Velveteen Rabbi

Purim is almost upon us -- the last Jewish holiday that most of us celebrated in person last year, before the pandemic started keeping us apart. It's a tough anniversary. A year since we started staying apart to protect each other. It feels like forever. We celebrate Purim with costumes and masks -- masks, for sure, mean something different now than they ever did before. We celebrate topsy-turviness -- but what does it mean to do that when our whole world feels turned upside-down? 

Those were some of the questions animating the members of Bayit's Liturgical Arts Working Group. I think you'll see them in our fifth collection of prayer and poetry and artwork, which we just released today. My main contribution (aside from convening the group!) is a poem about Esther and us, quarantine and saving lives and loss. I also wrote one of the short pieces in our seven-part "Last Purim" series, reflecting on what Purim was like "before covid," a year (or maybe a lifetime) ago. 

For me I think R. Sonja K. Pilz's poems are the most poignant and powerful this time around -- the one about her baby thinking masks are ordinary, and the litany with the refrain of "twelve months / or more." But honestly, everything in this collection moves me, and I'm grateful to be collaborating and co-creating with this exceptional group of artists, liturgists, and rabbis. You can read excerpts and download the PDF here at Builders Blog: The Lot of One Year - Liturgy, Poetry, and Art for Purim 2021.

Things I cannot fix,
an incomplete list:

armed militias.
Global pandemic.

The grief of staying apart
and unbearable yearning.

Rage at insurrectionists
and anti-maskers.

Things I can fix:
lunch for my child.

This winter stew, meat
from the freezer

and dried mushrooms
plumping in hot broth.

Warm speckled rye dough
pliant beneath my hands.

I met Rabbi Laura Duhan Kaplan when I was in rabbinical school, where she was one of my professors. These days I am honored to call her a colleague and friend. She recently visited my shul (via Zoom, of course) to share about her latest book, The Infinity Inside, a beautiful collection of essays and spiritual practices. 

She's also a blogger, and has been sharing her words at On Sophia Street for ten years. In celebration of her tenth blogiversary, she recently interviewed me for her blog (and will be interviewing two other spiritual bloggers -- subscribe to her blog to read those interviews too!) We talked about poetry, liturgy, spiritual practice, grief work, Crossing the Sea, and more. Here's a taste of our conversation:

Laura: You’re a life-long writer and a long-time blogger. Can you tell us a little bit about why you write? Do you see it as a spiritual practice?

Rachel: Writing is my most enduring spiritual practice. I’ve been writing my way through the world for as long as I can remember. Sometimes writing is a gratitude practice, a way of articulating to myself the things in my life for which I can honestly say modah ani, “I am thankful.” Sometimes writing offers a lens onto a tangled knot of thinking and feeling. Sometimes I look back at what I wrote and that gives me perspective on what’s constant and what changes.

EM Forster is reported to have said, “How do I know what I think until I see what I say?” I love that. Writing, like prayer, is how I come to know myself... 

Read the whole interview here: Rachel Barenblat: poetry, liturgy, spiritual practice. 

The lake has frozen.
Ice fishermen scatter,
tiny dark figures

making their way
across its flat
white expanse.

My heart pounds
gunfire
in my chest.

If the ice breaks
there is no one
to call.

I drove past a frozen lake this morning on my way to get my allergy shots. Every year I watch this lake freeze. Every year I watch the ice fishermen settle on the ice. Every year I spare a thought about the danger in what they're doing, especially when the ice is new. Right now it feels like our whole nation is on thin ice. 

If you are struggling with increased anxiety these days, you are not alone. Please reach out to a trusted clergyperson, a therapist, a friend, the national suicide prevention hotline or crisis textline. And reach out to people you know even if you're okay, because the people you know might not be. 

What I can
count on, when

I curl my fingers
into the thatch
inside the hollow.

Out come seeds
little teardrops
slippery and pale.

As they fall
the china bowl
rings like a bell.

These shortest days of the year are always a struggle for me. Like my mother before me, I count the days until the light will begin to increase. I practice finding sustenance in small things: in zesting an orange for cranberry bread, in cooking a new recipe, in turning squash seeds into a roasted snack instead of throwing them away as I would once have done. This pandemic winter, those coping mechanisms feel even more critical. There's so much I can't repair in this terrible and beautiful world. Sometimes it feels almost inappropriate to seek pleasure when there is so much suffering. In those moments I remind myself that I would honor no one by ignoring the little blessings I can find even in these times. May balm come to all who suffer, and may life's tiny sweetnesses help us through.

Once I compared daily prayer
to a chat window open with God
all the time. That was before.
Now the chat windows where I text,
the Zoom windows where we meet,
are as fervent as prayer:

the only way we can be together
anymore. The digital windows open
between my home (my heart) and yours --
they're what link us, together apart
like lovers with hands pressed
to far sides of thick glass.

Chanukah candles go in the window
to shine light into the world
to proclaim the miracle even
in dark times. We've all seen
the old photo, chanukiyah burning
small and defiant in the foreground

and on a building across the street
the swastika's hideous slash. I put
my lights each night in my window:
tiny candles visible to anyone
driving through the condo complex.
It's not brave like the rabbi in Kiel

in 1932, though more people hate us
today than I used to imagine. Still
these little lights declare
that hatred will not destroy us.
Let's be real: no one walks past
my window in the smalltown night

so I post a photo too on Facebook
scattering holy sparks
through every browser window
proclaiming the miracle
that we're still here, that
the light of our fierce hope still shines.

[Originally published in Great Miracles Happen Here: Liturgy, Poetry, and Art for Chanukah, published by Bayit: Building Jewish. Click through to read excerpts and download the whole collection.]

It's not like the Temple, sullied
by improper use and then washed clean
and restored to former glory.
This house is tarnished by familiarity.
Month after pandemic month I've circled
from bed to table to sofa to bed again.
I no longer see the mezuzah
on every door frame. Tonight
with one tiny candle I light another.
I want their little flames to galvanize
my hands to consecrate each room...

That's the beginning of a poem called "Rededication," which I wrote in collaboration with the other rabbis, writers, liturgists, and artists who are part of Bayit's liturgical arts working group. 

You can read all of "Rededication" on page 11 of our new collection for this difficult pandemic Chanukah. (I also have another prayer-poem in that collection, about candles in windows and Zoom...)

The collection is called Great Miracles Happen Here: Liturgy, Poetry, and Art for Chanukah. I think it's a really beautiful collection, and I really hope you'll click through and download the PDF.

Here you'll find new liturgy for this pandemic Chanukah, evocative poetry, and stirring artwork, intended for use by individuals and communities across and beyond the denominational spectrum.

My collaborators and fellow builders on this project are Trisha Arlin, R. Dara Lithwick, R. David Evan Markus, R. Sonja Keren Pilz, R. Jennifer Singer, Devon Spier, and Steve Silbert.

Find it here on Builders Blog: Great Miracles Happen Here: Liturgy, Poetry, and Art for Chanukah. (You can also find it, along with our other liturgical offerings, at Bayit's Liturgical Arts for Our Times page.)

1.

Isaac dug his father's wells anew.
This doesn't mean he just treaded old ground.

Avraham had plumbed the earth's deep wisdom.
Where his pick struck soil, compassion poured.

Isaac opened up his father's pipes
so kindness, long-delayed, could flow again.

In all who drank, a memory arose:
water, shared in the desert, saves a life.

2.

When Isaac's servants, digging in the wadi
found a spring, the herdsmen quarreled: "This is ours."

Frustrated, they named that place Contention.
He dug another, they fought again: Dispute.

How different are things now? Today, who drills
-- and who drinks only the infrequent rains?

What new name might we choose if we could build
a world where everyone gets enough water?

3.

Source of all, flow through us like the rains.
Turn the spigot of abundant blessing.

Teach us we won't die, parched and alone,
but live renewed like hillsides kissed with dew.

When we can share the stuff of which we're made,
what makes our earth the firmament's swirled blue,

then we will find the ample space we need
to share this earth as kin with all who thirst.

(And let us say: Amen.)

SOURCES

"Isaac dug his father's wells anew." Genesis 26:17.

"But when Isaac's servants, digging in the wadi, found there a well of spring water, the herdsmen of Gerar quarreled with Isaac's herdsmen, saying, 'The water is ours. He named that well Esek, because they contended with him." Genesis 26:19-20

"And when they dug another well, they disputed over that one also; so he named it Sitnah." Genesis 26:21

"In today's world, ask: / who may drill, who only gets the infrequent rains?" See The Gap in Water Consumption between Palestinians and Israelis, B'tselem 2013.

"He moved from there and dug yet another well, and they did not quarrel over it; so he called it Rehoboth, saying, "Now at last the Lord has granted us ample space to increase in the land." Genesis 26:22

This poem arises out of this week's Torah portion. It was written in 2013 for a now-defunct blog called Palestinian Talmud, after one of the names given to the Talmud Yerushalmi. A reader alerted me to the fact that my link to this poem was a dead link, so I'm reposting it now.

My mother and I had a complicated relationship. Over the first 43 years of my life we adored each other; we argued with each other; we delighted each other; we disappointed each other. Just now I had to look at a calendar to remind myself how old I was when Mom died: sometimes it feels like she's been gone for a long time, and sometimes it feels like she's still here. 

If you've been reading this blog for any length of time at all, you know that I'm an external processor. I "write my way through the hurricane." (Thanks, Lin-Manuel.) In rabbinical school I wrote Torah poems week after week. When I miscarried, I wrote poems as I sought healing. During my son's first year of life I wrote weekly poems chronicling his changes... and mine.

How else could I possibly respond to my mother's death? I keened and grieved and wept -- and wrote. When I was in my MFA program in my early 20s, she didn't like some of my poems; they felt too revelatory. Would she find these poems too intimate to be shared? I shared early drafts here anyway, because I needed to send the words out: into the world, if not to her.

Many of you wrote to me saying that the poems spoke to you and mirrored your experiences of loss. Over the course of the eleven months between her death and her unveiling, I wrote my way through how grief was changing me, and changing in me, until I reached the far shore of that particular sea. I will never cross it in that same way again, because one's mother only dies once.

And then, after the year was over, I sat down with a trusted friend and editor and asked: are these poems worth publishing in a less ephemeral form? Beth helped me see how the poems could be improved, and what was missing from the collection, and how to make the book more than the sum of its parts. This book is far better for her editorial hand, and I am grateful.

I am fiercely proud of this book of poems. It is a tribute to Mom, and a testament to how much she shaped me (and continues to shape me). It's a reminder that relationships can continue after death, and that time's alchemy brings subtle shifts. It's personal, because our relationship was only ours... and I think it's universal, too, because we all have mothers, and we all know loss.

If you knew Liana Barenblat, I hope you'll find her here. And if you didn't know my mom, I hope you'll find in these poems echoes of your own relationships, and maybe a roadmap for the mourner's path, that complex journey of grief and love, loss and healing. I'm so thankful to Beth Adams at Phoenicia for bringing this book to press, and for her cover art, which I love.

Introducing...

Crossing the Sea - Phoenicia Publishing 2020

Special pre-order price $14.50 (US)
Regular price after Nov 30, $15.95

Heart-full, love-rich, rapt with intricate attention and memory, but never shirking the hard parts, Rabbi Rachel Barenblat shares a sequence of stunning poems  for her late mother. Her voice is honest as a tree.  This is an extremely moving book for anyone who has known grief,  and feels captivated by how the conversation goes on. 

–Naomi Shihab Nye, author of The Tiny Journalist and Transfer, among others

I knew Rachel’s mother. We came from the same small Texas town, ate the same mango mousse served in a fluted ring mold. Rachel captures the complexity of their relationship through similar telling descriptions and snippets of dialogue, then a miracle happens. My mother is there, too. Crossing the Sea moves past the personal as women readers identify and remember, laying these pebble poems on their own mothers’ stones.

— Nan Cuba, author of Body and Bread, winner of the PEN Southwest Award in Fiction

Rachel Barenblat’s poems open us to the heart of mourning: grappling with the loss of a parent, with whom our relationship was so close yet so complicated. She captures the tension between love and discord, the thrust and tug of distancing and reconciliation. She takes us with her on a winding path of grieving over the seasons of a year. Through that prism she refracts two lifetimes and three generations, rendering them with emotional honesty and insight. I was moved, I was brought back to my own loss, and I was brought a little closer to healing.

— Mark Nazimova, Jewish liturgist, New York City

Pre-order Crossing the Sea for $14.50 US now.

It's unseasonably warm for western Massachusetts in November. Day after day the high reaches 75. Given climate change, has unseasonable lost its meaning? Last month when it snowed a little I moved my short-sleeved shirts into winter storage; now I'm taking them back out again. The time has changed, we've "fallen back," night falls early. There's something deeply disconcerting about early nightfall when it's this warm. The world feels out of joint. I think of the jokes we crack: "It's March 282nd," as though time stopped moving forward in its normal patterns when the pandemic began for us. I don't know how many days it's been since March. I don't want to count them: they feel lost. So much feels lost. This week we're all on tenterhooks again. Has democracy lost its meaning? The weather app tells me we'll be back to cold weather in a few days. I resolve to go outdoors today while I still can. My fears tell me they know what's coming. 

Because we combine
creation's building blocks:
andesite, birch, clay.

Because seeds will sprout
and we transform wheat
into bread worth blessing.

Because it's our job
to bring light
to dark places.

Because the only way
this world makes sense
is if we keep building.

Sometimes we turn around
and everything we tended
is broken. Still we repair

each shattered place,
growing new flowers
over the earth's wounds.

In an early week of the psalms class I'm teaching for clergy (via Bayit: Building Jewish), we read an excerpt from Psalm in the Spirit of Dragnet by Julie Marie Wade. Our conversation afterwards took us to all kinds of places, and one of the ideas it sparked in me was: what about a psalm in the spirit of Minecraft? I've been playing the game with my son since the pandemic began, and have been surprised at how satisfying I find it. For me there's something fundamentally hopeful about the game. And, of course, building is our root metaphor at Bayit. As an experiment, I read this poem aloud to my son without telling him the title, and he immediately recognized what I was doing, which makes me happy. Here's to more building. 

Beethoven's 7th,
all day, on repeat.
Because I need to know
there is meaning
in how we circle back
to this lament in minor mode.
I want to trust
the swell of grief
will give way to hope.

If you don't know the second movement of Beethoven's 7th symphony, you can hear it here.

I always forget how dried beans swell.
They start as tiny stones in my hand

but after an overnight salt water soak
they fill my red bowl to overflowing.

This week I revise them into posole --
it's meant to include hominy, but

in these pandemic times we all learn
to make do. I curl my tongue around

ancho and pasilla, remembering the music
of your lushly-swirled double ll's.

Raisiny peppers soften and come apart.
I want to blend into a chord like that.

A rabbinic friend of mine just had a baby, so I am sending her a copy of Waiting to Unfold, the volume of poems I wrote during my son's first year of life, published in 2013 by Phoenicia Publishing. I had a few quiet minutes before an appointment, so after I inscribed the book to my friend, I started reading it, and I read the whole thing. 

Reading it felt like opening a time capsule: inhabiting a reality that is no longer mine, a strange world I had almost forgotten. Pregnancy and nursing and colic and postpartum depression and emerging into hope again... I'm not sure how clearly I would remember any of those things, if I hadn't written these poems while they were happening. 

It's not just that the poems open a window to then. They temporarily cloak me in then, like a shimmering holographic overlay. Rereading them, I feel grief and joy and most of all compassion and tenderness. For myself, back then. For everyone who's experiencing those realities now. For all of us, fragile and breakable and strong.

It makes me wonder what it will be like in ten years to reread Crossing the Sea, forthcoming from Phoenicia. Those poems were written as I walked the mourner's path between my mother's death and her unveiling. It wasn't written as systematically as Waiting to Unfold, but both volumes chronicle a kind of metamorphosis.

I think -- I hope -- that both volumes inhabit that sweet spot between my particular experiences (of new motherhood, of grief) and a kind of universality. Every parent of a newborn has some of the experiences I wrote about in Waiting to Unfold. Every person walks the mourner's path someday, for someone, because human life comes with loss.

It feels right to turn to poetry to distill and find meaning in birth and death. I mean those words as a merism: not only the beginning and endpoint of every human life but also everything that comes between. I wanted to quote Anne Sexton, "There is holiness in all." Though what she actually wrote was "there is joy in all."

So I'm thinking today about what kind of joy really is in all things, even the painful ones. For me that kind of joy is integral to authentic spiritual life. There's joy in being real, with myself and with others and with my Source, even when the path I'm walking takes me into the shadows. Writing is part of how I find my way back to life.

Before Tisha b'Av, I gathered a group of liturgists to collaborate on a project that became Megillat Covid, Lamentations for this time of covid-19.

In recent weeks we've gathered again -- in slightly different configuration -- to build something new for this pandemic season: a set of prayer-poems for Sukkot and Simchat Torah, which we've titled Ushpizin. That's the Aramaic word for guests, usually used to refer to the practice of inviting ancestral / supernal guests like Abraham and Sarah into our Sukkah... though this year, what does it mean to invite Biblical guests when many of us don't feel safe inviting in-person guests? That's the question that gave rise to the project.

The prayers / poems that we wrote arose out of that question and more. What does it mean to find safety in a sketch of a dwelling in this pandemic year? With what, or whom, are we "sitting" when we sit in our sukkot this year? What about those of us who can't build this year at all? And what can our Simchat Torah be if we are sheltering-in-place, or if our shul buildings are closed, or if we are not gathering in person with others? 

For Megillat Covid, we each wrote a piece and then I collected them. This time our creative process was different. Four of us collectively wrote nine pieces, and then we met to workshop them and revise them together, in hopes of creating not just nine individual prayers but a whole that would be more than the sum of its parts. And then we wrote the tenth prayer-poem together as a collaboration... and Steve Silbert offered a couple of sketchnotes, too.

You can click through to Builders Blog to read excerpts from our ten poems and to download the whole collection as a PDF, and I hope you will -- I'm really proud of this collection, and humbled and honored to have convened the group that brought it to life.

Most years in Elul we say
"the King is in the Field" --

God walks with us in the tall grass
to hear our yearnings.

This year, Shechinah
shelters-in-place with us.

With her, we don't need to mask
our fears or our despair.

When we stay up too late
reading the news again

or binge-watch The Good Place
desperate for redemption

she does too. As we practice
social distancing, we're not alone:

she summons angels to encourage
the scallions we re-grow

just as they cheer on the maples
releasing their helicopter seeds,

compressed packages of hope
for the eventual coming of spring.

“The King is in the Field” - R’ Shneur Zalman of Liadi wrote that during the month leading up to the Days of Awe, “The King is in the Field.” God, whom he imagined as a transcendent King distant from us, is close to us during this special month -- walking with us to hear our inmost prayers, like a beloved friend offering a listening ear.

“Shechinah / shelters-in-place” - Shechinah is the Jewish mystics’ name for the immanent, indwelling Presence of God. The name is related to the Hebrew word for neighborhood; this is God dwelling with and within us. In this pandemic year, sheltering-in-place requires no explanation...

“Angels to encourage” - Midrash holds that there is an angel assigned to every blade of grass, constantly and lovingly encouraging the grass to grow. Many of us started regrowing scallions during the pandemic. May we be blessed with encouragement for our own growth during this holiday season.

(This is the Elul / New Year's poem that I wrote to send to family and friends this year. You can read the last seventeen years' worth of such poems here.)

One of the things we do at Bayit is share curated resources and spiritual tools for "building Jewish." Our latest is Megillat Covid -- a collection of five offerings for Tisha b'Av, written in and for this time of pandemic.

Megillat Covid comprises five readings / prayers / variations on Eicha (Lamentations). One was written by me, one by Rabbi Sonja K. Pilz who is the editor of the CCAR Press, one by liturgist and poet devon spier, one by liturgist and poet Trisha Arlin, and one by my fellow Bayit co-founder Rabbi Evan Krame. Each looks at Lamentations and at the pandemic through its own unique lens, and I am honestly humbled and moved to be able to curate such a meaningful resource in this moment. 

Here's an excerpt from each of our five pieces; you can click through to Builders Blog to read each of our poems in full.

*

Crying Out by R’ Rachel Barenblat draws on images from the pandemic and asks the question: who will we be when the pandemic is gone? Here is a brief excerpt (you can read the whole piece in the PDF file at Builders Blog):

Lonely sits the city once great with people —
her subways now empty, her classrooms closed.
Refrigerator trucks await the bodies of the dead
wrapped in sheets of plastic and stacked like logs.
Mourners keep a painful distance, unable to embrace…

Along the Lines of Lamentations by R’ Sonja K. Pilz is similar to a cento (a poem that repurposes lines from another poem), as it consists primarily of quotations from Eicha, re-contextualized by their juxtaposition and by this pandemic season. Here is a brief excerpt (the whole appears in the PDF at Builders Blog):

We were laid waste (2:5).
We were stripped liked a garden;
Ended have Shabbat and festivals (2:6).
Our gates have sunk into the ground (2:9).
Elders sit silently;
Women bow their heads to the ground (2:10).
My eyes are spent;
My being melts away (2:11)….

Jeremiahs without a jeremiad by devon spier offers fragmented lines evoking our fragmented hearts in this time of pandemic. About her contribution, devon writes:

To be used to cultivate an embodied COVID megillah reading that honours the fall of Jerusalem and the ebb and flow of our bodies in the months of the Coronavirus and related social distancing. 

To honour that for those of us with pre-existing conditions (our own frail, flimsy, fabulous humanness, our addictions, chronic health issues, years of unfelt griefs suddenly flung to the surface…each of these), we can wrap our whole selves in the scroll of this weeping day. And we can arrive, just as we are.

I would frame this as a kavannah as lines of ketuvim (lines of poetical post-exilic writings) the speaker can read before beginning chanting to set an intention. Or, the lines of this work could also be read throughout the chanting, as the verses I cite appear throughout the first chapter of Eicha. 

‘V’ha-ikar…” and the essence: Pause for the moments you feel the most human. Feel. And insert the words of this piece exactly where you are. From the lines of this intention and a gentle remembrance on this solemn day where we still face ourselves, our ancestors, our communities and each other, in and beyond, always, with hope: “Jerusalem is me is you.”

Here is a brief excerpt (the whole appears in the PDF at Builders Blog):

lamentations
for those with pages
of unwritten loss
lamenting
Jerusalem
and everything else
they never had
but Are
somehow
we are…

Alas by Trisha Arlin evokes the full journey of Eicha, from weeping for the city in distress to remembrance and the promise of change. Here is a brief excerpt (the whole appears in the PDF at Builders Blog):

…Eating, Sleeping, Walking
Alone
TV, Facebook, Prayer
Alone
Coughing, Crying, Dying
Alone

Alas, loneliness!
I am so frightened.
I weep and who will hear me?…

Remember by Rabbi Evan Krame evokes the end of Lamentations, beseeching God to remember us and to let us return. Here is a brief excerpt (the whole appears in the PDF below):

God! Remember what we had? Consider and see our situation!
Our future went to strangers, our houses no refuge.
We are like orphans, without a leader, our mothers worry like widows…

^{Read the whole thing here: Megillat Covid at Builders Blog.}

As I slide the little box of my tefillin shel yad to nestle beneath the sleeve of my guayabera shirt, I remember the old men in the weekday minyan where we went to pray after my grandmother died. Some wore bolo ties. Some had sportcoats hanging off of one arm, sleeves rolled up. And some wore guayabera shirts like these. Like my grandfather wore on that lonely morning as he began to drift, unmoored, away from us. Mississippi had just ratified the Thirteenth Amendment, finally agreeing to the abolition of slavery in the year 1995. Today pandemic jostles for headline space alongside police killings of Black people. Look how far we haven't come. My grandfather was a thoracic surgeon. He fled the Nazis in 1939. Dare I hope that he would stand up for the right of every Black human being to walk, play with toys, jog in a park, drive a car, sleep on a sofa, listen to music, drink iced tea, birdwatch, and carry Skittles, without fear of a cop or armed vigilante or garden-variety racist stealing their breath?

Just as the colors of the rainbow
Unite to make one light
God far above and God deep within,
YHVH and Shechinah,
Unite in Shabbat.
Transcendence unites with Immanence,
One and One becoming One.

We join together in community
Together reflecting God's splendor.
We are the colors of the rainbow
Uniting to make one light.
The glorious holy throne
Is here where we meet
Ready for Shabbat to rest upon us.

HaMakom, this sacred Place, uplifts us
Here where electrons dance
And the interplay of Being and Nothingness
Draws our hearts together, binary code
Flickering through space
Making us present to each other
And to the radiance of Shabbat.

We crown Her from below
And She enfolds us in new supernal souls
So that our service
Be blissful and praiseful,
Joyful and radiant
As with shining faces
We approach the Bar'chu --

The prayer known as K'Gavna comes from the Zohar, and describes the mystical joining of transcendence (God-far-above, the Kadosh Baruch Hu) with immanence (God-deep-within, Shechinah) as Shabbat arrives. It speaks in the language of the seven "lower sefirot" (emanations or aspects of qualities of God) which are sometimes mapped to the seven colors of the rainbow. (That rainbow imagery for divinity is especially lovely now during June. Happy Pride Month everyone!)

In some siddurim K'Gavna is a prelude to the Bar'chu, the formal Call to Prayer that comes between Kabbalat Shabbat and the evening service. This variation was written for the 2020 Clear Vision Reb Zalman Legacy Shabbaton that R' David Markus and I co-led over the weekend over Zoom for Havurh Shir Hadash in Ashland OR. It dovetails with that Shabbaton's themes of sacred space, digital presence, and what it means to come together in community online.

On a related note, here's my d'var from the weekend: Being Real, Digital Edition. And here's R' David's d'var from the weekend: The Mishkan's Next Digital (R)Evolution.