Category Archives: Art and Culture

From Exile to Excellence: The Jewish Doctor Who Founded the Paralympics

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The modern Paralympic Games began far from the grandeur of an Olympic stadium. Their origin lies on the grounds of a British hospital, shaped by the vision of Ludwig Guttmann, a Jewish refugee physician who transformed both medicine and sport.

Ludwig Gutmann (1899-1980)

Guttmann was born in 1899 in Breslau, then part of Germany. He rose to prominence as a neurologist specializing in spinal cord injuries. With the rise of Nazism, Jewish professionals were pushed from academic and medical institutions, and Guttmann lost his post as antisemitic laws narrowed the space for Jewish life. During the “Kristallnacht” violence of 1938, he reportedly used his hospital authority to admit Jewish patients and shield them from arrest. Soon after, he fled Germany with his family and rebuilt his career in Britain.

In 1944, the British government asked him to lead a new spinal injuries unit at Stoke Mandeville Hospital. At that time, severe spinal cord injury often led to early death. Patients were confined to beds, vulnerable to infection, and frequently treated as beyond recovery. Guttmann rejected that assumption. He believed survival required more than medical stabilization. It required discipline, ambition, and restored self-respect.

He introduced sport as a core part of rehabilitation. Archery, wheelchair polo, and organized competition became structured therapy. Training cultivated strength and focus. Competition rebuilt identity. Patients who had been defined by injury began to see themselves as athletes preparing for events.

On July 29, 1948, the same day the 1948 Summer Olympics opened, Guttmann organized a small archery competition for sixteen wheelchair athletes on the hospital grounds. He called it the Stoke Mandeville Games. The symbolism was intentional. As Olympians competed in London, injured veterans competed at Stoke Mandeville. Each demonstrated excellence within their arena.

The event became annual and soon attracted international participants. In 1960, following the 1960 Summer Olympics, Rome hosted what is widely recognized as the first official Paralympic Games. A hospital initiative had grown into a global movement.

1960 Rome Paralympics

Guttmann’s work carried deeper resonance because of the era he had survived. Nazi racial ideology had targeted Jews and people with disabilities as unworthy of life. The regime’s euthanasia program murdered tens of thousands of disabled individuals before the broader genocide unfolded. As a Jewish physician forced into exile, Guttmann understood the danger of systems that ranked human worth by race or physical capacity.

The opening of Stoke Mandeville Stadium by Her Majesty the Queen in 1969

His response was constructive and public. He placed disabled athletes on fields of competition and invited the world to witness their performance. Strength, in his framework, was measured by discipline and achievement rather than conformity to an imposed ideal.

Britain recognized his contributions. He became a citizen in 1945, was appointed an Officer of the Order of the British Empire in 1950, and was knighted in 1966 as Sir Ludwig Guttmann. Within medicine, he is regarded as the founder of modern spinal injury treatment. Within sport, he is honored as the father of the Paralympic movement. During major Games, particularly the 2012 Summer Paralympics, his story has been prominently commemorated.

Today the Paralympics stand as one of the world’s largest sporting events, watched by millions. Their origin traces back to a Jewish refugee doctor who believed that dignity could be restored through competition. From the trauma of exile emerged an institution that reshaped how the world understands disability, excellence, and human worth.

Stop Running. Stop Defending.

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The Torah’s first image of Moses is of a man split against himself. Born a Hebrew and raised in Pharaoh’s palace, he lives between worlds. When he kills an Egyptian beating a Hebrew slave, the act is instinctive. Yet when another Hebrew confronts him—“Who made you ruler and judge over us?” (Exodus 2:14)—Moses has no answer. He cannot say who he is or why he has the right to act.

So he runs.

The flight is explained as fear of Pharaoh because the attack was discovered. A deeper cause is identity fracture. Moses is caught between Egyptian and Jew, insider and outsider. When identity is unsettled, even a disgraceful question feels existential. Retreat becomes the reflex.

That pattern did not end in Egypt.

Today, for much of the diaspora, Jewish life has carried a similar split. Jews learned to survive by blending, qualifying, and softening. Identity became situational. Answers changed with the room. When questioned—about history, belonging, or the land of Israel—the instinct has often been Moses’ instinct: explain carefully, hedge, or leave the room. Running becomes habit when the self feels divided.

Israel changes that equation.

Israeli Jews do not experience Jewishness as a negotiation. It is civic, cultural, linguistic, and historical all at once. There is no internal argument to resolve before answering an external challenge. Questions that unsettle diaspora Jews rarely destabilize Israelis because the identity beneath them is settled.

Kotel Plaza with Israeli flag (photo: First One Through)

The philosophical approach even applies to non-Jews in Israel. Consider Quentin Tarantino, who married an Israeli, lives in Israel, and raises his children there without explanation or apology. His life models something diaspora Jews are rarely encouraged to try: resolve the split by living a whole integrated self rather than defending it. Belonging practiced instinctually requires no justification.

That clarity was shown clearly in Tarantino’s 2003 film Kill Bill: Vol. 1. In the film, O-Ren Ishii responds to an attack on her heritage immediately and violently. She recognizes the move as an attempt to diminish her and rejects the premise entirely. The table turns the instant she stops answering the charge and starts judging the judge.

For diaspora Jews—and for anyone of mixed heritage—the lesson is continuity. Identity settled internally removes the need for fleeing externally. When the self is whole, interrogation loses its force. Disgraceful questions do not deserve better answers; they deserve exposure and repudiation.

Moses ran because his identity was divided while modern Israelis do not.
O-Ren stands because she knows exactly who she is and will not entertain accusers.

Diaspora Jews today should not need to relive Moses’ uncertainty of self. The work now is not to run, but firmer clarity. Better education and rootedness. Firmer responses.

Stop running.
Stop defending.
Condemn the question—and the room will follow.

The Dry Tree

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Jewish tradition returns again and again to the image of the tree. Sometimes it appears strong and fruit-bearing. At other moments it is reduced, cut back, or left without water. The image endures because it carries history within it—growth shaped by interruption, life that continues through constraint.

The prophets reached for this language when ordinary description failed them.

“They shall be like a tree planted in the desert, that does not sense the coming of good.” – Jeremiah 17:6

“Let not the barren one say: ‘I am a dry tree.’” – Isaiah 56:3

The statement reframes the moment. What looks final and foreboding is often incomplete. The future has not yet spoken.

That tension—between appearance and essence—finds a physical echo in the hills west of Jerusalem, where Yad Kennedy rises from the forest. The memorial marks a life interrupted mid-growth. John F. Kennedy’s presidency and life ended before its natural arc could unfold, and the monument holds that sense of unrealized promise. Surrounded by trees planted in rocky soil, it resembles a tree stump, and invites reflection on lives cut short and on continuity carried forward by those who remain.

Yad Kennedy in Jerusalem Forest

Jewish history has unfolded along similar lines. After the destruction of the Second Temple, Judaism reorganized itself without sovereignty or familiar institutions. Across centuries of dispersion, it adapted under pressure, preserving learning and community in constrained forms. Growth did not disappear; it compressed, waiting for conditions that would allow it to expand again.

This persistence appears vividly in the work of Dr. Mark Podwal (1945-2024). His drawings return repeatedly to the Jewish tree—scarred, truncated, shaped by time. The branches rise unevenly, carrying memory in their grain. Life continues without erasing what came before. Growth is real precisely because it bears the marks of history.

That image resonated deeply with Rabbi Yehuda Amital (1924-2010), founding Rosh Yeshiva of Yeshiva Gush Etzion. A survivor of the Holocaust, Rav Amital rebuilt his world through Torah that could hold rupture and responsibility together. His leadership reflected patience, moral seriousness, and a belief that renewal emerges gradually from damaged ground.

Podwal once gave Rav Amital a drawing of a truncated Jewish tree—reduced in form, yet unmistakably alive, blooming with the promise of a renewed Judaism. The rabbi transformed the image into a small sticker and placed it inside the books of his personal library. Every volume bore the same mark.

Drawing by Mark Podwal about Jewish life springing forth from Jewish texts, used as a sticker in the library of Rav Yehuda Amital (photo: First One Through)

The image spoke directly to his life’s work. Rav Amital played a central role in rebuilding the Gush Etzion community after it was destroyed in the 1948–49 War of Independence, a war in which he fought shortly after moving to the land of Israel after his family was slaughtered in Auschwitz. In the hills south of Jerusalem, homes had been razed, residents killed or expelled, and the area left barren. The return after the 1967 Six Day War was careful and deliberate, rooted in learning, faith, and responsibility. A community grew again where one had been cut down.

Each time Rav Amital opened a book, the image reinforced that lesson. Torah study itself became an act of regrowth.

Rav Amital had the original Podwal drawing framed and placed on the wall of his home. (photo: First One Through)

That insight extends far beyond one community.

In the Land of Israel, Jewish roots run beneath history itself—through exile and return, ruin and rebuilding. Torah and Jewish presence were never uprooted from this land. They were compressed, covered, narrowed to fragments. Learning continued in small circles, in whispered prayers, in constrained spaces. At times the surface appeared barren. Beneath it, roots remained alive.

This is why Jewish life and learning in Israel carry a distinctive quality of reemergence. Yeshivot rise where silence once prevailed. Communities form on ground that held ruins. Torah is studied again in places where the chain of learning was abruptly broken. To the unobservant eye, it can appear improbable—as though life has emerged from wood long dried. To those who understand the depth of Jewish connection to this land, to the Jewish texts which form the basis of Judaism, it is recognition rather than surprise.

The dry tree was never dead. It was waiting.

Jewish continuity does not require ideal conditions. Where roots reach deep enough, water is eventually found. Growth resumes in forms shaped by everything that came before.

Joseph, Yusuf and the Stories We Tell

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The story of Joseph is the longest sustained personal narrative in the Bible. It is a life told end-to-end—youth and jealousy, betrayal and exile, moral clarity under pressure, reversal of fortune, and reconciliation. Jews have lived inside this story for millennia and drawn from it lessons about love misdirected, loyalty earned, leadership forged, and fate revealed only in retrospect.

It begins, uncomfortably, at home.

Jacob’s overemphasis on Joseph—his public favoritism, symbolized by the coat of many colors—fractured the family. It was not Joseph’s dreams alone that enraged his brothers, but the hierarchy their father imposed. Love, unevenly expressed, curdled into resentment. That resentment escalated to violence. The brothers nearly killed Joseph, then sold him into slavery, persuading themselves that exile was mercy.

And yet, the terror of the pit became the opening move in a larger design. Joseph’s descent—into slavery, into prison, into obscurity—ultimately saved thousands from starvation, including the very brothers who betrayed him. The Torah insists on an uncomfortable truth: human cruelty can coexist with divine purpose, without being excused by it.

Over time, the transformation that matters most occurs not in Joseph, but in Judah. The brother who once proposed selling Joseph later rises to moral leadership. Faced with the potential loss of Benjamin, Judah offers himself instead. Ultimatelty, kingship does not emerge from brilliance or dreams, but from responsibility and loyalty. Judah learns what Jacob failed to teach early: leadership is love with a wide visual field.

But this is not the only Joseph story in the world.

Yusuf and Zulaykha: A Different Emphasis

In Islamic tradition, Joseph is Yusuf, and his story unfolds with different texture and purpose. The Qur’an (Surah Yusuf) adds layers absent from the biblical text. Where the Bible does not even name Potiphar’s wife, Islamic tradition gives her a name—Zulaykha—and an entire inner life.

Her attraction to Yusuf begins as physical longing, but in later tradition becomes a spiritual ascent. Love itself is refined—from desire for beauty to yearning for the divine. This is not biography alone; it is allegory.

Persian culture preserved these layers visually, through extraordinary manuscript art that does not merely illustrate scripture but interprets it.

One remarkable manuscript—now on display at the Grolier Club from the collection of the Jewish Theological Seminary (until December 27, 2025)—shows Joseph cast into a well. The details are arresting. Joseph has lost not only his coat of many colors, but his hat and shoes as well—status stripped away piece by piece. The brothers even drop rocks down on him.

Story of Yusuf and Zulaykha from Mashhad, Iran in 1853 by the Jewish scribe Eliyahu ben Nisan ben Eliyahu Gorgi. Digitized entire manuscript can be viewed here

One figure stands apart in the drawing. At the bottom of the scene, a brother sits almost contemplatively. His hands alone are painted with henna, marking higher status. He smokes a long çubuk (copoq)—a dry-tobacco pipe, not the classic Persian water-based hookah—an unsettling detail as Joseph languishes in a dry well below. The image quietly foreshadows hierarchy, survival, and reversal. Even in betrayal, the future is being seeded. This must be Judah, on the side of the well with his five brothers from mother Leah, who is destined to help Joseph out of the pit and rise to fame himself.

One brother seems to connect at the same level of Joseph – at a low point in this story but will rise to fame later in life: Judah

Other images in the Yusuf cycle go further still in the manuscript. Women cut themselves upon seeing Joseph’s beauty (image 70 from Surah Yusuf 12:31). Zulaykha is said to lose her sight from longing for him (image 128). Beauty becomes dangerous, overwhelming, transformative. The Islamic tradition does not deny desire; it seeks to discipline and redirect it.

Zulaykha losing her sight at the end of the story is one of the versions transmitted through the ages

Two Traditions, One Origin

For Jews, Joseph’s story is about dreams and reversals, exile and return, family rupture and national survival. For Muslims, Yusuf’s story adds a meditation on beauty, temptation, and love’s ascent toward God. The Islamic telling emerged nearly two thousand years after the Jewish forefather lived. It is not wrong; it is different.

What matters for us today is that these differences did not need to fight. The stories coexist without trampling on the other.

The same characters—Jacob, Joseph, the brothers—carried distinct lessons without cancelling one another. No one is frozen forever as a villain. Jacob loved poorly but learned. The brothers failed catastrophically but changed. Judah rose. Sacred storytelling, at its best, refuses to eternalize blame.

That restraint is precisely what feels absent today.

Stories, Power, and the Present

The Holy Land, sacred to both Jews and Muslims, is no longer widely treated as a shared inheritance, but as a zero-sum possession. Hamas openly declares that Jews will be wiped out. Clerics in parts of the Islamic world speak in timelines of Jewish disappearance due to their being “enemies of world peace.” This is not interpretation; it is incitement. It rejects the Joseph model, in which history bends—slowly and painfully—toward survival, accountability, and reconciliation rather than annihilation.

And yet, Islamic civilization itself offers another precedent. Islam historically made room for Jewish continuity—absorbing biblical figures, preserving Jewish prophets, and allowing traditions to dovetail rather than collide. Yusuf did not replace Joseph; he walked alongside him. Zulaykha did not negate Potiphar’s wife; she deepened the moral inquiry. Reverence did not require negation.

That capacity still exists.

If Joseph teaches anything durable, it is that sovereignty, survival, and holiness are not insults to one another. Jews returning to and governing their homeland need not be read as a theological defeat for Islam. They can be understood, instead, as another chapter in a long, shared story—one that does not deny difference, but refuses extermination as destiny.

The question is whether we choose that inheritance again.

The Little Drummer Boys of Terror

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President Obama once derided those who warned of Iran’s nuclear ambitions as promoting a “drumbeat of war.” It was a curious charge, especially as his negotiated JCPOA deal paved Iran’s legal pathway to nuclear weapons within a decade—despite Tehran’s unabashed calls to utterly destroy an American ally, and referred to the United States as “Satan.”

The phrase “drumbeat of war” is worth pausing over, because its imagery is meant to point a damning finger at generals and war profiteers, when in fact it refers to a beating passion that comes from a variety of sources.

Music itself teaches us the power of the drumbeat. Maurice Ravel’s “Bolero” begins as a whisper—a single snare tapping a faint rhythm—but its relentless pattern swells, layer by layer, into a rapturous explosion. Nothing changes except the intensity. It is a master class in how a simple beat, repeated without interruption, can inflame emotion, tighten resolve, and propel an entire orchestra toward an inevitable climax. Passion grows not from complexity but from persistence.

Cinema took that lesson to the battlefield. Ennio Morricone’s “L’Arena,” born from spaghetti-western duels and later carried into modern war films, shows how percussion can elevate tension into confrontation. Its pounding drums accompanied by trumpets push characters toward conflict; the beat does not merely accompany battle—it summons it. Morricone understood that rhythm can be a weapon, a psychological drumroll that makes violence feel fated long before the first shot is fired.

In American history, drummers were not symbolic ornaments—they were battlefield communicators. The famous “Spirit of ’76” painting captures a young boy and an old man beating time through the fog of revolution. In both the Revolutionary War and the Civil War, the drummer corps relayed commands, kept formation, and lifted morale. Soldiers needed to be adults to enlist, but drummer boys could be barely in their teens. They were not the policymakers of war; they were the ones whose youthful energy pushed men forward into battle.

“The Spirit of ’76” (1875) by Archibald Willard (1836-1918)

It is an uncomfortable truth: the drumbeat of war is often carried not by governments or generals but by the young.

We like to imagine youth as the innocent bystanders of conflict—swept up, exploited, or victimized by forces beyond their control. That is often tragically correct. But not always. In the Middle East, teenage Palestinian Arabs have repeatedly been at the center of anti-Jewish violence. During the knife intifada of 2015–2016, most of the attackers were adolescents. Arabic media even gave them a romanticized nickname: Ashbāl al-Quds—the lion cubs of Jerusalem.

On October 12, 2015, two Palestinian boys, 15-year-old Hassan Khalid Manasra and his cousin 13-year-old Ahmad Manasra, stabbed two Israeli civilians in Jerusalem

They were not pawns in someone else’s narrative. They were active participants in it.

While they were stabbing Israelis in the streets, new legions of drummer boys was forming. The Lions’ Den was inaugurated in the West Bank to unleash dozens of attacks. The United Arab Emirates named a school for children for these young murderers. In the United States, a group calling itself the Palestinian Youth Movement openly glorifies the murderers of October 7 and calls for an intifada on American soil. They harass Jews at universities, shut down bridges, disrupt traffic, and chant for “uprisings”—all under the pretext of activism, and often shielded by tax-exempt organizations like WESPAC.

In the immediate aftermath of the October 7, 2023 massacre by Gazans of Israelis, Cornel West marches with PYM calling for an “Intifada revolution”. West has taught at Princeton, Harvard and Yale, indoctrinating the next generation of American leaders on intifada.

The drumbeat is steady. It is disciplined. And it is aimed squarely at Jews.

Where does this beat begin? It is not in the Israeli cabinet rooms the media delights in blaming. It begins at UNRWA schools, where generations of children are taught that Jews are colonial invaders with no history in their homeland. It echoes through activist teacher unions in the United States, where “decolonization” rhetoric is repackaged into lesson plans that erase Jewish indigeneity. It thunders at the United Nations, where Muslim-majority blocs and their allies advance resolutions asserting that Jews must be removed from Judea, Samaria, and even parts of Jerusalem “by any means necessary.” The young Palestinian Arab terrorist are then shielded from blame and prosecution by the poorly named “UN Coordinator for Middle East Peace.” Laughable if not such a tragedy.

The young listen. And they march.

At Christmastime, the world hears “The Little Drummer Boy”—a melody of humility. A child with nothing to give but a simple rhythm of devotion for a newborn Jewish baby in Bethlehem. A beat based on innocence and purity.

But the modern Middle East and its Western echo chambers have perverted that image.

Today’s little drummer boys are not offering gentle hymns. They are being raised, trained, and celebrated for a beat of hatred—an indoctrinated cadence that valorizes “martyrs,” delegitimizes Jews, romanticizes violence, and promises glory for those who shed blood.

The world should hear the drumbeat. And it should finally ask: Who handed these children the drums? Who taught them that murder is heroism, that Jews are prey, that violence is virtue?

These teenagers did not invent the rhythm—they are marching to a score composed by UN agencies, radicalized teachers, political opportunists, and ideological arsonists who hide behind the language of “justice” while grooming minors for war.

UN Watch’s Hillel Neuer presents new report, “Schools in the Grip of Terror: How UNRWA Allowed Hamas Chiefs to Control its Education System,” to the Italian Senate in September 2025

At Christmas, we think of a young drummer offering a humble gift to a Jewish child in Bethlehem. Alas, today too many young drummers are taught to offer not devotion, but destruction—and the world nods along as if the rhythm were unavoidable. It isn’t.

The beat continues only because we refuse to silence the conductors who train the next generation of drummers to hate.

The Age of Rocks and the Arrogance of History

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To walk the land of Israel is to feel stitched into the fabric of time. Every trail from Beersheva to the Galilee whispers of footsteps that appear in the Bible—not legends, but people who actually lived, planted, quarreled, dreamed, and prayed on this soil. The stones beneath one’s feet carry the gravity of memory. They seem fused to the foundation of the earth itself, like the Even haShtiyah—the legendary rock at the center of the Temple Mount from which creation is said to have sprung.

Rocks in Judean Hills

But that connection is not geological. It is human.

The rocks of Eilat, the oldest in the region, date to around 800 million years. They feel unimaginably ancient to us—far older than Abraham’s tents, King David’s psalms, or the Hasmonean rebellions that command our sense of deep history. Yet even those craggy cliffs and mineral seams are infants compared to the rocks of Canada. In the Canadian Shield lie formations over 4 billion years old—some of the earliest surviving pieces of Earth’s crust. Five times older. A geologic eternity older.

And yet no one reveres those rocks. No pilgrim circles them. No faith assigns them cosmic origin stories. They are “pretty,” not primordial. They are scenery, not scripture.

Why?

Because we measure age in lifetimes. We crown the stones of the Holy Land as ancient not because they are old, but because we are old here—because human meaning saturated this place for millennia. The rocks become vessels for our significance.

It is, in a sense, a subtle arrogance: the centering of human experience as the measure of the world. We treat Earth’s deep past as a backdrop to our stories rather than a reality that dwarfs them. We act as if history begins with us, as if time itself depends on our noticing it.

When we walk these trails—past the ruins of synagogues, the outlines of Israelite cities, the remnants of Crusader walls—we feel connected because these places speak to human time. They anchor us. They dignify us. But the rocks beneath those ruins hum a different message: we are temporary here. Our religions, nations, languages, and conflicts occupy a blink of the planet’s eye.

A dose of humility would serve us well. To appreciate the holiness of our stories without mistaking them for the age of the world.

We walk ancient paths, and the ground reminds us we are all newcomers.

Chagall’s Ladder and October 8 Jews

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Marc Chagall (1887–1985) returned again and again to the image of Jacob’s Ladder throughout his long life. But his 1973 rendering, painted near the end of his days, stands apart. It is visually explosive—layered, dissonant, and urgent.

The moment one sees it, the eye is pulled upward to an orange sun burning at the top center. At that height, the sky should glow with daylight yellows. Instead, the sky is red, a communist-red firmament. And the town below, which should be illuminated by that sun, sits in unnatural midnight blue.

Something is wrong in this world. This is not a window into serenity; it is a scene of foreboding.

That imbalance is profoundly Chagall. Born in the Jewish shtetls of the Russian Empire, he fled early waves of antisemitism. He lived through the destruction of European Jewry and spent his career painting ghost-towns of a shattered civilization. But he also painted the biblical narratives that shaped Jewish imagination. In this canvas, he fuses those worlds—eternal story and fragile reality—into a single warning.

At the center of the darkened town rises a ladder stretching into the sky. Three white angels punctuate the blue shadows, announcing that this is Jacob’s dream. Yet Chagall departs from Genesis: the ladder doesn’t stretch into the heavens and all the angels are not identical. Instead, the ladder is held in place by a blue angel, while a second, yellow angel reaches for it from the red sky above.

This ladder has competing destinations.

The blue angel, painted in the same hues as the town, embodies the pull of entrapment—those who cannot or will not flee their circumstances. In 1973, when Chagall painted this work, Soviet Jews were locked inside a system that barred their departure and suppressed their identity. The blue angel is not hostile; it is immovable. It represents the status quo, the path of staying even as danger grows. It is the sleeping Jacob at the bottom of the painting pondering the outcome of fleeing while laying immobile.

The yellow angel, by contrast, belongs to the daylight that should have filled the sky. It symbolizes clarity and escape. Beneath it, at the bottom-left, a mother and child ride a yellow rooster—Chagall’s emblem of dawn, deliverance, and a new beginning. Above them, nearly hidden in the deep blue, a quiet procession of Jews slips toward a safer horizon.

This is Jacob’s dream retold by a man who watched Jews flee the Russian Empire, flee Europe, flee the infernos of the 20th century. It is a ladder that offers a way out—if one chooses the right direction. It is there on Jacob’s face, the yellow glow of peaceful escape.

The October 8 Jews

Today, a new group is dreaming of climbing Chagall’s ladder: the October 8 Jews.

These are the Jews who woke the day after the October 7 massacre not only to the horror in Israel, but to the celebrations of that horror across Western cities. They heard the chants of “Globalize the intifada!” and “There is only one solution—intifada revolution!” echoing at major universities, boulevards, and civic squares. They watched crowds revel in Jewish fear, justify kidnapping, rape, and murder as righteous “resistance,” and proclaim open season on Jews everywhere.

Suddenly, the Western Jew realized that the ground beneath his feet might no longer be stable.

He now lives between Chagall’s two angels. Does he cling to the familiar town—the blue angel of inertia, habit, and misplaced trust? Or does he follow the rooster, the yellow angel, toward a place where Jewish existence is not conditional, tolerated, or revocable?

In the early 20th century, Jews fled the USSR and Europe for the United States and the Land of Israel. Today the destinations remain, but the calculus has changed. The Jewish state is stronger than ever—and simultaneously the focal point of global vitriol. Safety and danger now sit braided together.

The Ladder Still Stands in the Center of Town

Chagall painted Jacob’s Ladder for those who knew safety can vanish overnight. His warning now belongs to us. On October 6, Jews believed they lived in stable towns; on October 8, they saw the sky had been red for years. The chants weren’t metaphors, the mobs weren’t marginal, and the threats weren’t theoretical. The blue angel of normalcy had held the ladder while danger gathered in plain sight.

So the question becomes stark:

Will Jews try to reclaim trust in places that celebrated their terror—or follow the mother and child on Chagall’s yellow rooster toward the only light that doesn’t depend on someone else’s tolerance?

For a century, Jewish survival has meant movement: away from the USSR, away from Europe, away from every place that insisted Jews stay quiet and endangered. The October 8 Jew must decide whether today is any different.

In Chagall’s vision, only one angel leads to dawn.

The ladder still stands. The choice is ours.

The Prophetic Bird Of The Holy Land

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Israel’s national bird is not the mighty eagle or the muscular vulture which many countries select. It is not a predator circling above the desert in effortless dominance. Instead, Israelis chose a small, cinnamon-colored creature with a zebra crown — the hoopoe.

The hoopoe going for a walk in Israel (photo: FirstOneThrough)

The hoopoe is striking without being fearsome, regal without being tyrannical. Its crest rises like a tiny crown, not in arrogance but in alertness. Its quiet confidence is perhaps the most Israeli trait of all.

Ancient Jewish texts and Middle Eastern folklore saw in the hoopoe a messenger of wisdom. King Solomon, in one Midrash, learns from the bird’s insight. In Islamic tradition, it is the hoopoe who spots the Kingdom of Sheba and brings word of distant realms. Small in stature, large in perception — the bird was never the warrior; it was the one who saw.

And in that, too, there is something deeply familiar. Israel has always survived less by size than by awareness, less by brawn than by vigilance. The hoopoe does not conquer terrain; it adapts to it. It finds food in the hardest soil. It endures heat and drought. It survives because it is resourceful, not ruthless.

It is also fiercely protective through a strange biological ingenuity. When predators threaten its nest, the hoopoe emits a foul-smelling secretion that drives them away. It is a defense born of determination: My family will not be harmed.

That combination — gentle but unyielding, peaceful but protective — resonated in the public vote that crowned it Israel’s national bird in 2008. Israelis did not choose a symbol of domination. They chose one of resilience, devotion, and wisdom. They chose a creature that guards life rather than takes it.

Israel didn’t know in 2008, when it voted for the hoopoe, that Hamas would launch war after war with openly genocidal intent. It didn’t know that October skies would fill with rockets, or that invasions, massacres, and kidnappings would carve themselves into the national psyche. But the country understood something deeper — that, like the hoopoe, it would have to adapt to danger, live alert, and protect its family with whatever tools it had.

A small bird in a vast desert landscape.
A small country in a vast expanse of Arab and Muslim nations.

The hoopoe survives not by dominating its predators, but by outsmarting them, outlasting them, and never abandoning its young. Israel, too, has learned to persist in a world that often misreads its vigilance as aggression and its survival instincts as provocation.

The national bird turned out to be prophetic.

Israel may be small, but like the hoopoe, it adapts, endures, and protects its own — even when surrounded, even when threatened, even when the world insists it should fold its wings and pretend it is safe.

The Copyrights of Winnie the Pooh and Jews

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When Winnie-the-Pooh entered the public domain in 2022, the cultural floodgates opened. A once-beloved children’s character, wrapped in honey jars and innocent nostalgia, was immediately remade into a monster. “Blood and Honey” turned Pooh into a savage killer. Games, parodies, and dark pastiches flooded the market. The comforting bear was no longer safe; he had been transformed into a canvas for other people’s fears, cynicism, and jokes.

It feels eerily familiar.

For two thousand years, Jews have been cast into the public domain. Stripped of the right to define their own story, they became available for anyone’s use. And abuse. Once known as the people of the Book, bearers of commandments, prophets, and a covenant, their identity was seized and rewritten. Medieval Christians branded them Christ-killers. Islamic empires reduced them to dhimmis. The Enlightenment caricatured them as rootless and ruthless bankers. In the modern age, they became “colonizers,” “supremacists,” and the avatars of “genocide.”

The Jews never sold the copyright to their name or history, but the world took it anyway. Just as horror producers found amusement in twisting Pooh into a monster, antisemites—left, right, secular, religious—have scribbled their darkest nightmares onto Jewish bodies. Pogroms, expulsions, inquisitions, and now, boycotts and campus rallies all stem from a warped creativity that insists Jews cannot own their own narrative.

Israel’s rebirth was supposed to end this. After all, if you reclaim your home, revive your language, rebuild your state, surely you also reassert your identity. But even here, the appropriation continues. Israel was smeared as “apartheid,” “genocide,” “ethnic cleansing,” “racist,” and “colonial” decades before Hamas launched its latest genocidal war. “Jewish self-determination” is rewritten as oppression. “Defending children” is recast as war crimes. The oldest continuous nation on earth is treated as a villain in someone else’s morality play.

The difference between Winnie-the-Pooh and the Jews is stark. The fictitious character Pooh was released into the public domain by the natural passage of time, his copyright protection simply expiring. The Jews were thrust into the public domain by malice—by the unwillingness of societies to allow them ownership of their story. The Jewish Bible was rebranded as the Old Testament, out of copyright protection. Blood libels took hold on the bleached pages of Jewish foundational documents.

The current Jewish year is 5786. Traditionally, Jews write the date in Hebrew letters like Roman numerals and drop the 5 as being well understood. The letters for 86 spell “Pooh” in Hebrew, so now is as good a time as any to attempt a change that the 1948 reestablishment of the Jewish State did not provide.

One simple action is for everyone to write a large ‘5’ before the date, making clear to themselves and others that their faith predates all others, and continues still.

Challenge every use of the phrase “Promised Land” as a vicious varietal of cultural appropriation, which strips Jewish indigenous people from their divine heritage.

More dramatic is to reclaim Jewish rights on the Temple Mount. Why should the world care about Jewish faith and feelings if the majority of Jews treat the center of its religious devotion as a vestigial organ instead of the beating heart? Are we a living people or a hollow chamber for others to draw upon?

We must not countenance the free license for others to slander, parody, or profit off the Jewish name. The Jewish people are not public property. They are the authors and owners of their own identity—and it is time for them to act as such.

The Wisdom of Waiting

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The ability to delay gratification has long been seen as a mark of intelligence. The famous “marshmallow test” placed children in front of a single treat and offered a simple bargain: eat it now, or wait and get two. Those who resisted often went on to succeed academically, socially, even financially. Patience was not just a virtue; it was predictive.

Yet it turns out this trait is not uniquely human. In a Cambridge experiment, cuttlefish were given a similar choice — a mediocre meal immediately or a shrimp, their favorite, if they waited. They waited. In fact, they sometimes endured two full minutes of temptation, holding out for the better prize. Even more remarkable: those same cuttlefish who delayed showed sharper learning in other tests. Intelligence, it seems, wears many disguises.

This was the first time this kind of patience was found in an invertebrate. Chimpanzees, crows and parrots have long been known to delay satisfaction in order to save food for later.

What makes this discovery all the more striking is that cuttlefish are solitary creatures. They do not form schools, build social bonds, or raise their young. Their patience evolved for the hunt — the advantage of waiting for the better prey, of holding still in camouflage until the perfect strike. Their foresight is purely individual, a strategy of survival.

Humans, by contrast, require patience not just for survival but for flourishing. Patience is what allows us to build together — to trust one another, to undertake projects that span generations, to cultivate communities and civilizations. Our ancestors planted trees whose shade they would never sit under and built cathedrals that took centuries to complete, as an extension of delayed satisfaction – a commitment towards a future society they would never enjoy.

But in our age of instant messages, instant news, and instant outrage, society no longer prizes waiting. Why suffer a moment of discomfort when a thousand distractions beckon from a glowing screen? Why wrestle with the silence of patience when clicks deliver dopamine now? Where our forebears saw wisdom in restraint, we see boredom. Where they saw the dignity of discipline, we see inconvenience.

Patience as a virtue is not just about self-control; it is the very condition that allows for deep thought and deep bonds. To abandon patience is to abdicate our gifts of reflection, to trade away the ability to imagine futures greater than the present moment. In our hurry, we become more animalistic, lunging at whatever stimulus flashes before us. And unlike the cuttlefish, whose patience serves survival, we squander patience’s higher purpose — the power to build not only buildings that endure, but bonds that sustain.

Are we in the process of losing our basic survival skills – in both the present and future? Are we burying our ability to ponder to be led like dolts to an unsuspecting danger?

The irony is sharp: solitary cuttlefish wait with foresight, while humans — the only creature who truly needs patience to hold communities together — are in danger of forgetting how. Delayed gratification once built civilizations. Instant gratification now tears at their foundations.

The cuttlefish reminds us that intelligence is not about speed but foresight. A creature with no interest in faith, family, or future still knows the wisdom of waiting. The question that remains is whether we do.