Taking the Messiah out of the Three Weeks (and Putting Joy In)

Today is the 17th of Tammuz, the day when five big catastrophes happened in Judaism:

* Moses smashed the original Ten Commandments;
* The daily tamid offering was not offered in the Temple for the first time since it was constructed;
* The walls of Jerusalem were breached by Roman armies;
* A Torah was burned by a Roman general; and
* An idol was erected in the temple.

Last night was singer, pianist, and storyteller Rabbi Raz Hartman's last night in town. I got there late (I had a show of my own, and I was running late, and on low energy. But when I heard Raz singing, I bolted down the hall. (Being as though this was a fancy Upper West Side apartment building, with single-and-well-jobbed Jews all over the place, it was probably the first time the hallway had ever seen bolting.) It was a sudden rush of adrenaline, a memory of the first time I sat at his table for Shabbos. There's probably something in Hasidus that talks about the need for sudden devekut, but I don't know the quote. All I knew is, I needed to be there, right now.

And it was a joyous time. It was a really good time. I used to stay on the Upper West Side a lot, back when I was single and weird. I went to a bunch of social gatherings, and they were almost uniformly uncomfortable -- lots of "you're a professional poet? No, but what about for money?" -- and I was almost ashamed of my initial reaction that night, which was to gloat that I was the only male present (bli ayin hara) with a full head of hair.

But I pushed it to the side. Oh, there were the bankers and the lawyers and the people with their shirts tucked in and girls who wouldn't look twice at me, but I have my own girl, and I have my own job. And Raz was singing songs about rebuilding Jerusalem, and telling everyone in the audience that we need to come over for Shabbos dinner when we're in Israel. And it was so awesome and holy and joyful that it was hard to remember that we were on the precipice of a fast day, and that the next three weeks were the anniversary of the amazing city that we're singing and storying about getting ransacked and destroyed by the Roman army.

Occasionally, here at MyJewishLearning, we get in theological debates. (It is a Jewish website, after all.) When I wrote our article on The Three Weeks, I originally included a concluding paragraph that talks about the coming of the Messiah, and how the Jerusalem Talmud prophecies that the Messiah was born on the climactic day of the Three Weeks, on Tisha B'Av. It was cut out -- because, as one editor noted, some people don't believe in the Messiah.

Yeah, I'm Orthodox, and saying that you don't believe in the Messiah is like saying you don't believe in fairies -- you're either a heartless bastard or a 10-year-old boy with something to prove. The Messiah and the World to Come represent hope, and goodness, and that one day we'll have better things to worry about than bills and nuclear war.

To my surprise, though, they let me keep in a quote from the Munkacs Rebbe, who is totally awesome (and, by the way, is a cousin of our site's good friend Dan Sieradski) which closes out the article:

The Talmud says, "When the month of Av enters, one should decrease in joy." The Hasidic rebbe Rabbi Chaim Elazar Spira (1861-1937) said that, though the Talmud says to "decrease in joy," it should be read, "decrease...in joy." In other words, though it is proper to mourn, even in that mourning, we should do so joyously, knowing that better times are ahead.

That, I hope, is a sentiment that everyone can get with. Whether they're balding or not.

A Jew and a Muslim Walk into a Bar...

8:00 a.m. It's been 7 hours since last night ended -- and 3 hours since I woke up -- and I'm still shaking.

I set up a reading with Michael Muhammad Knight, the author of the Muslim punk novel The Taqwacores -- mostly, I confessed on stage, so that I had an excuse to meet him. My old religion teacher, S.H. Nasr, always used to say how different religions were just parallel paths to the same destination, but before I read Taqwacores, I was never convinced that anyone was taking a path remotely in the same direction as mine.

When I showed up, Mike and his friend were already there. He was apologetic -- "I don't think I'm going to read from Taqwacores tonight," he said. "Not sure if that throws off the theme of the evening, or not." Instead, he said he was going to read from Blue-Eyed Devil, his travelogue of Muslims in America. "There's this ritual I've been thinking about," he told us. "When Shi'a Muslims pray, you remember the battle of Karbala and remember the suffering of the third Imam, Imam Hussein, and you hit your chest."

Sometimes, he said, the beating can get intense. People praying themselves into a frenzy have been injured, and sometimes killed. "There's this part in Blue-Eyed Devil about the bed of nails," he finished. "I think I'm going to read that while I administer the blows to myself."

I nodded. I'm only a dozen pages into the book, but I knew what he was talking about. It's just like the Jewish al chet prayers on Yom Kippur, slamming our fists into our hearts. Easy stuff. Divergent religions, comparable practices. Yay, Nasr.

And anyway, it wouldn't be my first time with radical performance art. I mean, I spent five years living in San Francisco. Having a conversation with someone who was self-flagellating or immolating was practically coffee-table talk.

I went first. I read out of the sequel to my novel Losers, where Jupiter forgets it's Rosh Hashana and then runs into God. It started out being about forgiveness and repentance, but somehow he ended up talking about having crushes on girls and checking out girls through the mechitza in synagogue. I can't really explain it. That's just Jupiter.

Then Mike got up to read.

He started reading about going to visit the grandson of Malcolm X, who was incarcerated at the time, and talking with him about Islam and prison life. Somewhere, he transitioned to talking about the Muslim al-chet prayer* and describing it being administered -- it's not just a simple fist-tapping-heart; you raise your arm up all the way, and then slam your palm into your pectoral muscle. Mike talked about people bleeding beneath their shirts. Others just ripped off their shirts to feel the full brunt of the blows. As he read, those people by the bar who were just ordering a sandwich began to order quieter; the line for the monologue show got a little less monologuey.

His voice was really picking up steam now. He pulled off his shirt. We almost didn't notice; it seemed like the natural thing to come after talking about it.

Then he started to read about men throwing themselves down on a bed of nails -- small nails, thousands of them scattered on the ground. Which is when he picked up a plastic bag and scattered a tiny golden rain across the floor.

We craned. Thumbtacks. Literally hundreds of them. He gave the bag a final shake, tossed it aside, and then threw himself on the floor.

When he came up, they were sticking to his arm in droves. They actually stuck to his arm, lining it, kind of like a He-Man villain, or like Dr. Claw on Inspector Gadget. Then he threw himself down on his other side.

Somewhere in between being introduced and when the reading started, I talked to Mike's friend. When we met, he was eating the most out-of-control pasta I had ever seen, but he wore a purple silk shirt and managed to evade the volleys of tomato-sauce with gusto and aplomb. He told me that he was scripting the adaptation of Blue-Eyed Devil, a kind of meta-commentary of Michael Muhammad Knight on himself, exploring his own faith at the same time as he's supposed to be writing an authoritative guide of American Muslims' faith. It's all pretty incredible. Before the event, Mike murmured, in what we thought at the time was a joke, "Maybe tonight'll become a part of the movie." Now, in that meta-meta-everythingle zone of retrospect, I'm not sure about the joke part.

Much later, we showed up to see Raz Hartman, the rabbi from our yeshiva, who was visiting from Israel. He was supposed to be giving a lecture in an apartment on the Upper West Side. As soon as I got off the elevator, I could hear a piano-drum-and-violin jam. I booked it down the hall. Rabbi Raz was perched at the piano, swaying like a spring hurricane in Kansas. He was shockeling, that back-and-forth motion you do when you're praying, but wilder than anyone in America knew how. His fingers never left the keys, though, and like a tornado, he had a steady epicenter that he always returned to. It was a totally different kind of passion -- not the kind that pierced you like pins, but that held you in place like pins.

Same tools, different direction.


* - whose name I can't track down, although I found a fascinating article about the ritual itself

Hasidic Rabbis, Indian Jews, and The Manic Frum Music Report

My latest column on Nextbook: Rabbi Raz Hartman and the songs of the Bnei Menashe tribe of Southeast India.

Three minutes is about the length of my attention span—and the average pop song—and within its limits I have come to expect a dance party, a manic heavy-metal freakout, or an angry but ultimately hopeful statement about love. I could never be a product of the classical era. I need pop music. But there are some experiences that can't be captured in a bite-size musical nugget.

Raz Hartman writes songs that, in length and in musical theme, straddle the division between classical, pop, and religious music. I wouldn’t call it music to meditate to, but that’s only because the term has come to mean music to fall asleep to. Rebbe Nachman of Breslov, Hartman’s spiritual inspiration, said other people tell stories to put themselves to sleep—Jews tell stories to wake themselves up. And Hartman's second album, Shuva (his second) is definitely music to wake up to.

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