The gates of November Read Online Free Page B

hundred years later it had become the center of a textile industry that manufactured and distributed prayer shawls throughout Russia and Europe and as far away as America. By the end of the eighteenth century Dubrovno also had a tile factory and a community of religious scribes, who wrote phylacteries, Torah scrolls, and mezuzahs, the little containers with passages of the Torah that Jews affix to the doorposts of their homes.
    The weavers of Dubrovno labored on antiquated handlooms and were brutally exploited by the merchants, who sold them yarn at high profit and purchased finished products at low prices. During the latter half of the nineteenth century, big-city competition from machine-woven prayer shawls crippled the textile industry of Dubrovno. The weavers began to leave. In 1897, four years after Solomon Slepak was born, there were 4,364 Jews in Dubrovno, constituting about 57 percent of the total population. The town was so inconsequential that it did not even have its own railway station.
    Photographs offer us images of Jewish life in Dubrovno.
    A portrait of Solomon Slepaks father shows a man with a long black beard and a tall dark skullcap. He had migrated to Dubrovno from somewhere in the Ukraine. Family lore relates that he was physically very strong; that his life’s dream was to send his son, Solomon, to a yeshiva, an academy of higher Jewish learning, where he would study for the rabbinate; and that in a certain Ukrainian town about one-third of the Jews were named Slepak, which in Ukrainian means “blind.”
    There is a full-length photograph of an elderly man named Munya, who was a sexton in a Dubrovno synagogue. He also wears a tall dark skullcap and a long dark coat that hangs slightly open, revealing knee-high boots and ritual fringes. He stares at us through shadowed, melancholy eyes. His lips are thin, unsmiling. A flowing white beard reaches nearly to his chest. There is a stoic grace about his poverty, a quiet dignity to his burdened life. Though there is no evidence that he was related to the Slepaks, it takes no prodigious leap of the imagination to envision him as similar in look and garb to Solomon Slepak’s father, who was a melamed, a poor teacher of children.
    And there is a photograph of a synagogue celebration in Dubrovno. An extraordinary occasion, one of enormous joy: A scribe has completed the writing of a Torah scroll, a lengthy and demanding sacred enterprise, a year or more of the most painstaking labor. In the photograph we see the Holy Ark, which is richly ornamented with a bevy of animals and birds and a delicately filigreed facade. A crowd of about sixty men, women, and children stand in a loose semicircle behind a bearded man in a cap, knee breeches, and boots, who appears to be doing some sort of dance. Two young-looking men, a fiddler and a clarinetist, play their instruments. The clarinetist has no beard and is wearing a derby; perhaps he is a professional musician, an outsider, hired for the occasion. A bearded elder carries the Torah scroll, which is suitably adorned with a silver crown. In the background, near the Ark and the wall of the synagogue, stand women and children in neatly arranged rows. In the foreground are men and boys. And once again it is no great feat of the imagination to envision one of those boys as young Solomon Slepak, who was a student in his father’s little school and certainly attended synagogue.
    No face in that photograph wears a smile. This was, after all, a picture for posterity, marking a high moment of public celebration.
    Other photographs mark suffering and death. There is an intriguing photograph that invites us to contemplate the miracle of a pogrom mysteriously averted: The synagogue in Mstislavl, built in the first half of the seventeenth century, stands tall and boldly peaked against a whitish sky, its destruction suddenly halted by Tsar Peter the Great, who, on entering the city with troops in 1708, visited the synagogue and