Category: Poetry

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CCAR Press Israel Poetry Prayer

El Malei Rachamim for October 7

Rabbi Karyn D. Kedar shares this poem to commemorate one year since the October 7 attacks. It is entitled El Malei Rachamim (“Merciful God”) after the traditional Jewish memorial prayer. CCAR Press has also put together a full collection of poems, prayers, and readings to mark one year since October 7. Download the collection here.

El Malei Rachamim

In blessed memory of you

hiding in the fields and bushes,
and the joggers out for a run,
and the moms and dads making breakfast for their toddlers in their kitchens,
and the parents in their safe rooms, holding the door handles for hours,
and the babies—innocent infants—and the grandfathers, and the grandmothers,
and entire families, parents watching their children die, children watching their parents,
and entire neighborhoods of young adults who were waiting to begin their lives,
and you, the brave, throwing hand grenades back out of the shelters without doors
over and over and over and over and over and over and over and over again,
and you, the courageous, who ran towards the carnage to save who you could over again,
and you who were trapped in hundreds of incinerated cars,
and the fathers who frantically drove from the north to find their children
who cried, Abba, they are near, and I’ve been shot, find me,
and the friends who escaped but returned to rescue their friends and were killed,
and you who were raped and maimed and mutilated,
and you, who danced as the sun rose and will never see another sunrise and never dance again,
and the hostages stolen, beaten, tortured, starved, kept in dark tunnels and family homes,
and killed cruelly in captivity,
and the young women who stood guard on the towers over Gaza and who watched from screens
in darkened rooms showing us, warning us, and were ignored, and were slaughtered,
and the civilian guard who held the line to the last bullet without help for hours,
and the brave police who fought to the end, and the superheroes of the Israel Defense Forces,
valiant, brave lions of Judah…

Your lives were brutally taken on October 7, 2023 and in the relentless aftermath.
El malei rachmim, have compassion upon your souls,
El malei rachmim, have compassion upon our broken hearts.

Rabbi Karyn D. Kedar is Rabbi Emerita at Congregation B’nai Jehoshua Beth Elohim in Deerfield, Illinois. She is the author of Omer: A Counting and Amen: Seeking Presence with Prayer, Poetry, and Mindfulness Practice, both from CCAR Press.

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Books CCAR Press Poetry

Looking Forward, Looking Backward: Meditation on the Eve of a New Year

Alden Solovy is the author of Enter These Gates: Meditations for the Days of Awe, now available from CCAR Press. As Rosh HaShanah approaches, we share one of Alden’s poems from the book for the new year.

Meditation on the Eve of a New Year

God,
We stand at the cusp of a new year,
Looking forward, looking backward,
So much accomplished,
So much neglected,
Gains and losses,
Joys and sorrows,
Victories and defeats.
A life.
My life.

You,
God of Old,
You are Steadfast Witness,
Source and Shelter.
I bend my heart to You,
Recalling all of Your gifts.

God,
For consolation in my grief,
For sunlight and midnight,
For hope in my celebrations,
For warmth and for shelter,
For current and tide,
For family and for friends,
For the flow of beauty and grace,
I bend my life back to You,
As the New Year descends,
In love and in service,
My offering
To Your holy name.

—
Alden Solovy is a liturgist based in Jerusalem. He is the author of This Grateful Heart: Psalms and Prayers for a New Day, This Joyous Soul: A New Voice for Ancient Yearnings, This Precious Life: Encountering the Divine in Poetry and Prayer, These Words: Poetic Midrash on the Language of Torah, and Enter These Gates: Meditations for the Days of Awe, all published by CCAR Press.

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Books CCAR Press High Holy Days Poetry

Vulnerability During the Days of Awe: Alden Solovy on ‘Enter These Gates’

Alden Solovy is the author of Enter These Gates: Meditations for the Days of Awe, now available from CCAR Press. In this excerpt from the introduction, he reflects on the meaning of the High Holy Days and how his book can deepen our experiences of this season.

What a strange thing we do each year at the High Holy Days: We put our own humanity on trial. We take an accounting of our souls precisely at the moment we celebrate the creation of the world and lift up the sovereignty of God. We take accounting of our own souls because the world needs us each at our best, because part of perfecting God’s world is healing ourselves. Even though we know that the world will offer us moments of challenge—like September 11 and October 7—we choose to look deeply at our lives again and again, year after year.

The High Holy Days can lift us on words of Torah and prayer to the heights of our best selves. The days also call forth the deepest moments of our vulnerability and pain. Our memories—joyous and painful—meet our hopes for the future. These are the days of our most intimate self- assessment. By design, our liturgy brings out our sorrows, our fears, and our vulnerabilities. Yet the intent—far from punishment or retribution—is to lift us toward our best selves. Repentance. Prayer. Charity. Confession. Forgiveness. We ask a lot of ourselves and our liturgy. Our liturgy and our tradition ask a lot from us.

These challenges led to the genesis of my new book, Enter These Gates: Meditations for the Days of Awe. The volume has two purposes. The first is to serve as a source of new meditations for private use, a path to deepening our individual experiences of the Days of Awe. The second is as a new liturgical supplement to Mishkan HaNefesh: Machzor for the Days of Awe, which has been in use for more than a decade. Central to this book is the goal of helping clergy and congregations bring refreshed vigor and new voices into High Holy Day worship. Enter These Gates can also be used in conjunction with Mishkan HaLev: Prayers for S’lichot and the Month of Elul.

This volume offers more than one hundred new readings based on the core thematic elements of the High Holy Day liturgy. Some of the works are traditional in form and language, recognizable as riffs on particular prayers. Other prayer poems offered here blend traditional themes with storytelling, music-like interlude, or liturgical reframing.

My hopes are that:

▪ Rabbis and other clergy incorporate some of this work into High Holy Day worship, including S’lichot and Tashlich.

▪ Congregations place copies of Enter These Gates in their pews and prayer bookshelves so that congregants and participants can encounter this work in private prayer during services.

▪ Individuals use this volume during the month of Elul and the Days of Awe as part of their own personal journeys of High Holy Day preparation.

▪ Educators use this volume for supplemental prayer in religious school worship in the weeks leading up to the High Holy Days, as well as for teaching High Holy Day themes.

▪ Rabbis, clergy, and educators use Enter These Gates to teach about the High Holy Days in adult education and conversion classes.

The introduction to Mishkan HaNefesh asks, “Opening a prayer book on the High Holy Days, what do we hope to find?” If a machzor (High Holy Day prayer book) is successful, it goes on to say, “It leads us on a path across rough terrain.” Soul searching. Introspection. Mortality. Our shortcomings. Our beliefs. “It tests our spiritual stamina, and we do well to make use of imagination and memory.”

Although Enter These Gates is a book of prayers and meditations for the High Holy Days, don’t be fooled. It is really a mirror. A dream. A doorway. It is a book of imagination and memory, a book of challenges and warnings, a book of hopes and aspirations. It is a descent into fire and an ascent into secrets that rise to heaven.

Bless you on your journey.

Alden Solovy is a liturgist based in Jerusalem. He is the author of This Grateful Heart: Psalms and Prayers for a New Day, This Joyous Soul: A New Voice for Ancient Yearnings, This Precious Life: Encountering the Divine in Poetry and Prayer, These Words: Poetic Midrash on the Language of Torah, and Enter These Gates: Meditations for the Days of Awe, all published by CCAR Press.

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Israel Poetry Prayer

Praises in Peril: Singing Hallel during Israel’s Judicial Crisis

Liturgist and poet Alden Solovy discusses the challenge of praising God during a period of political distress and uncertainty.

A strangely festive undertone animates the weekly Saturday evening demonstrations against the so-called judicial reforms here in Jerusalem. I’ve attended many of these protests in the thirty-two weeks since they began in January.

The post-Shabbat protests outside the president’s residence have become a place to catch up with neighbors and friends, hear music, cheer for speakers, blow kazoos in call and response with a circle of drummers, and chant slogans with enthusiasm.

Most of the demonstrations across the country occur without incident, while some have been marred by police violence and attacks on protesters, typically when major news breaks about the government’s relentless attempts to eviscerate the Israeli justice system or when protesters seek out government officials at their homes or when they are out in the field on government business. Here in Jerusalem, the typical mood at the weekly demonstrations is a strange combination of upbeat enthusiasm and downbeat disappointment, anger, and fear.

This dichotomy is manifested by the costumes that some protesters wear. While some are humorous digs at the government—a clown on stilts and various wild animals, for example—others are deadly serious, like the women dressed as “Handmaid” characters from The Handmaid’s Tale, silently calling attention to the potential of the “reforms” to erode women’s rights.

Photo courtesy of Mike Sager

In spite of the onset of “protest fatigue,” people are still coming out to demonstrate. Each week, the protests take on a different tenor. Two weeks ago, around the country, the mood was more somber. In Jerusalem, the musical act was eliminated from the program in respect after a terror attack in Tel Aviv earlier in the day. We sang Hatikvah (“The Hope”), Israel’s national anthem, at the end of the rally and went home early.

The leaders have called the weekly protests a “festival of democracy”—a festival that comes hand in hand with dark fears for the future of the State.

Jews around the world will soon bring in the new month of Elul, beginning a forty-day period of introspection and change including the High Holy Days. Our traditional t’filah for Rosh Chodesh includes singing Hallel, psalms of praise and rejoicing.

How can we rejoice in the face of this deep fear, pain, and sorrow for the State of Israel? Much like the somber realities combining with the festive atmosphere of many of the protests, this year the traditional Hallel may need a more layered and nuanced set of emotions.

Two and a half years ago—in the heart of the pandemic—I asked a similar question in the context of COVID and the approaching Passover seders, during which Hallel is also recited. How can we sing Hallel with a full heart at socially distanced seders? I crafted an alternative called “Hallel in a Minor Key,” inviting singer-songwriter Sue Horowitz to compose music for the opening poem. Partnering with the CCAR, Sue and I offered the liturgy as a thank-you gift to the congregations, rabbis, cantors, and spiritual leaders who have used our work.

We offer this liturgy to you again in answer to a new question: How do we recite Hallel as we fear for the future of the State of Israel? You can download a PDF of the full liturgy, along with the sheet music. You can also download a recording of the music. Read about the spiritual and musical influences behind this liturgy in our original RavBlog post “Hallel in a Minor Key.”

We encourage you to add music or additional readings that would deepen the meaning of your worship. If you use this liturgy, we’d love to hear from you. Reach Alden at asolovy54@gmail.com and Sue at srrhorowitz@gmail.com.

Alden Solovy is a liturgist who made aliyah to Jerusalem in 2012. He is the author of This Grateful Heart: Psalms and Prayers for a New Day, This Joyous Soul: A New Voice for Ancient Yearnings, This Precious Life: Encountering the Divine in Poetry and Prayer, and These Words: Poetic Midrash on the Language of Torah, all published by CCAR Press.

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Books CCAR Press Poetry Torah

The Challenges of Writing Modern Midrash: Alden Solovy on ‘These Words’

Liturgist and poet Alden Solovy discusses the inspiration behind These Words: Poetic Midrash on the Language of Torah, his writing process, and his hopes for the book’s impact.

What inspired These Words?

The language of Torah, its richness and nuance, begs not only for exploration, but for celebration in poetry. Throughout Jewish history, Torah has been our single greatest writing prompt for scholars, mystics, poets, musicians—all of us.

This is your fourth CCAR Press volume. How does it differ from your other works?

The previous volumes provide poetic liturgy. This book combines expository writing with poetic interpretation of Torah. I explore seventy words of Torah with deep dive essays into each word, followed by a poetic midrash inspired by that research.

What was the most challenging part of writing this volume?

Switching back and forth between left-brain Torah study and right-brain poetic interpretation was a constant challenge. What challenged me most, however, was the research. Each word is a universe, spectacular in depth and meaning. I felt compelled to keep learning and learning about each word.

How did you select the words in the book?

My selection process was more art than science. I began with a set of 120 words that interested me, supplemented by words suggested by friends. From there, the words themselves guided me to add, remove, or replace them, prompted by my explorations.

How did writing this book impact you?

Writing These Words was a profound and transcendent experience. I experienced what I can only describe as a “Torah trance” mind state. Intense. Beautiful. Challenging. Frightening. After the book was completed, I then faced my first post-writing melancholy. Later, rereading the book in print, I found an unprecedented joy and elation having written a volume of modern Torah midrash—I didn’t know that was in me. 

How do you hope These Words will impact readers?

Wouldn’t it be beautiful if reading this book inspired others into their own journeys of exploring words of Torah? I hope the book will be used in Torah study, for writing sermons, as part of interfaith dialogue, and as a source of readings used in worship. Most of all, I hope the book inspires more poetry rooted directly in learning Torah.

Alden is available to visit communities for speaker events and book clubs. For more information, please email bookevents@ccarpress.org.

Alden Solovy is a liturgist based in Jerusalem. His books include This Grateful Heart: Psalms and Prayers for a New Day, This Joyous Soul: A New Voice for Ancient Yearnings, This Precious Life: Encountering the Divine with Poetry and Prayer, and These Words: Poetic Midrash on the Language of Torah, all published by CCAR Press. Read more of his writing at tobendlight.com.

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Books CCAR Press Poetry Torah

From Imposter to Midrashist: Writing ‘These Words’

These Words: Poetic Midrash on the Language of Torah was driven by imposter syndrome. Who am I, after all, to write a book teaching about the deeper meanings of the language of Torah? I’m not a rabbi. I’m not a Torah scholar. I have no Jewish day school foundation. I’m not a linguist or etymologist. I’m a poet-liturgist-lyricist. I write poems, songs, and prayers. Why, oh why, did I suggest this?!

So, I threw myself into the task of learning about individual words of Torah, often spending eight, ten, twelve hours a day in books, online, and engaging in conversations about Torah, Hebrew, Talmud, midrash, and the Sages, old and new. At times, the learning took me well beyond any text I’d previously encountered. The deeper I dug, and the further afield it took me, the harder I felt I needed to work.

Days became weeks. Weeks became months. Hundreds of hours learning Torah became thousands. Some evenings I’d dream about the words. Some mornings I’d wake with a poetic midrash spilling out of me. At times the learning led me to a poem. At times a new poem led me to a word of Torah. I entered some sort of Torah trance, which was thrilling and frightening.

When it was done—a first draft suitable for submission, anyway—I set it aside for a week in order to read it with “fresh eyes” before sending it to CCAR Press. The poems were beyond anything I’d ever written. And the divrei Torah on each Hebrew word looked completely foreign to me. How did I write that? Clearly, the work of learning how to study Torah at the Pardes Institute of Jewish Studies paid off.

In retrospect, the fact that CCAR Chief Executive Rabbi Hara Person, CCAR Press Director Rafael Chaiken, and the chair of the CCAR Press Council, Rabbi Donald Goor, trusted me to write this book is beyond my comprehension. Perhaps, if one day my work warrants a retrospective, some journalist may say something like, “Although his previous work was regarded and beloved, These Words was when he truly discovered his poetic voice.”

These Words: Poetic Midrash on the Language of Torah is available for pre-order at thesewords.ccarpress.org.

Alden Solovy is a liturgist based in Jerusalem. His books include This Grateful Heart: Psalms and Prayers for a New Day, This Joyous Soul: A New Voice for Ancient Yearnings, and This Precious Life: Encountering the Divine with Poetry and Prayer, all published by CCAR Press. Read more of his writing at tobendlight.com.

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CCAR Press Poetry

A Memoir in Poetry: Writing ‘Longing: Poems of a Life’

In this CCAR Press interview, Merle Feld, author of Longing: Poems of a Life, discusses her creative process, what sets Longing apart from her previous work, and what she hopes readers will take away from her pieces.

What inspired the creation of Longing?

It started with a single poem, “In the corner,” my earliest recollection. The entire book unfolded from that memory. It’s an innocent poem, the voice of a very young child, maybe age three. But then in the poem that follows, the child recalls memories which are painful, terrifying, anything but innocent. This first section of the book is the most difficult, because nothing matches the helplessness of a child.

How did you select which poems to include in the book?

As many more poems came to me, I eventually realized that the book had a shape—childhood; then adolescence, a treacherous time for a girl; young love, learning as a couple how to fight, pick up the pieces, grow together. A series of poems re-engaging with the four-day vigil as my mother was dying; poems capturing a succession of cherished friends, for me an endlessly fascinating and important subject. Next, some tales of the small town in which I’ve lived for the past twenty-six years. And finally, many facets, faces, of aging. In the end it turned out I’d written a memoir in poetry.

Longing engages with both painful and joyous moments from your life. What was it like to revisit these experiences?

The book is an ongoing conversation with myself that I hope will provoke conversations in my readers. I’m still in the midst of that exploration: though a book has gone to press and is out in the world, the inner conversations continue. I learn from my writing, find new wisdom, perhaps more peace, but the next question is not far behind. And after a rest, the next poem. Especially meaningful in this process are the many accounts of how Longing has fostered deep introspection and connections for readers, that the poems inspire them to reflect on their own life stories. Not why I wrote the poems, but why I published them.

What makes Longing different from your previous books?

Longing opens a vista acquired from decades of experience through the eyes and heart of a mature person seeking discernment, healing, summoning unprecedented courage. The parallels with and contrasts to my first book, A Spiritual Life (SUNY Press 1999; revised 2007), are striking. The voice in those poems is that of a young woman, grounded in home-making, child-making, questions of career, creativity, and nascent activism, but above all, joyously celebrating her newly reclaimed Jewish identity and vigorously advocating for feminist changes, many of which are normalized in our current realities. In a way, the two volumes bookend one another.

What do you want readers to take away from the book?

We are capable of tremendous resilience.

Listen, to others and to yourself.

Notice if you are inexplicably sad, or angry—find help and be courageous.

You don’t know the stories that have shaped another person: be respectful, gentle, kind.

Little children matter.

In the end, each day is gratitude.

Learn more and order the book at longing.ccarpress.org. Watch the video of the book launch, featuring a conversation between Merle Feld and Rabbi Hara Person, CCAR Chief Executive.

Merle Feld is an acclaimed poet, playwright, educator, and activist. Her previous works include her memoir A Spiritual Life and a poetry collection, Finding Words.

Categories
Poetry Rabbinic Reflections

‘Confessional to the Women We’ve Failed’: A Poem about Reproductive Justice

In response to the leaked draft of the decision of a majority of justices of the United States Supreme Court to overturn Roe v. Wade, CCAR member Rabbi Zoe Klein wrote a poem entitled “Confessional to the Women We’ve Failed,” styled after the Viddui, a prayer meaning “confession,” recited just before Yom Kippur. The Central Conference of American Rabbis has long supported reproductive rights and, in the strongest terms, urges the Supreme Court not to restrict abortion rights and certainly not to reverse the groundbreaking and liberating decision in Roe v. Wade. If the leaked opinion is in fact a harbinger of a Supreme Court decision soon to come, CCAR rabbis will grieve; and without delay, we will continue our ongoing struggle for reproductive liberty.

Al cheit shechatanu l’fanayech…
For the sin we have sinned against you…

the woman with kidney disease whose doctors say her pregnancy is
life threatening,
the woman who has high blood pressure whose doctors say her
pregnancy may kill her,
the woman with clinical depression and suicide ideation who is criminalized for saving herself,

the woman who doesn’t know for months that she is pregnant
because of heavy spotting,
the woman who doesn’t know for months that she is pregnant
because of an irregular period,
the girl who doesn’t know for months that she is pregnant
because she has only just started puberty,

Al cheit shechatanu l’fanayech…
For the sin we have sinned against you…

the woman suffering an ectopic pregnancy who is called “murderer”
on her way to her appointment,
the parents who are told their baby will be born with anencephaly,
without a brain, and are called “murderers,”
the woman who is told there is no heartbeat and is called “murderer”
on her way to the clinic,

the woman who miscarries and is criminalized because she cannot
prove it was natural,
the parent who is told that if born, their baby will live in excruciating pain and won’t survive past infancy,
the girl who is ostracized, shamed and criminalized
while he who impregnates her is free,

Al cheit shechatanu l’fanayech…
For the sin we have sinned against you…

the family who doesn’t have health insurance
and barely survives paycheck to paycheck,
the woman living in a rural, remote town who cannot afford
the transportation, hotel and time off for a procedure,
the partner who loses their job for taking the days needed
to travel over state lines for their spouse’s care,
the children who are not taught sex education and are not
given access to birth control,
the families who are not given paid parental leave or affordable childcare,
the woman who religiously took birth control to prevent pregnancy,
but the birth control failed,

Al cheit shechatanu l’fanayech…
For the sin we have sinned against you…

the woman who is a victim of reproductive coercion
by a domestic abuser,
the woman who is impregnated as a victim of sex trafficking,
the girl who is impregnated through sexual violence
and then retraumatized by the court,

the girl who is overpowered by a relative or person of authority,
the woman of color who faces racial and ethnic disparity in medicine, and less access to quality contraceptive services,
the Ukrainian woman refugee who was raped by the same Russian soldier who murdered her children,

Al cheit shechatanu l’fanayech…
For the sin we have sinned against you…

the mother who is imprisoned for acquiring misoprostol
to end her teen daughter’s traumatic pregnancy,
the mother who is imprisoned for having an abortion in order to better feed and care for her children,
the woman who is imprisoned for terminating a pregnancy
that was not conceived in love,

the daughter who suffers long-term agony from terminating her pregnancy in unhygienic environments, at the hands of untrained individuals,
leaving her to suffer vaginal and rectal tearing, future infertility,
uterine perforations, hemorrhage, sepsis, blunt trauma, poisoning, and ruptured bowel, the daughter who is too scared to ask for help and dies of torturous infection and blood loss from the rusty tools
of a medical charlatan, the daughter who doesn’t have any reason
to trust lawmakers and adults, and suffers excruciating, unnecessary death.

Al cheit shechatanu l’fanayech…
For the sin we have sinned against you…

For all of our failures to protect you, our daughters, mothers,
partners and friends,
Don’t forgive us. Don’t pardon us. Don’t lead us to atonement.

Rabbi Zoë Klein is the senior rabbi at Temple Isaiah in Los Angeles. She has written multiple novels and short stories, she has written chapters in a number of collections, including The Torah: A Women’s Commentary and Holy Ground: A Gathering of Voices on Caring for Creation, and she has written articles for numerous publications, including Harper’s Bazaar, Tikkun, and Torat Hayim.  Her poems and prayers are used in houses of prayer around the country.

Categories
CCAR Press Passover Pesach Poetry Prayer

CCAR Press Interview: Jessica Greenbaum on ‘Mishkan HaSeder’

Jessica Greenbaum, coeditor (with Rabbi Hara E. Person) of Mishkan HaSeder: A Passover Haggadah, shares her experience working on the Haggadah. Mishkan HaSeder is available as a print book, ebook (Kindle and Google Play), and now as a Visual T’filahTM.

How did you come to serve as a coeditor for Mishkan HaSeder?

Mishkan HaSeder was one of those long-gestating dreams. I met Rabbi Hara Person in 1990, and as we became friends and I reveled in the poems she had paired with Torah text in the Women’s Commentary, it seemed inevitable that we would also pair passages of the Haggadah with poetry —and for the same reason, to feel closer to the text. We also knew that by choosing poets of any faith, time, and place, their work would reflect the universality of the story of the Exodus. We wanted participants to feel the seder as a microcosm for the human experience.

Mishkan HaSeder contains a wealth of poetry alongside the seder text. How did you choose which poems to include?

From her work with the The Torah: A Women’s Commentary and other texts, Rabbi Person had a clear method. We looked at every page of the Haggadah and then distilled meanings, symbols, and philosophies found at that moment in the seder. To find poems that reflected or refracted those ideas, we cross-indexed them with our own knowledge of poets and poems, with online databases of poems, and we thumbed through books upon books. It’s not hard to find poems that have a relationship to the story, but finding the very right ones that pop open the moment to new understandings and resonance—that was our goal, and it was thrilling. Like Torah, the story of Passover is ever-expanding; we wanted to find poems that sparked this dynamism.

What role can poetry play as part of the Passover experience?

Emotional intimacy! For example, Mishkan HaSeder’s very first poem, by Karl Shapiro, imagines a 151st psalm (there are only 150 in our liturgy) that begins, “Immigrant God, You follow me.” From the start the reader is offered, within this story of moving toward freedom, an example of freedom to reimagine one’s relationship to God and to the story. “The 151st Psalm” is followed by Jane Hirshfield’s great poem “Optimism,” which begins “More and more I have come to admire resilience”—because not only does Passover embody resilience, but so does survival for peoples all through time. When the Haggadah instructs us to honor the stranger, resilience is needed there as well, to strengthen our resolve against forces of exclusion on any number of levels.

What makes Mishkan HaSeder different from other Haggadot?

Many wonderful Haggadot offer paths from the traditional liturgy to a deepened awareness of the living presence of the Exodus story in the present day. One thing Mishkan HaSeder holds is an entire second Haggadah within it; people who want to conduct a seder with very little of the traditional liturgy can lean on the poems themselves to reflect the signs and wonders of the story. And because readers are used to understanding poems through a very personal scrim, participants can come to the evening knowing that their individual sensibilities have a seat at the table and a voice for the discussion. Mishkan HaSeder can also act as the salt and pepper at the table—the poems sprinkled within whatever text a host chooses.

Did you learn something new while editing the book?

I was grateful to become more conversant with the traditional liturgy and the relationship of one part of the seder to another. There will always be more to know, of course, but each layer of understanding offers new layers of discovery—and new ways of feeling profoundly connected.

Learn more about Mishkan HaSeder at mishkanhaseder.ccarpress.org

Jessica Greenbaum is a poet, teacher, and social worker. She is the coeditor, with Rabbi Hara Person, of Mishkan HaSeder: A Passover Haggadah.

Categories
Holiday Poetry Prayer

Three Weeks of Sorrow, Seven Weeks of Consolation

Sorrow and joy meet on Rosh Chodesh Av. Rosh Chodesh—the first of each new Hebrew month—is a minor festival of rejoicing. We take note of the cycle of the moon, the grandeur of creation, and the gifts of God by signing Hallel Mizri, the Egyptian Hallel. At its core are Psalms 113 through 118.

There’s a jarring contrast between the joyous and often raucous singing of these psalms with the general mood of the period. Tishah B’Av, our national religious day of mourning, commemorates the destruction of both temples in Jerusalem. It’s a day of tragedy so profound in the eyes of the rabbis of the Mishnah that they went to great lengths to attach other disasters to this date.

In Masechet Taanit 4:6, we read: “On the Ninth of Av it was decreed upon our ancestors that they would all die [in the wilderness] and not enter the land; and the Temple was destroyed the first time [by the Babylonians], and the second time [by the Romans]; and Beitar was captured; and the city [of Jerusalem] was plowed, as a sign that it would never be rebuilt.”

The tradition of linking catastrophe to Tishah B’Av continued in later periods. Some say that the Jews were expelled from England on Tishah B’Av in 1290 CE, that the deadline in 1492 on which Jews in Spain needed to leave or convert was Tishah B’Av, and that the First World War began on Tishah B’Av.[1] Perhaps most startling: The Hebrew date that Treblinka began operations as a death camp was Tishah B’Av.[2]

The Talmud decrees: “Not only does one fast on the Ninth of Av, but from when the month of Av begins, one decreases acts of rejoicing.”

Even before Av begins, some Jews observe a three-week period of mourning, called “The Three Weeks,” from 17 Tammuz until Tishah B’Av. The Mishnah relates that on 17 Tammuz five catastrophes also befell the Jewish people, and the day is observed by some as a minor fast.

Right in the middle of the three weeks, Rosh Chodesh is observed, as always, with song and praises. “Hallel in a Minor Key”—an alternative Hallel that I created with music by Sue Radner Horowitz—was written for moments like these, when joy and sorrow meet.

This liturgy began with a question last winter: How can we sing God’s praises fully as we move into the second year of COVID-induced, socially distanced Passover seders? In the writing, the question expanded: How do we sing God’s praises after a profound personal loss? How do we praise God when our spiritual calendar places joy and sorrow side-by-side? How do we find a voice of rejoicing when our hearts are in mourning?

My personal experience with this contrast still informs my writing. My wife Ami, z”l, died of traumatic brain injury just before Passover. The religious expectation of our calendar was brutal. After two days of shivah, we were expected to shift into the spiritual joy of Pesach, celebrating our liberation from bondage, singing Hallel as part of the Passover Seder and then again at services. Although it was twelve years ago, that experience of contrast was a core motivator for creating this liturgy (read more about the creation of “Hallel in a Minor Key” on RavBlog).

After Tishah B’Av, the rabbis have given us seven weeks of healing, seven weeks in which special haftarot of consolation are chanted. Here are several prayers for the season:

  • 17 Tammuz: “The Temple”
  • Rosh Chodesh Av: “Hallel in a Minor Key” (A PDF published by the Central Conference of American Rabbis, including the sheet music, can be downloaded here.)
  • Tishah B’Av: “In Sorrow” from This Grateful Heart: Psalms and Prayers for a New Day (CCAR Press, 2017)
  • Seven weeks of consolation: “Tears, Too Close: A Prayer of Consolation” from This Precious Life: Encountering the Divine with Poetry and Prayer (CCAR Press, 2021)

It is said that God permitted the destruction of the Second Temple because of sinat chinam, the baseless hatred of one Jew against another. Throughout this season, let us pray for the well-being of all of the people of Israel, and everyone, everywhere. “Let Tranquility Reign,” from This Joyous Soul: A New Voice for Ancient Yearnings, includes a line from Psalm 122: “For the sake of my comrades and companions I shall say: ‘Peace be within you.’ For the sake of the House of Adonai our God I will seek your good.”

Alden Solovy is a liturgist based in Jerusalem. His books include This Grateful Heart: Psalms and Prayers for a New Day, This Joyous Soul: A New Voice for Ancient Yearnings, and This Precious Life: Encountering the Divine with Poetry and Prayer, all published by CCAR Press.

[1] https://www.chabad.org/library/article_cdo/aid/946703/jewish/What-Happened-on-the-Ninth-of-Av.htm

[2] https://www.jpost.com/israel-news/7-tragedies-that-befell-the-jewish-people-on-tisha-beav-598199