ABSTRACT
One might have foreseen that it would be almost impossible to remember Gillian Rose in such a way as to render her the honor due her. In one sense, her death, and the religious narrative in which it is embedded, is the most comic expression of the constant renegotiation of life's projects in the face of the discord of violence and loss which, for her, characterizes the world and its necessary institutions. Rose doubts whether such a move is really possible, since halakha has no means of concretely addressing the institutional struggles within the political history of Judaism. Rose's death as a Christian was wholly unanticipated except to her confessor, and willingly embraced in her belief that death is something representable and immanent, concretely meaningful.
