The image of Rachel’s inconsolable weeping for her lost children in Jer. 31:15 presents a specific kind of response to a cultural trauma. As this paper argues, understanding this response is enriched both by analyzing the extra-textual literary strategy of the passage itself and by engaging in an intertextual reading of the ancient text with a contemporary artistic response to trauma. By means of an allusion to Genesis 37, Jer. 31:15 makes a case both for the continued existence of the people of Israel and for the legitimacy of experiencing the exile as a metaphorical death. What Jer. 31:15 accomplishes textually for a sixth century BCE Judean audience, the Witness Blanket accomplishes in a visual medium for threatened Canadian native cultures. Both texts stage a protest against the threat to the continued existence of culture by asserting the persistent potency of its cultural symbols.

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The book of Genesis gives two opposing portraits of Judah’s masculinity. On the one hand, he is shown as the leader of Jacob’s sons, and on the other he is ridiculed by his daughter-in-law. Is Judah an ass in a lion’s skin? This article explores Judah’s antithetical masculinities as examples of the inherently unstable nature of gender construction. Although Judah is only the fourth son of Jacob, he is expressly depicted in Genesis as assuming a leadership role in relation to his brothers, including speaking up against killing Joseph, negotiating with his father regarding Joseph’s demand that Benjamin be brought down to Egypt, and pleading with Joseph for Benjamin’s life. In Genesis 49: 8–12, Judah receives the most favourable treatment of all Jacob’s sons. The blessing of Jacob from his deathbed portrays Judah’s hegemonic masculinity at its finest. However, in Genesis 38, Judah’s masculine performance far from ideal biblical masculinity. Not only does Judah lack persuasiveness when he accuses Tamar, but she is able to persuade him that his own actions were wrong. Judah is deceived, specifically deceived by a woman. The shame he wants to attribute to Tamar rebounds on himself. In the end, he acknowledges himself to be less righteous than Tamar (Gen 38: 26). The episode as a whole reveals that Judah does not have control of his family. Genesis 38 clearly subverts Judah’s hegemonic masculinity. What are the rhetorical effects of this subversion of Judah’s hegemonic gender construction? Jacob speaks of Judah as a lion, but in Genesis 38 he seems to have been portrayed in the role of the ass.