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A Message From the Torah for 2026: Live Now in a Way You’ll Be Proud of Later
A Torah scroll. Photo: RabbiSacks.org.
I have always cherished Ludwig van Beethoven’s last words, spoken on his deathbed: “Plaudite, amici, comedia finita est.” “Applaud, my friends, the comedy is over.”
This kind of blunt honesty only comes from people facing their final moments. The masks drop, the posturing stops, and what’s left is pure truth.
Steve Jobs was diagnosed with terminal cancer in October 2003. Remarkably, he lived for another eight years, during which he became deeply reflective, increasingly conscious of his legacy and of life’s meaning in ways he had never been before.
In the address he gave at the Stanford commencement in 2005, he told the graduating class and their families, “You can’t connect the dots looking forward — you can only connect them looking backward.”
He didn’t say it explicitly, but his words came from a deep awareness of his own mortality. The message was clear. He was looking back on his life, taking stock, and seeing patterns that only become clear near the end. When death feels real, clarity follows.
Jobs also talked to the Stanford students about his failure, about being fired from the company he started, and about death itself. Looking back, his speech feels less like a graduation talk and more like a final message. It wasn’t about money or material things, but about meaning. Some things in life matter. Others don’t. Some things are just noise. Others have real substance.
History is full of moments like this, when great figures, as their lives are coming to a close, suddenly see what really matters. Near the end of his life, Thomas Jefferson wrote to his beloved daughter, Martha Jefferson Randolph, “The last pang of life is in parting from you!”
What worried him most about death wasn’t losing power or fame, but the pain of being without those he loved. When all is said and done, relationships with our loved ones are what really matter, and our career or achievements pale into insignificance by comparison.
Sir Isaac Newton expressed something similar, though in a different way, as he looked back on his incredible life. Newton, whose discoveries changed how we see the universe, spoke with great humility: “I do not know what I may seem to the world — but as to myself, I seem to have been only like a boy playing on the seashore, and diverting myself now and then in finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.”
Even after a lifetime of achievement, he didn’t focus on his success. Instead, he saw clearly how much was still unknown, and how even greatness can feel small when you look at life’s bigger picture.
This is the emotional and moral setting at the start of Parshat Vayechi, which holds the Torah’s great final conversation. Jacob is dying, and he knows it. In his last moments, he gathers his children and speaks to them — not as a nostalgic father looking back, but as someone who truly understands who they are and what each one needs to hear.
If we expect deathbed speeches to be warm and fuzzy, Jacob’s version of one will come as a surprise. Some of his words are blessings, but others are more like rebukes. Reuven is reminded he didn’t reach his potential. Shimon and Levi are called out for their violence. Yehuda is elevated to family leadership, but is also reminded that this role comes with responsibility, not privilege.
This isn’t a “feel good” speech. It’s a speech that values truth over comfort. And that’s exactly the lesson of Jacob’s last words: legacy isn’t about saying nice things, but about saying what’s needed. Jacob isn’t focused on how his sons feel right now. He cares about who they will become after he’s gone, and how his words will echo through their lives and future generations.
Which brings us to today’s world, where we tend to focus more on our image while we’re alive and often don’t think about how we’ll be remembered. Social media in particular has taught us to always project an image that’s curated and perfect in the here and now, with no thought about the long term impact.
Everything is about appearances and how things are seen in the moment. We tell our own stories as they happen, believing that if we control how things look, we can control the outcome.
Vayechi breaks that illusion. Jacob reveals something uncomfortable: you can’t write your own legacy. He is brutally honest with his sons, and in doing so, he also faces his own role as a father. He doesn’t hide the truth. He points out their patterns, their tendencies, their choices — not to shame them, but to help them see both their strengths and weaknesses, take responsibility, and grow into the best version of themselves.
Vayechi is honest, but it is not hopeless. Yaakov doesn’t say, “This is who you are, and you can’t change.” He says, “This is who you have been — now choose what to do with it.” Steve Jobs ended his Stanford speech with the famous line, “Stay hungry. Stay foolish.”
But the line before is even more telling. He called death “life’s change agent,” the force that clears away what doesn’t matter to make room for what does. The message is clear: it’s better to let that kind of clarity shape our lives now, instead of waiting until the end.
Vayechi teaches this lesson. When we reflect honestly, death doesn’t make life smaller — it makes it sharper. It removes pretense and leaves us with what really matters. Seeing our lives from a distance can be cleansing. The key is to live that way now, so we won’t need to revise it later.
It’s an idea that finds a moving expression in Viktor Frankl’s Man’s Search for Meaning. Frankl describes a woman who was his patient reflecting on her life, a life that was shaped by suffering and sacrifice as she cared for a severely disabled son.
Viewing her life as if from its end, she concludes — through tears — that it was not a failure. On the contrary, it was filled with meaning. The pain had turned her life into one of love and responsibility.
Frankl’s point is devastatingly simple: when life is seen through the lens of its conclusion, meaning often emerges where none had been visible before.
Steve Jobs was right: you can only connect the dots of a life by looking back. But Parshat Vayechi shows us we don’t have to wait until the end to start that process. Jacob connects the dots for his sons while he’s still alive — but more importantly, while they all still have many years to live.
The challenge he gives us is simple: live now in a way that will make sense later, when we look back. Because when the full story is told, the dots will connect, whether we like the picture or not. The only thing we really control is how we choose to draw them from the start.
The author is a rabbi in Beverly Hills, California.
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Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening
(JTA) — President Donald Trump announced in a post on Truth Social Saturday afternoon that a deal with Iran had been “largely negotiated,” despite saying earlier in the day that he was undecided on whether to agree to a proposal or resume strikes.
Trump described the deal as a “Memorandum of Understanding pertaining to PEACE” that was “subject to finalization” by the United States, Iran and other countries that participated in talks on Saturday. He noted that he’d “just had a very good call” with Saudi Arabia, the United Arab Emirates, Qatar, Pakistan, Turkey, Egypt, Jordan and Bahrain.
Trump said in his Truth Social post that, separately, he had spoken with Israel Prime Minister Benjamin Netanyahu in a conversation that “went very well.” There was no immediate statement released by the Prime Minister’s Office following Trump’s post.
“Final aspects and details of the Deal are currently being discussed, and will be announced shortly,” Trump added.
In the post, Trump said the deal would include the opening of the Strait of Hormuz, though a widely reported quote from Iran’s Fars New Agency, which is close to Iran’s Islamic Revolutionary Guard Corps, said that Trump’s assertion was “incomplete and inconsistent with reality” and that the strait would remain under Iranian control.
Trump’s announcement comes over a month since he unilaterally extended a fragile U.S.-Iran ceasefire in April.
The announcement did not make mention of Iran’s nuclear program or highly enriched uranium, which Trump has previously stressed must be included in a deal.
Trump’s announcement came hours after he told Axios that he was a “solid 50/50” on whether he would be able to make a “good” deal with Iran, or else “blow them to kingdom come.”
Trump also told Axios that Netanyahu was “torn” over the potential deal but rejected the idea that the Israeli leader was “worried” that he might strike an unfavorable agreement.
This article originally appeared on JTA.org.
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In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different
In the final, tumultuous years of the Weimar Republic, a succession of arch-conservative chancellors ruled by emergency decree rather than go through the Reichstag, the German parliament. Germany had become a democracy in name only, as reactionary power brokers steered the nation deeper into totalitarian waters, ultimately opening the door for Hitler.
As we approach our mid-term elections, America too is at a pivot point — with the burning question being whether Donald Trump’s grip on MAGA lawmakers can be broken so that Congress, feckless like the Reichstag of the late Weimar Republic, can resume its constitutional role as a check on the executive.
It’s a matter of life or death for American democracy as it nears its 250th birthday.
As Trump’s poll numbers tank while GOP lawmakers’ support for him endures, I find myself musing about the Weimar Republic and the self-immolation of its national legislature.
In the final months before they came to power on Jan. 30, 1933, Hitler and the Nazis were actually on the ropes. After they had become the largest party in the Reichstag in July elections a year earlier, two million Germans abandoned the Nazis in an election that November. Many Germans were less enamored of the Nazi leader, fatigued by a sense that the Nazis thrived on disorder. The spell seemed to be breaking. Does this ring a bell? Economics also played a role: Germany was finally emerging from the Great Depression.
But the German republic had already been brought to a breaking point by street fighting, political chaos, the Great Depression, and a coterie of arch-conservative power brokers who schemed and maneuvered to scrap Germany’s first democracy. They included Chancellor Franz von Papen.
Papen was unable to form a majority coalition after the July 1932 election because of huge gains by the Nazis and losses by other key parties, so he continued to govern by emergency decree with the consent of President Paul von Hindenburg, relying on the broad emergency powers of Article 48 of the constitution that had already hollowed out parliamentary rule.
More internal scheming resulted in Papen’s ouster after the November 1932 election. He was replaced by General Kurt von Schleicher, a master of intrigue. But Schleicher lasted only two months, as disagreements raged over whether to give Hitler a role in the government, and what that role should be. The reactionary schemers eventually reached a consensus: Let Hitler have the chancellorship but keep him in check by loading the cabinet with archconservatives like Papen. Once Hitler became chancellor on Jan. 30, 1933, it didn’t take him long to outmaneuver all of the other schemers, who became puppets of the Nazi leader instead of the puppet masters.
Germany’s political establishment — all but the Social Democrats and the banned Communists — ceremoniously handed the keys over to Hitler on March 23, 1933, when the Reichstag passed the Enabling Act, dismantling parliamentary democracy and giving Hitler dictatorial powers.
Which brings us to the question: Whither American democracy?
Under Trump, our Congress has been reduced to a shell of its former self, an American analog of the toothless Reichstag. As Trump has launched assault after assault on the pillars of American democracy — on the judiciary, on higher education, on free speech, our election system, the rule of law, and even on unflattering but true chapters in American history — Republicans have kept quiet, fearing Trump’s wrath and retribution.
But now there are glimmers of hope. Trump’s broken promises, self-aggrandizement, megalomania, corruption, utter indifference to everyday Americans’ economic suffering, and relentless catering to the country’s wealthiest are finally catching up with him. New polls put his approval rating at a dismal 37%. In a New York Times/Siena poll, just 28% of voters approved of how Trump is handling the cost of living, while only 31% approved of his war with Iran. Even Fox News had him at 39% approval. That same poll showed GOP support for Trump weakening considerably on his handling of the economy.
Economic pain is driving the collapse. The soaring costs of the war in Iran, Trump’s vanity projects, and his proposed $1.8 billion slush fund for the Jan. 6 insurrectionists, coupled with his push for lifetime immunity for himself and his family to commit tax fraud, have incensed voters who are already struggling to afford groceries, gas, housing and health care.
As Americans make impossible choices, the 47th president touts the glitzy White House ballroom he wants to build and his plans for an arch that would dwarf the Arc de Triomphe, all while prosecuting a war that has closed the Strait of Hormuz and driven up prices worldwide. The widening gap between Trump’s self-indulgence and the country’s hardship is finally producing something late Weimar never managed: a meaningful break in the habit of submission to an aspiring strongman.
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This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7.
Sid Klein has finally found his subject. More than half a century after he scrambled to pick a topic for his senior art project at Brooklyn College—and settled on exploring the porcelain curves of a toilet bowl in a 20-painting series—he’s discovered a purpose.
Klein, 78, took a five-decade hiatus from art between college graduation and retirement. He picked his brushes back up just a few months before the events of Oct. 7.
Upon hearing of the Hamas attacks, Klein processed the news with acrylics. Soon, he began looking back to the Holocaust. He felt compelled to render contemporary and historical victims of hatred on paper and ultimately take on the mantle of combatting antisemitism, not with words or weapons but with images.
“For the first time in my life, I’m so motivated in my art,” Klein told me over Zoom from his home in South Florida. “All of a sudden I went from, ‘I don’t know what I want to paint,’ to, ‘I’ve got to make a record of this so people can look at these paintings and see what does antisemitism naturally lead to.’”
Born and raised in Brooklyn, Klein noticed at a young age that he could depict objects in three dimensions. “I started drawing with Crayola crayons with paper that my mom would pick up [at] the local five and dime,” he said.
But his mother died when he was seven, leaving his father to raise three children on his own. Though they weren’t particularly religious, Klein said, he attended yeshiva. The extra-long school day helped his working single father make sure he was safe. Klein continued dabbling in art through elementary and high school.
The Holocaust was not part of his education, as far as he remembers, not at the yeshiva and not later in college, where he flitted from pre-law to economics to philosophy before settling on fine art. “I’d never been exposed to it,” he said. “I’d never seen the photographs. I consciously avoided the photographs.”
“I was living in this bubble so I could pretend that antisemitism did not exist,” he said.
He remained in that bubble through business school and a long career in marketing. During that time, “painting didn’t even cross my mind,” Klein said. “For 55 years, I focused on the business and totally ignored the art.”
It wasn’t until his career drew to a close that he thought he might try again. “I wanted to give it a try and see what was left,” he said. But he wanted to keep painting only if he had a worthy subject, which he found in the wake of the Hamas attacks.
“That murder affected me in a profound way,” said Klein, who has two sons and five grandchildren living in Israel. “I started painting in my mind what these 1,200 people would have looked like. And that was my return to art.”
The segue from the horrors of Oct. 7 to those of the Holocaust felt natural to Klein. “For me, all of those are one of the same. They’re all Jew hatred at different times in history,” he said. “The amount of evil in our world is just—I don’t know how to measure it.” There are endless tragedies, he said, “but I’m focusing on our people.”
Klein paints in a corner of the family room he’s designated as his studio. He regularly pores over hundreds of black-and-white photos taken in ghettos and camps, looking for his next subjects to call out to him.
In one photograph, he recalled, he saw lines upon lines of women and children, standing near cattle cars, waiting, exhausted. He distilled the scene to one row of imminent victims in “Innocents.” They’re “going to be taken to a gas chamber and they’re going to be dead in 20 minutes or a half hour, and they don’t know that,” he said. On the right, a boy tugs at his mother’s coat. The woman on the far left balances the small child in her arms alongside her pregnant belly. In the middle, another grasps a toddler’s hand. Their eyes implore the viewer to grapple with their fate.
Several of Klein’s Holocaust works were displayed earlier this year at the Gross-Rosen Museum in Rogoźnica in Poland, on the grounds of the concentration camp system of the same name, where an estimated 120,000 people were imprisoned and 40,000 died.
“As employees of a Memorial Site, we have constant access to disturbing historical photos and documents; these are undeniably important, but viewing the victims through the eyes of an artist is an entirely different, more intimate experience,” Bartosz Surman, who works for the museum’s education department, told me. Surman estimated that approximately 4,000 people saw Klein’s work there between January 27 and March 31. “For a Memorial Site located in a village of fewer than a thousand people, we consider it a significant success and a testament to the power of Mr. Klein’s work,” he said.
Four thousand miles away, “My Zaidy” hangs on the wall at the Dr. Bernard Heller Museum in downtown Manhattan as part of the exhibition “Proverbs, Adages, and Maxims.”
The man in the painting wears a star under his heart. The bright yellow patch and pearlescent and gold shimmer of his face contrast with the matte blue of his coat and hat. But turning the corner of the exhibition, it’s the eyes that catch you. “I left them blank, so you can put in his eyes, any eyes you want,” Klein said—his zaidy’s or yours or a stranger’s.
The eyes may be missing but the gaze is powerful, as though this old man, as he approaches his cruel end, is staring and saying, “Look at me. Do you see what’s happening? Why are you just standing there?”
“A lot of bubbes and zaides were exterminated,” Klein said, including his paternal grandfather. But the zaidy in the painting isn’t Klein’s, exactly, he said. He can’t recall ever seeing a photo of him. Instead, he painted another elderly man in a photo that struck him: This is what a zaidy selected for the gas chamber looks like. This is what Klein’s zaidy could have looked like.
“I decided I was going to do a painting, and fill that hole in my heart,” Klein said.
“There’s something very haunting about the hollowed, empty eyes,” museum director Jeanie Rosensaft told me over the phone. “We were very touched, because although [Klein] has not had a long resume of art production, we felt that the image that he provided was very compelling.”.
Klein is one of 58 artists in the exhibition, and his work will be included in a tour the museum is organizing following its New York run, which ends June 24. “We hope that he continues on this path,” Rosensaft said. “It’s really essential that art bear witness to the past and provide a bridge to the future.”
Seeing the pain
Klein’s next painting, he told me, was inspired by a photo of two small children, empty bowls in hand, begging for food.
“If I had more working space, I would make my paintings bigger,” said Klein, who says he hopes to one day create life-size portraits. “Right now you’ve got to get pretty close to see what the hell is going on,” he said. “I want size to be part of your experience seeing the pain.”
Spending his days sifting through Holocaust photos and painting its victims takes a toll. “When I paint, I become emotionally involved. But when it’s done, I listen to my music for a couple of hours, and that gives me the emotional strength to continue,” says Klein, who puts on Vivaldi, Mozart, or Brahms, for example. “After I do a painting, I need this music to settle my nerves.”
“Sometimes I say, ‘Klein, try something else!’” he said. But he can’t imagine abandoning his subject or newfound mission for any others. Which means he’ll need more of that music in the years to come, as might those viewing his paintings.
“A lot of my work is grotesque,” Klein said, and that’s intentional. “I want to shake you up.”
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