Vayekhi — Genesis 47:28 – 50:26

One of the greatest malaises of Western civilization to this day was captured by Ernest Becker (1924-1974) in his book, Denial of Death. Becker points to the reality we know all too well, that we shield and mask death from our lives until it is too late. What we seek to mask, according to Becker, is a deeper anxiety of death and mortality, which itself is the result of an evolutionary clash between our will to survive and the peculiar survival strategy to cope with the ultimate futility of that survival urge.

And so, without any denial possible any longer, on his deathbed, Jacob announces: "…I am now old, and I do not know how soon I may die… So that I may give you my innermost blessing before I die." (Genesis 27: 2,4)

In the course of this grandiose blessing of the next generation, a tragic moment almost passes everyone by when it comes to Jacob's grandchildren, Ephraim and Manasseh, who Jacob does not recognize. He asks his son Joseph about his grandchildren: “Who are these?” (Genesis 48:8) Eventually, Jacob agrees to bless his grandchildren, but Joseph is displeased as his father appears to be flouting the social etiquette by blessing Ephraim, the younger, before Manasseh, the elder. True to the ongoing disruption of primogeniture in Genesis, Jacob corrects his son, Joseph, who has assimilated the primacy of primogeniture in Near Eastern society, wherein the elder ruling over the younger sibling is an expected norm.

In the end, no matter how assimilated, Joseph accepts his father, Jacob’s unconventional blessing for his own children that both challenges societal norms while following in his father’s footsteps. Respecting his father’s last wishes, now also his own, both Jacob and Joseph are interred in the Holy Land together with their ancestors, bringing Genesis to a close.

Torah is our primary Jewish lens to bring meaning to our own confrontations with endings and new beginnings.

- Rabbi Aubrey Glazer

Artwork note: This week’s illustration is a wallpaper-like pattern featuring different icons associated with the story of Joseph, which we conclude in Parashat Vayekhi. The eyes symbolize Joseph's vision and prognostication; the tears reference the weeping he does in moments of loneliness, forgiveness, and joy; the heart is a symbol not only of the profound love Jacob felt for Joseph, but also for the big-hearted actions taken by Joseph as Bereshit (Genesis) draws to a close. Illustration by Christopher Orev Reiger.

Vayigash — Genesis 44:18 – 47:27

Great change happens with the smallest of steps. That change is captured poignantly in this week’s opening verse, when Judah selflessly pleads for the release of his brother, Benjamin: "Then Judah went up to [Joseph] and said: 'Please, my lord…'" (Genesis 44:18).

This is the dramatic moment where Judah is called upon to facilitate the role of rapprochement as he approaches Joseph. This act of loyalty amidst a history of loyalties betrayed is so heart-wrenching that Joseph, the governor of Egypt, finally pushes aside his seeming disinterestedness to reveal his true identity to his astonished brothers. Shame and remorse overcome the brothers, but Joseph comforts them, explaining the divine hand in this drama.

Rushing back to Canaan with the joyous news, the brothers inform Jacob that his favorite son, Joseph, is still alive. They all return to Egypt with their families – seventy souls in all — and the bereft father is reunited with his favorite son after 22 years apart.

Joseph continues to prosper as governor of Egypt, selling stored food and seed during the famine. As a result, Pharaoh awards Jacob’s family the entire country of Goshen as a place to settle, so that the blessing of assimilation continues for the Israelites amidst their apparent Egyptian exile.

Redemption from exile is a process of inner change and transformation. If we take the advice of Judah, we can each find a pathway to self-transformation [teshuvah] by walking in his footsteps, one small step at a time!

- Rabbi Aubrey Glazer

Artwork note: This week's illustration depicts the land of Goshen, the fecund portion of Egypt's Nile delta in which Joseph's family settles when they moved south. Vayigash is the penultimate parsha in Bereshit (Genesis), and it draws to a close on a pastoral climax, with our ancestors secure in a new land and "prolific." Illustration by Christopher Orev Reiger.

Beraysheet -- Genesis 1:1 – 6:8

"Living God and Master of the Universe
on high and dwelling in eternity,
His name holy
and He is sublime
and created His world
out of three words: sefer, sfar, sippur – letter, limit, and tale.

So begins the ancient treatise, Sefer Yetzirah, which focuses on sound and its magical capacity for "making" and "world building." This book takes on the grammar of creation as expressed through the Hebrew language.

In acknowledging that all our beginnings are made through language, this year we have an opportunity to be more mindful of how we use language to create and destroy realities, through each letter, its limit, and the tale that we chose to tell. Sefer Yetzirah shares this mutual concern for "making" and "world building" that is at the core of Genesis.

The story of creation we read this week is a story of beginnings and creative inspiration, and all of this transpires within the creation that has already occurred – the divine Creator creates more than once. God as Creator forms the first human body from the unformed earth, blowing a living breath into it to form a soul. A help mate, Eve, is then formed for Adam. Moving from a state of radical loneliness to begin building community happens in relationship. But not all beginnings bode well or even last, and creation begins again with Noah, a righteous man alone in a corrupt world.

Are the end and the beginning of these episodes in the human condition "always there"? If so, what does this teach us about the way we wander and dwell in the here and now?

As we reflect upon how we use language to create and destroy realities, consider catching Israeli artist Victoria Hannah during her current residency at Magnes Museum when she performs her own rendition of 22 letters of the Hebrew alphabet in Sefer Yetzirah. Victoria draws inspiration from each Hebrew letter, which is said to symbolize or relate to a specific element in the universe and in the human body, each letter an exact signal, sound, and frequency in space. Stylistically, Hannah's creations span from traditional Jewish music to new music and hip-hop.

- Rabbi Aubrey Glazer

Artwork note: This week's illustration is inspired by Genesis 4:15: "...and the Lord placed a mark on Cain that no one who find him slay him." What exactly is the mark or brand of Cain? From ancient times through today, biblical scholars and rabbis debate what is meant by the Hebrew word ot, which is variously translated as "mark," "sign," "pledge," or "oath." Many ancient interpreters insisted this mark was meant literally, a symbol that consisted of fearsome animal horns. Here, we see such a sign painted on the wall of a desert cave along with a number of falling human forms. Illustration by Christopher Orev Reiger.