In a striking image, the Zohar compares the Torah to a princess sequestered in a palace tower. The student of Torah is her lover seeking her to reveal herself from the window showing her reciprocal love. The lover’s does catch a fleeting vision, a personal and private revelation of her secrets stirring his heart. A mystical approach to Torah yearns for this love and personal revelation.

This may be compared to a beloved maiden, beautiful in form and appearance, concealed secretly in her palace. She has a single lover unknown to anyone—except to her, surreptitiously. Out of the love that he feels for her, this lover passes by her gate constantly, lifting his eyes to every side. Knowing that her lover is constantly circling her gate, what does she do? She opens a little window in that secret place where she is, reveals her face to her lover, and quickly withdraws, concealing herself. None of those near the lover even sees or notices, only the lover, and his inner being and heart and soul go out to her. He knows that out of love for him she revealed herself for a moment to arouse him. So it is with words of Torah: she only reveals herself to her lover. Torah knows that one who is wise of heart circles her gate every day. What does she do? She reveals her face to him from the palace and beckons to him with a hint, then swiftly withdraws to her place, hiding away. None of those there knows or notices—he alone does, and his inner being and heart and soul follows her. Thus Torah reveals and conceals herself, approaching her lover lovingly to arouse love with him.

A reader could understand this in a technical sense of a ritual to connect to the sefirah of malkhut/shekhinah but for many it is the mystical lyrical aspect of the passage that attracts readers. ” The scholar Michael Fishbane, wrote that the Zohar “pulses with the desire for God on every page.”

For those who cherish the work, Professor Daniel C. Matt has done an invaluable service in translating the Zohar into a vibrant glowing English, thereby setting a benchmark for translations for contemporary Jewish culture. His Pritzker Edition published by Stanford University Press is easy to use and the website has samples and a full Hebrew/Aramaic text to download.

The Zohar as printed in the 16th century is a five volume set (3 volumes of Zohar, Tikkune Zohar, and Zohar Hadash) of over thirty separate books including the non-Kabbalistic allegorical Midrash Haneelam from the early 13th century, the 14th century Tikkune Zohar, the especially esoteric Idrot and Sitrei Torah by Rabbi Yakov Shatz. It also contains fragments and pieces of Ashkenaz esotericism, Bahir, and a work on palmistry. The work also has 14th century passages from Rabbi Yosef of Hamadan and his contemporaries, whose authorship was already noted in the traditional commentaries. These works differ in language, protagonist, esoteric ideas, use of midrash, and especially religious worldview.

The part of the Zohar beautifully translated by Daniel C. Matt is the main narrative section of the first three volume. The 9 English volumes cover 85% of the 3 Aramaic volumes of the standard edition(s) of the Zohar (except for sections such as Midrash ha-Ne’lam, Matnitin, Tosefta, Sitrei Torah, and Heikhalot, which are included in the English volumes 10-12, and Ra’aya Meheimna, which will not be translated.

(As a side point, the Soncino English translation (1934) was almost unusable, inadequate in both translation and passages covered. The Soncino actually selected as a translator a Volozhin Yeshiva alumna who had already converted to Christianity).

The contemporary attraction for the Zohar is in the narrative section whose passages offer the attractive merits of literary stories, heightened language, love of God, and deeper levels of reality. The work is a mystical midrash in which a circle of kabbalists travel and reveal secrets as they expound the verses of the Bible. The narrative invites the reader to share its vision by using the phrase “come and see’ (ta hazai), in place of the Talmud’s “come and hear.” Gershom Scholem and Isaiah Tishby focused on the doctrine of the sefirot, but later academic readers look at the entire package of midrashic-literary-mystical-kabbalistic weave. The other parts of the corpus do not have these qualities. Current trends find multiple hands and opinions even in the narrative sections leading to seeing the work as a group effort. There is no early complete manuscript of the Zohar (and there never was. For more information, see my 2010 Forward review of Daniel Matt & Melila Hellner-Eshed, and some of my prior blog posts- here and here).

The narrative section reworks older materials into something new. For examples a Zohar section may quote two pieces of Genesis Rabbah then a piece of Tanhuma and/or Pirke de-Rabbi Eliezer followed by a piece of Gerona Kabbalah and conclude with Rabbi Shimon presenting the position of Castillian Kabbalah. All of it set within a narrative story with rhetorical questions and vivid imagery. The Zohar reworks minor midrashim such as Midrash Wayissa’u, a story of the sons of Jacob warring against their enemies and Midrash Peṭirat Mosheh, on the death of Moses. It also has knowledge of various Second Temple period Pseudepigrapha books whether via midrash or some subterranean tradition. Nevertheless, none of these antecedents are the medieval sefirotic chart.

For those who are not acquainted with kabbalistic literature, there are dozens of seminal kabbalistic works. If one wanted to be informed about the world of the sefirot one would likely start with the Sha’arei Orah, by Rabbi Joseph Gikatilla, if one wanted to study the Gerona school then one would start with the works of Rabbis Azriel and Ezra of Gerona or one could study Nahmanides’ French tradition. One could even look at the texts as diverse as Moses ben Jacob from Kiev’s compilation Shushan Sodot or the Byzantium work Sefer Hatemunah. The Zohar is far from the summary or summation of the kabbalah and its many schools. (For those who want an introduction, see my YUTorah introductory lectures on the Kabbalah).

The Zohar had admirers and imitators at the start of the 14th century including Yosef Angelet and David b. Yehudah Hahasid, and it was quoted by Bahye and Recanati, however it was not the classic until the Spanish exiles in the 16th century who turned it into a canonical text by writing commentaries on the recently published text and then building elaborate systems using the Zohar as the basis. It generated ritual gestures such as Kabbalat Shabbat and inviting guests into the sukkah as well as the Yeshiva ideal of studying Torah day and night. In the 17th century, it was applied in a mechanical ritual manner (10 pieces of Chometz, 10 items on the Seder plate, 100 shofar blasts).At the end of the 20th and start of the 21st century, people study the narrative parts of the Zohar for its beauty and mystical worldview.

Those who are carefully reading through the volumes page by page will not agree with every decision made in the volumes, one can question some of his decisions of which Zoharic book a passage belongs to, as well as not always agreeing with his translation and commentary. At some points, Matt follows one commentator over another without citing the important alternate understanding. These points aside, Daniel C. Matt has done the Jewish community a tremendous service in his translation Below is a my interview with him and afterwards I received a selection from his autobiographic essay.



1) Why did you decide to make a composite text rather than a

stemma with variants? What were your criteria to choose which variant to use?

There is no complete manuscript of what we now call the Zohar, nor did such a manuscript ever exist, because the Zohar was composed over a long period of time by different authors. At first, I thought that I would translate from one of the standard printed editions and simply consult manuscripts when I encountered difficult passages. However, I soon discovered that the manuscripts (especially the older and more reliable ones) preserved numerous better readings. So I decided to reconstruct the Aramaic text based on those superior readings. There is undoubtedly a subjective element in choosing variants, but I came to trust certain older manuscripts. It is often possible to see how later scribes added material to the text, and I scraped away such later additions.

2) Why did you include the Matnitin and Idrot if your goal was to

limit the volumes to “guf haZohar”?

The Zohar: Pritzker Edition includes many sections of the Zohar, not just what is called Guf ha-Zohar (The Body of the Zohar). This latter term refers primarily to the running commentary on the Torah, which is translated in Vols. 1–9. Certain other sections of the Zohar are also included in these nine volumes, such as Sava de-Mishpatim, the Idrot, Rav Metivta, Yanuqa. Many of the older manuscripts record the Matnitin as one unit, rather than how they appear in the printed editions (scattered throughout the Zohar), and we decided to follow the older manuscripts. We did not translate either Tiqqunei ha-Zohar or Ra’aya Meheimna, which were composed later as Zoharic imitations.

3) Are you consistent in the words used to translate a

Hebrew/Aramaic term? For example, is tiqqun always translated as

enhancement? How did you come to translate alma de-atei the way you did? Why is h eizu rendered as visionary mirror, rather than one or the other?

It would be a grave mistake to always translate Zoharic terms consistently. As I proceeded in my work, I composed a Zohar dictionary so that I could keep track of various possible nuances for the Zohar’s unique brand of Aramaic. For the root tqn, for example, I listed over fifty possible English equivalents, including “to mend, repair, refine, enhance, improve, prepare, correct, rectify, perfect, restore, arrange, array, adorn, establish.” I used the rendering “enhancement” only for certain passages in the Idrot describing the features (and curlicues) of the divine beard.

The rabbinic term alma de-atei is often translated as “the world-to-come,” but I usually render it as “the world that is coming,” in order to emphasize the eternal present. In the Zohar this term often alludes to the Divine Mother, Binah, who is constantly flowing. In the words of Rabbi Shim’on, “That river flowing forth is called Alma de-Atei, the World that is Coming—coming constantly and never ceasing” (Zohar 3:290b, Idra Zuta).

Occasionally I combine two possible meanings of a Zoharic term in order to convey its range of meaning. For example, the Aramaic word h eizu means “vision, appearance,” but in the Zohar it also signifies “mirror,” based on the Hebrew word mar’ah (which can mean both “vision” and “mirror”).

4) What are some of your most inventive words and hardest words that you used in your translation?

One of the most charming—and frustrating—features of the Zohar is its frequent use of neologisms (invented words). The authors like to switch around letters of Talmudic terms or occasionally play with Spanish words.

One newly coined word is tiqla. In various contexts, this can mean “scale, hollow of the hand, fist, potter’s wheel, and water clock.” This last sense refers to a device described in ancient and medieval scientific literature, which in the Zohar functions as an alarm clock, calibrated to wake kabbalists at precisely midnight for the ritual stud of Torah. A similar device was employed in Christian monasteries to rouse monks for their vigils. How appropriate to invent a word in order to describe an invention!

The Zohar describes the primordial source of emanation as botsina de-qardinuta. The word botsina means “lamp.” The word qardinuta recalls a phrase in the Babylonian Talmud (Pesa h im 7a): h ittei qurdanaita, “wheat from Kurdistan,” which, according to Rashi, is very hard. The Zohar may also be playing here with qadrinuta, “darkness.” I sometimes rendered botsina de-qardinuta as “a lamp of impenetrable darkness.” More recently, I chose “the

Lamp of Adamantine Darkness.” As the paradoxical names suggests, the potent brilliance of this primordial source overwhelms comprehension.

Many mystics record similar paradoxical images: “a ray of divine darkness” (Dionysius, Mystical Theology); “the luminous darkness” (Gregory of Nyssa, Life of Moses); “the black light” (Iranian Sufism). In his Guide of the Perplexed, Maimonides writes: “We are dazzled by His beauty, and He is hidden from us because of the intensity with which He becomes manifest, just as the sun is hidden to eyes too weak to apprehend it.”

5) What was the biggest surprise that you found in the many year

process?

One surprise was the playfulness of the Zohar and its sense of humor. According to Rabbi Shim’on, a bit of foolishness can stimulate wisdom. In the section called Yanuqa (The Child), two rabbis encounter a little boy who is a wunderkind—and also a bit of a rascal. He alternates between amazing the rabbis and teasing them, impressing and then challenging (or stumping) them. This child prodigy spouts wisdom, spiced with humor.

I used to try and figure out what the Zohar “meant.” Now I prefer to let the rich language wash over me and through me, allowing it to uplift, confound, or transform me.

6) Many people want to know: How does the Zohar influence your

spiritual life? Do you keep a mystical journal? Are you a mystic?

I don’t keep a journal. I don’t have visions. The Zohar enriches my life by teaching me not to be content with how things appear on the surface, by stimulating me to delve more deeply. I look for the divine spark in the people I encounter, in the phenomena of the natural world, and in everyday life, moment by moment. I am a mystic in the sense that I feel the oneness of all existence, the wondrous interplay of matter and energy.

7) Why should we study Zohar? What does its creative imagination of God offer?

In interpreting the Bible, the Zohar is willing to ask daring questions. Going beyond traditional midrash, the Zohar employs radical creativity to make us question our current assumptions about life, about ourselves, about God and spirituality. It moves through the Torah verse by verse, asking probing, challenging questions. As the Zohar says, “God is known and grasped to the degree that one opens the gates of imagination,” so it’s up to our imaginative faculty to understand reality, or the reality of God.

The Zohar is a celebration of creativity—it shows how the Torah endlessly unfolds in meaning. Jacob ben-Sheshet Gerondi, a 13th-century kabbalist, said it’s a mitzvah for every wise person to innovate in Torah according to his capacity. That’s refreshing because you often hear the traditional notion: to accept what’s been handed down or to learn from the master because you’re not able to create on your own. But ben-Sheshet says (after conveying one of his innovations), “If I hadn’t invented it in my mind I would say that this was transmitted to Moses at Mt. Sinai.” He’s aware that his interpretation is new, but he thinks it harmonizes with the ultimate source of tradition—his creative discovery itself is somehow deeply connected to an ancient mainstream. An essential component of all creativity is tapping into something deeper than your normal state of mind.

We all know that near the beginning of Genesis there’s the famous story of the expulsion from the Garden of Eden. It’s clear that God expels Adam and Eve from the Garden. But the Zohar asks, “Who expelled whom?” It turns out, according to the Zohar’s radical re-reading of the biblical verse, that Adam expelled Shekhinah from the Garden!

This seems impossible, almost heretical or laughable. But the Zohar may be implying that we’re still in the Garden, although we don’t realize it because we’ve lost touch with the spiritual dimension of life. On a personal level, each of us becomes alienated by excluding the Divine from our lives. The Zohar challenges us to reconnect with God, to invite Her back into our lives, to rediscover intimacy with Her.

Ultimately, God is Ein Sof (the Infinite). In a striking interpretation, the Zohar construes the opening words of Genesis not as “In the beginning God created,” but rather “With beginning, It [that is, Ein Sof] created God.” To me, this implies that all our normal names for God are inadequate. What we call “God” is puny, compared to the ultimate divine reality.

8) What do you like about the Idrot?

The Idrot present a detailed description of the divine anatomy, especially the divine head, face, and beard. This may be, in part, a response and reaction to Maimonides, who insisted on eliminating all anthropomorphic descriptions of God. But there is much more to the Idrot. In the Idra Rabba (The Great Assembly), there is a state of emergency, because due to human misconduct, the world is vulnerable to divine wrath. Rabbi Shim’on and his Companions set out on a dangerous mission to restore the balance in the upper worlds and to stimulate a radiant flow from the compassionate aspect of God, which can soothe the irascible divine force and thereby save the world.

In the Idra Zuta (The Small Assembly), Rabbi Shim’on is about to die, and he reveals profound mysteries. He concludes with a detailed description—graphic yet cryptic—of the union of the divine couple. As he departs from this world, he assumes the role of the Divine Male, uniting ecstatically with Shekhinah. Thus Rabbi Shim’on’s death becomes a joyous occasion, and a celestial voice announces his wedding celebration.

In the recent Zohar conference in Israel I read selections from Idra Zuta because I wanted the listeners to appreciate the dramatic power of this rich narrative.

9) What do you do with the dualism and demonology of the Zohar- do you find it offensive? What do you do with the nasty parts of the Zohar such as the severe condemnation of masturbation? Many are deeply scarred by the effect of those passages.

The Zohar often describes the conflict between the divine and demonic forces. The demonic realm is called Sitra A h ra (the Other Side). This name can be understood as reflecting the terrifying nature of the demonic sphere—as if it cannot even be accorded a real name, but is just referred to as “Other.” However, this designation can also imply that evil is simply the “shadow side” of good, that you can’t have one without the other. We only recognize light because there is also darkness; we only recognize good because there is also evil. Ultimately, both good and evil originate within God. If there is a balance between the divine polar opposites, goodness flows into the world. If there is an imbalance, evil can lash out, wreaking havoc. Human behavior affects the divine balance, contributing to the manifestation of either good or evil.

I’m not offended by the demonology of the Zohar. I see it as an expression of human fear.

I don’t deny that the Zohar includes “nasty” elements. This masterpiece of Kabbalah is often lyrical and inspiring, but being composed in medieval times, it naturally reflects a medieval mentality, including aspects of chauvinism, misogyny, superstition, and various attitudes that we know find antiquated or harmful. To me, Kabbalah is a great resource for contemporary spirituality; but we should approach it with a critical mind; we should not accept all of its teachings as ultimate truth.

10) How do you relate to the various theories of recent scholars

that think that there is no fixed original text, rather the continual

accretion of material?

Certainly the Zohar, as we now know it, never existed as a single continuous text. Rather, it is the product of centuries of compilation and editing, which was proceeded by an extended period of composition by various authors. However, by consulting and comparing early manuscripts, it is possible to scrape away from the standard printed editions centuries of scribal accretion and at least come closer to a more “original” text, section by section.

11) How do you relate to the various theories of recent scholars

that trace ideas back to earlier midrashic and Second Temple sources?

Although the Zohar was composed in medieval times, it is clearly based on numerous earlier sources, primarily various midrashim and the Talmud. Among the midrashim, we find particular influence of Pirqei de-Rabbi Eli’ezer, Pesiqta de-Rav Kahana, and Bereshit Rabbah. The Zohar itself is a type of midrash, while sometimes it also an experiment in medieval fiction. The genius of the authors lies in their ability to use the earlier material to compose a more spiritual midrash, stimulating the reader to expand his consciousness, challenging the normal workings of the mind.

12) How do you explain the different mindset of Rabbi Moshe de León from the Zohar? Do you have any new explanation of why Ramdal rejects opinions that are affirmed in the Zohar?

It is very interesting to compare the Zohar with the Hebrew writings of Ramdal (Rabbi Moses de León), in which he admits being the author. In these Hebrew compositions, Moses de León makes free use of the Zohar, often translating or paraphrasing Zoharic passages and introducing them with formula such as: “As the ancient ones have said….” He is completely fluent in the Zohar and seems to be promoting the “ancient” material for a wider public. He often explicates Zoharic symbolism. It is easy to conclude that the author of these Hebrew books is himself the composer of large sections of the Zohar.

On the other hand, his Hebrew writing lacks the lyrical power, creativity, and playfulness of the Zohar. This can be explained partly by the fact that in these Hebrew writings, Moses de León is working within his normal state of consciousness, whereas in the Zohar he has shed this persona and taken on the identity of ancient sages. This switch apparently liberates his poetic instinct and enables him to create a unique, otherworldly masterpiece.

Moses de León was certainly not the sole author of the Zohar. Most likely, he did not express the Zoharic opinions that he rejects in his Hebrew writings.

13) How does the universalism of mysticism relate to the very particular ritual focus of the Zohar? Why Zohar rather than Vedanta or Buddhism?

There are many similarities between mystical teachings of the various world religions: God as the oneness of it all, the goal of reuniting the apparently separate self with this divine oneness, the potency of the divine word and of human meditation. While the insights are frequently similar, or even identical, each religion expresses these insights through the unique forms of its own tradition and culture. A Jew should explore and appreciate the wisdom of his own tradition, while also being open to other spiritual teachings.

However, while the insights are frequently similar, or even identical, the mystics of each religion express these insights through the unique forms of their own tradition and culture. More basically, the particular forms and practices of one’s religion provide pathways to experience mystical states and discover mystical truths. For example, a Jewish mystic finds God through Torah, the celebration of Shabbat, and the mindful observance of other mitsvot.

In certain mystical traditions, one sees the desire to leave the material realm, to seek seclusion and to focus on meditation. Although there is a rich stream of kabbalistic meditation practices, Jewish mysticism emphasizes life in this world and cooperation with others. Participation in the community remains vital, for example, davening in a minyan. In general, the regimen of Torah and the mitsvot helps the individual to stay rooted.

14) How can we apply Kabbalah to modern day Judaism?

I don’t recommend that we become complete kabbalists. Rather, we should draw on the spiritual insights of Kabbalah in order to enrich our spiritual lives. We can reimagine God as the energy that animates all of life. We can balance the patriarchal depictions of God with the feminine imagery of Shekhinah. In our prayer services, we can focus on the mystical implications of verses such as “In Your light we see light,” or “Taste and see that God is good.” Furthermore, we can make room for moments of contemplative silence within prayer. This will help us comprehend and experience the profound verse in Psalm 65: “To You, silence is praise.”

Selections from an Autobiographical Essay

My interest in Kabbalah and the Zohar certainly has something to do with the fact that my father, Hershel Matt, was a rabbi. He never urged me to delve into Jewish mysticism; on the contrary, he was somewhat suspicious of mysticism and always insisted on maintaining the gap between human and divine. But he conveyed and embodied an intense spirituality, and this undoubtedly inspired me to search for the mystical element within Judaism.

The writings of Martin Buber introduced me to Hasidic tales and teachings. In my undergraduate years at Brandeis University, I took a Hillel course in Hasidic texts taught by Arthur Green. These texts often quoted phrases or lines from the Zohar, which intrigued me. Then, during my junior year abroad at Hebrew University in Jerusalem, I began delving into Zohar. Realizing that I had only one year in Jerusalem, I took a course in Beginning Zohar and simultaneously another one in Advanced Zohar. I was somewhat overwhelmed by the latter, but that didn’t matter so much because I was also overwhelmed by the former! Overwhelmed, but also captivated.

Returning to Brandeis, I completed my B.A. in 1972. I returned to my alma mater for graduate work in Kabbalah, under the direction of Alexander Altmann. My Ph.D. dissertation consisted of a critical edition and analysis of Sefer Mar’ot ha-Tsove’ot (The Book of Mirrors), written by David ben Yehudah he- H asid, a thirteenth-fourteenth century kabbalist. I chose this text because it contains the earliest extensive Hebrew translations of passages from the Aramaic text of the Zohar.

I discussed the choice of my dissertation topic with Gershom Scholem when I served as his teaching assistant at Boston University in 1975, and he encouraged me to proceed with it. I recall someone telling me around this time that a doctoral student should be very careful in selecting his topic, since this will likely determine the focus of his entire academic career. I chafed at that notion and responded, “Not necessarily so!” Little did I know then how translating the Zohar would enthrall me.

During these years (early-to-mid 1970s), I was a member of Havurat Shalom in Somerville, Mass. I still cherish the wonderful friendships, rich learning, and inspired davening that I experienced there.

Soon after receiving my Ph.D., Art Green invited me to compose a volume on the Zohar for the Classics of Western Spirituality. After selecting approximately 2 percent of the immense body of the Zohar, I proceeded to translate and annotate these passages. My intent was to demonstrate how the Zohar expounds Scripture creatively: applying the ancient biblical narrative to personal spiritual quest, and imagining (or, at times, recovering) mythic layers of meaning.

I recall someone asking me, “When are you going to translate the other 98 percent of the Zohar?”But I had other projects in mind.

Subsequently, I became interested in the subject of negative theology. The kabbalists describe the ultimate stage of Divinity as Ayin, “Nothingness,” or “No-thingness.” This paradoxical term implies not an absence, but rather a divine fullness that escapes description and language: God is beyond what we normally call “being.” After publishing “Ayin: The Concept of Nothingness in Jewish Mysticism,” I later compared the Jewish notion of ayin to Meister Eckhart’s teachings on Nichts and the Buddhist concept of sunyata (“Varieties of Mystical Nothingness: Jewish, Christian and Buddhist”).

In the mid-1990s, I was invited by HarperCollins to produce a volume entitled The Essential Kabbalah. For this project, I composed annotated translations of Hebrew and Aramaic passages culled from several dozen significant texts ranging from the second to the twentieth centuries. The translations are grouped into themes such as: Ein Sof (God as Infinity), the Sefirot (Divine Qualities), Creation, Meditation and Mystical Experience, Torah, and Living in the Material World. This book has been translated into six languages including a Hebrew edition (Lev ha-Qabbalah).

I spent several years working on a book entitled God and the Big Bang: Discovering Harmony between Science and Spirituality. Here I do not make the simplistic claim that kabbalists somehow knew what Stephen Hawking and others would eventually discover. Rather, I explore several parallels between scientific cosmology and Kabbalah, such as the creative vacuum state and the notion of fertile mystical nothingness, or broken symmetry and the kabbalistic theory of “the breaking of the vessels.” Given that the theory of the Big Bang has become our contemporary Creation story, I seek to outline a “new-ancient” theology, drawing especially on the kabbalistic idea of God as the energy animating all of existence. A revised edition of God and the Big Bang is about to appear, incorporating some of the recent discoveries in cosmology.

In 1995, I was approached by the Pritzker family of Chicago, who invited me to take on the immense project of composing an annotated translation of the Zohar. I was simultaneously thrilled and overwhelmed by this opportunity. After wrestling with the offer for some time, I decided to translate a short section of the Zohar to see how it felt; but I poured myself into the experiment so intensely, day after day, that I was left drained, exhausted, and discouraged. How could I keep this up for years? I reluctantly resolved to decline the offer, but finally agreed to at least meet with the woman who had conceived the idea: Margot Pritzker. I expressed my hesitation to her, and told her that the project could take twelve to fifteen years—to which she responded, “You’re not scaring me!” Somehow, at that moment, I was won over, and decided to plunge in.

I began working on the translation in 1997 in Berkeley (while on sabbatical). Between 2004-14, Stanford University Press published eight volumes of The Zohar: Pritzker Edition, and last month Volume 9 appeared, concluding the Zohar’s main commentary on the Torah. Two other Zohar scholars are composing Volumes 10–12, which will include various other sections of the Zohar.