“When a man or woman shall commit any sin that men commit, to do a trespass against the Lord, and that person be guilty; then they shall confess their sin which they have done: and he shall make restitution for this trespass in full.” So reads chapter 5 from the book of Numbers. Repentance is on the Jewish mind these days. The time between Rosh Hashanah and Yom Kippur is called the Ten Days of Teshuva—the Ten Days of Repentance—and during it observant Jews engage in prayer and penitence.

What is repentance? How does it operate? What’s actually happening in the mind of the penitent?

Daniel Rynhold is dean of the Bernard Revel Graduate School of Jewish Studies and professor of Jewish philosophy at Yeshiva University. He has thought and written much about repentance and sees it as a way to illustrate some of the most interesting contrasts between medieval and modern philosophers. Joining Mosaic editor Jonathan Silver here to discuss the subject, he focuses on three major thinkers, two from within the Jewish tradition and one outside of it.

The first is Rabbeinu Yonah, the 13th-century author of the rabbinic work The Gates of Repentance. The second is Joseph B. Soloveitchik, known as the Rav, who was perhaps the central intellectual figure of post-war Modern Orthodoxy. The third is the German philosopher Friedrich Nietzsche, a famous critic of the Enlightenment, of liberalism, and of modernity. The last two are the focus of his book, written with Michael Harris, Nietzsche, Soloveitchik, and Contemporary Jewish Philosophy, published in 2018 by Cambridge University Press.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

Tonight begins Rosh Hashanah, when Jewish communities celebrate the new year and, as part of this celebration, read chapter 22 of Genesis. This contains the famous story in which God asks Abraham to take his son Isaac to a mountain and offer him there as a sacrifice.

What is this passage all about? What does it mean? What can be learned about Abraham, about Isaac, or about God by reading it carefully? Joining Mosaic’s editor Jonathan Silver today to discuss these questions is Jon D. Levenson, a professor of Jewish studies at Harvard Divinity School and frequent Mosaic contributor. Levenson has written about this episode in several books, including The Death and Resurrection of the Beloved Son published in 1993 by Yale University Press, and also in Inheriting Abraham, published in 2012 by Princeton University Press.

Akeidat Yitzḥak, the binding of Isaac, as the Jewish people traditionally refer to this episode, has a long afterlife in Christian and Muslim traditions; it is also a centerpiece of philosophical reflection among modern thinkers like Immanuel Kant and Soren Kierkegaard. Reading the text now in the aftermath of those later reflections, it’s difficult to retrieve its original meaning. The temptation is overwhelming to propose moral justifications for Abraham and for God, to excuse or at least to try to soften the drama of Genesis 22.  To hear what the text of the Hebrew Bible really might have to say in response to that temptation requires undoing some modern assumptions—a task that Levenson and Silver take up.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

Last Saturday, supporters and opponents of Eritrea’s president, Isaias Afwerki, confronted one another in violent clashes. Yet rather than in Asmara, Eritrea’s capital city, this confrontation took place in the streets of south Tel Aviv. In the second half of the 2000s, east African migration to Israel began to accelerate. Since then, in part due to changes in labor policies and law enforcement and in part to a barrier wall erected along the Egypt-Israel border, the number of new east African migrants has fallen precipitously. Nevertheless, although statistics are hard to come by with great precision, there are probably around 40,000 non-Jewish African migrants living in Israel today.

What brings these mainly Ethiopian, Eritrean, and Sudanese immigrants to the cities and towns of Israel? And how does and how should Israel distinguish between those seeking humanitarian asylum and those looking for work opportunities and social benefits?

These questions have become major points of debate in Israel. Some argue that the state must act in the world as a corrective to the Jewish experience of statelessness in history—that since Jews have so often been migrants and refugees and dependent on the help of others, Israel must help others in need when it can. Others argue that Israel—the political answer to the problems of Jewish statelessness—has an overriding moral obligation to welcome and to secure the lives and liberties of Jews—that it has a special obligation to pursue the ingathering of the Jewish diaspora and so to make a distinction between Jewish and non-Jewish immigrants.

To discuss these issues, Yonatan Jakubowicz, formerly an advisor to Israel’s Minister of Interior, and a founder of the Israeli Immigration Policy Center, joins Mosaic editor Jonathan Silver.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

Podcast: Mordechai Kedar on the Return of Terrorism in the West Bank

Since the end of the second intifada nearly twenty years ago, and the attendant calming of the West Bank, the main source of violence against Israel has been the Gaza Strip. That's involved fewer terrorists blowing themselves up in Israeli cafes and more rockets fired across the border. But over the last year the pace of terrorism from the West Bank is once again accelerating, with two attacks in Israel just this week.

Mordechai Kedar is a scholar of Arab politics and a retired lieutenant colonel in the IDF, where he specialized in military intelligence, focusing on Syria, Arab political discourse, Arab media, and Islamism. Today, in conversation with Mosaic editor Jonathan Silver, he shares his assessment of what’s happening in the West Bank.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

Starting in January of this year, there have been popular protests each week in Israel. On Saturday night, when Shabbat comes to a close, hundreds and thousands of people go into the streets protesting the government and its policies, chief among them judicial reform. Yet it was plain from the beginning that the protests were about more than judicial reform—that the lens of judicial reform isn't adequate to fully understand the deeper emotions on all sides of this civil crisis.

Ran Baratz is the founding editor of the Israeli magazine Mida and a regular contributor to the conservative newspaper Makor Rishon. Speaking here with Mosaic editor Jonathan Silver, he tries to understand what’s really happening now in Israel. If the events of the last six months are not just about judicial reform, then what are they about? And how can any deeper sources of Israeli animosity be understood and addressed? For those who support the protestors, here’s a chance to learn how some Israeli conservatives actually think. For those who oppose the protestors, here’s a chance to think about their motivations sympathetically. Both endeavors are fitting for democratic citizens of the same nation, and their friends around the world.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

In the period between 1936-1938, now known to historians as the Great Terror, Joseph Stalin oversaw the murder of over 700,000 Soviet subjects. Some of them were political rivals. Some of them held heterodox views. Some of them were merely accused of holding heterodox views. Nearly 30,000 of them were executed at two mass gravesites, Kommunarka and Butovo. Today’s podcast guest recently journeyed to Kommunarka to pay homage to one of these victims, his great-grandfather.

Dovid Margolin is senior editor at Chabad.org and the author of a new essay, “The Jews in Defiance of History” in the September 2023 issue of Commentary, that looks at Stalin’s Great Terror through his own family’s legacy. Margolin is a Lubavitcher Hasid, and remarks on the fact that under so much pressure to assimilate—even to the point of persecution and death—the Jews of the Soviet Union did not disappear. That fact leads him to note one of the reasons that the Communist understanding of history cannot be true: because the existence and perpetuation of the Jews disprove it. Here he speaks to Mosaic editor Jonathan Silver about that idea, about his journey, and about his family.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

On October 27, 2018, a gunman burst into the Tree of Life Synagogue in Pittsburgh, armed with a Colt AR-15 semi-automatic rifle and three Glock .357 semi-automatic pistols. He executed eleven Jews at prayer. When police arrived, they shot the gunman multiple times, but he survived and was taken into custody. Earlier this month, he was sentenced to death by lethal injection.

How does Judaism look upon capital punishment? Does this killer still bear the image and likeness of God and possess a dignity that is irreducible, such that he could be punished but should not be killed? Or did he surrender that moral standing by the act of murder? Do resources from within the Jewish tradition suggest that capital punishment has a deterrent effect on other potential criminals?

To think about these questions, Rabbi Shlomo Brody, the director of an organization dedicated to helping Jews navigate choices regarding aging, end-of-life care, and organ donation, joins the podcast. In 2021, he wrote an analysis of the death penalty for terrorists as seen by Jewish law. That essay, published in a volume entitled Hokhma LeShlomo, frames the conversation he has here with Mosaic’s editor Jonathan Silver.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

The celebrated novelist Dara Horn's new book People Love Dead Jews has an arresting title, one designed to make the reader feel uncomfortable. That's because Horn makes an argument that tries to change the way people think about the function of Jews in the conscience of the West.

In the book, and in this podcast conversation with Mosaic editor Jonathan Silver, Horn suggests that Jewish communities, figures, and abstract symbols of “the Jews” have come to serve a moral role in the Western imagination that, when one takes a step back, is bizarre and grotesque.

It’s easy to acknowledge the darkness of the Holocaust and to marvel at the optimism of Anne Frank, but Horn detects in that acknowledgement something insidious that hasn't yet been fully revealed or explained.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

Perhaps more than any other major religious tradition, Judaism is mediated through words. God first communicated to Abraham through intelligible speech. Moses brought down from Mount Sinai tablets inscribed with words codifying the structure of Jewish moral order. The book of Deuteronomy commands that every Jewish king write his own Torah scroll. For millions of Jews, the study of Jewish texts constitutes the holiest activity of all.

So perhaps it is not surprising that, seen in this light, words, letters, the technology and artistry of writing, the vocation of the scribe—the sofer, in Hebrew—deserve an elevated place in Jewish tradition. The English word calligrapher comes from the Greek phrase kalos graphos, beautiful writing; the vast tradition of Hebrew calligraphy offers no small amount of beautiful writing.

This week on the podcast, host Jonathan Silver looks at a stunning new book, The Beauty of the Hebrew Letter by the sofer Izzy Pludwinski, and speaks with its author. It's a lavish coffee-table book full of gorgeous illustrations; it can be bought here.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.

In the sixth century BCE, the kingdom of Judah and its capitol in Jerusalem were besieged by the Babylonian forces of Nebuchadnezzar II. After a long period of deprivation, the walls of the city were finally breached. On the Hebrew date of the 9th of the month of Av—Tisha b’Av—the Temple that had stood in Jerusalem for centuries was plundered and destroyed, the inhabitants of the city were massacred, and the survivors were taken into captivity.

This experience remains one of the most traumatic in Jewish history. The Hebrew Bible records it in the book of Eicha, known in English as the book of Lamentations. Its five chapters, all of them highly structured, contain some of the most grotesque and poignant language of oppression and suffering in all of biblical literature. There are descriptions of mothers driven to such desperation that they resort to cannibalism; there is a haunting description of a man whose body has so withered from starvation that his skin hangs on him like desiccated wool.

Lamentations expresses a range of emotional responses to that trauma. Some, seemingly in line with Jeremiah’s chastening prophecy, understand the destruction of the city as a just punishment for a sinful people meted out by God; while others direct frustration, desperation, and even bitterness at God. The rabbi and academic Bible scholar Joshua Berman has just published a new commentary called The Book of Lamentations with Cambridge University Press. His interpretation and his new book frame a discussion this week with Mosaic editor Jonathan Silver.

Musical selections in this podcast are drawn from the Quintet for Clarinet and Strings, op. 31a, composed by Paul Ben-Haim and performed by the ARC Ensemble.