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A graphic novel of the Purim story, from a Batman comics editor
(JTA) — In 1996, Jordan Gorfinkel launched two series of comics that get at the two sides to his personality and career.
One was “Birds of Prey” — which has since been the basis for several television and film adaptations — that he created while overseeing the Batman franchise as an editor at DC Comics. (Another claim to fame during his tenure from 1991-99 was the creation of “Batman: No Man’s Land,” which served as inspiration for the 2012 Christopher Nolan blockbuster “Dark Knight Rises.”)
The other that he launched 1996 was “Jewish Cartoon,” an ongoing series of comics that poke fun and celebrate aspects of Jewish life and religious observance. To date, he has followed a cast of characters in this series for over 1,000 cartoons.
Gorfinkel’s newest project combines those two passions into a graphic novel version of the Purim story, usually read in what’s called a Megillah scroll. Gorfinkel said “The Koren Tanakh Graphic Novel Esther,” which is illustrated by Yael Nathan, is a “Batman-style” adaptation.
It’s not his first collaboration with the Jewish publisher — three years ago, he published a graphic novel haggadah with the Israeli artist Erez Zadok.
He and Nathan spoke to the Jewish Telegraphic Agency about their latest creation and what’s next in the Jewish graphic novel world.
JTA: What does the book provide beyond the normal Megillah story text?
Gorfinkel: The Koren Esther graphic novel is 100% kosher to bring to your Megillah reading because alongside the sequential art pages is the full, unabridged Hebrew text. The mitzvah is to listen to the Megillah in Hebrew and the tradition is to read it in the language you understand. That’s why this book presents the English translation in the captions and word balloons embedded in the fabulous art by Israeli illustrator Yael Nathan in a stunning package designed by Tzipora Ginzberg.
Why a graphic novel?
Nathan: From a visual perspective, this story has everything. Emotions, action, intrigue, great characters, battles and redemption. It really allowed me to flex my storytelling muscles and try to convey complex scenes and ideas in a limited space.
Gorfinkel: Esther/Hadassah is the O.G. Wonder Woman! Ripped away from her family, her land and her people to serve in a foreign court, keeping a secret identity until the moment comes to step up and be a savior. Megillat Esther is tailor-made for a graphic novel.
Is this book just for kids? Who do you want to reach?
Gorfinkel: I want to reach everyone. With Esther and the Passover haggadah graphic novel that preceded it, readers can return to the material at every age and gain new and deeper insights out of the experience. Think of it like a good “Simpsons” episode, or Pixar movie: kids enjoy the surface meaning while teens and adults experience the same material at deeper levels. The Jewish graphic novels that I produce are child-friendly but decidedly not childish. This is because I acknowledge that Western readers presume that if a book has pictures, it has to be for kids. I’m going to need a few more books to educate the masses otherwise!
Nathan: I think this book is for everyone. The style of the characters is purposefully endearing and humorous, to help people connect to them — but what is conveyed in each panel goes much deeper than cute characters. There is a wealth of knowledge and interpretations that are not in the plain text and are portrayed visually so the reader can take them in without reading a whole page of explanations. Both those who know the meaning behind the text would find interesting references, and those who don’t will learn something new.
Jordan Gorfinkel edited the DC Batman franchise from 1991-99. (Courtesy of Gorfinkel)
What comics did you grow up with? And what do comics mean to you?
Nathan: My father was born and raised in the Philippines, the son of Jewish immigrants who fled from Germany before the second World War. So my influences are from all over the world. I grew up looking at European comics, Israeli cartoons, American golden-age comics that my father brought over from the Philippines and Japanese manga. Comics mean the freedom to tell stories from my own viewpoint with no constraints. Unlike movies — where the efforts required to film a person in a room is much less involved than filming a full space scene with aliens and battleships — in comics, the work involved is all the same. It’s just drawing. No big budgets or additional resources needed. Just imagination and storytelling skill.
Gorfinkel: I never grew up. I’m a Jewish Peter Pan (Pinchas Pan?). In my youth, however, I devoured Batman comics, of course. The basic morality tales of extroverted “good guys” vanquishing evil and consistently delivering justice for all complemented the grade school Torah education I was receiving in Jewish day schools of a variety of different denominations. We moved around a lot, and these superheroes were my comfortable and consistent companions. As I got older, I began to lean into Marvel Comics, whose anti-heroes fought internal struggles between their “yetzer hatov” (good inclination) and “yetzer harah” (evil inclination). Teenaged Gorf appreciated how these nuanced characterizations reflected the deeper layers of Torah I was learning in high school and my gap year in an Israel yeshiva. At the same time, I was, and am, a huge fan of newspaper-style four panel comic strips, quite possibly introduced to me by my zayde [grandfather], who always clipped the Sunday funnies for me. My mother continues the tradition to this day. When I was first starting my own newspaper strip, I reached out for advice and “chizuk” to my favorite artists. I received handwritten replies from nearly everyone, from Charles “Peanuts” Schulz to G.B. “Doonesbury” Trudeau. To this day, I treasure Canadian cartoonist Lynn “For Better or For Worse” Johnston as a mentor and friend.
You have done a Passover graphic novel and now a Purim graphic novel. What’s next?
Gorfinkel: Esther is intended as the lead-off for a Koren graphic novel series surveying the entire Bible. We’re just getting underway… I am also conceptualizing a nonprofit Jewish graphic novel initiative as an umbrella organization, to provide further support for the Koren work and moreover, to train and provide support for the next generation of Jewish visual storytellers who reach out to me because they want to do what I do. Jewish people created the superhero medium. Now, I am bringing the medium full circle so that superheroes and graphic novels can benefit the Jewish people. At the same time, I am traveling North America and the world as a scholar in residence and Jewish Cartoon workshop instructor, spreading my core message: Make Judaism your superpower!
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The post A graphic novel of the Purim story, from a Batman comics editor appeared first on Jewish Telegraphic Agency.
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Why I’m vibing with the pope’s first big statement
I have long been obsessed with the Vatican and the inner workings of the papacy. (I majored and did my Master’s in religious studies.) But usually other people are not as tickled as I am by analyzing the newest theological statements from the Holy See.
Not this week. Pope Leo XIV just put out his first encyclical — the term used to refer to official statements outlining the church’s stance on a topic — and it has gone viral. “Spitting fire right out the gate,” said one of many similar trending posts, as though the encyclical was a rap song.
The topic is buzzy: AI, which the pope casts as one of the greatest threats to human flourishing and morality. (The encyclical is titled “Magnifica Humanitas,” or “Magnificent Humanity” in English, if that gives you the gist.) “Humanity, created by God in all its grandeur,” it opens, “ is today facing a pivotal choice: either to construct a new Tower of Babel or to build the city in which God and humanity dwell together.”
The document notes many of the concrete risks of AI — sexual abuse, distortion of facts, job loss — and calls for pragmatic solutions. But it is, at its heart, a testament to what makes humans human, written with palpable adoration for the people of the world: our creativity, our empathy, even our weaknesses. It’s a declaration that machines can never have the ineffable qualities of God’s children.
Structuring our world around technology, Leo writes, reduces “creation to an object of exploitation and human beings to mere cogs in a system driven toward ever greater efficiency.”
Later, in a paean to the importance of deep thought over easy answers, he goes on: “The speed and ease with which answers or summaries can be obtained risk extinguishing the desire to ask questions,” he writes, calling on the world “to protect our young people from the promise of the perfect machine” and warning against rendering “human thought seemingly superfluous precisely when it is most needed.”
“Magnificatus Humanitas” is a major statement, both in length — more than 43,000 words — and in symbolism. A pope’s first encyclical indicates the issues they believe are most important to the church, and signals the likely direction of their papacy.
That direction, for Pope Leo, is to be a voice for moral leadership, writ large. He addressed the encyclical not only to Catholics or even Christians, but “to all men and women of goodwill,” and cited thinkers like Hannah Arendt and J.R.R. Tolkien alongside the Bible.
It’s a declaration of a new — or, arguably, very old — relevance for religious leaders. As people rush through our increasingly fast-paced, frantic world, striving to keep up with the newest technology or geopolitical shift affecting markets and jobs, the slow-moving, zoomed-out perspective of religious leaders seems to be more and more important.
The Vatican held massive authority both moral and military for much of Western history. But its sway faded in the modern age. As democracy rose, Christianity broke into factions and religion’s prominence weakened, leaving the Church without the same ability to bestow a divine mandate on nations and rulers.
So many modern popes have kept their sights more narrowly focused on the theological. Even Pope Francis, who was a liberal, modernizing force for the church, and spoke out strongly on topics like the environment and immigration, focused three of his four encyclicals on Christian theological concepts like the Sacred Heart and Christianity as the world’s guiding light.
Pope Leo, however, seems to have found his way to modern, secular relevance by speaking out clearly on major issues of the day. He notes that he drew inspiration for “Magnificatus Humanitas” from Pope Leo XIII, an influential pope in the late 1800s and the inspiration for the modern Leo’s own papal moniker, whose 1891 encyclical “Rerum Novarum,” on the economy and conditions of the working class, was criticized for insufficient focus on the Gospel. The current pope’s own document is remarkably concrete and political.
Making political statements isn’t new for Leo, but the encyclical canonizes his boldness into an official form. In the past few months I’ve written about the ways in which Pope Leo has used sermons and statements to directly counter those made by U.S. leaders. After Pete Hegseth made a speech implying the U.S. military is doing God’s will, the pope gave a homily saying that prayers for war cannot be heard by God. He has made strongly worded comments about the rights of immigrants as Trump announced increased ICE raids, and made a point of appointing foreign bishops in American parishes. He has refused to visit the U.S. despite the fact that he is American and has been invited numerous times, including for the nation’s 250th birthday; he is instead planning to visit an island that serves as a refugee landing point in the Mediterranean.
It’s not all that surprising that Leo is making pronouncements on the justness of wars; popes have always given commentary on the world, albeit often less pointedly. Of course, Catholics have always looked to the pope for moral leadership — though that is increasingly under question, as renegade Catholics doubt the pope. (Even J.D. Vance, a Catholic convert with a book coming out about his conversion, has warned the pope to be “careful” with his theological interpretations — a near heretical statement. That’s how Protestantism came about.) The difference today is that everybody is listening.
I think the reason is that there is a certain ineffable quality that can’t be accounted for in so much of modern-day discourse in our metrics-focused world. Everything needs to be provable with a statistical analysis or some quantifiable indicator, or it needs to be as profitable as possible to extract value. But so much of what is most valuable in the human experience is intuitive — experiences and emotions like love, joy, transcendence. Connection with each other. Religious leaders have been honing the language to talk about these qualities for centuries, and they guard one of the only arenas in which the intangible remains central.
Of course, there are also plenty of issues with religious institutions, and the Vatican in particular is famous as a site where abuses of power were hidden and protected. But “Magnifica Humanitas,” and its virality, points toward a new relationship with religion, and a newly important role for it to play.
Or maybe that’s just wishful thinking, a hope for my own increased importance as a religion reporter.
The post Why I’m vibing with the pope’s first big statement appeared first on The Forward.
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How can I live freely as a Jew in a world where strangers rip my mezuzah off my doorframe?
Twice, the mezuzah on my front door was ripped off.
The first time, I was shocked. The second time, I made a decision that still pains me. I did not put it back up.
This was before the Hamas attack of Oct. 7, 2023.
That is the part I keep coming back to. The fear did not begin after the Hamas attacks. It was already there, intruding with the quiet calculation of whether a small Jewish symbol on my home made me less safe.
A mezuzah is not a political statement. It makes no argument about a government or a war. It is a sacred object, a marker of memory, a tiny declaration that says: Jews live here. I thought about that mezuzah again recently when the Anti-Defamation League released its annual audit showing that antisemitic physical assaults in the United States reached record highs in 2025. That increase reflects something many Jews already feel in daily life: the slow erosion of ease, the daily calculation of whether to speak up or stay quiet — things I have felt since the first time my mezuzah was violently torn off my doorframe.
Since then, the realm in which I feel safe as a visibly Jewish person has been shrinking from all directions.
After the Oct. 7 attack, the bulletin boards in my apartment building began filling with calls to boycott Israel. Campaign flyers for a Jewish political candidate who came to speak there were defaced with Hitler mustaches. I learned to scan the walls before I scanned my mail.
This was not happening on a campus quad or in some distant place. It was happening where I live.
Then, among my mother’s things, I found a Star of David necklace from the 1930s — marcasite set against black onyx, delicate and old. A boyfriend had given it to her when they were both 14.
I put it on in Florida, where I spend much of my time caring for my mother. I loved wearing it. It felt like more than jewelry. It felt like inheritance, memory, and a small way of carrying my family with me.
But when my mother knew I was going back to New York, she told me to take it off.
My mother is 102. She is not easily frightened. She has lived long enough to know when the temperature in the room has changed. She was not making a political argument. She was trying to protect her daughter.
I still wear that Star of David. But I admit I am selective. In New York, there are moments when I leave it visible and moments when I tuck it under my shirt. That calculation itself tells me something about the world I am moving through.
Recently, in a private Facebook group for women essayists, I shared a personal piece I had written for the United Kingdom-based Jewish Chronicle about how Oct. 7 changed life for my mother and me. It was not a political manifesto. It was a reflection on fear, Jewish identity, aging and visibility.
And still, I was attacked by other writers.“What about Gaza?” I was asked. The message was clear: even my personal Jewish pain had to pass a political test before it could be acknowledged.
That is the narrowing.
This ugliness is coming from more than one direction now. It stems from old conspiracy theories on the right and newer moral certainties in some of the progressive spaces where I once felt most at home. Different language brings about the same result: Jews become less human, less particular, less entitled to fear.
That collapse is what frightens me most: the definitional collapse between Jew and Israeli; Israeli and Israel’s government; Jewish symbol and political provocation; mezuzah and target.
As Jews like me reckon with that collapse, we must reckon with how much we’ll go along with it.
Right now, too often, Jews are being asked to choose between our own safety and our compassion for others. We should be able to prioritize both. I am a Zionist. I believe in the right of the Jewish people to a homeland. I also believe Palestinians are human beings who deserve freedom, dignity, and protection from suffering.
These beliefs should not cancel each other out. They should make us more careful, more humane, more committed to truth.
Yet now we must choose between speaking about antisemitism and being accused of indifference to other hatreds. That is no way to live.
Since Oct. 7, I have found myself going to synagogue on Shabbat, something I never did before. I was a High Holiday Jew. Now I seek out rooms where I do not have to explain why this moment feels frightening. I have learned where I feel seen. I have learned who can hold my fear without turning it into an argument.
The mezuzah I did not put back up is small. It fits in the palm of my hand.
But what it represents is not small: memory, faith, survival, home, and the right to be visibly Jewish without fear.
When I did not put it back up, I told myself I was being practical. But now — after Oct. 7, the bulletin boards, my mother’s warning, and the explosive allegations I’ve seen travel through respected media without sufficient care or verification — I understand it differently.
I was not just protecting a doorframe. I was learning to shrink.
The post How can I live freely as a Jew in a world where strangers rip my mezuzah off my doorframe? appeared first on The Forward.
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Podcast: A lively conversation in Yiddish with actress Lea Koenig
ס׳איז לעצטנס אַרויס אַ פּאָדקאַסט מיט דער באַליבטער אַקטריסע אין ישׂראל, ליאַ קעניג, וועלכע איז הײַנט צום בעסטן באַקאַנט ווי די ייִדיש־רעדנדיקע באָבע פֿונעם פּערסאָנאַזש שלום שטיסל אין דער ישׂראלדיקער טעלעוויזיע־סעריע „שטיסל“.
אינעם שמועס באַטייליקן זיך אויך יניבֿ גאָלדבערג — דער מחבר פֿון אַ נײַער ביאָגראַפֿיע וועגן איר אויף ענגליש; דער איבערזעצער און דראַמאַטורג מיכל יאַשינסקי, און דער ייִדישער זינגער און קולטור־טוער חיים וואָלף. דעם פּאָדקאַסט האָט טראַנסמיטירט די באָסטאָנער ראַדיאָ־פּראָגראַם „דאָס ייִדישע קול“.
ליאַ קעניג גיט איבער אירע זכרונות במשך פֿון איר לאַנגער קאַריערע אין ייִדישן טעאַטער, ווי אויך אינעם העברעיִשן טעאַטער, טעלעוויזיע און קינאָ. כּדי צו הערן דעם פּאָדקאַסט, גיט אַ קוועטש דאָ.
The post Podcast: A lively conversation in Yiddish with actress Lea Koenig appeared first on The Forward.
