Mine asks: why is social media so enthralling?
Why do you keep opening new tabs to check in
on everyone we've ever known? Are you aware
that refreshing three different newspapers
gives you no control over anything?
Have you noticed how despair is just
below the surface, and do you think it has anything
to do with the questions I just asked
that you clearly don't want to answer? I'm sorry,
did you think I was being rhetorical?
What's so difficult about knowing you're going to die
that you'd rather fritter away your precious days
in a haze of rage and indignation
than live them and love them before you
leave them at an undisclosed location and time?

My eyes harvest color.
Paper-thin slivers
of purple cabbage
gleam, speckled
with Aleppo pepper.

Slabs of ruby beet
make labneh blush.
The burning bush
outside my window
blazes scarlet.

My crispers teem
with ombre leeks,
with wax peppers
in yellows and oranges
bright as tree-tips.

If I hold my breath
will time stop
on this hinge
between seasons?
But then

I wouldn’t get
to embrace you
again, or to hope
for what yet
might grow.

It is always humbling to read my words translated into another language -- especially into this language that I so deeply love. And I'm moved to know that this particular poem, a cry from my heart, reached one of my Israeli friends and colleagues deeply too. Thank you for this translation, R. Simcha Daniel Burstyn.

(You can read my poem in English plaintext here in an earlier blog post. And/or, the Hebrew and English are both posted as comments on this Facebook post where I also shared this translation.)

From Texts to the Holy, Ben Yehuda Press. 

Here's the poem in plaintext for those who need it that way.

Pray

Sometimes I manage
formal conversation,
a love letter evening
and morning and afternoon

but most of the time
I rely on the chat window
open between us all day.
I want to tell you everything.

This month you are near.
Walk with me in the fields.
I want to take your hand
and not let go.

 Rachel Barenblat

How can we approach a new year
when time stopped on Shemini Atzeret

-- "the pause of the 8th day," when
God beseeches, "linger with Me

a little longer," and we relish
the sukkah's peaceful fragility

for just one more day before
jubilant circle dances with Torah

in our arms like a toddler --
last year we woke on that awful day

to the news of Hamas attacks
and now it's Elul again, when

"The King is in the Field," but
this year God walks with us

in endless mourning, paying
shiva call after shiva call, and

there are still hostages, though
six fewer living ones than last week

not to mention whole neighborhoods
razed to rubble, resurgence of polio,

forty thousand Palestinian souls
dead, an endless abyss of grief?

I can't write an Elul poem this year
when my heart stopped beating properly

on Shemini Atzeret and may never
feel entirely unbroken again.

The pause of the 8th day. See Silence after the chant, 2014.

The King is in the Field. See Walking in the fields, 2017.

Previous years' Elul poems.

And here's the poem in plaintext for those who prefer it that way:

Chord

Grief hums constantly
like cicadas.
It's silt clogging
the storm drains.
It's a bad penny
landing same side up.

Grief says
the poem ends here.

And still
there are cornflowers
amidst the froth
of Queen Anne's Lace,
the moon peeking
through cotton candy clouds,
your voice in my ear.

Give the penny away.
Dredge the streambed clear.
Take up your instrument
and turn the doleful hum
into a chord.

We've reached light's peak
but that doesn't mean
everything is downhill.

The riverbed to loss
is well-carved.
Keep your cup brimming.

Even if you can't name
the tree of white blooms
it flowers anyway.

Volunteer wildflowers
take defiant root.
Learn from them

and from this profusion
of petunias,
silent orchestra

of purple trumpets
in riotous array
singing color and light.

The Torah of knobby roots
protruding from sandy earth.
The Torah of watch your step
in every language at once.
The Torah of Duolingo lessons
teaching me to praise God
for Duolingo lessons.
The Torah of my heart,
a fragile paper balloon
buoyed by candlelight.
The Torah of silence, broken
by an unexpected dance beat.
The Torah of small cats.
The Torah of photographs.
The Torah of chlorophyll
singing its exuberant chorus
across these green hills.
The Torah of saying what's true.
The Torah of uneven stones
and wildflowers between them.
The Torah of tracing
this curving path, trusting
it goes where I need to go.

Trudging on treadmills
and surrounded by vacuum, tired
of freeze-dried anything
we'll kvetch: why did you bring us
out here to die? Was the climate crisis
really so dire?

Like our ancient ancestors
craving cucumbers and melons,
the thirsty tastes
of fertile crescent,
nothing to eat but manna
every blistering day.

Maybe a captain, frayed to the end
of his connector cable
will snap: I can't anymore
with you ungrateful wretches,
go eat hydroponic lettuce
until it comes out your nose.

What liturgies will we write
remembering this green Eden?
What revelation will we receive
in ownerless wilderness
wandering across the vastness
between stars?

Why did you bring us? Ex. 14:11. Cucumbers and melons. Numbers 11:5.  I can't anymore. Numbers 11:11. Until it comes out your nose. Numbers 11:20. Ownerless wilderness. We receive(d) Torah in a place that is hefker, ownerless; some say, we receive when we ourselves become hefker.

The idea of seeking a new home among the stars is still science fiction. But I can imagine a hypothetical generation of space refugees behaving like the Children of Israel in the wilderness, stiff-necked and grousing. Mostly I wish I could be a fly on the wall to see the liturgies they would write.

Dinner table conversation
about the vast currents
that warm European waters
slowing. I imagine
great swaths of American south
so hot a fall on asphalt burns
while Britain ices over.
The second one, at least,
hasn't yet come to pass.
In the morning I daven
asher yatzar, gratitude
for this body that mostly works:
the vessels stay open,
the organs stay sealed.
I tell myself no matter what
there will be generations
to carry this prayer forward.
Though in a time
of mass extinctions
(and no one actively hates
the frogs or mice or insects
the way some people
persist in hating us)
I'm not so sure.
I don't want to imagine
a world free of Jews
but they do. Then again
we may have bigger problems.
Who will be left to pray
gratitude for the body
of our planet
if currents fail?

This poem arises out of the confluence of climate grief and rising antisemitism -- a combination I know many of us are feeling keenly. The poem is also a bit more bleak than reality, or at least, I hope it is.

The folks at Woods Hole Oceanographic Institution make a solid case that the complex system of currents known as the Atlantic Meridional Overturning Circulation will slow but will not fail. And although right now many of us are navigating significant fear (as R. Jeffrey Salkin writes, fear of antisemitism to our left and to our right), I truly do believe that Judaism will persist.

Still, if this poem resonates with you in any way, you're not alone. 

This translation algorithm
must be an angel: it does not speak

Aramaic. But is it not true
that angels can learn anything?

Say rather: Aramaic is the language
of the street, tongue of trade

and commerce, and angels can't
be bothered. But is not Hebrew

now street talk, at least
in one ineffable place? Say instead

the angels have forgotten how to hear
and the algorithms never learned

what yearnings underlie the words
we use to disguise our fragile hearts.

The Presence
has no address,
goes with us
everywhere:
in wholeness
and in exile.

This place
is still
a focusing lens
for our prayers,
though not
only ours.

Stories
land differently
when I can see
the topography
of spring and desert,
valley and hill.

To describe this
place of promise,
I would need
God's voice:
all possible meanings
at once.

Lately I've been trying to spend less time refreshing the news and more time working on my next poetry manuscript.  The news is grim and there's so little I can do. Despair is corrosive to the spirit. Better to work on making something -- even if that something is just words.

Of course, poetry isn't wholly a distraction from the sorrows of the world. Especially given that this week I've been working on revising a series of poems that originated last year in a trip to Israel / Palestine. (Some of these lines first found form in the blog post Fifty truths, posted last June.) 

A poem is not like an essay or an argument -- at least most of mine aren't. My poems often originate in yetzirah, the sphere of the yearning heart, rather than in briyah, the world of clarity and intellect. For me a poem is more like a painting or a collage, hopefully functioning on an associative level. 

A friend remarked recently that she's never before experienced a situation where so many people are not only utterly divided on an issue, but not even agreeing on basic facts about it. That's another thing that can feel corrosive to the spirit. Another reason that lately I turn to poetry. 

I think of poetry the way I think of midrash: no single poem is "the right answer," but the totality of poetry taken together can offer a glimmer of ultimate reality. That's maybe especially true when it comes to poems about this contested, complicated, beloved place. 

Symbols, This Year

The shankbone is for houses across Israel and Gaza
where the Angel of Death has not passed over.

Maror for the hot tearful bitter sharp pain
of hostages held underground and children imprisoned.

Haroset, for mortar: Gaza bombed to rubble. 
The egg is roasted like charred kibbutz walls. 

Everything is dipped in tears like the sea that closed 
when God rebuked, "My children die, and you sing praises?"

Matzah: cracker of liberation and affliction. (Gazans
approaching starvation know only one of these.)

There’s no place on the seder plate for ambivalence, 
survivors’ guilt, history’s persecutions telescoping into now.

In every generation trauma traps us in Mitzrayim.
Will this be the year we begin to walk free?

R. Rachel Barenblat

This prayer-poem for Pesach is part of the new collection of poetry, liturgy, and art for Pesach 2024 released earlier this week by Bayit. Click through for This Broken Matzah, available as a downloadable chapbook / PDF of liturgical poetry and art, or as google slides suitable for screenshare. 

Featuring work created in collaboration by the Liturgical Arts Working Group at Bayit, this collection includes work by Trisha Arlin, Joanne Fink, R. Dara Lithwick, R. David Evan Markus, R. Sonja Keren Pilz, Steve Silbert, and R. David Zaslow, and me. 

How do we celebrate Pesach in a year like this one? Everything about the seder lands differently after the last six months. This offering emerges out of grief and hope. No two pieces are coming from exactly the same place. There are so many emotions — even within a single heart, much less around any given seder table.

On behalf of my co-creators at Bayit, I hope these prayers, poems, and works of art will help you make this Pesach what you need it to be.

Click through for This Broken Matzah, available as a downloadable chapbook / PDF of liturgical poetry and art, or as google slides suitable for screenshare. 

Featuring work created in collaboration by the Liturgical Arts Working Group at Bayit, this collection includes work by Trisha Arlin, Joanne Fink, R. Dara Lithwick, R. David Evan Markus, R. Sonja Keren Pilz, Steve Silbert, and R. David Zaslow -- and of course also me. 

Bayit's Liturgical Arts Working Group is working on a collaborative offering for Pesach 2024, which we hope to release on Monday April 8 / just before Rosh Chodesh Nisan. Meanwhile, here's a foretaste -- a piece I've been working on, designed to be used in lieu of (or in addition to) the seder's reading about the Four Sons / Four Children. It arises out of what's unfolding now in Gaza and Israel, and the impacts on our families and communities -- let me know if it speaks to you, and keep an eye on Builders Blog for our whole collection next week.

All Four (Are One)

Today the Four Children are a Zionist, 
a Palestinian solidarity activist, a peacenik, and 
one who doesn’t know what to even dream.

The Zionist, what does she say? Two thousand years
we dreamed of return. “Next year in Jerusalem”
is now, and hope is the beacon we steer by.

The solidarity activist, what do they say?
We know the heart of the stranger. To be oppressors 
is unbearable. Uplift the downtrodden.

The peacenik, what does he say? We both love this land
and neither is leaving. We’re in this together.
Between the river and the sea two peoples must be free. 

And the one who doesn’t know what to even dream:
feed that one sweet haroset, a reminder that 
building a just future has always been our call.

All of us are wise. None of us is wicked.
(Even the yetzer ha-ra is holy—without it
no art would be made, no future imagined.)

We are one people, one family. Not only
because history’s flames never asked what kind
of Jew one might be, but because

the dream of collective liberation is our legacy.
We need each other in this wilderness.
Only together can we build redemption. 

R. Rachel Barenblat

No art would be made. Talmud shares a parable that when the “evil impulse” was imprisoned, no eggs were laid – no generativity was possible. (Yoma 69b) History’s flames never asked. See Free, Together, R. David Markus.

be thankful
even when
others don't
have what
you have

you don't
ease their
suffering by
feeling ashamed
of abundance

give praise
for water
and soap
and safety
to shower

for carrots
and onions
resting easy
before slipping
into soup

for happenstance,
the roll
of dice
that landed
you here

How to be universally loathed: insist on not hating.
Cling to driftwood in the ocean of despair.
God is here, too.

The word dehumanization does not belong in poetry.
Some think we're holding the gun,
others think we're in the crosshairs.

The waves bring our words back.
We're using the same sounds
but they mean something different in different mouths.

"When Adar enters, joy increases." -- Ta'anit 29a

When Adar enters, my parents wave
from beyond the veil.
They followed each other
out the door and into
the early spring earth.
My mother blazed the trail
like a 1950s movie star
perched on a pretty little horse,
riding into the sunset.
Dad was lost
the minute she left
but he found his way. The last thing
he murmured was, "looking good" --
to my brother? to himself
in the mirror behind closed eyes?
Or maybe to mom, waiting patiently
just outside our field of vision
for him to realize
the water was fine,
he could just
jump in.

We
need
each other

to
make
a minyan

for
kaddish
or Torah

to wash
and dress
the dead

to drape
mirrors
with sheets

to loft
a wedding couple
in their chairs

to heave
a shovel
of dirt

to roof
a sukkah
with cornstalks

to dance
in turn
with Torah

to ask
why this night
is different

to argue
for the sake
of heaven

Do you celebrate
your yahrzeits
like birthdays?

Are you closer to us
at this season
as when planets
as align?

Are you always here
or only when we remember?

When you watch
a funeral
from there
what do you feel?

Did you organize
a welcome party
for the new arrival --
chains of illness
thrown off
like light bedsheets
in the morning
-- and is she already
making art
with steady hands?

Making art. See The Art of Adapting (2018, 9 minutes) and its sequel Tina Epstein - Parkinsons (2023, 38 minutes). Seriously, watch these short films by Christian Ayala; they are well worth it.

Both of my parents died during the lunar month of Adar, three years apart. Yesterday my cousin Tina z"l joined them in whatever comes next. May her family be comforted along with all who mourn.