Tuesday, June 10, 2014

Exodus 32: In Writing

Weight of waiting
heavy hours roll slow
Tomorrow, and tomorrow, and tomorrow

Who will cradle me
lift me from the pit
You are not here
hollow absence without a face

I raise my eyes to the mountain
see no arms upraised
See no anchor 
Pivoting the world
You are not within

Break the shackles of the empty Os
Self-sparmagos in gold frenzy
rend my flesh an eat it too
in an engorged whirl 
to end all longing

Sunday, June 8, 2014

Exodus: Chapter 32

Things break apart
The center cannot hold




Taking out
or taking out

Rising and falling

Or standing at the portal












[For full chapter, click here
The subtextual threat that has been humming since Sinai “breaks” (porek) into the open. It is a short step between the translation of Sinai into physical material—“gold and silver and bronze”—the “doing” asiya that played so central a part in the previous chapter, and the demand “make us (ase) a god,” who is hammered of gold. It is no coincidence that it is the same Aaron who is consecrated with clothing of gold who creates the golden calf.
It is a short step between the translation of revelation into local gods (elohim)of courthouses and temporal powers, and the desire for “a god” to lead the way. A short step between demanding that Moses “speak to us, and we will hear, but let not God speak to us, lest we die” and demanding another intermediary.
  And this points us to the deeper problem:
“What has this nation done to you, that you brought this great sin upon them?” Moses demands of Aaron—a clear echo of Jethro’s accusation: “what are you doing to this nation that you sit alone, and all the people stand about you?”
“The nation comes to me to inquire of God,” Moses defends himself.
“It is not good, what your are doing,” Jethro responds.
Moses had become the intermediary to God.  He is the connecting channel, running “up” and “down”  (the leitwords of this chapter) the mountain, passing the massages between them. And at times, the boundary blurs. Moses has disappeared into the mists alone, not to come “back down.” Israel demands a replacement for “Moses the man who took us up from Egypt.” But very quickly, the line between “man” and god blurs: “This is your god Israel, who took you up from Egypt,” the people declare.
The Golden Calf is Sinai recreated, but without the terrifying, overwhelming presence of utter Otherness. This time the Children of  Israel can have their cake and eat it too. They can “come close” (geshu) as they could not “come close” to the mountain; like the “nobles” of Israel, they can “see God and eat and drink.” As in Sinai, “early the next morning” they build an altar. They have the intermediary, without the God.
Forgiveness comes of reminding God that this is the nation He “took out”—not “took up,” a reference to Moses’ intermediary function—of Egypt. The investment and faithfulness stand.
But now the ominous undertones of the need for “atonement” (kippurim) becomes clear. The “carrying” (naso) of the names of Israel becomes the “carrying” of sin (sa na). The counting of names becomes the need for accounting (pokdi u-pakaditi). The dangers of translating God have come into the open.]

Exodus 31: In Writing

Breath deep
make the body beat
golden dreams
silvered longings
gates of bronze
interweave threads
making word flesh

Exhale in sleep
warp and weft open
feel the earth pulse
through your fingers
curve to cradle you,
in the crashing, receding waves
of the everlasting sea

Friday, June 6, 2014

Exodus: Chapter 31

Artist as  minister
The wise of heart 



Breath in divinity
and make
Exhale and rest
the doing of being
filling and  hollowing














[For full chapter, click here
This chapter can’t help but be a favorite. 
“I have called the name of Bezalel… and have filled him with the spirit of God, with wisdom, intuition and knowledge, and every kind of craft (melaha—the leitword of this chapter).”  Here, the Bible introduces its archetypal artisan. Creativity is presented as divinely inspired, an act that is conceptual and mental as much as it is craft and material: “to think thoughts / and to do (la-asot) every craft.” It is the realm of the “wise of heart,” who are “given” divine wisdom.   Bezalel can understand and create the realms of “gold, silver and bronze,” can bring into fruition what “God has commanded.”
Bezalel-as-artisan is presented as an ur- Kohen -priest. It is only he who can create the clothing that will consecrate the priests.  Like Aaron, he is called by name. Like Aaron and his sons, he is “filled” (milui—the key word of the consecration chapter).
Human creativity is presented here as a reflection of divine creativity. The calling of Bezalel is followed by a reiteration of the Sabbath.  “Six days you shall do (ta-ase)  craft (melaha) and the seventh is a rest holy to God…. For six days God created (asa) the heavens and the earth, and on the seventh he rested (va-yinafash).va-Yinafash, lit, was ensouled, breathed, is a play on that initial "spirit" of God that  inspires  (literally, "breathed in") Bezalel. 
The Sabbath introduces another level of creativity, a passive “keeping” that balances that active “doing.” This divine rest is not that “filling” that inspires Bezalel, but rather an avoidance of “emptying” (lehalel—to empty, to desecrate).  Whereas the divinely inspired creativity is open only to the “wise of heart,” the guardianship of the Sabbath is aimed at all the “children of Israel.” It is a level of being, rather than an act.] 

Thursday, June 5, 2014

Exodus 30: In Writing

Sweeter than wine
scent of cinnamon and myrrh
haunting my dreams

Between the eves
at first light
by flickering flames
before a curtain of cloud

Step softly round
what cannot be passed
what is set aside
an aching hallow

the bell tolls
there will be
none left behind
none unaccounted
it tolls for thee

Can your fragrance
Cover? Expiate?
make you one with the flowing stream
roaring round the rocks,
another drop of blood, oil and tears?

Poured out to purify feet and hands
swallowed in the ground

will you purify me?

Exodus: Chapter 30

Eternal flame
Eternal scent

Set aside
Make holy
Or be set aside

Do not alienate 
Make one















[For full chapter, click here
After the heights of the recreation of Sinai in the previous chapter “and they will know that I am their God who took them out of Egypt”, this chapter starts the decent, offering concentric circles of chiastic closings to the elements raised in the course of the creation of the Dwelling.
 We revisit the lighting the candles—the service that introduced the consecration of Aaron. Now we are to build an altar for incense, as a matching service:  “And Aaron shall burn the incense…every morning, as he prepares the candles, shall he burn it” “and when Aaron lights the candles at dusk, he shall burn it.”  We are back in the world of gold, defined by the curtain and the ark. An “eternal incense” now comes to balance the “eternal flame” of the Menorah.
From the altar, we move further back to the initial terumah, donation, that opened the Mishkan-project: “Every one shall give… a donation (teruma) to God.” But  here it becomes clear that the chiastic closing is also a transformation. If before, the “donation” came of “whatever that heart desired” now it is a rigid, quantifiable amount:  “the rich may not add, the poor may not give less.”  The names that were engraved on Aaron’s breastplate, to be carried “as a memory on his heart” are transformed to impersonal “atonement money” that will be a “memory.” We have moved from the personal, spontaneous, heartfelt, to the impersonal, dictated, and demanded. From a focus on love and longing, we turn to the need for atonement and expiation (kapara and kippur are the leitwords of the chapter). The dangers hinted at in passing, now assume center stage: “let them purify themselves that they not die.”
The overwhelming, contagious holiness here becomes also a matter of holding back, of setting aside: “Do not use [the anointing oil] on the flesh of man… it is holy, let it be holy to you.” Specificity is the key: the scents of holiness must not become common. We counter the “stench” (hivashta rehenu) that characterized the time in Egypt  with the unique fragrance of the hallowed.
Systole, diastole. As with Sinai, we are in a perpetual movement between closeness and distance, boundaries and merging.]

Exodus 29: In Writing

Hallow the cupped sieves
the hollows between door an wall
in satiated silence
hold out my palm

You are Thou
I am them

curled in amniotic fluid
floating in whispered breath
moved with heartbeat
clothe me in your waters

Tuesday, June 3, 2014

Exodus: Chapter 29

Fill the hollows 


With the hallowed

Atonement

At-one-ment

A contagious indwelling

Reaching out













[For full chapter, click here
From the creation of the consecrating clothing, to their activation. The clothing is placed on Aaron and his sons, creating a “everlasting ministry (kahuna).” From an action “to minister” (le-kahen) we have moved into an existential state.  
The key word of the chapter is “fulfillment” “filling”—Milui/miluim. The consecration is defined by “filling the hands” (le-maleh et yadam), and happens when the bread is placed “on the palms” of Aaron and his sons. The seven day ceremony (again, a play on the definitive Sabbath) is Miluim, the filling; the sacrifices are the ayil miluim—the “ram of  fulfillment”. The existential emptiness—is God amongst us or nothingness, the hollow at the center of the altar, is at last being filled.
The “fulfillment” is accompanied by a focus on atonement, which also is a seven day process. The creation of holiness is fraught with danger of missteps.
Yet it ends with completion. From the liminal “gate” to the tent of meeting, the sacred space spreads “outside.” Holiness becomes contagious. Anything that touches the altar becomes “hallowed.” The chapter closes with a tripartite hallowedness, of Israel, of the altar, or the kohanim. God will “dwell within the Children of Israel and be their God.” We return to the opening words at Sinai, as Israel for the first time truly “knows that I am their God who took them out of Egypt.” ]

Exodus 28: In Writing

The things the heart carries
bearings of the  body
pressing  on the skin
the weight of names
a burning flame within

Death is at your doorstep
digging at your skin
how can you clothe yourself in glory
a shrouded twin?
Bear the mark of the inhallow
what remains
The sin of not-enough
Shrinking in your shell

Cover your nakedness

Exodus: Chapter 28

The things you carry
The weight of names
held on the heart


Carry me on your heart
Carry my deeds on your head
Eternal memory engraved

Opening up
in a burst of glory













[For full chapter,  click here
From the structure and furnishing, we move to the human component of the Dwelling. The translation of Sinai into material also involves the translation of divinity into the human artisans: “And now you will speak  to all the wise-hearted, whom I have filled with a spirit of wisdom.” These spirit-full artisans can create the clothing that will “consecrate [Aaron] that he may minister to Me.”
The “heart” of the artisans, filled with divine wisdom, becomes thematic: it is the heart that is the seat of connection to God, with Aaron “carrying the names of the Children of Israel on his heart as an eternal remembrance.” The head, by contrast, deals with sin, not connection: “And Aaron shall bear the iniquity of the holy things that the Children of Israel shall hallow.”
Consecration and holiness sees directly linked to the connection t to material, to the things that are “carried” (naso—the other leitword of this chapter), The material clothes consecrate their bearers, making them holy. Aaron must bear the names and memory of Israel upon his heart, engraved into stones.  The breakdown within consecration must be “born” (naso) on Aaron’s forehead.
The human, living element of the Dwelling adds an undertone of menace. The blurring of boundaries between divine and human is dangerous. The “iniquity” that Aaron must bear is part of a larger, darker theme: “that they bear not iniquity and die” is the refrain.

The danger of being overly-intimate closes the chapter, as we return to the initial presentation of the altar with the creation of the trousers: Do not expose your nakedness to the altar.]