What Would You Pack?

Jun 2, 2017 By Tim Daniel Bernard | Commentary | Naso

1 pair of pants, 1 shirt, 1 pair of shoes and 1 pair of socks
Shampoo and hair gel, toothbrush and toothpaste, face whitening cream
Comb, nail clipper
Bandages
100 U.S. dollars
130 Turkish liras
Smart phone and back-up cell phone
SIM cards for Afghanistan, Iran and Turkey

—contents of Iqbal’s backpack on arriving in Lesbos, Greece (emphasis added)

A Text That Mirrors Democracy

May 26, 2017 By David Marcus | Commentary | Bemidbar

The book of Numbers does not start with the word bemidbar, which occurs a little later in the first verse, but rather with vayedabber (“and he said”). In the standard Rabbinic Bible (Mikraot Gedolot), the first word of the book is introduced with an extraordinary flourish: The word vayedabber is printed in giant letters and enclosed in a decorative woodcut border in the shape of a parallelogram. This is surrounded by another rectangle consisting of two lines of Masoretic notations (traditional notes on the Biblical text) on each side; these notations are, in turn, surrounded by two biblical verses, one from Nehemiah and one from Daniel.

בהר סיני (“At Mount Sinai”)

May 19, 2017 By Louis Polisson | Commentary | Behar | Behukkotai

At Mount Sinai
We chose Her
And what did She say?

Declare liberty for boy and girl
There shall be a Sabbath of complete rest for the land
A Sabbath
For Being

Casting Call: Leaders Wanted

May 12, 2017 By Avi Garelick | Commentary | Emor

For the stage, an actor works himself into a role… In this respect, a role in a play is like a position in a game, say, third base: various people can play it, but the great third baseman is a man who has accepted and trained his skills and instincts most perfectly and matches them most intimately with his discoveries of the possibilities and necessities of third base. On the stage there are two beings, and the being of the character assaults the being of the actor; the actor survives only by yielding.

—Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, 1971

Leftover Scraps

May 5, 2017 By Julia Andelman | Commentary | Aharei Mot | Kedoshim | Shavuot

The Torah exhorts us in this week’s parashah: “When you reap the harvest of your land, you shall not reap all the way to the edges of your field, or gather the gleanings of your harvest…you shall leave them for the poor and the stranger” (Lev. 19:9-10). This mitzvah plays out in beautiful narrative form in the Book of Ruth, read on the upcoming holiday of Shavuot. But Ruth is the exception; she is rescued from her destitute state by Boaz, the owner of the field where she gleans, who marries her. What of all those who remained gleaners—whose survival depended on the daily toil of gathering other people’s leftovers?

Guarding Our Tongues

Apr 28, 2017 By Abigail Uhrman | Commentary | Metzora | Tazria

Becoming is better than being.

—Carol Dweck, Mindset: The New Psychology of Success

This week’s parashah discusses tzara’at, a skin disease understood in rabbinic tradition as punishment for lashon hara, evil speech. The public castigation that the metzora suffers is a powerful warning for us to “guard our tongues.” It was with words that God created the world, and our words have potential to build, create, and sustain life and human dignity, or to be a source of pain and destruction.

Making Meat

Apr 21, 2017 By Daniel Nevins | Commentary | Shemini

Dr. Mark Post of the University of Maastricht stunned the world several summers ago by producing the most expensive burger in history. Working from stem cells taken from a live cow, his team cultured muscle tissue that they then turned into an edible product resembling ground beef. Amongst all the specifications for kosher animals in this week’s parashah, lab-grown meat is unsurprisingly absent. Jews therefore want to know—is it kosher? Could it even be pareve?

A Scroll of The Song of Songs

Apr 14, 2017 By Library of the Jewish Theological Seminary | Commentary | Pesah

This decorated scroll of Shir Hashirim (which is read on the Shabbat of Pesah) is a product of the circle of the Bezalel Academy of Arts and Design in Jerusalem, dated to circa 1930, though the scribe and artist are unidentified. The artistic movement associated with this school was informed by the Zionist ideals of the society in which it was immersed.