Description

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Why is this night different from all other nights?

Every year when families gather for the Passover holiday, the youngest child poses that question as part of the poetic Four Questions near the start of the Seder. The answers are no less than the story of a people bound in slavery, their suffering in a foreign land, and their ultimate liberation – the story of Passover.

Here the Four Questions are presented in breathtakingly luminous paintings by Ori Sherman. Whimsical animals parade through a unique format that can be read straight through in English or turned upside down to focus on the delicate Hebrew calligraphy and ingenious split-frame pictures. Each side of the Seder table can see its own variation of the richly colored scenes as elephants eat matzoh, monkeys dip herbs into water, and lions recline in newfound freedom. Author Lynne Sharon Schwartz answers the questions with refreshing clarity, providing insight into the symbols and rituals of the holiday.

Experience a glorious art book, a beautiful gift for the kids who find the afikomen, and a wonderful way to experience Passover and its unique celebration of freedom.

About the Author

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Lynne Sharon Schwartz is a celebrated author of novels, poems, short fiction, and criticism. Schwartz began her career with a series of short stories before publishing her first novel, the National Book Award-nominated Rough Strife (1980). She went on to publish works of memoir, poetry, and translation. Her other novels have included the award-nominated Leaving Brooklyn (1989) and Disturbances in the Field (1983). Her short fiction has appeared in the Best American Short Stories annual anthology series several times. In addition, her reviews and criticism have appeared in numerous magazines and newspapers. Schwartz lives in New York City, and is currently a faculty member of the Bennington Writing Seminars.

Praise For…

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"“A gloriously illustrated book.”
—Jewish Telegraph Agency,

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"“The Four Questions offers a beautiful reprise of tradition; for those unfamiliar, it’s an arresting introduction.”
—The Wall Street Journal,

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