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On one foot: Five essential things to know about Abraham Joshua Heschel on his 50th yahrzeit
(JTA) — Last week marked the 50th yahrzeit — or Hebrew anniversary — of the death of Rabbi Abraham Joshua Heschel (1907-1972), the theologian, scholar, philosopher, Holocaust survivor and modern-day prophet who was long associated with the Conservative movement’s Jewish Theological Seminary but whose embrace of “radical amazement” wasn’t contained by any movement or denomination. Monday is also Martin Luther King Jr. Day: The rabbi and the minister have often been linked thanks to Heschel’s civil rights activism and iconic photographs of them in the front lines of the march from Selma, Alabama, to Montgomery on March 21, 1965. (See below for events tied to the legacies of both men.)
I confess that Heschel’s lavish, epigrammatic prose and devotion to the living reality of God didn’t speak to a buttoned-down skeptic like me. I might quote his book “The Sabbath,” a lovely articulation of how Shabbat forms an island in time, but I’m more comfortable discussing Heschel’s political views, like his opposition to the Vietnam War, than his ideas on God and humankind.
I suspect others are similarly intimidated by Heschel, and could use a gentle onramp. For help I turned to Rabbi Shai Held, author of “Abraham Joshua Heschel: The Call of Transcendence” (2015) and the president and dean at Hadar, the nondenominational yeshiva. I challenged Held to name five works, articles, films or other media that would help people appreciate who Heschel was and why he remains celebrated.
“I fell in love with Heschel as as a teenager, because I felt he both articulated intuitions about the world that I had but didn’t remotely have language for, and he also was the first person I had heard articulate a vision of what Judaism thought that the good life could look like,” Held told me. “As a day school grad I felt I knew a lot of stuff about Judaism, but if you asked me ‘what is Judaism about and what is it for,’ I would have had no idea what to say. And Heschel gave me that narrative. It was a story that spoke to my mind and my heart at the same time. It was like asking me to become something in the world and that was incredibly moving to me.”
Here are five great ways to access Heschel, with comments by Rabbi Held. I plan to make this an ongoing series of introductions to Jewish thinkers, writers and artists who are making news or are particularly relevant to the current Jewish conversation. If there is someone you’d like to see discussed, drop me a line at asc@jewishweek.org.
(For Rabbi Held’s own introduction to Heschel, see his video, “Why Amazement Matters.”)
“The Sabbath,” (1951)
(In this slim volume, Heschel describes the Sabbath as a “palace in time,” and an opportunity for spiritual communion with the potential to help shape how its observers live the other six days of the week.)
“The number of people I have met in my travels, who tell me about how that book opened them up to spirituality, is staggering. Two things about that book are very moving. One is, at a time when American Judaism was about integration and success, Heschel launched this dramatic insistence that Judaism was about the life of the spirit. I think it landed like a bomb for a lot of American Jews. It was totally revolutionary to them. One of the ways that the book has resonated and continues to resonate is that Heschel is rebelling against a culture of technology, and wants to place a stake in the ground for the value of appreciation and gratitude. One of my favorite sentences in all of Heschel is that ‘Mankind will not perish for want of information; but only for want of appreciation.’ That line is from ‘God in Search of Man,’ but I think ‘The Sabbath’ is about Shabbat as a practice of appreciation.
“I also think that people had internalized the Christian, anti-Jewish idea that Christianity was about inwardness and spirituality and Judaism wasn’t. Heschel responds: We gave the world the gift of Sabbath which is about living in the presence of God.”
“God in Search of Man,” part 1 (1955)
(Held calls Heschel’s companion volume to his earlier work “Man Is Not Alone” a “beautiful evocation of what wonder and gratitude look like.”)
“This is Heschel as a phenomenologist: What is it like to have a sense that our lives are not something that we earned and that part of the religious life is to repay this extraordinary gift? He needs to write in a poetic mode, in part, because he’s trying to evoke in his readers a sense of gratitude, a sense of indebtedness, a sense of obligation. What I tried to do in my book is to [delete] sort of argue that amidst all that poetry, there’s an argument: Wonder is what opens the door to obligation. Wonder is about reawakening a sense that all of us, just by the nature of being human, have an intuition that we’re obligated to something and someone.”
“The Prophets,” 1962
(Heschel provides compact profiles of seven biblical prophets and attempts to understand the phenomenon of prophecy in general. Held recommends starting with the chapter titled, “The Theology of Pathos.”)
“Heschel makes the most eloquent case I think any Jew has ever made since the prophets for a God who cares, a God who is stirred to the core of God’s being by human suffering and especially human suffering that stems from oppression. It’s Heschel’s attempt to reclaim the God of the Bible from what he saw as the ravages of abstract philosophy that reduces God to an idea. God is not an idea. God is someone who cares about us. God has a name. There’s this amazing speech he gives to Jewish educators somewhere where he says, ‘I was invited to a conference to talk about my idea of God and I responded to them and said, ‘I don’t have an idea of God, I have God’ — Hakadosh baruch hu [the Holy one, blessed be God] who makes a claim on my life.”
“Religion and Race,” 1963
(On Jan. 14, 1963, Heschel gave the speech “Religion and Race” at a conference of the same name in Chicago, where he became close to King.)
“First of all, you see how Heschel’s theology and his activism are so entirely interwoven: The God who loves the downtrodden, the God who loves widows and orphans, is the God who requires us to stand up and fight for civil rights. It’s also extraordinarily beautiful, in that it combines really interesting biblical interpretation with [theological depth and profound] moral passion. Part of what Heschel and King meant to each other is that each one of them saw the other as a kind of living proof that God had not abandoned the downtrodden — and King was very important to Heschel in the context of the theology of of the Shoah: Martin Luther King embodies the reality that God has not abandoned the world. He really believed Martin Luther King was channeling God, nothing less than that.”
The NBC Interview (1972)
(Shortly before he died at age 65, Heschel recorded an interview with broadcaster Carl Stern. It aired on Dec. 10, 1972, on NBC-TV as an episode of “The Eternal Light,” the long-running religion and ethics show produced in conjunction with the Jewish Theological Seminary.)
“He makes this incredibly beautiful statement about telling kids to live their life as if it were a work of art. Which is just amazing — so beautiful and so simple. And there’s also this really interesting moment where Carl Stern asks him if he’s a prophet and he says, ‘You know, I cannot accept such a compliment. I am not a prophet. I am a child of prophets. But indeed the Talmud says all Israel are the children of prophets.’ I just love that combination of humility and elevatedness. That interview [offers a powerful glimpse of him as a human being, and not just a bunch of words on a page. You see a real person]. is also what makes him actually a human being and not just a bunch of words on a page. You see a real person.”
On Monday, Jan. 16 at 7 p.m. ET, Shai Held will join Arnold Eisen, chancellor emeritus of the Jewish Theological Seminary, for a Martin Luther King Jr. Day conversation reflecting on Heschel’s life, thought and legacy. (Register here for Zoom link.) That same night, at 8 p.m. ET, Yeshivat Chovevei Torah will commemorate Heschel’s 50th yahrzeit with a discussion with his daughter, Susannah Heschel, the Eli M. Black Distinguished Professor of Jewish Studies at Dartmouth College. (Register here.)
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The post On one foot: Five essential things to know about Abraham Joshua Heschel on his 50th yahrzeit appeared first on Jewish Telegraphic Agency.
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‘Marty Supreme’ is an outstanding celebration — and indictment — of chutzpah
Marty Mouser will have the beef Wellington and caviar, as they are the most expensive items on the menu.
The 23-year-old table tennis phenom, heralded as “the chosen one,” is dining at the Ritz in London. Seated opposite him, his recent opponent, Bela Kletzki. The two are friends, but this didn’t stop Mouser from telling a gaggle of reporters before their match of his plans to “do to Kletzski what Auschwitz couldn’t.” He can say that, he assured them — he’s a Jew.
This, like Mouser’s remark that he is the “ultimate product of Hitler’s defeat,” is all bluster. (He’s really a lowly Lower East Side shoe clerk who stole money from his shop to fly to the tournament.) But we soon see what Auschwitz meant for his survivor companion: defusing bombs on the camp outskirts and once managing to sneak honey from a beehive onto his person, which his fellow prisoners licked off him for nourishment.
We get a flashback of Kletzki. It’s lensed like a Renaissance painting, with honey glistening off of the hairy chest of actor Géza Röhrig, (Hungarian star of the Sonderkommando drama Son of Saul).
You may wonder what exactly this moment is doing in Josh Safdie’s Marty Supreme, a walloping period piece that follows Mouser’s picaresque ploys to become a global icon by hustling, stealing and lying his way into a tournament in Japan. But there’s rarely a moment in the frenetic picture, set over eight months in 1952, where only one thing is happening. While Kletzki tells his haunting honey story, to pen magnate and potential patron Milton Rockwell (Kevin O’Leary, Mr. Wonderful, indeed), Marty makes eyes at Rockwell’s wife from across the room, another sort of honeypot in mind. The contrast is the point.
Unlike Kletzki, Marty — very loosely based on ping-pong champ Marty Reisman — is an American, New York-born, and believes in the Augie March doctrine of first knocked, first admitted. To get his foot in the door so he can stare down from his rightful place on a Wheaties box, he will shove anyone and everyone out of the way. He refuses to demean himself by playing Harlem Globetrotter halftime shows with Kletzki, or throwing a match for Rockwell — but his principles are malleable when the straits are dire.
Mouser feels entitled to everything: the money in his uncle’s safe at the shoe shop; a suite at the Ritz; other men’s wives; a chunk of the pyramids, which he presents to his manipulative mother (Fran Drescher) with the words, “We built that.”
We know from how he speaks about this hunk of Egyptian rock — and about Kletzki, the Holocaust and Hitler — his entitlement comes in part from a legacy of immiseration and violence he never suffered personally. But Mouser, this New Jew coming of age after the Shoah, claims redemption as his birthright while also striving to float above his people’s history of oppression and retail drudgery, concocting a mythology of self-invention and radical individualism. (Meanwhile, Kletzki, a world champ before the war, is all too happy to be treated kindly and paid decently for hitting balls with skillets for the Globetrotters.)
The tension between the horror of the recent past, and the just-dawning promise of an America where antisemitism is unfashionable, plays through Marty’s vision of what’s to come. He dreams up orange-colored ping-pong balls, a hue only approved for use by the International Table Tennis Federation in 2019. The 1980s synth-pop needle drops remixed by composer Daniel Lopatin, lean into futurism. Our hero is ahead of his time, chafing at the present to which he’s tethered. He wants an unready world to acknowledge his greatness now. He has no patience for a rocky transition.
If the opening credits of Uncut Gems bespeak a past-one’s-prime ritual — a colonoscopy — Marty Supreme‘s titles are set to a burst of youthful virility. (Inventive, hilarious, if something I’ve seen before.)
Timothée Chalamet, outfitted with prosthetic acne scars and eye-shrinking contact lenses, is incandescent and somehow stays to the right side of insufferable as he wrecks the lives of all around him with his singular focus. Unlike Gems’ Howard Ratner, a sleaze with a gambling addiction and little else to offer, Mouser’s talent is undeniable, but like any Safdie protagonist, he takes his licks.
The film, co-written and co-edited with Safdie’s constant collaborator Ronald Bronstein, is a rich Jewish text that alternates between wish fulfillment and nightmare. Mouser competes for the WASPy Rockwell’s patronage while shtupping his icy blonde wife (Gwyneth Paltrow). On the other side of the ledger, his lover, Rachel (a pitch-perfect Odessa A’zion), is attacked near a Forverts delivery truck. Marty’s uncle Murray (music journalist Larry “Ratso” Sloman) calls a cop goyische kopf for ordering the roast beef over pastrami at the Garden Cafe. It’s no mistake that, at his lowest, Mouser faces a treyf humiliation orchestrated by Rockwell: lose and kiss a pig.
But Marty Supreme is too dense with plot points and people to insist on a solely Jewish gloss, even as critics for the non-Jewish press have been tempted to apply one.
Exploring the warrens of postwar New York — the wings of a Broadway theater, the back alley of a Chinatown restaurant, stockrooms, airshafts and fire escapes — all outstandingly revived by legendary production designer Jack Fisk, Safdie proves he’s not only ready for a solo effort away from brother, Benny, but ready to leap over space and time. He may not be ready to say goodbye to all that (New York stuff), the backdrop for all his features up to now, but he easily could.
In this epic of chutzpah, we have a mature work via a singularly immature avatar. Mouser may have never reached the recognition he felt he was owed, but coming into awards season, there’s little doubt that Safdie’s film is a cross-category contender.
Should the gentleman order the caviar, there’s no doubt he’s earned it.
The post ‘Marty Supreme’ is an outstanding celebration — and indictment — of chutzpah appeared first on The Forward.
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The Future of War: Israel Takes Global Lead on Military Innovation With New AI Division, Iron Beam Laser System
A part of Iron Beam laser anti-missile interception system, developed by Israel, is seen in this handout image obtained by Reuters on Sept. 17, 2025. Photo: Israel Defense Ministry/Handout via REUTERS
The Israel Defense Forces (IDF) announced this week a revolutionary reorganization of the technology and artificial intelligence capabilities of the Jewish state’s military, unveiling new plans to prepare for future warfare with cutting-edge advancements.
Israel’s major defense overhaul, unveiled on Tuesday, comes in preparation for the deployment of the long-anticipated “Iron Beam” laser interceptor system, which will be delivered to the military at the end of the month.
Under the name “Bina” — Hebrew word “intelligence” — the IDF has chosen to shut down its Lotem Unit from the C41 Corps, replacing it with the Artificial Intelligence (AI) Division and the Spectrum Division. The latter will focus on communications and electronic warfare with an emphasis on threats from Iran, China, and Russia.
The AI Division will grow through merging other sections within the IDF, including Mamram (the abbreviation for the Center of Computing and Information Systems) and software development units Shahar and Mitzpen. This consolidation of AI-development related divisions intends both to intensify security and avoid accidentally duplicating research efforts. The project will align with Israel’s Project Nimbus cloud computing program supplied by Amazon and Google.
The IDF also announced the ICT Division, which will focus on satellite warfare in outer space.
According to the military, about 50 percent of the new divisions are composed of women soldiers, with female officers comprising 40 percent of the senior command including two of the five top leadership positions.
Brig. Gen. Yael Grossman now heads ICT and the Cyber Defense Division, and Brig Gen. Racheli Dembinsky will head the Spectrum Division. Others in leadership positions include Chief Signals Officer Brig. Gen. Omer Cohen and Maj. Gen. Aviad Dagan.
“I have no doubt that the world is heading towards a space war, especially after the US and China defined space as a possible war arena,” Dr. Moshik Cohen, CEO for defense technology company AIPEX which focuses on missiles, told the Israeli publication Globes.
“Rival powers are already using it on the battlefield,” Cohen continued. “The Chinese have developed a way to detect stealth aircraft using satellites, and the Russians have jammed GPS signals from US satellites, which have dropped thousands of smart bombs on earth and blocked satellite communications for the Ukrainians. At the same time, the US is promoting Golden Dome, which will consist of a network of low-flying satellites able to perform military missions such as intercepting ballistic and hypersonic missiles and blocking enemy communications.”
Dagan said that the new divisions aspired to use technology to “turn one tank into 100 tanks, one soldier into 100 fighters.”
On Monday, meanwhile, Danny Gold, the head of the Israeli Defense Ministry’s Directorate of Defense Research and Development, revealed that the military would soon receive the “Iron Beam” laser interception system, a project a decade in development.
“With development complete and a comprehensive testing program that has validated the system’s capabilities, we are prepared to deliver initial operational capability to the IDF on Dec. 30, 2025,” Gold said. “The Iron Beam laser system is expected to fundamentally change the rules of engagement on the battlefield. Simultaneously, we are already advancing the next-generation systems.”
Created by Rafael Advanced Systems Ltd., the Iron Beam is intended to supplement rather than replace Israel’s Iron Dome and other air defense systems, focusing especially on smaller targets. As long as the weapon maintains a power source then it cannot run out of ammunition. However, the system does not function optimally in situations with clouds or low visibility.
The IDF chose to rename the laser weapon from Magen Or (Light Shield) to Or Eitan (Eitan’s Light) in honor of Cpt. Eitan Oster, a member of the Egoz Commando Unit killed in October 2024 while fighting the Hezbollah terrorist group in Lebanon.
Brig. Gen. Benny Aminov also announced this week an Israeli breakthrough in countering enemy drone attacks.
“We are now working on interception solutions using drone-based systems that enable response to swarm scenarios while accelerating the development of new directed-energy weapons,” Aminov said. “The issue of low-altitude threats is an example of a challenge that requires our defense establishment to fundamentally change its operational approach, responding within compressed time frames, spiral development, accelerating testing during the development process, and bridging small defense-tech companies with major defense contractors.”
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‘Dancing With the Stars’ Airs Its First Dance Dedicated to Hanukkah During Holiday Special
Alan Bersten, Val Chmerkovskiy, Gleb Savchenko, Emma Slater, Onye Stevenson, and Hailey Bills dancing to “Miracle” by Matisyahu on “Dancing with the Stars” on Dec. 2, 2025, on ABC. Photo: Disney/Eric McCandless
“Dancing with the Stars” aired a holiday special on Wednesday night that included the show’s first celebration of the Jewish holiday of Hanukkah, which begins later this month.
The reality show and dancing competition aired its first full holiday special, titled “Dancing with the Holidays,” which highlighted the skills of its professional dancers without their celebrity partners. The dances mainly honored Christmas, but for the first time in the show’s 20-year history, there was a dance dedicated to Hanukkah.
Professional dancers Alan Bersten and Val Chmerkovskiy, who are both Jewish, along with four non-Jewish pros – Gleb Savchenko, Emma Slater, Onye Stevenson, and Hailey Bills – danced to “Miracle” by Matisyahu. Bersten choreographed the dance, which included the men linking their raised arms to form a menorah, a hora, a sit-spin as a nod to a spinning dreidel, and a take on some of the dances from the classic Jewish musical “Fiddler on the Roof.”
“We have a lot of work to do,” the Mirrorball champion told the dancers in rehearsal. “We need a miracle.”
In the intro package for the dance, Bersten, who is the son of Russian-Jewish immigrants, talked about not seeing much Hanukkah representation around the holiday season when he was growing up. Bersten said he wanted to create something that Jewish kids today could identify with.
“Everyone celebrates holidays in a different way. Growing up Jewish, you don’t really see a lot of Hanukkah representation, so tonight we’re doing a special performance to celebrate Hanukkah,” he said. “Hopefully a Jewish kid’s watching this, and they feel seen, and they feel proud.”
Following the dance, DWTS co-host Alfonso Ribeiro reminded the audience and viewers at home “that the holiday season is for everyone.”
The “Dancing with the Stars” holiday special was released on Disney+ and Hulu.