fanfiction — part of the rich tradition of contemporary midrash.) Fanvids are short amateur films which use found footage and music to tell a story or make a point. (See What is vidding?, part of a series of short films on vids and vidding; if you want to learn more, read Remixing Television.) Historically, these are womens’ arts. In crafting fanworks together, with and for one another, we create community.

My years in the community of media fandom have helped me feel empowered not only to savor stories, but also to respond: with love, with criticism, with new stories which build on or diverge from what I’ve received. Learning to put on these lenses, to encounter story with/in this interpretive community of friends, has enriched my reading and my writing alike.

Creating fanworks transforms us from consumers to producers. Instead of just imbibing stories, we become part of the cultural conversation. It’s like the paradigm shift of remix culture and the read/write web, only we’ve been doing it a lot longer than even the most old-school of bloggers. (Media fandom has been around since the 1970s; the broader term fandom has been in use since 1903. And, of course, generating creative work in response to existing creative work is about as old a practice as I can name; just ask Cory Doctorow.)

Fandom is very like Judaism in a lot of ways. And fanworks are transformative work.

7.

Full disclosure: “transformative work” is a technical term, and I’ve been using it in a slightly creative fashion to mean two things at once. The primary meaning of transformative use is a use which, in the words of the Supreme Court, “adds something new, with a further purpose or different character, altering the (source) with new expression, meaning, or message.” (Campbell v. Acuff-Rose Music, 1994.) I think my customized liturgies and homegrown psalms fit that bill, as do fanworks writ large.

The other kind of transformation I’ve been talking about here isn’t a legal matter, it’s an internal one. In the four-worlds paradigm I reference so often, the legal definition of a transformative work is an assiyah issue, relevant in the world of actions and physicality. But I’m most interested in how transformation plays out in yetzirah (emotions), briyah (thought), and atzilut (essence.) I’m committed to supporting the kind of transformation we work in ourselves and in our communities when we allow our work to transform us in those realms. (Then again, legalism and storytelling do go together like chocolate and peanut butter in my tradition, so maybe the dichotomy isn’t so stark afterall.)

It seems to me that whether we’re writing rituals and psalms, or writing poems, or creating fanworks, the net result is both transformed works and transformed individuals. It’s a two-way street: we transform works, and the work transforms us.

Rabbi Rachel Barenblat was ordained by ALEPH: the Alliance for Jewish Renewal in 2011. She holds an MFA from the Bennington Writing Seminars and is author of three book-length collections of poetry: 70 faces: Torah poems (Phoenicia Publishing, 2011), Waiting to Unfold (Phoenicia, 2013), and the forthcoming Open My Lips (Ben Yehuda, 2014), as well as several chapbooks of poetry. A 2012 Rabbis Without Borders Fellow, she participated in a 2009 retreat for Emerging Jewish and Muslim Religious Leaders in 2009, and in 2014 will serve as faculty for that retreat. Since 2003 she has blogged as The Velveteen Rabbi; in 2008, TIME named her blog one of the top 25 sites on the internet. She has been an off-and-on contributor to Zeek since 2005. She serves Congregation Beth Israel, a small Reform-affiliated congregation in western Massachusetts, where she lives with her husband Ethan Zuckerman and their son.

This piece first appeared on The Velveteen Rabbi (http://velveteenrabbi.blogs.com/blog/) and has been reprinted here with the kind permission of the author. 

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The Letter

by Ellen Norman Stern (Willow Grove, PA)

The knock on the door of our Berlin apartment came around five o’clock one dark May morning in 1938.

It was the Gestapo’s favorite time of day to make house calls. Their victims were usually asleep and not many other people saw them at such an hour.

When my mother opened the door two men in dark raincoats stood outside. One of them muttered “Geheime Staatspolizei”, pushed the door open and let himself and his partner in. Their clothing was as anonymous as their faces. Perhaps secret agents are picked for their faces. Only members of a Secret Service look like this, no matter what their country. No one ever remembers their faces afterwards.

It was a time of constant rumors, all of them threatening. Even I, a child, had recently heard of an impending roundup of Jewish men in our Berlin community. There would be a mass raid, a Razzia. Why and what was to happen later no one knew. A pre-dawn knock on the door was dreaded, almost expected that summer. The only speculation was when that knock would come and for whom.

Yet when it came for us, it surprised my father and mother.

Inside the apartment the agents confronted my father in the foyer and announced their orders for his arrest. My father asked permission to take a little of their time: he needed to shave and dress. There was no way of resisting.

Permission granted, one agent remained in the bathroom with him and took up a position by the window facing into the room. The other man stayed in the foyer with his back against the slightly open bathroom door.

I tried to be unobtrusive. From my spot in the small entrance hall I peeked into the bathroom. Inside I saw my father’s face in the mirror over the sink. I thought him calm and accepting. But I noticed how his hands shook while he freshened up.

My father had suffered several recent gall bladder attacks. My mother said it was bad nerves. Conditions in Berlin were more than favorable to nervous tensions that spring in 1938, especially if you were Jewish and in a prosperous business.

My mother went into the kitchen and got ready a dose of his medication. When she came out she held a small bag in her hand and said he must be sure to take it with him. One of the agents remarked drily that there would be little chance for using it.

I saw my mother’s eyes starting to blaze. I cowered as she turned on those the two Gestapo agents. Fearlessly she chastise them for barging in on our peaceful household at such an hour, for taking away an innocent man when everyone knew how wrong that was. How could they face their consciences performing such a mission?

I like to think the Gestapo men remembered that scene. I did, all of my life. It took incredible guts to speak out the way Mimi (my pet name for my mother) did. Mimi remained ladylike, even in her scolding. But she certainly exploded that morning. She had good reason. The Gestapo men knew that, too.

In later years when her health and mental strength failed she was often afraid of things that seemed childish.. But I remembered Mimi’s courage and I recalled how she stood in the hallway of our fashionable apartment, wagging her finger under the nose of one of the Gestapo men, backing him against our bathroom door. Would I have such guts were I put to the test?

That dark morning the man at the door just shrugged his shoulder, while the other one inside the bathroom ignored her. None of that deterred her.

“Where are you taking my husband?” she asked repeatedly until the second man finally answered.

“To the police station.”

The landing outside our apartment door was still dark when they took my father out. My father, wedged between both agents, turned to Mimi.

“I have a cousin in America. His name is Karl Nussbaum, he lives in Louisville (he pronounced it Lewisville), in the state of Kentucky. Try to contact him and see if he can help.”

Mimi dressed quickly, then she helped me with my clothes. We began the rapid walk to the police station a few short blocks away. Just as we arrived breathlessly at the precinct, several police vans pulled out. All the vans were fully loaded. Therazzia had already produced results…

Inside the station Mimi asked again and again about the destination of those departing vehicles.

“Alexanderplatz,” was the desk sergeant’s brusque reply.

She decided we would follow them. My mother held my hand during the long taxi ride that brought us to the center of Berlin. The driver stopped at a large dark, gray forbidding-looking building. Threatening, just like the mood of everything else that morning.

Many years later I saw the dreaded headquarters of the Gestapo in a television newsreel. Even after many decades that view crystalized into the special and horrible aura I once felt. I could not know what went on in that building, what unspeakable and excruciatingly painful acts people experienced there. What I sensed at age ten was that it was an evil place.

The day I entered it with Mimi I saw a warren of dark corridors filled on either side with windowless small brown cubicles. In one such sparse hole in the wall I waited quietly at her side while Mimi faced a heavy-set official behind a desk. The chubby man rustled some papers, pretending to look up my father’s name.

The prisoner Leopold Nussbaum, he informed us, was on his way to an interrogation center, but the family would probably have some news from him within a few days.

Not encouraging information, yet the official was a shade kinder than others we had encountered on our way in. Why that was I couldn’t tell. The way he looked at Mimi was definitely less insolent and arrogant.

On our return trip we stood waiting for the streetcar at its Alexanderplatz stop. Buildings just as dismal and forbidding as the one we had just left surrounded the traffic-filled square. I glanced across the street at another evil-looking dark tall structure. I felt Mimi shudder as she too, looked at it.

“The Volksgerichtshof, ” she volunteered without my asking.

In later years I learned more about the People’s Court and its use by the Nazi regime. Mimi might have known even then what kind of place it was. Few prisoners left it without an order for their execution, if they left the building alive at all.

The long ride home on the streetcar was bleak. Mimi looked discouraged and fearful and did not let go of my hand. My feelings, of course, were a reflection of hers. She was quiet and sad, and barely spoke. It was May, yet everything around us was still gray and cold. It started to drizzle. Times were suddenly desperate. I had a dreadful sense of foreboding.

In the days following my father’s arrest Mimi searched for the address of the cousin she was supposed to contact. There was a problem. Nowhere in my father’s papers could she find the address. But she did what had to be done. She wrote the letter and explained carefully and discreetly the urgent need for my father to leave Germany quickly. To accomplish that a relative in the United States of America had to grant him an affidavit. This document had to declare that my father would not become a financial burden to the state, but, if necessary, would be supported by his relative. The affidavit listing the sponsor’s assets was one of the requirements of the American consulate in Germany before it granted the desired visa that allowed exit from Germany and entry into the United States.

When she finished her appeal Mimi simply addressed the envelope to Mr. Karl Nussbaum, in care of His Excellency the Mayor of the City of Louisville in Kentucky, The United States of America.

It was a summer hotter than most Berliners remembered. The usually moderate climate had reversed itself. I suffered a heat stroke by just playing in the schoolyard. I lay on my bed in the dark with cold compresses on my forehead and hoped the room would stop spinning.

I thought of my father constantly. My throat tightened with fear when I did. We had not the slightest knowledge of his location or the circumstances of his whereabouts. I did not dare to talk about him to Mimi. She did not let on how worried she was. Perhaps we both hoped that by avoiding a discussion it would not -could not- possibly be as bad as we feared.

After two long dreadful weeks a postcard arrived. “I am healthy. Do not worry.”

Eight more weeks of silence followed. But there were rumors. My God, what dreadful rumors.

Some of them were uttered by the men who came to our apartment every night. Their presence was another baffling phenomenon that summer. No one explained it to me. Children were silent observers of a time which most adults did not understand. Perhaps it was assumed the less children knew, the safer were the grownups around them. Who knew what dangerous information could be leaked by a child who overheard conversations he was not meant to hear? I already knew, that Jewish people did not venture out in daylight unless they had to.

The strangers, different ones every night, came to sleep in our apartment. They slept on pillows, spare mattresses, and blankets, on the grey-carpeted Chippendale dining room floor, under the grand piano in the fruit-wood music room, or just on the carpet in the front hall. By sleeping away from their own homes and spending their nights in strange places these Jewish men felt secure. Our apartment was “safe”. Safe because its family head had already been “visited” and was now in the clutches of the Gestapo. Why would the authorities return and strike for a second time?

The feeling of being watched was constant and ominous. One afternoon the telephone rang. Mimi took the call. She said nothing, but her face showed great concentration as she listened to the caller.

Suddenly she spoke into the telephone with sharp, clipped tones.

“Herr Schmidt, I recognize your voice. Don’t dare to threaten me again. And if you attempt to show your face near me I will report you to the police precinct.”

When she hung up I saw that she trembled.

“It was that lout, the son of the concierge downstairs. That vulture. He thought he could frighten me. ”

The unemployed, sharp-eyed young man apparently surmised that we might be leaving the country before long. He had done odd jobs in our apartment and knew we had unusual and beautiful furniture. With a disguised voice he had claimed to be a government official and told Mimi that it was against the law to sell or remove any of it and that we would be prosecuted if we tried. He stated that every piece had to be left in place were we to move away.

At another time during those difficult days our doorbell rang for the delivery of a large and fancy food basket. It contained delicacies that had been hard to find in the strictly-rationed Berlin food markets for some time. A note in the basket read, “To Frau Trude, from your admirer, Herr Z.”

I did not know any “Mr.Z”, nor did I think Mimi did. And why would he send us such a splendid gift? There was never a definite revelation, yet I felt Mimi strongly suspected who the donor was. In later years she confided that it must have been the fat man behind the desk at Gestapo headquarters. “He felt sorry for me,” she said. “But he also appreciated my situation. Perhaps he even liked it when I spoke back to him and told him what I really thought.”

In Louisville, Karl Nussbaum met with his buddies every Thursday evening for a night of cold cuts and beer, and a round of their beloved “Skat” card game at Cunningham’s, the popular delicatessen restaurant that catered to the “heimatlich” tastes of its German-born clientele.

Karl Nussbaum was a wealthy businessman. During the long years since his arrival in Kentucky as a penniless escapee from World War I German military service his original scrap iron yard had expanded into a big business. His other ventures included the purchase of a whiskey distillery. He and his Gentile wife, Marie Louise, had raised a family of three sons and a daughter. All the sons and the husband of his daughter were engaged in the father’s enterprises. All were stalwart pillars of their Christian church communities. Karl himself, though he never officially left his Judaism behind, took pride in being the donor of substantial gifts to many Christian endeavors.

Among the “regulars” at Cunninghams were several men who had known Karl for many years. One of them was Louisville’s current mayor, Joseph Scholtz.

One Thursday evening during that summer of 1938 the mayor was greeting his friends before sitting down to supper. Seeing Karl Nussbaum suddenly reminded him of something. He pulled out an envelope from the pocket of his seersucker jacket.

“Oh, Karl,” he said, “here is something for you. It arrived at my City Hall office this week.”

Mimi’s letter had reached its destination.

That letter to Louisville bore fruit. Some time during that summer an amazing document arrived at our house. It was an affidavit of many pages vouching for the financial security of Leopold Nussbaum, his spouse and child once they had reached American shores.

After thanking God and the American relatives, Mimi paid numerous highly frustrating visits to the American consulate near Berlin’s Brandenburg Gate. I went along because as a Jewish child I was no longer allowed to go to school and was too young to be left at home alone.

The daily lines of applicants seeking quota numbers for American visas were incredibly long. It was obvious that the staff members of the consulate enjoyed feeling superior to all the pathetic souls seeking admission to the U.S. They made incredible difficulties for them.

Mimi had to apply for my father who was still in the concentration camp. This caused more obstacles. The person seeking a visa had to apply in person or his case would be deferred. In desperation Mimi hired an immigration lawyer to handle the situation. His enormous fee must have included an “inducement” to his personal connection at the consulate.

My father was incarcerated at Buchenwald for eleven weeks. Upon his release he came home to us in Berlin. He was allowed to stay exactly forty-eight hours.

My father was a different man after he came home. He looked so sad, defeated, and distant, I hesitated to go near him. Not the warm, affectionate father I had known before. No longer the man who took me, his only child, with him on Sunday mornings to meet his male friends at Berlin’s famous coffeehouses and treated me to special puff pastry delicacies at Kempinsky or the Cafe Dobrin. Now he was tired and for his two days and nights at home sat in our apartment silent, smoking and thinking.

He was so tired. “It’s from hacking out all those rocks,” he murmured to Mimi, speaking softly so I would not hear. He had worked in the stone quarries while at Buchenwald, had been forced to cut, move and carry heavy stones and rubble. He was a businessman and not used to such hard physical work. The food he had been given was minimal. At that time I did not understand why the camp authorities demanded such tasks from him, why he was treated the way he was.

What he had really endured he never told us.

During his time in Buchenwald he had relinquished the ownership of his business to the state. He told Mimi he was released from camp because he had signed a statement that he would leave Germany within forty-eight hours. But his captors had a departing message for him: “Don’t for a moment think you will ever escape us. No matter where you end up, we will find you. Then we will finish the job we started here.”

During his last day at home my father sat in his favorite chair in the dining room smoking one cigarette after another as he watched the man from the shipping firm pack his personal belongings. Several suitcases stood open on the thick grey carpeting where unfamiliar visitors had slept only a few nights before. On the dining table neat stacks of shirts, pajamas, and underwear lay next to my father’s papers, photographs, and medications. As he distributed the clothing neatly among the cases the mover glanced at the silver-covered porcelain coffee and tea set on the buffet. He picked up one of the silver pitchers and carefully wrapped some heavy underwear around it. Then he positioned it inside one of the suitcases.

“No, no, that set isn’t going,” I heard Mimi protest.

“Might as well send it along while I have the room here, Madame,” the burly man replied. He paid no further attention to her and continued to wrap the rest of the pieces and place them in the baggage. When he was done with the packing, he secured all the suitcases with the moving firm’s official seal. “Ready to go,” he announced. “They’ll travel on the ship with him and no one will bother to open them.”

Within only a few weeks after that a government order came through forbidding emigrating “non-Aryans” from taking gold or silver possessions out of Germany. To this day Mimi’s tea set has kept its special place in our family. When I married my parents gave it to me. When I look at it (and whenever I polish it) I remember the packer who must have known something we did not when he wrapped up my father’s winter underwear. And now, so many years later, I am still grateful to him.

At the end of his 48-hours with us my father left Germany thanks to a train ticket to Antwerp Mimi had been fortunate to obtain. From there he embarked on the S.S. Europa for the trans-Atlantic crossing and a new life.

It was only many, many years later that I understood how close he and Mimi and I had come to the destruction that so tragically annihilated the rest of our family.

And sometimes when I think about the way fate turned out for us I remember the letter Mimi wrote in those dark days. There is no doubt in my mind that letter was “beshert.” It saved our lives.

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.

“The Letter” is an excerpt from Ellen Stern’s unpublished memoir, Surviving: A Family Journal, and is reprinted here with permission of the author.

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Jewish Inspired Woodcutting

by Loren Kantor (Los Angeles, CA)

I was born in a San Fernando Valley suburb nicknamed “Hebrew Heights.”  My paternal grandfather was an Orthodox Jew who scribed torahs for a living.  My maternal grandfather was a secular Jew who loved pork spare ribs.  Like all my Jewish friends, I went to Hebrew School two days a week.  I got in trouble at a synagogue-sponsored Summer Camp for claiming Sammy Davis Jr. as my favorite Jewish cultural figure.  The only time my father ever yelled at me was after I drew a mustache on a Sandy Koufax baseball card.  “Hank Aaron and Willie Mays are fine,” my dad screamed, “but you don’t mess with Sandy Koufax.”

During my bar mitzvah, my friend Robert Levine knocked the torah out of my hand as I carried it around the synagogue.  The entire congregation gasped.  After the torah was finally returned to the ark, I quietly asked the rabbi if God was going to punish me.  “He may send you to Hell for a few weeks, but I think you’ll be okay.”  He smiled as he said this.  I never knew if he was serious or joking.

As I reached my teen years, I developed a complex attitude toward my own Jewishness.  I was always confused by the Chosen People ethos.  It seemed to bypass the merit system I held dear.  Shouldn’t we have to earn the right to be chosen by God, I wondered.  Is a Jewish thief more entitled to God’s blessing than a non-Jewish saint?  I stopped going to temple and became indifferent about my Jewish heritage.  At the same time, I retained a strong cultural Jewish identity.  I boasted about my “Jew-Dar,” my ability to spot a fellow Jew from across the room.  As I read about successful Jewish figures in the world, I felt a deep pride in my heart, even as I eschewed Jewish teachings in my own life.

As an adult, I sought deeper understanding about my Jewishness.  I sought out my old bar mitzvah rabbi who was retired in Palm Springs.  Over bagels and coffee, Rabbi Zeldin explained to me that being chosen didn’t mean you were better than others.  It meant God expected more from you. This change in perspective did wonders for me.  Being Jewish was not about entitlement.  It was about about holding yourself to a higher standard.  Rabbi Zeldin further explained that Jews have always been outsiders.  We’ve had to fight for survival and been viewed as “different” by the rest of the world.

I too have always felt different from the rest of the world.  Even as a young child the “outsider” motif was emblazoned in my heart.  The irony is I felt different from my fellow Jews as well.

I first became exposed to woodcut prints in the 1980’s when I attended a German Expressionist art show at LA County Museum.  The exhibit featured the work of Kathe Kollwitz, George Grosz and others. I was impressed by the stark and simple lines and the boldness of the prints.  The images were haunting and vivid and I couldn’t get them out of my head. Several of the artists were Jewish and it didn’t surprise me that the Nazis had classified the work as “degenerate art.”

I was writing screenplays in those days.  I never considered carving woodcuts for myself.  But whenever a woodcut exhibition came around, I made sure to attend.

In 2009, my wife gave me a woodcutting set for my birthday.  I watched a few online tutorial videos and I dove in not having a clue what I was doing.  I cut myself often at first and the initial prints were ragtag and primitive.  But after awhile, I started to get the hang of things.

We needed art for our walls at home so I decided to carve woodcuts of classic movie personalities.  Whether by accident or unconsciously, a large number of my subjects were Jewish. They included Billy Wilder, Edward G. Robinson, Peter Lorre and Lauren Bacall.  (Bacall is first cousin to former Israeli Prime Minister Shimon Peres.)  I found their faces compelling and their stories inspiring.  I learned that these Jewish personalities considered themselves “outsiders” as well.  It’s as if we were all part of a family. There was an energetic kinship, a tribal recognition of “fellow travelers.”

As I continued woodcutting, I had memories of my grandfather scribing torahs.  He used to say it took him a full year to complete a Torah.  One mistake and he had to start over.  Woodcuts are similar.  Once you carve into the block, there’s no turning back.  Small mistakes you learn to live with.  If you make a large mistake, you have to start over.

Woodcutting is an ancient art, an analog process in a quickly evolving digital world.  When carving, it’s integral that I relax and focus on each individual gouge.  The process is meditative and calming.  In these hectic times, it’s nice to have an activity that forces me to slow down and breathe.  In many way, it’s as if woodcutting is my personal form of prayer.

Loren Kantor is a Los Angeles-based Woodcut Artist and writer.  He worked in the film industry for 20 years as a screenwriter and assistant director.  He’s been carving woodcut images for the past five years. To view samples of his work in woodcutting, visit his website: http://woodcuttingfool.blogspot.com

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The God Particle

by Mel Glenn (Brooklyn, NY)

They may have found the particle in Geneva,
but they didn’t find God in heaven.
So, the search continues, in Switzerland, in me.
I applaud their efforts, even though
I don’t understand their physics.
Yet, I know the answer to God’s existence
won’t be found inside a semi-conductor,
but in the intricate tunnels of the human heart.
If I could find a particle of belief,
I would be the most willing convert to orthodoxy.
Nations fight over religion;
families argue the merits over religion
in prewedding discussions with their offspring.
The battle between belief and non-belief
rages across the tough terrain of my soul.
Will you esteemed physicists
now find yourself closer to God,
or will one tiny particle even more convincingly lead
to the gateway of the splendor of His work?
I await an answer from you or God.

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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Light Music

by  Ilan Braun (Le Tour-du-Parc, Brittany, France)

Have you ever heard
On a summer evening
The violins and the cellos sobbing
While high in the sky
Swallows are  dancing
A place where the bows on too tight cords
Are running up faster than life
Faster than death
Where  grey-faced musicians
In spite of all
Smile  to the children around
Where tears flow like streams
Stemming from springs
Believed to be forever dried up
Do you hear, still,
This light music?

Ilan Braun, a retired French journalist who wrote for L’Arche, says that “This poem was inspired by the tragedy of the Terezinstadt concentration camp.”

A poet, writer, painter and amateur historian on the Holocaust and post-war Jewish clandestine immigration to Israel, he has lived in Israel and Australia and visited over 30 countries.

You can read more of his work in Labyrinthe poétique: De la terre au ciel (Publibook, Paris, 2009) and in English (“The Oak of Tears”) in Under One Canopy: Readings in Jewish Diversity, edited by Karen Primack (Kulanu Inc. Silver Spring, MD. 2003).

For more information about his work, visit: www.ilanbraun.dr.ag

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Climbing the Ladder

by Janet R. Kirchheimer (New York, NY)

Who opens a negotiation with, “I will work
for your younger daughter Rachel for seven years.”
Offer to work for a year, maybe two,
then settle on three or four.
After seven years of labor, what does Jacob get?
Leah, the older sister.
Their father, Laban, tells him, “It is not the practice
in our place to marry off the younger before the older.”
Says he’ll give him Rachel if he serves another seven years.
What choice does Jacob have?

Take a look at Joseph.
He interprets Pharaoh’s dreams and tells him
a great famine is coming, tells Pharaoh he needs
someone to run the country.
So Pharaoh appoints him viceroy.
Now there’s a man who knows how to get ahead.
He even gets a wife for free, doesn’t have to work a stitch for her.
Of course, his descendants end up as slaves in Egypt
for two hundred and ten years, but that’s another story.

Janet R. Kirchheimer, a teaching fellow at Clal, is the author of How to Spot One of Us (2007), a collection of poems about her family and the Shoah. Her poems and essays have appeared in several journals such as the Connecticut Review and Limestone, as well as online at Beliefnet and drafthorse, where this poem first appeared. It’s reprinted here with the kind permission of the author.

For more about Kirchheimer’s work, visit: http://productsearch.barnesandnoble.com/search/results.aspx?WRD=janet+r+kirchheimer&page=index&prod=univ&choice=allproducts&query=Janet+R+Kirchheimer&flag=False&ugrp=2

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My New Year

by Janet Ruth Falon (Elkins Park, PA)

January first doesn’t feel like my new year
even though it’s time for fresh calendars,
and melancholy after-Christmas sales,
and bracing for icy winter, and wishing beyond,
and starting from zero in Blue Cross deductibles,
and whittling-down diets after holiday fressing.

Rosh Hashanah feels like new year
when leaves dress up, then dry up, and fall,
and kids, bored with freedom, go back to school,
and the tans fade away, and the lines disappear,
and we all about-face and shift inward,
towards the refuge of home,
towards the comfort of heart,
towards the warmth of forgiving each other.

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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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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What’s God’s Name?

by Jennifer Singer (Sarasota, FL)

When someone says “I don’t believe in God” the obvious question is, “Which God don’t you believe in?”

Often the answer is a third grade version, something like, “a guy sitting in the clouds with a big white beard,” or perhaps “the scary judge who’s going to punish me for every tiny infraction.”

I don’t believe in those versions of God either.  I’m not sure exactly what God I believe in, but I do know It/He/She/Whatever isn’t something tangible, or even conceivable.

That’s the point, right?  God is beyond definition or description.  God is Beyond.

One of the Hebrew names for God is Ayn Sof –  אין סוף — without end, infinite.  This kind of mystical name for God is a lot easier for me to swallow than the third grade models.

In the bible, when Moshe asked God to identify Himself, God said: Ehyeh asher ehyeh.  The Hebrew looks like this:  אהיה אשר אהיה

It’s sometimes translated as “I am that I am” but in fact it’s in the future tense and more accurate translations are:

”I will be what I will be,” or

“I will be who I will be,” or perhaps even

”I will be because I will be.”

(The middle word, asher, can be translated as what, who, because, or that, depending on the context.)

Rabbi Marcia Prager put it this way at DLTI (Davvennin’ Leadership Training Institute):

“Making the words [of the prayer book] release deep truths is a struggle — words like God, which are in many ways so unfortunate and unfortunately over- and badly used.  We need to engage our internal translators, and sometimes it’s not so easy.”

Reb Marcia teaches that the root of the word Adonai, one of the names most used in Judaism, isn’t from the word for “sir” but rather from the word for “joints, connectors.”  Thinking of God as Connector rather than Sir makes more sense to me.

And yet…. I still struggle.

Jennifer Singer, a rabbinic student with the Aleph program of the Renewal movement, has served as Foundation Director at the Sarasota-Manatee Jewish Federation, worked as an educator at the Flanzer Jewish Community Center, and taught in programs across the community for adults and children.

In 2006, she earned a Master of Arts degree in Jewish Education from the Jewish Theological Seminary, and currently works as a fundraiser for Technion University, as well as part-time at Kol HaNeshama, a Reconstructionist congregation, where she leads services and a Family Education program called Doorways to Judaism.

She shares her home with her husband, two daughters, four dogs, three parrots, two cats, and a turtle.

You can read more of her work at her blog SRQ Jew (http://srqjew.wordpress.com/) where this piece first appeared. It’s reprinted here with the kind permission of the author.

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How I Knew and When

by Janet R. Kirchheimer (New York, NY)

Age 8 – My father hangs upside down on a pipe that was part of a fence
that separated our street from the next. All of his change
falls from his pockets. He looks so young.

Age 15 – “There were one hundred and four girls
in the Israelitisch Meisjes Weeshuis orphanage in Amsterdam.
Four survived,” my mother says.
“I remember Juffrouw Frank, the headmistress.  She made us
drink cod-liver oil each morning. She said it was healthy for us.”

Age 17 – My father tells me his father and sister, Ruth, got out
of Germany and went to Rotterdam. They were supposed to
leave on May 11, 1940, for America. The Nazis invaded on May 10.

Age 21 – My mother tells me Tante Amalia told her
that on the Queen Elizabeth to America in 1947, after she
and Onkel David were released from an internment camp
on the Isle of Man, she was so hungry she ate twelve rolls
every day at breakfast. She said it was the best time she ever had.

Age 24 – My father tells me, “Otto Reis got out of Germany
in 1941. He took a train to Moscow, the Trans-Siberian railroad to
Vladivostok, a boat to Shanghai, a boat to Yokohama, a boat to
San Francisco, and a bus to Philadelphia, his wife and three sons
staying behind. Carola Stein signed affidavits for them, but
the government said she didn’t make enough money.”

Age 31 – My mother’s cousin refuses to accept money a rich
woman left him. He says the money has too much blood on it.
My mother tells me that in 1939 her cousin had asked this woman
to sign affidavits for his wife and two daughters. She said no.

Age 33 – My father asks me to dial the number. His hands shake.
He asks my cousin Judy if she wants to send her three children out
of Israel during the Gulf War. She says she can’t let them go.

Age 42 – A waiter in a Jerusalem hotel tells my father
he should come to live in Israel, because it’s home.
My father tells him, “Home is anywhere they let you in.”

Janet R. Kirchheimer is the author of How to Spot One of Us (2007), a collection of poems about her family and the Shoah. Her poems and essays have appeared in several journals such as the Connecticut Review and Limestone, as well as on Beliefnet. She is a teaching fellow at Clal.

This poem has been reprinted with the kind permission of the author and Clal-The National Jewish Center for Learning and Leadership.

For more about Kirchheimer’s work, visit: http://productsearch.barnesandnoble.com/search/results.aspx?WRD=janet+r+kirchheimer&page=index&prod=univ&choice=allproducts&query=Janet+R+Kirchheimer&flag=False&ugrp=2

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