Book Review: Rav Hisda's Daughter
Published in Lilith Magazine, Fall 2012 (vol. 37, no. 3)
Towards the end of Rav Hisda’s Daughter (Plume, $16), Maggie
Anton’s eponymous heroine returns to her home in Babylon after four long years
in the land of Israel and is greeted by her father with the words, “Blessed are
You, Adonai…. Who revives the dead.” Anton has made quite a career out of
reviving the dead, first with her trilogy of novels bringing to life Rashi’s
three daughters, and now with her imaginative tale of the daughter of the
third-century Talmudic sage Rav Hisda.
The novel’s
opening scene is closely based on the Talmudic story in which Rav Hisda’s young
daughter sits on her father’s lap while his two leading students stand before
him. Rav Hisda asks his daughter which one of them she would like to marry, and
she greedily responds, “both of them.” One of the students—arguably the more
quick-witted—immediately pipes up, “I’ll go second!” This story sets the stage
for Anton’s tale, in which Hisdadukh—Anton invents her name, which is Persian
for “Daughter of Hisda”—is betrothed first to Rami bar Chama, the love of her
youth and the father of her two children. Following Rami’s tragic and sudden
death after just five years of marriage, Hisda is betrothed to the other
student, the harsh and hardened Rava. The novel follows Hisdadukh not just from
one husband to another, but also from her home in the Babylonia, where she is
one of two daughters and seven sons in an illustrious rabbinic family, to the
Galilee, where she mingles with amulet scribes, early Christians, and the great
scholars of Tiberias, Caesaria, and Sepphoris. It is in Sepphoris that Anton
imagines that Hisdadukh serves as the model for the iconic “Mona Lisa of
Galilee,” a floor mosaic that remains a popular archeological attraction in
Israel today.
Many of the conversations and characters in this novel are lifted
straight of the pages of the Talmud. But as the Talmud is not a work of
history—Anton may be the first to call it “historical fiction”—even these
elements of the novel may raise eyebrows:
“Everyone knew that the Evil Eye was responsible for a great deal of
misery in the world. Rav, Father’s teacher, once went to a cemetery and cast a
spell that let him talk to the dead. Ninety-nine told him they’d died from the
Evil Eye and only one from bad air.” We must be as skeptical of the historicity
of Anton’s account as we are of the Talmud’s narration of this incident in
tractate Bava Metzia. And so in terms of authenticity, perhaps Rav Hisda’s
Daughter has an advantage over Rashi’s Daughters, since there is no pretense
that the former is based on historical sources. When Anton succeeds best, she
brings Talmudic debates to life by showing the very human personalities and
passions behind the various legal positions. And so when Rami and Rava debate
the laws of inheritance, Anton suggests that they are in fact really fighting
over Hisdadukh; thus their battle of wits is also a sort of romantic duel.
Anton’s novel is rooted not just in the soil of the Talmudic text
but also in the field of academic Talmud study today, which is apparent even
without glancing at her impressive bibliography or the list of illustrious
international scholars she acknowledges. Hisdadukh is a student of Torah
arguably modeled on her Palestinian counterpart Beruria, but she is also an
enchantress who makes magical incantation bowls of the sort discovered by
archeologists in the area that is now Iraq and Iran. The discussions that come
alive in this book are Talmudic as well as academic, which may explain why this
novel will have so much appeal for readers like myself who are steeped in the
Talmudic text and the scholarship about its context. For readers who do not
experience the pleasure of the familiar in its fictionalized form, Anton’s
novel celebrates our rich and colorful textual heritage and reminds us that
feminist history is often a return to the material and the real – to the beer
the scholars drank, the springs in which they bathed, the cycle of blood that
dictated their most intimate relationships, and the rooms in which they studied
texts that occasionally refer to wives and daughters whose lives we can at best
imagine.