Kosman is the author of eight books of poetry. His poems often deal with the tension between his religious faith and artistic sensibilities. Kosman has also written three volumes of post-modern scholarship on gender in traditional Jewish texts. In 2000, he was invited by Nobel Prize–winning Polish poets Czeslaw Milosz and Wislawa Szymborska to participate in an interfaith festival in Kraków, Poetry – between Prayer and Song.[1]
Awards
Kosman has been awarded national prizes for poetry including:
the Bernstein Prize (original Hebrew-language poetry category) (1991)
And Then the Act of Poetry, 1980 [Ve-Aharei Mora`ot Ma`ase Ha-Shir]
The Prince's Raiment, 1988 [Bigdei Nasich]
Soft Rags, 1991 [Smartutim Rakim]
What I Can, 1995 [Ma Ani Yachol]
We Reached God, 1998 [Higanu Le-Elohim]
Forty Love Poems and Two Additional Love Poems to God, 2003 [Arbaim Shirei Ahava Ve-Shnei Shirei Ahava Nosafim Le-Elohim][2]
Proscribed Prayers, Siddur Alternativi, Seventy One New Poems), Hakibutz Hameuchad, Tel Aviv 2007
You’re Awesome! (Ktaim Itcha), Hakibutz Hameuchad, Tel Aviv 2011
Approaching You in English: Selected Poems of Admiel Kosman, translated by Lisa Katz and Shlomit Naim-Naor (Zephyr Press, 2011)
Books and articles
Gender and Dialogue in the Rabbinic Prism (Studia Judaica; de Gruyter, New York and Berlin, 2012)
"The Story of a Giant Story - The Winding Way of Og King of Bashan in the Jewish Aggadic Tradition", in: HUCA 73, (2002) pp. 157–190.
Men’s World: Reading Masculinity in Jewish Stories in a Spiritual Context. Ergon, Würzburg 2009.
"Two Women Who Were Sporting with Each Other": A Reexamination of the Halakhic Approaches to Lesbianism as a Touchstone for Homosexuality in General, (with Anat Sharbat), HUCA 75, (2004), pp. 37–73
Men’s Tractate: Rav and the Butcher and other Stories – On Manhood, Love and Authentic Life in Aggadic and Hassidic Stories, Keter, Jerusalem 2002[3]
"Blessed art thou who made me a man – and a woman". Archived from the original on 2002-06-28. Retrieved 2013-09-26.
Treading toward sanctity. Musings and meditations on close to a century's worth of discussions occasioned by Van Gogh's series of paintings of worn shoes. Was the artist's statement primarily aesthetic, or political, or was it religious? In: Ha-Aretz (19.11.2009)