Natalie Portman's Directorial Debut & Paper Towns' Nat WolffBy Gerri Miller
See how Portman is making her big splash in Israel and don't miss Paper Towns with Nat WolffGo To Pop Culture
Last week, the parasha (
Our opening scene sets the stage for what is actually a novella, the first in the Torah, the story of Yosef and his adventures. Andrew Lloyd Weber famously wrote a hit musical about some of our story that you may want to check out:
But we really don’t need a Broadway hit to let us know that this story has everything that makes a good novel or novella work: intrigue, plot twists, character development, changes in identity, dreams, lies, sibling rivalry, and more than a little a hint of sex.
In fact, just reading the text we see why the great German Jewish novelist of the early 20th century, Thomas Mann, produced a masterpiece of literature, Joseph and His Brothers, based not only on this story, but also incorporating the rabbinic midrashim (stories) that embellish the torah text. A new translation by John E. Woods is described as “a major literary event. Thomas Mann regarded his monumental retelling of the biblical story of Joseph as his magnum opus. He conceived of the four parts — The Stories of Jacob, Young Joseph, Joseph in Egypt, and Joseph the Provider — as a unified narrative, a ‘mythological novel’ of Joseph’s fall into slavery and his rise to be lord over Egypt. Deploying lavish, persuasive detail, Mann conjures for us the world of patriarchs and pharaohs, the ancient civilizations of Egypt, Mesopotamia, and Palestine, and the universal force of human love in all its beauty, desperation, absurdity, and pain. The result is a brilliant amalgam of humor, emotion, psychological insight, and epic grandeur.”
Embedded in the opening part of this novella, the biblical authors do something so crafty. They begin the story in Genesis chapter 37 and build it to a crescendo, leaving Yosef at the point of being sold to an Egyptian after a terrible ordeal, and poor old Yakov, back home, mourning for his favorite boy. We really want to know what happens next… kind of the way you feel when you watch an episode of Homeland and you are just dying to know what will happen to Carrie and Brody. However, chapter 38 is a total departure from the Yosef story; we detour to read a completely separate story about Yehuda (Judah), Yakov’s 4th son, borne by Leah. It is the tribe of Judah that gives the Children of Israel their eventual name, Yehudim (Jews), and it is from this tribe that both King David and Jesus are descended.
The entire detour story tells us that Judah (Yehuda) had 3 sons, and when his oldest, Er, came of age, Yehuda arranged a marriage between Er and Tamar. Unfortunately Er dies and Yehuda sees fit to have Tamar marry another son, Onan. The story devolves (you can read it in chapter 38 verses 8-11). After Onan dies, Tamar is left a widow, childless, and she hatches a plot to make sure she can remarry and have children. In her cleverness, she reminds us somewhat of Rivka/Rebecca, the great-grandmother of Tamar’s husbands. Neither of these women possesses any overt power in this patriarchal society.
In order that the right thing will be done, each woman resorts to subterfuge — each one uses a cover-up to get the right outcome. Two generations before, Rivka puts skins on the arms of the smooth twin (Yakov) to make him feel hairy, like his twin, Esav, when their blind old father touches him. Now Tamar dons a garment that makes her resemble a cultic prostitute; she waits at the crossroads to entice Yehuda into a one-night-stand that she hopes will make her pregnant. He doesn’t recognize her; she takes his seal, cord, and staff as a voucher (for a goat) that she can later redeem — he will send the goat to her with a friend (chapter 38 verses 17-20).
Later, the townspeople tell Yehuda that his daughter-in-law is pregnant; and since he knows that she hasn’t re-married, he tells everyone “Bring her out and let her be burned!” Tamar comes out, shows the seal, cord, and staff, and says “I am pregnant by the man who owns these.” Yehuda recognizes his things and realizes that he should have given Tamar his youngest son to marry (but didn’t), and says “This woman is more righteous than I — I should have given her my youngest son.” This couple is not intimate again, but later in Genesis, we will see how Yehuda develops. It is one of the twin babies, Perez, born of this coupling, who is the progenitor of the Davidic line, the line of the Messiah.
Finally we get back to the Yosef story in Chapter 39 and 40, and our parasha ends with Yosef interpreting dreams that are “spot-on.” Doesn’t this sound like a great novel, movie, or TV series???
Our story about the twin brothers who became mortal enemies continues. Of course, we know they are enemies partially due to their family dysfunction.
This week, Ya’akov (Jacob) and his twin, Esav (Esau), are destined to meet each other after many years apart. The fabulous writer and novelist Dara Horn is the narrator for G-dcast this week, and her reading of the meeting of the twins presents us with core questions: how are our identities linked to our names? how are our relationships with our closest loved ones? how does God work in our lives? and what does this text want us to learn from the enigmatic story of the wrestling match at the Yabok River?
Just in case it isn’t obvious, this motley tribe descended from Avraham and Sarah is known as The Children of Israel. And since there was no place yet named Israel, we learn that we are the children of the man called “Yisrael/Israel;” that is the new name Ya’akov receives after his midnight wrestling at the river. He is given a new name by the being he wrestled with. YISRA-EL. “…for you have striven with beings divine and human and have prevailed” (Genesis 32 verse 29). The scientific etymology of the word Yisrael is unclear, but the folk etymology stuck, perhaps because the people descended from Ya’akov liked to think of themselves as “God-wrestlers.” Isn’t that what Jews are often known for even today? Arguing and wrestling with the meanings of the text, trying with all their might to figure out what the text is saying and what it wants us to take away as a lesson?
This dramatic passage of the midnight encounter bears a close reading. I invite you to read the 10 verses (Genesis 32: 23-33) as you would a poem, wrestling with the meaning. What are we supposed to make of this mysterious nighttime encounter? Ya’akov is tired and scared. He sends his wives and children and servants across the Yabok River (doesn’t that sound very much like his name?). “He is left alone and a man wrestled with him until the break of dawn” (verse 25). Is Ya’akov dreaming? Who is this man he wrestles with?
Dara Horn gives us a few ideas: he is wrestling with his conscience, he is wrestling with an angel, he is wrestling with his twin brother, Esav. Can you think of other possibilities? Could he be wrestling with the various parts of himself, his very character? Does the setting of midnight at a river provide you with hints that this is more than just an encounter with another human being? When you see two people in a wrestling hold, can you imagine that they are actually locked in an embrace? What do wrestling and embracing have in common?
Questions, questions, questions…. and no definitive answers.
And then the denouement, in verse 31: “I have seen a divine being face to face yet my life has been preserved.” Ya’akov finally meets his real life twin brother, Esav, in Chapter 33, and they reconcile. And we hear an echo, Ya’akov once again says something similar about having seen God: “No, I pray you; if you would do me this favor, accept from me this gift; for to see your face is like seeing the face of God, and you have received me favorably” (verse 10). With this utterance, Ya’akov creates a standard for an I-Thou relationship, so well described by Martin Buber, centuries later.
A couple of other interesting tidbits in this parasha:
Last question: when the Bible says, “to this day,” what do you think it signifies?