The text of parashat Ki Tavo, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . .
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The text of parashat Ki Tetsei, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . . 
The text of parashat shoftim, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . . 
The text of parashat R’éh, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . . 
An Arabic translation of Ḥad Gadya in its Syrian Jewish Damascus variation. . . . 
A Judeo-Tajik translation of the popular Passover song, Ḥad Gadya. . . . 
A Judeo-Berber translation of the popular Passover song, Ḥad Gadya. . . . 
A Judezmo/Ladino translation of the popular Passover song, Ḥad Gadya. . . . 
A Judeo-Arabic translation of the popular Passover song, Ḥad Gadya. . . . 
The text of parashat Qedoshim, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . . 
The text of parashat Aḥarei Mōt, distinguished according to the stratigraphic layers of its composition according to the Supplementary Hypothesis. . . . 
“Odecha ki anafta bi (I give thanks to you although you were angry with me) was composed by Joseph ben Solomon of Carcassonne, who is dated to the first half of the eleventh century. This elegant and abstruse poem tells an epic tale of the Jews’ resistance to the decrees of Antiochus IV and includes accounts of both the Hasmonean bride and Judith. It bears a considerable resemblance to texts 4 and 12 of the Hanukkah midrashim[ref]See Grintz, Sefer Yehudit, pp. 205, 207–08[/ref] and this is evidence for the circulation of the joint Hasmonean daughter-Judith tales in the eleventh century, even if the surviving manuscripts of these stories are from a later date.” (Deborah Levine Gera, “The Jewish Textual Traditions” in The Sword of Judith: Judith Studies Across the Disciplines (2010).) . . . 
Making sense of Ḥad Gadya beyond its explicit meaning has long inspired commentary. For me, Ḥad Gadya expresses in its own beautiful and macabre way a particularly important idea in Judaism that has become obscure if not esoteric. While an animal’s life may today be purchased, ultimately, the forces of exploitation, predation, and destruction that dominate our world will be overturned. Singing Ḥad Gadya is thus particularly apropos for the night of Passover since, in the Jewish calendar, this one night, different from all other nights, is considered the most dangerous night of the year — it is the time in which the forces of darkness in the world are strongest. Why? It is on this night that the divine aspect of Mashḥit, the executioner, is explicitly invoked (albeit, only in the context of the divine acting as midwife and guardian/protector of her people), as explained in the midrash for Exodus 12:12 . . . 
As the month of Elul wanes, we are preparing. We prepare for the new moon, we prepare for Rosh Hashanah, and we prepare for the zombie invasion. I have it on good authority, as do you, that the onslaught is imminent. The alarm blares every morning — a shofar blast and a warning… . . . |
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