The Music We Make
July 25th, 2008Sometimes I think the place where Judaism and Christianity most overlap is in the Book of Psalms. Tradition has it that the Psalms were written by that old poet/shepherd/king himself, David. And even if modern scholarship would suggest otherwise (the psalms were probably composed over six centuries beginning as early as the 10th century BCE), if we imagine that David is the author, we have an unprecedented glimpse into the inner life of one of our ancestors. The psalms, while obviously not devoid of potential theologies that could be grafted onto them, are a collection of poems that turns us inward, as poetry does. At the center of each psalm we find the rocky and mysterious relationship between the psalmist and God. This is why, perhaps more than in any other book the two religions share, we can all find ourselves reflected in the psalms, in their representation of the whole gamut of human emotions from rage to joy to fear to love to abandonment to fragile hope.
The psalms remind us, in the words of Nachman of Braslav, that God desires a broken heart. One interpretation of this is that true prayer is simply giving voice to whatever is welling up in us, without dressing it up or being either strategic or shameful with our words. The broken heart is perhaps the genesis of prayer in that it is a breaking open of something once rigid that allows us new access to that which is hidden or blockaded, be it painful or joyous. The psalms teach us that we don’t have to smile in synagogue / church, unless we want to. They teach us that praise is a large and multifarious term.
Kathleen Norris, the poet and Benedictine nun once wrote, “A writer, whose name I have forgotten, once said that the true religions of America are optimism and denial. The psalms demand that we recognize that praise does not spring from a delusion that things are better than they are, but rather from the human capacity for joy. Only when we see this can we understand that both lamentation and exultation can be forms of praise.”
In an interview this past week on VPR, the writer Michael Ondaatje, said that his novels are more like poems in that they don’t adhere to traditional narrative structures and that they try to give space to the reader to participate. This is what poetry does: it creates the possibility of participation. We read a poem and we begin the work of finding ourselves in that poem. Then we turn towards each other and ask, what did you find? This is why, I think, the book of Psalms - as prayer, as poetry - is so well-geared to interfaith dialogue. The psalms are prayers, but they are also responses to the condition of exile; that is, to the condition of being separated from something that feels like a home, or a source, and then: the music we make out of that separation.
We have just begun a four session class at Congregation Beth El on the history of Jewish poetry (each Thursday in July at 4pm) that begins with the book of Psalms and ends with a look at the work of the late Israeli poet laureate, Yehuda Amichai. All in the larger Bennington community are welcome.