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Tamar Biala

O how she sat alone: New laments for a beloved land

Ahead of Tisha B’Av, two October 7 survivors composed ‘kinot’ that place the recent horrors within the long history of Jewish tragedy
(Illustration by Avi Katz)
(Illustration by Avi Katz)

How do we mark Tisha B’Av when the walls have fallen again and Jewish communities of the Land of Israel are laid waste once again?

For centuries, the Biblical Book of Lamentations – Megillat Eicha – written in response to the destruction of the First Temple, has stood at the heart of Tisha B’Av. While the Biblical text has lost none of its power, over the generations, more lamentations – the Hebrew word is kinot – were written in response to the horrors and sufferings Jews experienced over time and place: the destruction of the Second Temple in 70 CE, the massacres of the medieval Crusades, the public burning of the Talmud in the 13th century, the terrible Spanish massacres of 1391, the Spanish expulsion of 1492, and on and on. In modern times, Haim Nahman Bialik’s monumental elegy for the Kishinev pogroms, Be-Ir Ha-Harigah, “In the City of Slaughter,” had a profound impact on the emergence of Zionism itself. Since the Holocaust, new kinot have been added to this sorrowful liturgy.

Following October 7th, I turned to two survivors of that day, Nurit Hirschfeld-Skupinsky of Nahal Oz and Liora Eilon of Kfar Azza. Both had recently sent me midrashic texts they had written about the war for the forthcoming second volume of Dirshuni: Contemporary Women’s Midrash, which I am currently editing. I asked Nurit and Liora if they would be willing and able to write Kinot for this coming Tisha B’Av because I could not imagine sitting in synagogue without marking in religious language the pain and mourning over the terrible event and its ongoing aftermath.

The powerful texts they sent, which my husband Yehudah Mirsky translated into English, somehow made the original biblical Book of Lamentations and the traditional Kinot of the centuries more vivid for me than ever. Intertwining the past with the present creates an echo that makes Nurit and Liora’s voices sound so loud. This shofar cry, so powerful and clear, is not there only for remembrance. These writers’ kinot are morally demanding. The House was destroyed and their houses as well. May we awaken in time to prevent a destruction of our Third House.

May the voices of these writers resound far and wide, and may this be its own small tikkun – repair – if such a thing is possible, for the endless hours that they and so many others spent in utter silence in their shelter rooms that day.

* * *

O How She Sat Alone: A Lamentation

Nurit Hirschfeld-Skupinsky,
survivor of the slaughter in Kibbutz Nahal Oz

O How She Sat Alone
Nir Oz, full of blood
Sderot, was like a widow
A city stunned, and who is faithful to her?

O How They Sat Alone
In the shelter room
One family, and another,
And another, and another one.

O How They Sat Alone
The many-eyed women at the observation posts
And there was no listening,
And deliverance – none.

O How They Sat Alone
Young women and young men
Hiding in pits and shrubs.
Their dancing halted,
And who will rescue them?

O How They Sat Alone
Captive women and captive men
And sitting there, still:
120 men, women, elders and children.
Crying, they are crying at night
Tears on their cheeks
And there is no one who comforts.

קִינָה: אֵיכָה יָשְׁבָה בָּדָד

נורית הירשפלד סקופינסקי,
שורדת הטבח בקיבוץ נחל עוז

אֵיכָה יָשְׁבָה בָּדָד
נִיר עֹז רַבָּתִי דָּם.
שְׂדֵרוֹת הָיְתָה כְּאַלְמָנָה,
קִרְיָה הֲלוּמָה, וּמִי נֶאֱמָנָהּ?

אֵיכָה יָשְׁבָה בָּדָד
בַּמָּמָ”ד
מִשְׁפָּחָה, וְעוֹד אַחַת,
וְעוֹד, וְעוֹד אַחַת.

אֵיכָה יָשְׁבוּ בָּדָד
תַּצְפִּיתָנִיּוֹת רַבָּתִי עַיִן,
וְלֹא הָיְתָה הַקְשָׁבָה,
וִישׁוּעָה – אָיִן.

אֵיכָה יָשְׁבוּ בָּדָד
צְעִירוֹת וּצְעִירִים
בְּמִסְתּוֹרֵי שׁוֹּחוֹת וְשִׂיחִים.
פָּסְקוּ רִקּוּדֵיהֶם,
וּמִי יְחַלְּצֵם?

אֵיכָה יָשְׁבוּ בָּדָד
חֲטוּפוֹת וַחֲטוּפִים,
וַעֲדַיִן יוֹשְׁבִים:
120 גְּבָרִים, נָשִׁים, קְשִׁישִׁים וִילָדִים.
בָּכוֹ בּוֹכִים בַּלַּיְלָה,
דְּמָעוֹת עַל לְחָיֵיהֶם,
וְאֵין מְנַחֵם.

* * *

Lamentation for a Beloved Land

Liora Ayalon,
survivor of the slaughter in Kibbutz Kfar Aza

קִינָה לְאֶרֶץ אֲהוּבָה

ליאורה אילון,
שורדת הטבח בקיבוץ כפר עזה

O How your dwellings have been turned into ruins,
Your people become exiles in their own land?
O Betrayed land, your sons betrayed you,
They put their desires before all else,
They sealed your fate with their very tongues,
They abandoned you in their hearts, lost in their ways.

אֵיכָה הָפְכוּ מִשְׁכְּנוֹתַיִךְ לְעִיֵּי חֳרָבוֹת,
אֲנָשַׁיִךְ לְגוֹלִים בְּאַרְצָם?
הוֹי אֶרֶץ נִבְגֶּדֶת, בָּגְדוּ בָּךְ בָּנַיִךְ,
שָׂמוּ מַאֲוַיֵּיהֶם בְּרֹאשׁ מַעְיָנָם,
חָרְצוּ גּוֹרָלֵךְ בְּמוֹ לְשׁוֹנָם,
עֲזָבוּךְ בְּלִבָּם, תּוֹעִים בְּדַרְכָּם.

O How your Kibbutzim were destroyed, cities made desolate,
Your people dead, your fields wasting away.
Furrows ravaged, become fields of horror,
All eyes devastated, dried out of tears.

אֵיכָה חָרְבוּ קִבּוּצַיִךְ, עָרִים שָׁמֵמוּ,
אֲנָשַׁיִךְ מֵתִים, שְׂדוֹתַיִךְ נָשַׁמּוּ.
נִירִים רֻטְּשוּ, הָפְכוּ שְׂדוֹת אֵימָה,
עֵין כָּל חָרְבָה, יָבְשָׁה מִדִּמְעָה.

Your sons, daughters butchered undefended,
Fair maidens hauled into captivity.
And the plotters standing before them
Whispering, rustling, and the land was silent

בָּנַיִךְ, בְּנוֹתַיִךְ נִטְבְּחוּ בְּלִי מָגֵן,
אֶל שִׁבְיָן הוּבְלוּ עַלְמוֹת חֵן.
וְעוֹמְדִים מִנֶּגֶד חוֹרְשֵׁי הַמְּזִמָּה
לוֹחֲשִׁים, רוֹחֲשִׁים, וְהָאָרֶץ דָּמְמָה

Woe unto you, you cowards,
Sitting carelessly in your cushioned chairs,
Entrusted with the lives of beloved captives
While mothers and fathers are wrapped in their grief.

אֲבוֹי אַתֶּם, מוּגֵי הַלֵּבָב,
הַיּוֹשְׁבִים בְּכִסְּאוֹתֵיכֶם, עַל עַצְמוֹת הַמּוֹשָׁב,
אֲמוּנִים עַל חַיֵּי יַקִּירִים חֲטוּפִים
עֵת אִמָּהוֹת וְאָבוֹת בְּאֶבְלָם עֲטוּפִים.

We will yet return and rebuild you, the soil of our homeland
We will yet return and sing in your fields a joyous song
Your sons will yet return to love and forgive
Your daughters will yet return to complete the thankful song
For neighbors and fellows who had become our enemies,
When our eyes will see peace between us.

עוֹד נָשׁוּב וְנִבְנֵךְ אַדְמַת מוֹלֶדֶת,
עוֹד נָשׁוּב וּנְרַנֵּן בִּשְׂדוֹתַיִךְ שִׁיר מִזְמוֹר
עוֹד יָשׁוּבוּ בָּנַיִךְ לֶאֱהֹב וְלִסְלֹחַ,
עוֹד תָּשֹׁבְנָה בְּנוֹתַיִךְ הַלֵּל לִגְמֹר
עַל שְׁכֵנִים, עַל רֵעִים, שֶׁהָיוּ לְאוֹיְבֵינוּ,
כַּאֲשֶׁר תֶּחֱזֶינָה עֵינֵינוּ, בַּשָּׁלוֹם בֵּינֵינוּ.

And we will cast a prayer together for borders of tranquility,
For becoming good neighbors, for leaders with humility
That we will respect each other, brothers and sisters
When you will sprout again, O land, grain and wheat

וּתְפִלָּה נִשָּׂא יַחַד לִגְבוּלוֹת שֶׁל שַׁלְוָה,
לִשְׁכֵנוּת טוֹבָה, לְמַנְהִיגִים עִם עֲנָוָה
שֶׁנְּכַבֵּד אִישׁ אָחִיו, אִשָּׁה אֲחוֹתָהּ,
עֵת תַּצְמִיחִי שׁוּב, אֶרֶץ, דָּגָן וְחִטָּה.

These Lamentations will appear in Dirshuni: Contemporary Women’s Midrash Vol. 2.

Printouts of the kinot are available in Google Docs for A4 paper size and for Letter paper size.

About the Author
Tamar Biala co edited volume I of the Hebrew anthology, Dirshuni: Midrash Nashim with Nehama Weingarten-Mintz, (Yediot Aharonot/Jewish Agency for Israel, 2009) and, in 2018, edited volume II (Yediot Aharonot), and an English volume, Dirshuni: Contemporary Women's Midrash (Brandeis University Press, 2022). She teaches in various batei midrash, rabbinical schools, and adult education programs in the US and Israel. She lives in Jerusalem and, toghether with her husband, Yehudah Mirsky, is raising two daughters, Nahara and Nofet.
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