Regular readers (hi mom!) were disappointed when I didn’t post the last two months. Forgive!! Drama was afoot. I got involved in a relationship with a lovely young woman and I began to find a foothold in the world of Jewish social entrepreneurship.
Happenstance the first: a creative project I proposed to the summer bootcamp/workshop for social entrepreneurs known as the PresenTense Institute was accepted for a fellowship. Now I am in Jerusalem working on this project. More information is available regarding the Open Siddur is available at my developer blog for the project, opensiddur.varady.net.
Happenstance, the second: acceptance of a fellowhsip that will allow me to study at Yeshivat Hadar in Manahattan beginning early September. Concerned friends and relatives are all wondering what this is all leading to. A career in Jewish education? Rabinnical school? Urban and community planning of unbuilt or coalescing intentional communities? I don’t know the answer. But I’m pretty certain the answer isn’t located in Craigslist job listings or the many job posting listserves I’m subscribed to. But maybe it is, (so I’m still checking). I’m still working on that book on magic, art carved furnuture, and obscure Jewish lore, so perhaps this is all an involved research project for what I can only imagine will be my life’s work.
Meanwhile, I’ve been working on a post for the Omphalos based on a shiur I gave during a Tikkun Leil Shavuot retreat at an exurban development in the wilderness outside East Doylestown, Pa. Stay tuned for it: Azazel, the relationship between Shavuot and Yom Kippur, and why we eat cheese (and not blood) on the Hag Habikkurim.
In October 2008, my friend Will posted on his blog, A Journey Around My Skull, his discovery of a Japanese illustrator, Rokuro Taniuchi. The image of a looming figure on the horizon by Taniuchi reminded me very much of the cover art for a book I read in 5th grade titled Creatures from UFO’s (1978) by Daniel Cohen. On my recent trip back to Cincinnati I fetched the paperback from my old bedroom bookshelf and scanned the cover. Unfortunately, Archway, the publisher, didn’t see fit to credit the cover art illustrator for this book in its young adult series of non-fiction publications. Please comment if you can identify the artist.
The cover artist drew inspiration from chapter 5 of the book, “The Mississippi Fisherman,” that recounts the fascinating tale of two men in Pascagoula, Mississippi on the night of October 11, 1973. Before I continue I should say that I think hypnogogic or hypnopompic states help explain the vast number of encounters with frightening extraterrestrials, angels, demons, ghosts, or molemen depending on the century and culture framing the disturbing experience. Like dreams, these visions tells us more about ourselves and the world of our imagination than the world of nature. Cohen writes,
A door suddenly appeared in the side of the craft. Three strange-looking creatures came out. They didn’t walk. They floated about three feet off the ground.
The two men said the creatures were about five feet tall. They were covered with grayish, wrinkled skin. It was like “the skin of an elephant,” Hickson [one of the two witnesses] said. The creatures didn’t have real faces. Where the nose should have been there was a carrot-like growth. Two similar growths were where ears should have been. The mouth was just a hole. They didn’t have any eyes.
The creatures had two arms, but no fingers. The arms ended in claw-like pincers, like the claws of a lobster. They had what looked like two legs, but the legs seemed to be stuck together. This is why they didn’t seem able to walk. But since they could float they didn’t need to walk…
The story continues to describe how the men were abducted, examined by a machine that resembled a giant eye, and released. I read plenty of books like this when I was in 5th grade, but of all of them, the cover art of this book stuck with me, and so did the story. It reminded me of the tale of the three angels that visited Avraham after his circumcision in Genesis Chapter 18. The fused legs of the UFO creatures reminded me of the idea in Jewish angelology, following Ezekiel’s description of the Ḥayot in Ezekiel 1:5-7,
And out of the midst thereof came the likeness of four living creatures. And this was their appearance: they had the likeness of a man. 6 And every one had four faces, and every one of them had four wings. 7 And their feet were straight feet; and the sole of their feet was like the sole of a calf’s foot; and they sparkled like the colour of burnished brass.
In imitation of angels, the Talmud in Berachot 10a explains the Jewish practice of standing with one’s feet together during the standing meditation prayer called the Amidah. The idea of a single leg is also related to that of a pedestal (literally, foot stand), the base of a pillar and the foundations of a philosophy. Note the challenge spoken by a Roman soldier to the sages Shammai and Hillel the Elder, recorded in Tractate Shabbath 31a: “Accept me as a proselyte on the condition that you teach me the whole Torah while I stand al regal achat (on one foot).” (See below in the illustration by Arthur Szyk.)
In antiquity, to ‘stand on one’s foot,’ was a figure of speech. Horace in his Satires (1.4.9-10) wrote concerning Lucilius, “ in hora saepe ducentos, ut magnum, versus dictabat stans pede in uno.” (In an hour he used to dictate two hundred verses, as a great feat [while] standing on one foot.) But the Hebrew word regal (foot) also sounds similar to the Classic Latin word regula meaning “basic principle.” (Regula is the root of the modern word “regulation”). Hillel’s clever answer reveals the basic principle of the Torah that can be learned by anyone standing on one foot for a short length of time: “What is hateful to you, do not do to your neighbor. That is the whole Torah — the rest is commentary. Now go and learn.”
In some way, I think this notion of a single premise provides an added ethical meaning to the mythic idea of an Even ha-Shettiyah, the Foundation Stone — that a geological foundation of the world is synonymous with or perhaps even signifies a basic code of ethical behavior. What then is the stone that was cast away that shall become the foundation stone? The considerate and sensitive treatment of each other that is lost and forgotten in times of war and selfish struggle.
As a side note, those actually born with fused legs suffer from Sirenomelia, or Mermaid Syndrome, a rare congenital deformity manifesting in 1 out of 100,000 births. It is usually fatal within one or two days of birth due to related abnormal kidney and bladder development and function.
LATE BREAKING UPDATE: Am I channeling some sort of zeitgeist? Less than a month after this post, this lovely new resource, On1Foot :Â Jewish Texts for Social Justice was established. Check it out this amazing user-contributable archive of relevant source texts.
In the film Willy Wonka & the Chocolate Factory (1971), after Willy Wonka (Gene Wilder) proudly describes that in his lickable wallpaper “The snozberries taste like snozberries!”, an exasperated Veruca Salt snidely comments, “Snozberries? Who ever heard of a snozberry?” Willy Wonka grabs her mouth and explains “We are the music makers, and We are the dreamers of dreams.”
Wonka’s oblique answer references the first stanza of a poem by Arthur O’Shaughnessy, the “Ode” featured in his collection of poems from 1874, Music and Moonlight. I didn’t understand Wonka’s response to Veruca Salt until I read the entire poem. The meaning provided me a key to understanding the story, who the mysterious character Wonka represents, what his motivations are in finding a child to give his factory to, and what Charlie Bucket really means for him. Read the poem below, and I think you might understand too.
ODE.
WE are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;–
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.
With wonderful deathless ditties
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song’s measure
Can trample a kingdom down.
We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself in our mirth;
And o’erthrew them with prophesying
To the old of the new world’s worth;
For each age is a dream that is dying,
Or one that is coming to birth.
A breath of our inspiration
Is the life of each generation;
A wondrous thing of our dreaming
Unearthly, impossible seeming–
The soldier, the king, and the peasant
Are working together in one,
Till our dream shall become their present,
And their work in the world be done.
They had no vision amazing
Of the goodly house they are raising;
They had no divine foreshowing
Of the land to which they are going:
But on one man’s soul it hath broken,
A light that doth not depart;
And his look, or a word he hath spoken,
Wrought flame in another man’s heart.
And therefore to-day is thrilling
With a past day’s late fulfilling;
And the multitudes are enlisted
In the faith that their fathers resisted,
And, scorning the dream of to-morrow,
Are bringing to pass, as they may,
In the world, for its joy or its sorrow,
The dream that was scorned yesterday.
But we, with our dreaming and singing,
Ceaseless and sorrowless we !
The glory about us clinging
Of the glorious futures we see,
Our souls with high music ringing:
O men! it must ever be
That we dwell, in our dreaming and singing,
A little apart from ye.
For we are afar with the dawning
And the suns that are not yet high,
And out of the infinite morning
Intrepid you hear us cry–
How, spite of your human scorning,
Once more God’s future draws nigh,
And already goes forth the warning
That ye of the past must die.
Great hail! we cry to the comers
From the dazzling unknown shore;
Bring us hither your sun and your summers,
And renew our world as of yore;
You shall teach us your song’s new numbers,
And things that we dreamed not before:
Yea, in spite of a dreamer who slumbers,
And a singer who sings no more.
The premise of Roald Dahl’s novel, Charlie and the Chocolate Factory (1964) asks: what would an industrial factory engaged in mass production look like if it was built by a fantasist, dreamer, and romantic in a world dominated by pragmatists, realists, and materialists. In this lonely island, Wonka wonders who will inherit his life’s work and hopes that in the next generation of children there might still be romantics. His sampling of youth via the lottery tickets provides a referendum on Charlie’s generation. The selected tourists to Wonka’s candyland are a fools gallery of technocrats, capitalists, hedonists… and opportunists. The latter is what Wonka makes of Charlie Bucket.
Poverty does not make Charlie a finer candidate than any of the others or even more sympathetic to Wonka. But the moral challenge that Charlie meets in the face of his family’s dire poverty does affect Wonka. For Charlie to give back the stolen everlasting gobstopper means returning to Wonka’s competitor Oscar Slugworth empty handed and to his family with only tales of Oompa-Loompas. Wonka is so resigned to the absence of new romantics in the world that he is willing to give up everything to Slugworth by letting Charlie walk out with the gobstopper. By returning the gobstopper Wonka is enlightened to Charlie’s enduring romantic virtue. Charlie’s elevation of an abstract moral good over an immediate material good justifies his embrace of the young lad as the rightful recipient of his vast empire of imagination.
If these insights were intriguing, note that they don’t apply to either Roald Dahl’s book Charlie and the Chocolate Factory (1964) nor the screenplay he wrote for the film. Rather, credit is due to David Seltzer, an uncredited Jewish screenwriter who wrote at least 30% of the final script. Seltzer was responsible for all of Wonka’s literary references throughout the film including Wonka’s quotation from O’Shaughnessy’s “Ode” and his quote of Portia from Shakespeare’s Merchant of Venice at the end of the film, “So shines a good deed in a naughty world.” ( Seltzer later directed another film representing the tribulations of an alienated romantic youth, Lucas (1986).)
Dahl, furious with the casting of Gene Wilder over Spike Milligan and Seltzer’s focus on Wonka rather than Charlie Bucket, later forbid a film adaptation of his Charlie and the Great Glass Elevator (1972). Focus on Dahl’s anti-Semitism often focuses on his 1983 outburst: “There’s a trait in the Jewish character that does provoke animosity … I mean there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason.” It’s intriguing to speculate that a decade earlier Dahl’s animus might have been expressed in his frustration with Gene Wilder and David Seltzer’s reinvention of Wonka, the romantic industrialist, as a Magical Jew.
Tune your legacy radio sets and etherwave monitors to 91.7 on the FM spectrum Monday mornings 7am-10am EST for the next few months and you will once again hear dj Magical Adventures of Duffy Moon (alter ego of dj spaceling) presenting your breakfast and commuting audioscape in typical wonderful entheogenic fashion.
(Also available via streamin’ Internet audio, the programme “Amplified Harmonic Resonance,” is brought to you by Heavenly Music Corporation brand cigarettes and Ubik brand reality cleansers.)
On hiatus for the last six years, dj spaceling has been on academic retreat, whiling away his years in hermitages and think tanks, and more recently, battling leviathans off the coast of Louisiana. His heart as broken as a thrift store fiddle and mind as sharp as a kite racer’s glass string, you can expect morning musiks that aim to temper and wrastle the caffeinated raging mania that fuels our modern Empire.
In other words, yours truly shall be on the radio and live on the Internet Monday mornings for the next semester on Philadelphia radio via WKDU, Drexel University’s student run radio station, 91.7FM 7am-10am. (Noon-3PM London, 2pm-5pm Haifa)
