I launched the “Exploring Babylon” project on this blog in October 2017. Stage One was to run for roughly 40 weeks, from Sukkot through Tisha B’av. WordPress statistics tell me that I’ve posted 40 times in the category, “Exploring Babylon,” although not entirely on the weekly schedule I’d originally planned, and Tisha B’av is fast — no pun intended — approaching (eve of July 21 through dark July 22).

Not sure yet what shape Stage Two will take. Comments and suggestions welcome.

Where Exodus Metaphors Fail

Meanwhile, a recent interview with the author of Black Power, Jewish Politics returns us to the basic challenge that impelled me into this project.

When I talk generally with white Jews about why Jews are involved in social justice or civil rights or racial equality, they’ll talk about this shared history of oppression.

And the problem is that American Jewish history and African-American history are 180 degrees opposite on that question. One of my African-American colleagues, he said, “If I ever go to a Seder and the Jews say that they know what it’s like because they too were once slaves in Egypt,” he’s gonna punch ’em.

Because if Jews have to go back to ancient Egypt to get the slavery metaphor, then they’ve kind of missed that American Jewish history is a story of rapid social ascent, and African-American history is the legacy of slavery. That argument is insulting, and it’s very elementary.

And, of course, I found that the people actually involved in the movement in the 50s, they knew that. And they were quite clear that they were not buying into that.
— Marc Dollinger, 6/4/18 NPR interview

In the struggle for racial and other forms of social justice, might the language and history of Exile serve where Exodus metaphors sometimes fail?

And, as we move through the month of Av and on toward a new year, how might we use ideas about exile and Babylon, in particular, to inform us?

As the source of a long intertextual journey, Psalm 137 generates the poetic vocabulary of exile: “By the waters of Babylon, there we sat down and cried as we remembered Zion.” The pleonastic “there,” repeated in the third verse, calls attention to itself by its very redundancy; syntactically superfluous, “there” defines exile as the place that is always elsewhere. Being elsewhere, being far from Zion, is the pre-text for poetry….(p.9)

With the (re)territorialization of the Jewish imagination in the twentieth century, a radical shift takes place in the relative position of ends and means, of original and mimetic space, of holy and profane, of ownership and tenancy. If exile is narrative, then to historicize the end of the narrative is to invite a form of epic closure that threatens the storytelling enterprise itself–an enterprise that remained alive, like Scheherazade, by suspending endings. Conversely, to claim an absolute place for the exilic imagination is to privilege the story as the thing itself; the map for the territory, language without referent; and to regard “nomadic writing” as the inherently Jewish vocation…. (p.14)
— Sidra DeKoven Ezrahi, Booking Passage

Again, comments and suggestions welcome.

May the mourning of the weeks ahead bring us some new light.


NOTES:
Pleonasm
Although it’s pretty clear from context, and maybe everyone else knows, I did look up “pleonasm” for my own edification. Here’s a useful and not overly ad-filled explanation of pleonasm.
BACK


Citation
Ezrahi, Sidra DeKoven. Booking Passage: Exile and Homecoming in the Modern Jewish Imagination. Berkeley, CA: University of California Press, 2000.
BACK-2

Posted by vspatz

Virginia blogs on Jewish topics at "A Song Every Day" and manages the Education Town Hall and #WeLuvBooks sites. More at Vspatz.wordpress.com

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

w

Connecting to %s