Last week I attended a class held by the Temple on Martin Buber. The class will cover Ten Rungs and The Way of Humanity, two of the many books Buber wrote in what I’ll call his “Hasidic mode”.

Buber’s interest in Hasidism will seem strange to people habituated to seeing Hasidim from the default Christian angle, as the ultimate “Pharisaical” Jews, who live in strict observance of a body of intricate, rigid and apparently arbitrary rules. There is significant truth to this image, but it is nowhere near the whole truth. It omits a fascinating dimension of Hasidic life that Buber emphasizes (and maybe over-emphasizes). What Buber finds inspiring in Hasidism is its rustic, vivid, lively but profound folk mysticism.

At the heart of this folk mysticism is a very simple and shifted vision of life, which is clearly Buber’s own (and since reading him fifteen or so years ago, also mine). Is it also the heart of Hasidism outside Buber’s idealized fantasy? I’ve seen evidence it might be, but I do not know.

But the Hasidic mode is only one expression of this vision. His other modes include two explicit prosaic modes, philosophical and theological.

The Buber who shocked me into a better life, and set me on my path to Judaism, was the one who wrote philosophically. My favorite book of his was always Between Man and Man.

But the mode I am contemplating today is the mode in which he wrote his most famous book, widely viewed as his magnum opus, I and Thou. My question concerns genre: what do we call this mode of writing?

I believe I and Thou is Buber’s hardest book. But it is also his most popular book. And it is also a poetic book. The language is beautiful and evocative. It is easy to enjoy aesthetically, allowing insights to come to us where they offer themselves, like ripe fruit falling from a tree. Jorge Luis Borges said of it:

But when something is merely said or — better still — hinted at, there is a kind of hospitality in our imagination. We are ready to accept it. I remember reading, some thirty years ago, the works of Martin Buber — I thought of them as being wonderful poems. Then, when I went to Buenos Aires, I read a book by a friend of mine, Dujovne, and I found in its pages, much to my astonishment, that Martin Buber was a philosopher and that all his philosophy lay in the books I had read as poetry. Perhaps I had accepted those books because they came to me through poetry, through suggestion, through the music of poetry, and not as arguments. I think that somewhere in Walt Whitman the same idea can be found: the idea of reasons being unconvincing. I think he says somewhere that he finds the night air, the large few stars, far more convincing than mere arguments.

This suggests that Buber is — like Friedrich Nietzsche, one of his primary inspirations — a philosopher-poet. Like Buber, Nietzsche’s magnum opus, Thus Spoke Zarathustra, was written poetically, and is viewed as his most impenetrable work.

We could follow Jan Zwicky who is also a master of this mysterious genre, and call it “lyric philosophy”.

I have noticed something fascinating about these books, conspicuously common to Buber, Nietzsche and Zwicky, and it makes me want to suggest another, simpler, less novel label. When I read their books, I am existentially different. And the difference persists and permeates my life as long as I stay engaged. And the difference is not only a change in mood. It changes my whole perceptual field. I notice different givens, and my noticing is different. (For instance, Zwicky’s writing made birds intensely present around me.) All three attune me to a kind of energetic, space-filling humming that harmonizes the sounds of home, nature, traffic (air and road, living beings and machines. The different noticing is infused with valuing. And people seem different to me, and I want to interact with them differently. In other words, I change and the world re-enworlds around me in a better way, and the entire Who-Why-How-What manifold glows and vibrates with significance.

The medium-message in books like these is peculiarly independent of the content. Often I cannot even remember the specific factual content. These books act on me through my efforts to understanding the content — but the content is not the point. It does not matter What Buber or Nietzsche or Zwicky believe. What matters is Who they are, How they intuit and think, and Why it matters. If you read them urgently, actively, attentively — in the spirit Buber calls I-Thou — the Thou of the writing changes the I who reads and responds.

Isn’t this the effect… of prayer?

I would like to propose that these strange books are long, complex prayers, and that reading them in the way they ask to be read is engaging in a kind of petitionary prayer. In this prayer we invite infinitude back into our lives, once again, to abide with us in our finite I-Here-Now.

And then we forget, and our guest departs. So we pray again, if we remember to pray.

I think I love this kind of prayer book. I want to write prayer books. Maybe that is what my first “book” was (if you can call a pamphlet with nine sparse pages a book).

*

So, anyway, in the first class, Rabbi Sperling gave an overview of Buber’s life and works, and I realized I could remember almost none of the details of I and Thou. So I picked it up and started re-reading it (both the Smith and Kaufmann translations, together) and now I’m in a prayerworld all over again. I love it here.

*

We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,

gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.

Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would not glisten like a wild beast’s fur:

would not, from all the borders of itself,
burst like a star: for here there is no place
that does not see you. You must change your life.

“Archaic Torso of Apollo”, Rainer Maria Rilke, translation by Stephen Mitchell.