Table of Contents
Fall 5762/2001 Vol. 62, No. 1
FEATURES
Dimensions of Torment: A Young Man’s Story of Surviving Depression Nathaniel Helfgot
Are We Still a Holy Nation? A Symposium
Shattering the Idols: The Struggle for Holiness in a Secular Age Jonathan Sacks
Too Distracted: Understanding the Lack of Kedushah in Our Lives Lawrence Kelemen
A Modest Proposal: How Tzniut Liberates and Enriches Chana Sosevsky
An All-Embracing Kedushah Mayer Schiller
Judaism and Contemporary Spirituality Moshe Meiselman
Tips to Ensure an Easier Fast Ira Milner
Shaar Hashamayim.com: A Story for the Days of Awe Yaakov Luban
Musings of a Mom in Middle School Elisheva Schlam
ISRAEL
The Modern Revival of Techelet Peter Abelow
“The Situation” Avigdor Bonchek
DEPARTMENTS
LETTERS
PRESIDENT’S MESSAGE Spearheading Support Harvey Blitz
BYTES & PC’S Where Do You Not Want to Go? Yitzchok Adlerstein
Mum’s No Longer the Word
JEWISH LIVING You Are What How (ED, PLEASE MAKE CROSS OUT WHAT AND PUT HOW ON TOP) You Eat Abraham J. Twerski
LEGAL-EASE What’s the Truth About Duchening? Ari Z. Zivotofsky
NEW TO OU Sweet Things for a Sweet New Year (ED: Put in the OU Symbol)
THE CHEF’S TABLE A Taste of Rosh Hashanah Gil Marks
BOOKS
Rabbi Dr. Jacob Hoffman: A Man and His Era by Yaakov Zur
Reviewed by Simcha Krauss
Before Hashem You Shall Be Purified: Rabbi Joseph B. Soloveitchik on the Days of Awe by Arnold Lustiger
Reviewed by Shlomo Pick
A Sunny Slice of Life by Malka Adler
Reviewed by Chana Greenblatt
JUST BETWEEN US Beginning the Healing Process Benzion Sorotzkin
About the Cover
Entitled “Messiah Coming (unfinished),” this stirring painting by master artist Siegmund Forst depicts the Messiah arriving on a donkey. The Messiah is covering his face because it pains him to see a world that is so antithetical to Jewish values. (Note the various symbols of adversity, representing contemporary culture, in the background of the painting). This motif, that of the isolated Jew surrounded by hostile forces, recurs throughout Forst’s art. This unfinished painting beautifully illustrates the theme of our symposium: the struggle to maintain kedushah in a secular age.
Born in Vienna, Forst began painting in his youth. “Since I was a child, I could not stand an empty space–not a paper, not a wall,” he once recalled. Forst, who is presently 97-years old, stopped drawing four years ago due to poor eyesight.