The Song of Songs, also known as the Song of Solomon (Hebrew: שִׁיר הַשִּׁירִים) is one of the Megillot (scrolls) of the Ketuvim (the "Writings", the last section of the Tanakh or Hebrew Bible). In modern Judaism, the Song is read on the Sabbath during the Passover, which marks the beginning of the grain harvest as well as commemorating the Exodus from Egypt. Jewish tradition reads it as an allegory of the relationship between G-d and Israel. This booklet is great for individuals who have trouble with pronouncing Hebrew words. The text was developed in a way to produce a rhythmic flow, while allowing the reader to pronounce each letter, word and vowel with great ease in your native language.

THE ORTHODOX JEWISH TANAKH TORAH NEVI’IM KETUVIM BOTH TESTAMENTS The Orthodox Jewish Bible is an English language version that applies Yiddish and Hasidic cultural expressions to the Messianic Bible.

This is the first translation with commentary of selections from The Zohar, the major text of the Kabbalah, the Jewish mystical tradition. This work was written in 13th-century Spain by Moses de Leon, a Spanish scholar.

From beloved New York Times bestselling author and award-winning journalist—the definitive guide to Judaism’s end-of-life rituals, revised and updated for Jews of all backgrounds and beliefs. From caring for the dying to honoring the dead, Anita Diamant explains the Jewish practices that make mourning a loved one an opportunity to experience the full range of emotions—grief, anger, fear, guilt, relief—and take comfort in the idea that the memory of the deceased is bound up in our lives and actions. In Saying Kaddish you will find suggestions for conducting a funeral and for observing the shiva week, the shloshim month, the year of Kaddish, the annual yahrzeit, and the Yizkor service. There are also chapters on coping with particular losses—such as the death of a child and suicide—and on children as mourners, mourning non-Jewish loved ones, and the bereavement that accompanies miscarriage. Diamant also offers advice on how to apply traditional views of the sacredness of life to hospice and palliative care. Reflecting the ways that ancient rituals and customs have been adapted in light of contemporary wisdom and needs, she includes updated sections on taharah (preparation of the body for burial) and on using ritual immersion in a mikveh to mark the stages of bereavement. And, celebrating a Judaism that has become inclusive and welcoming. Diamant highlights rituals, prayers, and customs that will be meaningful to Jews-by-choice, Jews of color, and LGBTQ Jews. Concluding chapters discuss Jewish perspectives on writing a will, creating healthcare directives, making final arrangements, and composing an ethical will.

This comprehensive biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music. Gershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. Howard Pollack draws from a wealth of sketches, manuscripts, letters, interviews, books, articles, recordings, films, and other materials—including a large cache of Gershwin scores discovered in a Warner Brothers warehouse in 1982—to create an expansive chronicle of Gershwin’s meteoric rise to fame. He also traces Gershwin’s powerful presence that, even today, extends from Broadway, jazz clubs, and film scores to symphony halls and opera houses. Pollack’s lively narrative describes Gershwin’s family, childhood, and education; his early career as a pianist; his friendships and romantic life; his relation to various musical trends; his writings on music; his working methods; and his tragic death at the age of 38. Unlike Kern, Berlin, and Porter, who mostly worked within the confines of Broadway and Hollywood, Gershwin actively sought to cross the boundaries between high and low, and wrote works that crossed over into a realm where art music, jazz, and Broadway met and merged. The author surveys Gershwin’s entire oeuvre, from his first surviving compositions to the melodies that his brother and principal collaborator, Ira Gershwin, lyricized after his death. Pollack concludes with an exploration of the performances and critical reception of Gershwin's music over the years, from his time to ours.