What do you think?
Rate this book
Painted Pomegranates and Needlepoint Rabbis: How Jews Craft Resilience and Create Community
Exploring a contemporary Judaism rich with the textures of family, memory, and fellowship, Jodi Eichler-Levine takes readers inside a flourishing American Jewish crafting movement. As she traveled across the country to homes, craft conventions, synagogue knitting circles, and craftivist actions, she joined in the making, asked questions, and contemplated her own family stories. Jewish Americans, many of them women, are creating ritual challah covers and prayer shawls, ink, clay, or wood pieces, and other articles for family, friends, or Jewish charities. But they are doing much more: armed with perhaps only a needle and thread, they are reckoning with Jewish identity in a fragile and dangerous world.
The work of these crafters embodies a vital Judaism that may lie outside traditional notions of Jewishness, but, Eichler-Levine argues, these crafters are as much engaged as any Jews in honoring and nurturing the fortitude, memory, and community of the Jewish people. Craftmaking is nothing less than an act of generative resilience that fosters survival. Whether taking place in such groups as the Pomegranate Guild of Judaic Needlework or the Jewish Hearts for Pittsburgh, or in a home studio, these everyday acts of creativity—yielding a needlepoint rabbi, say, or a handkerchief embroidered with the Hebrew words tikkun olam —are a crucial part what makes a religious life.
The work of these crafters embodies a vital Judaism that may lie outside traditional notions of Jewishness, but, Eichler-Levine argues, these crafters are as much engaged as any Jews in honoring and nurturing the fortitude, memory, and community of the Jewish people. Craftmaking is nothing less than an act of generative resilience that fosters survival. Whether taking place in such groups as the Pomegranate Guild of Judaic Needlework or the Jewish Hearts for Pittsburgh, or in a home studio, these everyday acts of creativity—yielding a needlepoint rabbi, say, or a handkerchief embroidered with the Hebrew words tikkun olam —are a crucial part what makes a religious life.
- GenresJudaismJewishNonfiction
240 pages, Hardcover
First published October 19, 2020
6 people are currently reading
69 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 6 of 6 reviews
January 8, 2021
I love it when a good title catches your eye, draws you in, and makes you go, “Ooh, what’s that about?” That’s how I felt when I saw the cover of Painted Pomegranates and Needlepoint Rabbis: How Jews Craft Resilience and Create Community by Jodi Eichler-Levine (University of North Carolina Press, 2020) on NetGalley this spring. “Is this rabbis doing needlepoint?” I wondered, until I caught sight of the subtitle and went, “Ohhhhh, fascinating!” As an occasional crafter, I understand how important making things can be to one’s identity, and as my (Re)Introduction to Judaism class was winding down, I definitely wanted to keep reading and learning. And to my surprise, I was quickly approved for the book! Totally made my day.
Jodi Eichler-Levine has penned an academic deep-dive into the intersection of arts- and craft-work and Jewish identity, a study that spanned three years and included not only interviews but observation and research into online crafting communities (Pinterest, anyone?). Her focus is not necessarily on individual artists- although plenty of those are celebrated as well- but on what crafting means as a collective and for the collective. How do crafters express their Judaism and connect with it on a deeper level through the things they create? How does the process of creation help them connect with other Jews? What messages do their various forms of creation send when viewed through the lenses of Judaism? Her study answers all these questions and more in a way that artists and crafters will appreciate.
Horror vacui, the fear or dislike of leaving empty spaces, especially in an artistic composition is discussed in terms of a crafter’s need to create and fill their friends’ and loved ones’ lives with the fruits of their hard work, as is the fact that creation, by necessity, also means consumption, something that I’ve been trying to come to terms with over the years. Keeping one’s supply stash under control and down to a manageable amount while still ensuring that you have what you need in a pinch (or a pandemic when the stores are closed!) is a never-ending battle for every crafter; do you overbuy and run the risk of never using those materials, or do you save money and not buy but potentially regret it later? “Things ground, though they can also overwhelm,” she states succintly, something that I very much understood. Another quote summed it up perfectly:
“Acts of creation are never simple. They are not isolated from the act of consuming, and consuming in a hypercapitalist culture has itself taken on a religous valence. Those who can afford to do so revel in their possessions but are also possessed by them, leading to a sense of claustrophobia that sparked the latest minimalism purge.”
(And yes, Marie Kondo does earn several mentions!)
The sections that resonated the most with me were about parenting and how one’s identity as a crafter, an artist, a creator, is often dashed to the ground once the task of caring for tiny humans becomes front and center. Everything falls to the side, leaving parents, particularly mothers, feeling lost and like an overworked automaton. She acknowledges that even as we celebrate these new lives, there is grief as we mourn for the loss of ourselves and the identities that kept us afloat Before Parenting. Ms. Eicher-Levine’s analysis of Heather Stolz’s work, Hanging By A Thread (viewed here in Ms. Stoltz’s Kveller article, Being Jewish Kind of Sucks Now That I’m a Mom), very much hit home. Her piece has to do with the difficulties of finding a connection to her Judaism when her more immediate responsibilities are to ensuring the safety of her children, but it’s something to which most moms will be able to relate. I know it took my breath away. A quote from another crafter echoed another familiar, sobering realization:
“I tried to embroider a Hebrew wall hanging for my son when he was born. That was before I realized that having children would end, for a while at least, my embroidery career.”
This is the circle of women I needed when I first began having children, but I’m grateful that a new generation will have Ms. Eicher Levine’s words to reassure them that these feelings are normal.
Stories of craftivism; of religious restrictions on creation and how artists deal with that; the juxtaposition of two craft movements that seem to be, on the surface, different, but have more in common than they first appear; Ms. Eichler-Levine covers so many different topics in this book with a scholarly look, but one that has heart. One of the most poignant sections deals with Jewish crafting in the wake of the Holocaust and the urgency to fill the void of having no family heirlooms, and whether there’s a deeper meaning to it. That wasn’t an aspect of the Holocaust that I’d ever really considered, so I especially appreciated her work making me aware of that.
There is some discussion of infertility in the book, and how that affects one’s artwork and identity. Infertility can be a painful subject for many people, while others find comfort in seeing they’re not alone in their struggles and feelings. Be kind to yourself and never feel ashamed about waiting until you feel ready to read subjects that may be difficult for you.
While the book is more academic than literary, it’s definitely enjoyable if you’re interested in how artistry and crafting intersect with identity- Jewish identity specifically, but if needlework or painting or quilting is a part of who you are, you may find much with which to identify in these pages regardless of your connection to Judaism. Terms with which the non-Jewish or non-Jewishly educated reader may not be familiar are defined, making this book accessible for readers of every background.
Painted Pomegranates and Needlepoint Rabbis is a lovely take on how what Jewish women (and some men!) create furthers their Jewish identity. Maybe it’ll inspire you to pick up or continue your own work!
Much thanks to NetGalley and the University of North Carolina Press for allowing me to read an early copy of this.
This review will also appear on my blog closer to the publication date.
Jodi Eichler-Levine has penned an academic deep-dive into the intersection of arts- and craft-work and Jewish identity, a study that spanned three years and included not only interviews but observation and research into online crafting communities (Pinterest, anyone?). Her focus is not necessarily on individual artists- although plenty of those are celebrated as well- but on what crafting means as a collective and for the collective. How do crafters express their Judaism and connect with it on a deeper level through the things they create? How does the process of creation help them connect with other Jews? What messages do their various forms of creation send when viewed through the lenses of Judaism? Her study answers all these questions and more in a way that artists and crafters will appreciate.
Horror vacui, the fear or dislike of leaving empty spaces, especially in an artistic composition is discussed in terms of a crafter’s need to create and fill their friends’ and loved ones’ lives with the fruits of their hard work, as is the fact that creation, by necessity, also means consumption, something that I’ve been trying to come to terms with over the years. Keeping one’s supply stash under control and down to a manageable amount while still ensuring that you have what you need in a pinch (or a pandemic when the stores are closed!) is a never-ending battle for every crafter; do you overbuy and run the risk of never using those materials, or do you save money and not buy but potentially regret it later? “Things ground, though they can also overwhelm,” she states succintly, something that I very much understood. Another quote summed it up perfectly:
“Acts of creation are never simple. They are not isolated from the act of consuming, and consuming in a hypercapitalist culture has itself taken on a religous valence. Those who can afford to do so revel in their possessions but are also possessed by them, leading to a sense of claustrophobia that sparked the latest minimalism purge.”
(And yes, Marie Kondo does earn several mentions!)
The sections that resonated the most with me were about parenting and how one’s identity as a crafter, an artist, a creator, is often dashed to the ground once the task of caring for tiny humans becomes front and center. Everything falls to the side, leaving parents, particularly mothers, feeling lost and like an overworked automaton. She acknowledges that even as we celebrate these new lives, there is grief as we mourn for the loss of ourselves and the identities that kept us afloat Before Parenting. Ms. Eicher-Levine’s analysis of Heather Stolz’s work, Hanging By A Thread (viewed here in Ms. Stoltz’s Kveller article, Being Jewish Kind of Sucks Now That I’m a Mom), very much hit home. Her piece has to do with the difficulties of finding a connection to her Judaism when her more immediate responsibilities are to ensuring the safety of her children, but it’s something to which most moms will be able to relate. I know it took my breath away. A quote from another crafter echoed another familiar, sobering realization:
“I tried to embroider a Hebrew wall hanging for my son when he was born. That was before I realized that having children would end, for a while at least, my embroidery career.”
This is the circle of women I needed when I first began having children, but I’m grateful that a new generation will have Ms. Eicher Levine’s words to reassure them that these feelings are normal.
Stories of craftivism; of religious restrictions on creation and how artists deal with that; the juxtaposition of two craft movements that seem to be, on the surface, different, but have more in common than they first appear; Ms. Eichler-Levine covers so many different topics in this book with a scholarly look, but one that has heart. One of the most poignant sections deals with Jewish crafting in the wake of the Holocaust and the urgency to fill the void of having no family heirlooms, and whether there’s a deeper meaning to it. That wasn’t an aspect of the Holocaust that I’d ever really considered, so I especially appreciated her work making me aware of that.
There is some discussion of infertility in the book, and how that affects one’s artwork and identity. Infertility can be a painful subject for many people, while others find comfort in seeing they’re not alone in their struggles and feelings. Be kind to yourself and never feel ashamed about waiting until you feel ready to read subjects that may be difficult for you.
While the book is more academic than literary, it’s definitely enjoyable if you’re interested in how artistry and crafting intersect with identity- Jewish identity specifically, but if needlework or painting or quilting is a part of who you are, you may find much with which to identify in these pages regardless of your connection to Judaism. Terms with which the non-Jewish or non-Jewishly educated reader may not be familiar are defined, making this book accessible for readers of every background.
Painted Pomegranates and Needlepoint Rabbis is a lovely take on how what Jewish women (and some men!) create furthers their Jewish identity. Maybe it’ll inspire you to pick up or continue your own work!
Much thanks to NetGalley and the University of North Carolina Press for allowing me to read an early copy of this.
This review will also appear on my blog closer to the publication date.
July 10, 2020
I love it when a good title catches your eye, draws you in, and makes you go, "Ooh, what's that about?" That's how I felt when I saw the cover of Painted Pomegranates and Needlepoint Rabbis: How Jews Craft Resilience and Create Community by Jodi Eichler-Levine (University of North Carolina Press, 2020) on NetGalley this spring. "Is this about rabbis doing needlepoint?" I wondered, until I caught sight of the subtitle and went, "Ohhhhh, fascinating!" As an occasional crafter, I understand how important making things can be to one's identity, and as my (Re)Introduction to Judaism class was winding down, I definitely wanted to keep reading and learning. And to my surprise, I was quickly approved for the book! Totally made my day.
Jodi Eichler-Levine has penned an academic deep-dive into the intersection of arts- and craft-work and Jewish identity, a study that spanned three years and included not only interviews but observation and research into online crafting communities (Pinterest, anyone?). Her focus is not necessarily on individual artists- although plenty of those are celebrated as well- but on what crafting means as a collective and for the collective. How do crafters express their Judaism and connect with it on a deeper level through the things they create? How does the process of creation help them connect with other Jews? What messages do their various forms of creation send when viewed through the lenses of Judaism? Her study answers all these questions and more in a way that artists and crafters will appreciate.
Horror vacui, the fear or dislike of leaving empty spaces, especially in an artistic composition is discussed in terms of a crafter's need to create and fill their friends' and loved ones' lives with the fruits of their hard work, as is the fact that creation, by necessity, also means consumption, something that I've been trying to come to terms with over the years. Keeping one's supply stash under control and down to a manageable amount while still ensuring that you have what you need in a pinch (or a pandemic when the stores are closed!) is a never-ending battle for every crafter; do you overbuy and run the risk of never using those materials, or do you save money and not buy but potentially regret it later? "Things ground, though they can also overwhelm," she states succinctly, something that I very much understood. Another quote summed it up perfectly:
"Acts of creation are never simple. They are not isolated from the act of consuming, and consuming in a hypercapitalist culture has itself taken on a religious valence. Those who can afford to do so revel in their possessions but are also possessed by them, leading to a sense of claustrophobia that sparked the latest minimalism purge."
(And yes, Marie Kondo does earn several mentions!)
The sections that resonated the most with me were about parenting and how one's identity as a crafter, an artist, a creator, is often dashed to the ground once the task of caring for tiny humans becomes front and center. Everything falls to the side, leaving parents, particularly mothers, feeling lost and like overworked automatons. She acknowledges that even as we celebrate these new lives, there is grief as we mourn for the loss of ourselves and the identities that kept us afloat Before Parenting. Ms. Eicher-Levine's analysis of Heather Stolz's work, Hanging By A Thread (viewed here in Ms. Stoltz's Kveller article, Being Jewish Kind of Sucks Now That I'm a Mom: https://www.kveller.com/being-jewish-...), very much hit home. Her piece has to do with the difficulties of finding a connection to her Judaism when her more immediate responsibilities are to ensuring the safety and well-being of her children, but it's something to which most moms will be able to relate. I know it took my breath away. A quote from another crafter echoed another familiar, sobering realization:
"I tried to embroider a Hebrew wall hanging for my son when he was born. That was before I realized that having children would end, for a while at least, my embroidery career."
This is the circle of women I needed when I first began having children, but I'm grateful that a new generation will have Ms. Eicher-Levine's words to reassure them that these feelings are normal.
Stories of craftivism; of religious restrictions on creation during Shabbat and how artists deal with that; the juxtaposition of two craft movements that seem to be, on the surface, different, but have more in common than they first appear; Ms. Eichler-Levine covers so many different topics in this book with a scholarly look, but one that has heart. One of the most poignant sections deals with Jewish crafting in the wake of the Holocaust and the urgency to fill the void of having no family heirlooms, and whether there's a deeper meaning to it. That wasn't an aspect of the Holocaust that I'd ever really considered, so I especially appreciated her work making me aware of that.
There is some discussion of infertility in the book, and how that affects one's artwork and identity. Infertility can be a painful subject to read about for many people, while others find comfort in seeing they're not alone in their struggles and feelings. Be kind to yourself and never feel ashamed about waiting until you feel ready to read subjects that may be difficult for you.
While the book is more academic than literary, it's definitely enjoyable if you're interested in how artistry and crafting intersect with identity- Jewish identity specifically, but if needlework or painting or quilting is a part of who you are, you may find much with which to identify in these pages regardless of your connection to Judaism. Terms with which the non-Jewish or non-Jewishly educated reader may not be familiar are defined, making this book accessible for readers of every background.
Painted Pomegranates and Needlepoint Rabbis is a lovely take on how what Jewish women (and some men!) create furthers their Jewish identity. Maybe it'll inspire you to pick up or continue your own work! It absolutely did for me.
Much thanks to NetGalley and the University of North Carolina Press for allowing me to read an early copy of this.
Jodi Eichler-Levine has penned an academic deep-dive into the intersection of arts- and craft-work and Jewish identity, a study that spanned three years and included not only interviews but observation and research into online crafting communities (Pinterest, anyone?). Her focus is not necessarily on individual artists- although plenty of those are celebrated as well- but on what crafting means as a collective and for the collective. How do crafters express their Judaism and connect with it on a deeper level through the things they create? How does the process of creation help them connect with other Jews? What messages do their various forms of creation send when viewed through the lenses of Judaism? Her study answers all these questions and more in a way that artists and crafters will appreciate.
Horror vacui, the fear or dislike of leaving empty spaces, especially in an artistic composition is discussed in terms of a crafter's need to create and fill their friends' and loved ones' lives with the fruits of their hard work, as is the fact that creation, by necessity, also means consumption, something that I've been trying to come to terms with over the years. Keeping one's supply stash under control and down to a manageable amount while still ensuring that you have what you need in a pinch (or a pandemic when the stores are closed!) is a never-ending battle for every crafter; do you overbuy and run the risk of never using those materials, or do you save money and not buy but potentially regret it later? "Things ground, though they can also overwhelm," she states succinctly, something that I very much understood. Another quote summed it up perfectly:
"Acts of creation are never simple. They are not isolated from the act of consuming, and consuming in a hypercapitalist culture has itself taken on a religious valence. Those who can afford to do so revel in their possessions but are also possessed by them, leading to a sense of claustrophobia that sparked the latest minimalism purge."
(And yes, Marie Kondo does earn several mentions!)
The sections that resonated the most with me were about parenting and how one's identity as a crafter, an artist, a creator, is often dashed to the ground once the task of caring for tiny humans becomes front and center. Everything falls to the side, leaving parents, particularly mothers, feeling lost and like overworked automatons. She acknowledges that even as we celebrate these new lives, there is grief as we mourn for the loss of ourselves and the identities that kept us afloat Before Parenting. Ms. Eicher-Levine's analysis of Heather Stolz's work, Hanging By A Thread (viewed here in Ms. Stoltz's Kveller article, Being Jewish Kind of Sucks Now That I'm a Mom: https://www.kveller.com/being-jewish-...), very much hit home. Her piece has to do with the difficulties of finding a connection to her Judaism when her more immediate responsibilities are to ensuring the safety and well-being of her children, but it's something to which most moms will be able to relate. I know it took my breath away. A quote from another crafter echoed another familiar, sobering realization:
"I tried to embroider a Hebrew wall hanging for my son when he was born. That was before I realized that having children would end, for a while at least, my embroidery career."
This is the circle of women I needed when I first began having children, but I'm grateful that a new generation will have Ms. Eicher-Levine's words to reassure them that these feelings are normal.
Stories of craftivism; of religious restrictions on creation during Shabbat and how artists deal with that; the juxtaposition of two craft movements that seem to be, on the surface, different, but have more in common than they first appear; Ms. Eichler-Levine covers so many different topics in this book with a scholarly look, but one that has heart. One of the most poignant sections deals with Jewish crafting in the wake of the Holocaust and the urgency to fill the void of having no family heirlooms, and whether there's a deeper meaning to it. That wasn't an aspect of the Holocaust that I'd ever really considered, so I especially appreciated her work making me aware of that.
There is some discussion of infertility in the book, and how that affects one's artwork and identity. Infertility can be a painful subject to read about for many people, while others find comfort in seeing they're not alone in their struggles and feelings. Be kind to yourself and never feel ashamed about waiting until you feel ready to read subjects that may be difficult for you.
While the book is more academic than literary, it's definitely enjoyable if you're interested in how artistry and crafting intersect with identity- Jewish identity specifically, but if needlework or painting or quilting is a part of who you are, you may find much with which to identify in these pages regardless of your connection to Judaism. Terms with which the non-Jewish or non-Jewishly educated reader may not be familiar are defined, making this book accessible for readers of every background.
Painted Pomegranates and Needlepoint Rabbis is a lovely take on how what Jewish women (and some men!) create furthers their Jewish identity. Maybe it'll inspire you to pick up or continue your own work! It absolutely did for me.
Much thanks to NetGalley and the University of North Carolina Press for allowing me to read an early copy of this.
September 15, 2020
Originally published on my blog: Nonstop Reader.
Painted Pomegranates and Needlepoint Rabbis is an interesting and very well written ethnography of crafting and its intersection with Judaica, written by Dr. Jodi Eichler-Levine. Due out 19th Oct 2020 from The University of North Carolina Press, it's 240 pages and will be available in hardcover, paperback, and ebook formats.
This is a meticulously researched and annotated survey course on Judaism and its symbiotic relation to crafting and generative art mostly against the backdrop of the melting pot which is the United States. How, in such an assimilative culture, have Jews managed to hold onto ethnic identity while at the same time integrating into and becoming a part of American culture? How is creating art a part of that identity and how does it relate to Jewishness? While not, strictly speaking, a rigidly academic ethnography (the identities of the subjects are for the most part not anonymized), there is an undeniably academic flavor throughout.
The author is an academic and this is what I would call a layman accessible academic treatise of the subjects in all their incarnations as they intersect culture and history. As an academic work, it is *full* of annotations, notes, illustrations and minutiae (in a good way). The author definitely "shows her work" in full. I loved poring over the notes and the exhaustive bibliography and full chapter notes and annotations (did I mention that this is an academic work?). The notes and references are likely worth the price of admission for anyone interested in the subject and there's obviously been a swoon-inducing amount of time spent on research and resource gathering on the part of the author.
I found the entire book quite interesting and fascinating. It is, admittedly, a niche book and will appeal to readers interested in cultural anthropology and ethnography, but might not appeal to readers looking for an easy read. The language is rigorous and formal. I definitely don't think it's inaccessible for the average reader, but it will take some effort (and I think that's a good thing). This would make a good support text for classroom or library use, for Jewish studies and allied subjects, as well as a superlative read for the particularly arts-history-interested.
Five stars. This is well and deeply researched and engaging.
Disclosure: I received an ARC at no cost from the author/publisher for review purposes.
Painted Pomegranates and Needlepoint Rabbis is an interesting and very well written ethnography of crafting and its intersection with Judaica, written by Dr. Jodi Eichler-Levine. Due out 19th Oct 2020 from The University of North Carolina Press, it's 240 pages and will be available in hardcover, paperback, and ebook formats.
This is a meticulously researched and annotated survey course on Judaism and its symbiotic relation to crafting and generative art mostly against the backdrop of the melting pot which is the United States. How, in such an assimilative culture, have Jews managed to hold onto ethnic identity while at the same time integrating into and becoming a part of American culture? How is creating art a part of that identity and how does it relate to Jewishness? While not, strictly speaking, a rigidly academic ethnography (the identities of the subjects are for the most part not anonymized), there is an undeniably academic flavor throughout.
The author is an academic and this is what I would call a layman accessible academic treatise of the subjects in all their incarnations as they intersect culture and history. As an academic work, it is *full* of annotations, notes, illustrations and minutiae (in a good way). The author definitely "shows her work" in full. I loved poring over the notes and the exhaustive bibliography and full chapter notes and annotations (did I mention that this is an academic work?). The notes and references are likely worth the price of admission for anyone interested in the subject and there's obviously been a swoon-inducing amount of time spent on research and resource gathering on the part of the author.
I found the entire book quite interesting and fascinating. It is, admittedly, a niche book and will appeal to readers interested in cultural anthropology and ethnography, but might not appeal to readers looking for an easy read. The language is rigorous and formal. I definitely don't think it's inaccessible for the average reader, but it will take some effort (and I think that's a good thing). This would make a good support text for classroom or library use, for Jewish studies and allied subjects, as well as a superlative read for the particularly arts-history-interested.
Five stars. This is well and deeply researched and engaging.
Disclosure: I received an ARC at no cost from the author/publisher for review purposes.
November 7, 2021
I loved how this book was earnestly a work of ethnography and analysis and also simultaneously written for an audience that would be turned off by too much jargon and maybe just wanted to read it because they liked crafting.
The relationship between Judaism, Jewish crafts, and Jewish crafters remains striking and, while I did not always see myself in the fiber artists of this book, I really appreciated Eichler-Levine's understanding of what it is they do.
The relationship between Judaism, Jewish crafts, and Jewish crafters remains striking and, while I did not always see myself in the fiber artists of this book, I really appreciated Eichler-Levine's understanding of what it is they do.
July 4, 2021
Beautifully written
April 13, 2022
Fascinating b relationship between crafts and art ,religion and political messaging....
Displaying 1 - 6 of 6 reviews