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From ‘how to’ to ‘why bother?’: Michael Strassfeld writes a new guide to being Jewish

(JTA) — “What the son wishes to forget the grandson wishes to remember.” That’s known as Hansen’s Law, named for the historian Marcus Lee Hansen, who observed that while the children of immigrants tend to run away from their ethnicity in order to join the mainstream, the third generation often wants to learn the “old ways” of their grandparents.

In 1973, “The Jewish Catalog” turned Hansen’s Law into a “do-it-yourself kit” for young Jews who wanted to practice the traditions of their grandparents but weren’t exactly sure how. Imagine “The Joy of Cooking,” but instead of recipes the guide to Jewish living had friendly instructions for hosting Shabbat, building a sukkah and taking part in Jewish rituals from birth to death. Co-edited by Michael Strassfeld, Sharon Strassfeld and the late Richard Siegel, it went on to sell 300,000 copies and remains in print today.

Fifty years later, Rabbi Michael Strassfeld has written a new book that he calls a “bookend” to “The Jewish Catalog.” If the first book is a Jewish “how to,” the latest asks, he says, “why bother?” “Judaism Disrupted: A Spiritual Manifesto for the 21st Century” asserts that an open society and egalitarian ethics leave most Jews skeptical of the rituals and beliefs of Jewish tradition. In the face of this resistance, he argues that the purpose of Judaism is not obedience to Torah and its rituals for their own sake or mere “continuity,” but to “encourage and remind us to strive to live a life of compassion, loving relationships, and devotion to our ideals.” 

Strassfeld, 73, grew up in an Orthodox home in Boston and got his master’s degree in Jewish studies at Brandeis University. Coming to doubt the “faith claims” of Orthodoxy, he became a regular at nearby Havurat Shalom, an “intentional community” that pioneered the havurah movement’s liberal, hands-on approach to traditional practice. He earned rabbinical ordination from the Reconstructionist Rabbinical College when he was 41 and went on to serve as the rabbi of Congregation Ansche Chesed on the Upper West Side and later the Society for the  Advancement of Judaism, the Manhattan flagship of Reconstructionist Judaism. 

“To be disrupted is to experience a break with the past and simultaneously reconnect in a new way to that past,” writes Strassfeld, who retired from the pulpit in 2015. This week, we spoke about why people might find Jewish ritual empty, how he thinks Jewish practices can enrich their lives and how Passover — which begins Wednesday night — could be the key to unlocking the central idea of Judaism.

Our conversation was edited for length and clarity.

Jewish Telegraphic Agency:  I wanted to start with the 50th anniversary of the “Jewish Catalog.” What connects the new book with the work you did back then on the “Catalog,” which was a do-it-yourself guide for Jews who were trying to reclaim the stuff they either did or didn’t learn in Hebrew school?

Michael Strassfeld: I see them as bookends. Basically, I keep on writing the same book over and over again. [Laughs] Except no, I’m different and the world is different. I’m always trying to make Judaism accessible to people. In the “Catalog” I was providing the resources on how to live a Jewish life when the resources weren’t easily accessible. 

The new book is less about “how to” than “why bother?” That’s the challenge. I think a lot of people take pride in being Jewish, but it’s a small part of their identity because it doesn’t feel relevant. I want to say to people like that that Judaism is about living a life with meaning and purpose. It’s not about doing what I call the “Jewishly Jewish” things, like keeping kosher and going to synagogue. Judaism is wisdom and practices to live life with meaning and purpose. The purpose of Judaism isn’t to be a good Jew, despite all the surveys that give you 10 points for, you know, lighting Shabbat candles. It’s about being a good person. 

So that brings up your relationship to the commandments and mitzvot, the traditional acts and behaviors that an Orthodox Jew or a committed Conservative Jew feels commanded to do, from prayer to keeping kosher to observing the Sabbath and the holidays. They might argue that doing these things is what makes you Jewish, but you’re arguing something different. If someone doesn’t feel bound by these obligations, why do them at all?

I don’t have the faith or beliefs that underlie such an attitude [of obligation]. Halacha, or Jewish law, is not in reality law. It’s really unlike American law where you know that if you’re violating it, you could be prosecuted. What I’m trying to do in the book is reframe rituals as an awareness practice, that is, bringing awareness to various aspects of our lives. So it could be paying attention to food, or cultivating attitudes of gratitude, or generosity, or satisfaction. My broad understanding of the festival cycle, for example, is that you can focus on those attitudes all year long, but the festivals provide a period of time once in the year to really focus on, in the case of Rosh Hashanah and Yom Kippur, for example, saying sorry and repairing relationships.

In “Judaism Disrupted: A Spiritual Manifesto for the 21st Century,” Michael Strassfeld argues that the challenge of each generation’s Jews is to create the Judaism that is needed in their time. (Ben Yehuda Press)

Passover is coming. Probably no holiday asks its practitioners to do so much stuff in preparation, from cleaning the house of every trace of unleavened food to hosting, in many homes, two different catered seminars on Jewish history. Describe how Passover cultivates awareness, especially of the idea of freedom, which plays an important part thematically in your boo

The Sefat Emet [a 19th-century Hasidic master] says Torah is all about one thing: freedom. But there’s a variety of obstacles in the way. There are temptations. There’s the inner issues that you struggle with, and the bad things that are out of your control. The Sefat Emet says the 613 commandments are 613 etzot, or advice, that teach us how to live a life of freedom. The focus of Passover is trying to free yourself from the chains of the things that hold you back from being the person that you could be, not getting caught up in materiality or envy, free from unnecessary anxieties —  all these things that distract us or keep us from being who we could be. 

The Passover seder is one of the great rituals of Judaism. We’re trying to do a very ambitious thing by saying, not, like, “let’s remember when our ancestors were freed from Egypt,” but rather that we were slaves in Egypt and we went free. And at the seder we actually ingest that. We experience the bitterness by eating maror, the bitter herb. We experience the freedom by drinking wine. We don’t want it just to be an intellectual exercise.  

Unfortunately the seder has become rote. But Passover is about this huge theme of freedom that is central to Judaism. 

I think some people bristle against ritual because they find it empty. But you’re saying there’s another way to approach rituals which is to think of them as tools or instruments that can help you focus on core principles — you actually list 11 — which include finding holiness everywhere, caring for the planet and engaging in social justice, to name a few. But that invites the criticism, which I think was also leveled at the “Catalog,” that Judaism shouldn’t be instrumental, because if you treat it as a means to an end that’s self-serving and individualistic.  

Certainly rituals are tools, but tools in the best sense of the word. They help us pay attention to things in our lives and things in the world that need repair. And people use them not to get ahead in the world, but because they want to be a somewhat better person. I talk a lot these days about having a brief morning practice, and in the book I write about the mezuzah. For most Jews it’s become wallpaper, but what if you take the moment that you leave in the morning, and there’s a transition from home to the outside and to work perhaps, and take a moment at the doorpost to spiritually frame your day? What are the major principles that you want to keep in your mind when you know you’re gonna be stuck in traffic or a difficult meeting?

And a lot of traditional rituals are instrumental. Saying a blessing before you eat is a gratitude practice.   

But why do I need a particular Jewish ritual or practice to help me feel gratitude or order my day? Aren’t there other traditions I can use to accomplish the same things?

Anybody who is a pluralist, which I am, knows that the Jewish way is not the only way. If I grew up in India or Indonesia and my parents were locals I probably wouldn’t be a rabbi and writing these books. 

But a partial answer to your question is that Judaism is one of the oldest wisdom traditions in the world, and that there has been a 3,000-year conversation by the Jewish people about what it means to live in this tradition and to live in the world. And so I think there’s a lot of wisdom there.

 So much in Jewish tradition says boundaries are good, and that it’s important to draw distinctions between what’s Jewish behavior and what’s not Jewish behavior, between the holy and the mundane, and that making those distinctions is a value in itself. But you argue strongly in an early chapter that that kind of binary thinking is not Judaism as you see it. 

Underlying the book is the notion that Rabbinic Judaism carried the Jewish people for 2,000 years or so. But we’re living in a very different context, and the binaries, the dualities — too often they lead to hierarchy, so that, for example, men matter more than women in Jewish life. And we’ve tried to change that. We are living in an open society where we want to be more inclusive, not less inclusive. We don’t want to live in ghettos. Now, the ultra-Orthodox say, “No, we realize the danger of trying to live like that. We don’t think there’s anything of value in that modern world. And it’s all to be rejected.” And it would be foolish not to admit that in this very open world the Jews, as a minority, could kind of disappear. But I think that Judaism has so much value and wisdom and practices to offer to people that Judaism will continue to be part of the fabric of this world — the way, for example, we have given Shabbat as a concept to the world.  

You know, in the first 11 chapters of the Torah, there are no Jews. So clearly, Jews and Judaism are not essential for the world to exist. And that’s a good, humbling message.

OK, but one could argue that while Jews aren’t necessary for the world to exist, Judaism is necessary for Jews to exist. And you write in your book, “If the Jewish people is to be a people, we need to have a commonly held tradition.” I think the pushback to the kind of openness and permeability you describe is that Jews can be so open and so permeable that they just fall through the holes.

It certainly is a possibility. And it’s also a possibility that the only Jews who will be around will be ultra-Orthodox Jews.

But if Judaism can only survive by being separatist, then I question whether it’s really worthwhile. That becomes a distorted vision of Judaism, and withdrawing is not what it’s meant to be. I think we’re meant to be in the world.

Your book is called “Judaism Disrupted.” What is disruptive about the Judaism that you’re proposing?

I meant it in two ways. First, Judaism is being disrupted by this very different world we’re living in. The contents of the ocean we swim in is very different than in the Middle Ages. But I’m also using it to say that Judaism is meant to disrupt our lives in a positive way, which is to say, “Wake up, pay attention.” You are here to live a life of meaning and purpose, and to continue as co-creators with God of the universe. You’re here to make the world better, to be kind and compassionate to people, to work on yourself. In my mind it is a shofar, “Wake up, sleepers, from your sleep!” “Judaism Disrupted” says you have to pay attention to issues like food, and justice, and teshuva [repentance].

You were ordained as a Reconstructionist rabbi. Do you think your book falls neatly into any of our current denominational categories?

[Reconstructionist founder] Rabbi Mordecai Kaplan’s notion of Judaism as an evolving religious civilization is the one that I feel closest to. But I feel that the denominational structure isn’t particularly useful anymore. There’s basically two categories, Orthodox and the various kinds of liberal Judaism, within a spectrum. The modern world is so fundamentally different in its relationship to Jews and Judaism that what we’re seeing is a variety of attempts to figure out how to respond. And that will then become the Judaism for the next millennium. It’s time for a lot of experimentation. I think that’s required and out of that will come a new “Minhag America,” to use Isaac Mayer Wise’s phrase for the emerging custom of American Jews [Wise was a Reform rabbi in the late 19th century]. And we don’t need to have everybody doing it one way. As long as people feel committed to Judaism, the Jewish tradition, even if they’re doing it very differently than the Jews of the past, they will be writing themselves into the conversation.


The post From ‘how to’ to ‘why bother?’: Michael Strassfeld writes a new guide to being Jewish appeared first on Jewish Telegraphic Agency.

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Eliya Smith says plot is what happens when you’re busy doing nothing

Eliya Smith’s dad has seen her play Dad Don’t Read This. He’s kvelled at its every iteration.

“He’s always like, ‘Are people gonna know that I’m Dad?’” Smith, 28, said on the day of the Knicks Victory Parade. The streets of the West Village, where we met for coffee, were teeming with orange and blue; she was wearing a baseball cap with some sort of bird, a heron or maybe a penguin, swallowing a fish.

“I always think it’s funny that he’s like, ‘I’m here and I have no complicated feelings.’”

Smith’s father isn’t the title character of the piece, which is about four high school friends, the computer game The Sims and the existential angst of adolescence, but technically he is. Smith started writing the show about a decade ago, during Thanksgiving break from Harvard. She needed the pages printed and emailed them to her father with the injunction as a kind of title page. (The following page read, “If you’re reading this page, it means you started to read. Stop reading.”)

The play is a work of fiction, as are all its characters. But the real-life command became a guiding principle — and the first lines — of the show.

“There is like a sort of frame of, ‘This play isn’t for you,’” said Smith, a former Forward editorial fellow who, last year made her Off-Broadway debut with the play Grief Camp. “I think the audience should reckon with the experience of watching it. Not that I’m like, ‘Fuck you for coming to my play,’ I’ll always be grateful, but I think my favorite parts of the play are when it really feels like they’re like doing the play for each other.”

Dad Don’t Read This is what Smith calls her first real, full play. Unsatisfied with her earlier attempts, she took a crack at writing what she knew: boredom and Ohio (in her mind synonymous) and the endless hours she spent in her basement chatting with friends. That and The Sims, the life simulator where players construct the world and circumstances of flailing, gibberish-spewing suburbanites.

“When I was in high school, I feel like I would sometimes play The Sims and be like, ‘If only it were this easy,’” Smith said. She had a cheat code that could defy Maslow’s Hierarchy of Needs: When a Sim had to pee, you could drag the need away. She found herself thinking, “’I wish I could do that for myself, that I could just like drag away the sadness.”

In the show, this sentiment is embodied by Mal (Amalia Yoo, hot off her turn as another high schooler in the midst of a best friend breakup in John Proctor is the Villain), who tries to manipulate her friends the way she does her pixilated people.

Smith isn’t Mal, but the character’s Ohio ennui (Smith’s from Columbus) and some of her feelings are true to her high school self. OK, Smith’s like her in one way: She, like Mal, had a cousin who gave her a Sims cheat code for unlimited money.

The connection between the world of The Sims, and the control it signifies, has a natural extension in playwriting.

“You become a playwright because you have control issues,” Smith conceded. “When I’m writing it on the page, I can manipulate the characters how I want, and then we start rehearsing it, and I lose a little more control, and then it’s like the more the play becomes its own thing.

“I think it is actually the reason I became a playwright, because I love the moment where my desire to control everything is sort of overruled,” Smith said. Still, it’s often painful for her to be present as her words are performed.

About the hat — the one with the bird — she often feels the need to wear one when she sits in the audience, not to be incognito (she’s been told it makes her more conspicuous) but to block some of her field of vision so she doesn’t have to see some patron sigh or look at their phone.

Eliya Smith Photo by Hana Mendel

Smith and I move from the coffee shop — whose vibe she compares, no shade, to the fast fashion brand Brandy Melville — over to the Greenwich House Theatre, where Dad Don’t Read This just transferred from St. Luke’s Theatre in midtown, earning a New York Times Critic’s Pick.

We plop into swivel chairs in the dressing room and catch up. Eliya left the Forward in 2021 to go to grad school at UT Austin. She’s only really been living in New York full time for about a year, calling Park Slope home. Life in Austin, she said, felt almost like an extension of high school in Ohio. She’d drive around bored with her friends. She misses the heat.

“I feel like there’s a sort of leveling thing that happens,” she said between sips of her iced coffee. “I feel like in New York you like get off the subway and you somehow are supposed to not be sweaty from being like packed in with hundreds of other people underground, and I feel like in Texas it’s so hot that it’s just totally fine, everyone is kind of disheveled and gross, and it’s just like what the vibe is, and I feel like it’s really equalizing, like ‘We’re all like looking not our best,’ and I liked that.”

She has yet to write her Texas play — or her New York one.

“I feel like everything I write is on a five-year delay,” said Smith, whose produced plays often circle the Buckeye State. (Last season’s Grief Camp took place in Virginia, but also followed young people; another play, about Holocaust memory, was called Deadclass, Ohio and, aptly, played at the New Ohio Theatre in Manhattan.)  “Until I was like 23 I was like I can only write about being 17.”

Her new projects, Two Girls, a metatheatrical work about a shock porn video, and Biography (her least autobiographical piece to date), are departures.

It’s hard to explain the exact vibe of Dad Don’t Read This. Some have likened Smith’s work to Annie Baker, who she knows from UT Austin. I propose, in moments, it approaches Chekhov at a sleepover. Smith says she would never compare herself to the Russian master, but is happy to sing his praises. Though I meant this as a compliment, it could be seen as critique: On the surface, there isn’t much of a plot.

“I often joke that I don’t like plot,” Smith said. “But that actually isn’t true. I rigorously plot all my plays, it’s just the plot is like: This character is deeply wounded because of the perceived subtext from a line about a soda, and to me, that is plot.”

She also believes Top Gun: Maverick is the best movie ever in part because of how much happens. You can tell she is sincere, while knowing this is somewhat absurd to discuss in the same breath as The Cherry Orchard.

“You can have great art like Top Gun: Maverick, that is very sort of like there’s a story and these are all the beats, and you can also have Chekhov where the plot is like a wound that you couldn’t even name.”

Ineffable feelings are the engine of Dad Don’t Read This. Mal and her friends try and fail to articulate just what is going on in their little lives, where the inconsequential is the only thing that matters.

While firmly of a generation — it’s set in 2014, the actors are a few years younger than Smith — the play has found older admirers. Helen Shaw of The New York Times ranked it one of her top shows of the season. The New Yorker’s Adam Gopnik will participate in a “Dad Affinity Night” on June 28.

The key to its connection may well be what’s absent from the stage — smart phones and social media are nowhere to be seen. It’s intentional.

“We like don’t have boredom anymore, because we have phones, and so I’ve been trying to figure out how do I put characters in a situation where they can be extremely bored and where that can be dramatically intriguing,” Smith said. “And also, like, how do I make boredom resonate with an audience that doesn’t experience boredom because we look at our phones, and I do feel like being bored in Ohio is like something that I knew so intimately.”

Onstage at the Greenwich House Theatre, boredom lives. And it’s riveting.

The post Eliya Smith says plot is what happens when you’re busy doing nothing appeared first on The Forward.

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Shots fired in Jewish neighborhood of Montreal

(JTA) — Montreal police said an alleged shooter in a neighborhood known for its large Jewish population had been “neutralized” after killing one police officer and wounding another officer and a civilian Monday.

“A suspect has been neutralized,” the official police account posted on X after advising residents Côte-des-Neiges to stay indoors. “Two police officers and one citizen have been injured. The police operation is still underway. Continue to avoid the area. Further details to follow.”

The Montreal Gazette later reported that the suspect and the civilian also were dead.

It was not clear if the intended targets were Jewish, but a Chabad emissary in the neighborhood told Ynet, an Israeli news site, that a nearby building was targeted and that he was sheltering about 100 people.

The Yeshiva World News news site posted a video of a SWAT team swarming around a home belonging to a family affiliated with Chabad, the Orthodox Jewish movement.

Côte-des-Neiges was the scene of postwar Jewish settlement as Jewish families ascending from the working to the middle class moved west from the area of St. Laurent Boulevard. The area, with treelined streets studded with duplexes and low-rise apartment buildings, had a friendly neighborhood ambience and lacked the anti-Jewish restrictions some of the wealthier enclaves maintained at the time.

There are a number of Jewish schools and synagogues in the area, including the Spanish and Portuguese synagogue, the oldest congregation in the country, established in 1768 and which moved to the neighborhood in 1947. The neighborhood is now the site of a large Chabad community and a number of Jewish restaurants and delis.

This is a developing story.

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Everyone was a fan of Clive Davis — even if they didn’t know it

Last September I spent about 30 seconds with Clive Davis in a crowded elevator.

I was in the Sony Building, having just seen a press screening of Richard Linklatter’s Blue Moon. The elevator was full of mostly young people — probably Sony employees — and some press. The doors pinged open and in stepped a man with two handlers and an adorable spaniel. I turned to a fellow journalist and whispered “That’s Clive Davis.”

Someone who knew Clive — enough to call him “Clive” — told him we’d just seen a movie about the creative breakup between lyricist Lorenz Hart and musical composer Richard Rodgers.

“Didn’t you play Janis Joplin for Richard Rodgers,” he asked Davis.

Davis replied with perfect comic timing: “Yes. He hated it.”

That anecdote tells us just how much Davis, the legendary music executive and producer who died Monday June 22 at the age of 94, changed the musical landscape.

Davis had been in the music business long enough to serve as a bridge figure between the Great American Songbook and the popular music of the latter half of the 20th Century. The artists he signed at CBS, and later Arista (he was ousted from the CBS/Columbia for allegedly using company money to finance his son’s bar mitzvah), are enduring icons even, in the case of Ms. Joplin, decades after their deaths.

But what hit me in the elevator was the feeling that not everyone there knew who he was. They did, of course, know the music: Pink Floyd, P!nk, Whitney Houston, Sly and the Family Stone, Barry Manilow, Neil Diamond, Leonard Cohen, Bruce Springsteen and Aerosmith, the very authors of “Love in an Elevator.”

It’s not overstating it to say that Davis’ influence across genres and his golden ear provided the soundtrack to American life. His own life was productive until the end.

He was in the Sony building because he was Chief Creative Officer at the company. A week before his death, the streets were thumping with a New York anthem from one of his late career discoveries: Alicia Keys.

Davis’ rise could be taught in Jewish Studies courses. Born in working-class Crown Heights, he — like Barba Streisand — was a graduate of Erasmus Hall High. He made good at NYU and got his law degree at Harvard.

He rose from the legal department at Columbia to become the company’s top tastemaker. Somewhere along the way he discovered Joplin — of a polar opposite disposition and background — and went from strength to strength.

Davis’ true triumph might have been just how adept he was at navigating everything the U.S. had to offer. The musicians he promoted had little in common save for his imprimatur.

In that elevator, which delivered us without much fuss to the lobby, there may have been people whose musical tastes gravitated to rock, R&B, jam bands, easy listening, guitar instrumentals and jazz.

Whether they knew it or not, Davis shepherded something they liked into existence. His genius was in recognizing genius.

The post Everyone was a fan of Clive Davis — even if they didn’t know it appeared first on The Forward.

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