Not a Third Time — Dvar Torah in Memory of My Dad

Haim Watzman

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An English translation of the dvar Torah in memory of my father, Sanford (Whitey) Watzman, that appears in this week’s issue of Shabbat Shalom , the weekly Torah portion sheet of the religious peace movement Oz VeShalom, on the third anniversary of his death.

The dawn of sovereignty and the end of sovereignty, divine providence and divine concealment, standing on the verge of the Land of Israel and gong into exile—the first chapters of the book of Deuteronomy, which we read this week in the annual cycle of Torah readings, seem to mirror and contrast the themes of the fast of the Ninth of Av, which always falls in the week after it is read. The cycle is deliberately arranged so that we always begin our reading of Deuteronomy on Shabbat Hazon, the Shabbat before Tisha B’Av, the fast that mourns the destruction of the First and Second Temples and the beginnings of the Babylonian and Roman exiles. The most commonly cited connection between the fast and the Torah reading is that the word “eichah,” the exclamation that means “how can this be endured!” (The word also appears in the week’s haftarah from Isaiah and is a refrain in the Scroll of Lamentations read on Tisha B’Av.) But there is much more. The clear message conveyed by the days between Shabbat Hazon and Tisha B’Av is that the Jewish nation was given a chance to establish an independent and moral society, one acting in the name of heaven and not for its own aggrandizement—and that we failed the test badly.

My father worked for many years as a journalist out of a sense of mission and a firm belief that a free press is one of the cornerstones of democratic society. And he believed that democracy was the best (if far from perfect) way of establishing and maintaining a moral human society. Democracy requires citizens to take responsibility for themselves. On the face of it, that seems to be the opposite of what the Torah demands.

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You’re a Good Man, Bibi Brown — “Necessary Stories” column from The Jerusalem Report

Haim Watzman

illustration by Avi Katz
“Fire! Fire! The Temple’s on fire!” I cry out, waking myself up.

Ilana rolls over and glares at me. “Calm down,” she says. “Your freedoms do not include shouting ‘Fire!’ in a crowded Temple.”

“Ohmigod,” I say. “I had the weirdest nightmare.”

“It must be something you didn’t eat,” Ilana suggests.

“I was a dog,” I say.

“A dog?”

“In a comic strip. And there was this music …”

“This is the fluff of which dreams are made?” Ilana sighs. “Let’s hear it…”

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A Time To Be Icky: Tisha B’Av and James Dickey’s “The Sheep-Child”

Haim Watzman

It’s summer and the Jews are being perverse again. Instead of singing of sand and sea, next week we’ll spend a day fasting and lamenting the destruction of Jerusalem. The lamentation lyrics get pretty sickening—blood flows, people get tortured and burned alive, famished women cook and eat their own children. Why do we need this annual national gross-out?

I’ll answer that question by adducing a stomach-turning, very un-Jewish, all-American poem, James Dickey’s “The Sheep Child,” which you can read and hear Dickey read on the wonderful poetry pages of The Atlantic, here. (If that doesn’t work, try the Poetry Foundation).

The poem is about a myth, an untruth, that becomes true. The monster in the jar becomes true not because it actually can be found in a back corner of a museum in Atlanta, but because it brings about a change in human behavior. There is an effect whose cause is an object fabricated by the human mind.

The reality of the fantasy is underlined by the poem’s structure. The first stanza states the problem, the huge force of the animal instinct that drives boys to copulate with the earth itself. But there’s something that is taboo, so forbidden that it overcomes even that nearly irresistible desire. Animals are off limits.

The second stanza is the story that the boys tell, the object they have created in their minds. The third stanza is the result: the story has directed the boys’ desire to its proper object. Perhaps the story was simply a fairy tale?

. . . Are we
Because we remember, remembered
In the terrible dust of museums?”

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