In the few months since our book was published, women of different ages have come up to us with stories of their own experiences of bat mitzvah – the ceremony that marks a Jewish girl’s coming of age at 12 or 13. These stories have brought home to us in a personal way the trajectory of Jewish women’s experience in the last half-century in the United States.
Grandmothers of today’s bat mitzvah girls tell us that bat mitzvah was not available to them when they were girls. Some resented the discrimination against them, as their brothers and male classmates celebrated bar mitzvah as a highlight of the Jewish lifecycle; others didn’t particularly care. Although the first bat mitzvah took place in 1923 in New York City, it took the women’s movement that re-emerged in the 1960s and ’70s to enable women to look at their status anew, to try to create change, and to popularize the concept of a women’s coming of age ceremony.
But bat mitzvah still wasn’t analogous to boys’ ceremonies. Middle-aged mothers tell us that they had their bat mitzvah ceremonies at the synagogue on Friday night, a time when a boy’s bar mitzvah would rarely be held. In this way, the girl could chant the “Haftorah,” a reading from the Prophets, and not from the Torah, the holy scroll that contains the five books of Moses, a lesser kind of honor. In fact, sometimes the reading was known mistakenly as the “half” Torah.
Nowadays, girls and their mothers in Progressive branches of Judaism take it for granted that the bat mitzvah will be virtually the same as a boy’s bar mitzvah. Girls learn how to read from the Torah – not an easy task – and some wear a prayer shawl (tallit) during the ceremony, until recently a male-only prerogative. Religious transition is rarely so tangibly or so swiftly demonstrated as the generational change in bat mitzvah observance from grandmothers to mothers to today’s bat mitzvah girls.
Reputedly, Rachmaninoff once said: “There’s no such thing as inspiration. You sit down and do the work.” There’s so much to like about the quote! I think maestro must have seen art – in his case, music – as something of a daily practice; certain anti-climatic quality of his pronouncement is also a promise for consistency. He would probably agree that the intentional seeking or digging isn’t called inspiration – curiosity maybe – so, just start talking. Or humming, whatever.
Working on the last stages of my new book, Jazz Talmud, I was lucky to have the mentorship of Stanley Moss, my editor/publisher, and also a really excellent poet. I’ve never agreed with anyone offering me editorial advice as much as I did with Stanley. Except for this one thing.
As we chatted and told each other stories, he kept prodding me to write down some of the stories I told him as poems. He also pointed out certain significant aspects of my life I’ve never discussed in poetry – and thought it was a mistake to keep avoiding them. He pushed hard for these pieces. In principle, I agreed; for the ten or so pieces he commissioned, I went through numerous drafts, arrived at forms that were new to me, had a lot of fun. Ultimately, it was all garbage, and to the garbage it went.
But, while laboring on the commissioned pieces, between the cracks, I wrote notes – sketches – for other pieces, completely unrelated, more distractions than compositions. Those sketches actually worked and ended up as poems; on-demand stuff probably never will. We all have our little tricks. Mine, turned out, is sitting down to do one thing and getting distracted into something else. There’s more free-associative freedom that way, more potential for play and the unexpected. I don’t know if this congeals with Rachmaninoff’s ethos, but I’d like to think that maybe sitting down to write his orchestra arrangements, he veered into solo piano works. Or vice versa.
Here’s a piece that grew out of a distraction. It’s kind of like having a kid “by mistake”. Kind of… just with a bit less at stake, I guess.
All around you
as far as the eye can see
nothing but soup.
Horizon, a dangling zipper
of some deity’s pants.
You’re in a boat on loan
from the demon of Monday mornings.
Questions – birds – it’s the fall
there’re more of them they form v’s
traverse the sky towards a shining yellow bottom
of a pot where much better stuff
is being brewed.
About a decade ago I read a Billy Collins poem called “Advice to Writers,” where this former U.S. Poet Laureate suggests:
wash down the walls and scrub the floor
of your study before composing a syllable.
Clean the place as if the Pope were on his way.
Spotlessness is the niece of inspiration.
There’s wisdom there: it feels good to write with an uncluttered mind, unburdened by other concerns.
But taking Ajax to your literal and metaphorical surroundings could border on sterilizing. And also, silencing. Sure, Collins is at least in part joking – it’s a funny poem – but I’m sure he means it, too. The poetic voice he is suggesting his readers to summon, in a clean-pristine room, is very much a solo. People, things – out of the way! The poet is talking! (to himself, and being funny – don’t miss out!). A room with scrubbed floors, however tempting, is not where a soul lives, at least I don’t think so.
My wife and I spent 2008-2009 in Jerusalem, where I was a Dorot Fellow. It was unforgettable year, the time when, more so than ever before, I had an opportunity to write. Location was an open question. Our apartment was neater beyond anything I’ve ever encountered. We have just gotten married, and my wife Shoshana put up a valiant and edifying effort to keep it sane – despite the combination of me, guests, our belongings, and Jerusalem dust who would gang up and daily raise a mighty paw of offense. However close to Collins-compliance state, our place was too small, too removed from pulsing, yelling life that surrounded us. I had to get out.
And so, most often I’d go to a little cafe, called Nocturno, a few minutes away from the apartment. It was a tiny duplex with a winding metal staircase that at its peak managed to host as many as three dozen people, which was kind of unbelievable. Talmud, describing the miraculous occurrences of the Temple, says: “people stood close together, yet when they worshipped there was enough room for all.” It was that sort of a thing. All the space got used up: tables outside, bar stools, loners were doubled up into joint tables, and even the cement ledge that’s technically outside the perimeter had a few people sitting on it. The menu ranged from soup to cigarettes, but most importantly, they brewed great coffee. And the crowd was very colorful. With Bezalel Art School nearby students came out in droves; but there were also heavy grad school folks buried in their books; a few hip religious Jews; secular population of Jerusalem (a wonderful and underexplored breed of their own!); lots of foreigners. A few times I spotted Israeli Arabs – a fact that, in the city where divide lines run at their deepest, says a lot about the cafe and its vibe.
I sat upstairs, with my notebooks, big mugs of coffee, and watched the noise. It was visible. The noise, like the cafe itself, seemed layered, there were floors to it, and winding noise-stairs. The noise-steam rose from cups of noise-sipping noise-masters. Bringing around plates, waiters, served noise-sandwiches. It was neither grating nor even unpleasant. It was a structure. An organic structure. It felt great.
This is where my Jazz Talmud project was born. I was playing around on the page, free-associating, and within a span of a week I wrote a core of poems that became a book. The idea was to use the Talmudic rhetoric, talk the way Talmudic rabbis talked – but address things relevant to me and my life. Talmud is not what Collins would pine after, nor certainly what Joyce’d call a “clean well-lighted place.” Because there is never a single voice cutting through it. It’s like a body; it’s also like a universe. Everybody is talking to everyone – across centuries, backwards and forward, moving, chatting, chattering, agreeing and vehemently disproving, reminiscing, reconciling, recoiling, trying to bring the house down – you get the idea. The same is true for jazz. I once heard a great American poet, David Meltzer, say that jazz is the closest we’ve come to utopia. Because it is incredibly communal and people who may have never met each other before, or maybe can’t stand each other’s guts, will know how to speak to each other in the language much more real than any words we know. People are listening to each other and composing on the spot, responding not merely to one another, but also to the ghosts who’ve inspired the music they’re playing: be it their teachers, or jazz greats who’ve laid down genre’s foundations, or even people in their actual lives – because of the improvisational factor, jazz is visceral and personal, revealing even.
So then what I begun to construct is poems with many voices. With noise-structures and arguments. Here’s an example.
said Rabbi Zusha: “my mother named me Sasha but I fell into a seraphic orchestra pit, and things have not been the same” his students asked him: “what did you see in the pit?” he answered: “behold, four seraphs held a cello, like a naked, newly-formed body, and eight pushed the bow” whose cello? Adam’s whose bow? Mordechai’s, the refused bow that makes cellos of heaven sing the soul-spilling human heaviness — the essence he also said: “in every horn, their lives a family of shadadademons, a family of three or four, on the average angel Gabriel comes to blow his hot breath to let them loose into the world, their clothes flutter, their hearts beat against the four brass bars of domestication, both breaking as a result” therefore, every saxophone is a ripped cage: no, a rib cage: of an ancient being that de-composed long before names of god became the star-tallis in which hearts are wrapped/rapt taught Rabbi Akiva: behold there are names of god that got filtered by moth-screens others got lost in the loss of the hiss of the vinyl some stuck in Karl Marx’s beard some stuck between the boards of the family-table and can only be extracted with a big family knife some spilled on the mama-apron in the deep-fry-metaphysical back-kitchen but these are the 32 revealed names of god: “jehwaep. shadai-doodah woop elohadip dip papadoo dap. strata doo dampa flip clip dedam pam pa derederedere strip tzuris degatee goat boom dupa goat ratata ratata what? you askin? outer bank, jehwaep shadai doodah wap” New Orleans funk band the Meters inherited twenty crumbs of the god-name from the voodoo grandmother who plucked them at the foot of the great phallic Ethiopian Eucalyptus but some say she birthed these crumbs, each in deep pain, each deep in time, each under the brilliant lamp-lights which are the eyes of Messiah himself