Imagine God not as a benign force infusing the universe with love and sustaining it with mercy, and not as a stern judge smiting sinners from on high with his cosmic zap-gun, but as a grandfatherly figure, kind but, truth be told, somewhat out of it, sitting in a corner, tolerant of the various paths his children have chosen.
In 1987, exactly a quarter-century ago, the appearance of a work of Jewish history caused a stir. For one thing, the author was not Jewish; for another, the book was unashamedly supportive of the State of Israel, which even then was enough to provoke hostility, especially on the Left.
Just two weeks ago, the always-excitable Israeli political world was abuzz with the news of two famous new Knesset candidates. One of them was a famous son—journalist Yair Lapid, whose father, Tommy Lapid, served as Deputy Prime Minister and Minister of Justice under Ariel Sharon.
A translator stands between two languages and between the two worlds that the languages represent. If he does his job well, he may belong in neither place. Such was the fate of Samuel Koteliansky, an emigré Russian Jew who translated Chekhov, befriended D.H. Lawrence and Katherine Mansfield, and circulated on the fringes of the Bloomsbury group.
Elhanan Yakira, professor of philosophy at the Hebrew University of Jerusalem, has all the credentials of a man of the Israeli Left: born and raised in Tel Aviv as a Zionist and socialist , a lifelong secular Jew, an opponent of West Bank settlements, an advocate of government intervention in economic policy. Yet many of his colleagues on the Left denounce him as a right-winger and a traitor.
Aryeh Tepper
Hayim Nahman Bialik (1873–1934) was the poet of Jewish national rebirth and a leading light of cultural Zionism. To be more precise, he was a power station. Composing poems, writing essays, founding journals, raising up the sparks of Israel's past, Bialik became an essential source of energy for Jewish cultural revival.
Ruth R. Wisse
It was bound to happen. Abraham Sutzkever, born July 15, 1913, in Smorgon, Lithuania, one of the great poets of the twentieth century and the last towering figure of modern Yiddish literature, died this Wednesday, January 20, in Tel Aviv, where he had lived since 1947. A descendant of rabbis, Sutzkever applied to the writing of poetry the standards of refinement that his ancestors had practiced in obedience to Jewish religious law. During World War II, when he was herded into the ghetto with the rest of Vilna Jewry, he determinedly continued composing, persuaded that "the angel of poetry" protects the creator of timeless—but only of truly timeless—work.
Probably the most famous and universally beloved Jewish song of the modern era was written to a hasidic melody by Abraham Zvi Idelsohn (1882-1938). A prolific musicologist, composer, and cantor, Idelsohn wrote the song to celebrate the 1917 Balfour Declaration. In 1922, he recorded it with a Berlin men’s choir in a startlingly slow (to today’s ears) tempo. Since then it has been performed, effervescently, by Jews and non-Jews in countless arrangements and settings.
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