> The cover illustrates "Paper's Law"...."When an unfamiliar language is
 > photographed it is invariably backwards or upside down."

I have a theory. When we write roman letters, we sit them plunk down on their
butts on the line. Arabic seems to have all it's weight on the line as well.
However, when we write hebrew block letters we hang up them like socks on a
clotheline. To make hebrew look "right", the photographer or whoever will turn
the document or picture around or upside down to make the letters look like
they're sitting down. One might suppose that it's a reaction produced by a
feeling of vertigo. In the history museums here in spain I've never seen
anything in arabic displayed upside down. But absolutely every in hebrew is
sideways and inside-out.

I feel the need to tell a story about upside down hebrew letters (so stop here
if you're not in the mood...):

There was an temporary exhibit in the Pio V Museum here in Valencia which
featured a headstone (1205c.e.) and even though the explanatory card on the
moveable stand was fine, it was behind the headstone so that one was forced to
look at the letters upside down if you wanted to read the card at the same
time. I mentioned it at the desk but I was told that it would take too much
effort to turn the 2-ton headstone around (I speak truth).

Two years ago the Israeli Embassey in colaboration with a few other Spanish
organizations brought in from Israel the "Bezalel Collection" and toured it
around the country at great cost and energy. Gala night, there were lots of
museum types, political types, church types and jewish types who were invited
to have a look-see, sip a little champagne, rub elbows and pat each other on
the back for being so cultural and open-minded. Everybody who went told me it
was a not-to-be-missed-must-go so a few days latter I did. Everything was
right-side up and frontwards. Gorgeous-gorgeous, especially if you knew what
you are looking at. However....

...guess what? At least half of the explanatory cards were in the wrong
display cases. And lord forbid that someone should pass out a pamphlet with an
explanatory glossary. There I am looking at a pair of stunning shiny
gold-silver rimonim and the card says: "This lovely 3-piece javdala set...."

I started to notice that lots of people came in to visit the Bezalel exhibit
but the average stay was less than 5 minutes. While contemplating a seder
plate with the legend "...a fine example of a 1930's modernist  menora...", I
heard someone looking at a tora keter say to his buddy: "It's beautiful but
what's a januquia?"  I approached them, introduced myself and offered them a
15-minute orientation tour which turned into a 30-minute tour as more people
joined in.

What museum would be so dumb as to leave a bunch of nice junk lying around
with a sign that says in large friendly letters: "Have at it."  What
exhibitors and museum curators would not work together to consider the
background of the public that might visit the exhibit and not make the
appropriate adjustments? Probably those museums that have no respect for the
exhibit and probably those exhibitors who have no respect for the public they
have to work with. Somewhere along the chain of command somebody has to give a
dam or the exhibit will be a fiasco just like a library that nobody uses.

Some librarian has to call up the guys of the magazine and ask them if they
put in the picture of the synagogue backwards on the cover for a reason or if
it was just a snafu to be fixed when the next printing comes up. We can't just
tut-tut the tongue and shrug the shoulders. Someone has to do some Quality
Control. Better a nudnick librarian so you can say: "Oh, yes, and please do
call whenever you might like a little assistance or advice on anything jewish.
Always happy to help out where I can."

Is summer over yet?
Besos de Valencia
Alba Toscano
Sinagoga conservador/masorti "La Javura"
Valencia (Spain)
http://www.uscj.org/world/valencia

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