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With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds
(JTA) — Running a not-so-Zagat-rated deli, dropping into a Chinese restaurant for Christmas Eve dinner and acting out a bat mitzvah that involves a vampire — for contemporary board game fans, those can be all in an evening’s play.
That’s because a crop of new games aims to merge Jewish ideas and experiences with the aesthetics and language of games such as Dungeons & Dragons. Dream Apart places players in a fantastical reimagining of a 19th-century shtetl, for example, while J.R. Goldberg’s God of Vengeance draws inspiration from the Yiddish play of the same name. In the games in Doikayt, a collection released in 2020, players can literally wrestle with God.
Known as tabletop role-playing games because they ask players to take on a character, these games and their creators imagine exciting new worlds, subvert classic tropes in fun and irreverent ways, and reinterpret Jewish history and identity.
Tabletop role-playing games like Dungeons & Dragons and Call of Cthulhu have exploded in popularity over the past several years, with many — including at least one group of rabbis — picking up the Zoom-friendly hobby during the height of the COVID-19 pandemic. But the new Jewish games aim to do more than just provide a diversion or even an escape.
“Depending on your family, depending on your synagogue, depending on your community, you may have gotten more or fewer options of what Jewishness could mean in your imagination,” said Lucian Kahn, who created a trilogy of humorous Jewish role-playing games.
“What some of these games are doing is opening that up and pointing to alternate possibilities of imagining Jewishness, not as a way of converting anyone to anything else, but just as a way of showing the tradition is enormous,” he added.
Kahn is the creator of If I Were a Lich, Man, a trilogy of humorous games whose name is a mashup between a “Fiddler on the Roof” song and an undead character, the lich, that frequently appears in fantasy fiction and games. In the title game, players are Jewish liches — spellcasters whose souls, in the lore of Dungeons & Dragons, are stored in phylacteries, the Greek word for tefillin used by Jews in prayer. Representing the four children of the Passover seder, they debate how their community should address the threat of encroaching holy knights.
In some cases, the association of Jews with monsters has given rise to charges of antisemitism — the goblins of “Harry Potter” offer a prime example. But Kahn said he sees Jewish-coded monsters, and queer-coded villains, as figures of resistance.
“There’s a long tradition of looking at the monster and seeing that the reason why these are monsters is because the people who have oppressive power have decided that these are going to be the enemies of the ‘good’ oppressive powers,” Kahn explained. “But if you don’t agree with their ideology, if you’re seeing yourself as being a member of a marginalized community and being in opposition to these oppressive powers, then you can look at the qualities assigned to these monsters and some of them are qualities that are good.”
For Kahn, Jewish-coded monster characters also provide more of an inspiration than the archetypes of more traditional games.
“Maybe somebody thinks they’re insulting me or insulting Jews,” he said. “My response is: I like vampires and liches and trolls and goblins and think they’re much more interesting than bland white muscular humans running through the fields with a cross on their chest hacking at the same things with a sword over and over again.”
Kahn’s outlook has resonated in the tabletop role-playing game community. In February, he and Hit Point Press launched a Kickstarter to fund production of If I Were a Lich, Man. The campaign smashed its $5,000 goal, raising $84,590, enough to hit one of the campaign’s stretch goals of funding a grant to support independent zines about tabletop role-playing games.
The successful campaign means that Kahn’s three games will go into production. In addition to the game about liches, the trilogy includes Same Bat Time, Same Bat Mitzvah, in which players act out a bat mitzvah where one guest has been turned into a vampire, and Grandma’s Drinking Song, inspired by how Kahn’s Jewish great-great grandmother and her children survived in 1920s New York City by working as bootleggers during Prohibition.
In Grandma’s Drinking Song, players write a drinking song together as they act out scenes. Kahn, the former singer/songwriter and guitarist for Brooklyn Jewish queercore folk-punk band Schmekel, wanted to carry over elements of music into this game.
A throughline in all three games is the power of creative resistance to authority — a narrative that Kahn said strikes him as particularly Jewish.
“There are all these stories in Jewish folklore that are really overtly about finding trickster-y or creative ways of fighting back against oppressive and unjust governmental regimes, evil kings, bad advisors,” Kahn said. “One of the first stories I ever heard in my life was the Purim story, so it’s very embedded in my mind as a part of Jewish consciousness, when evil rulers come to power and try to kill us all, we’re supposed to find these outside-the-box ways of preventing that from happening.”
For some Jewish creators, Jewish holidays are an explicit inspiration. Like many Jewish kids of the ‘80s and ‘90s, Max Fefer, a civil engineer by day and game designer by night, grew up loving the picture book “Herschel and the Hanukkah Goblins,” which remains a popular festive text. But as Fefer notes, goblins are often associated with antisemitic stereotypes. Fefer’s first Jewish game, Hanukkah Goblins, turns the story on its head — players interact as the jovial goblins, who are here not to destroy but to spread the spirit of Hanukkah to their goblin neighbors.
Last year, Fefer launched a successful Kickstarter for another Jewish holiday-inspired tabletop role-playing game, Esther and the Queens, where players assume the roles of Esther and her handmaidens from the Purim story, who join together to defeat Haman by infiltrating a masquerade party as queens from a far-off land.
Esther and the Queens channels Fefer’s Purim memories and includes carnival activities, including Skee-Ball; a calm, relaxing Mishloach Manot basket-making; and a fast-paced racing game.
“All of our holidays, they’re opportunities for us to gather as a community in different ways,” Fefer said. “Watching this satirical, comedic retelling of the story of Purim and the Esther Megillah and coming together into a theater, in a synagogue, to watch these spiels and laugh together and spin the graggers when we hear Haman’s name — all of those things help us build identity and community, and I think games in particular surrounding identity, that’s a great way for a Jewish person themselves to feel seen in a game and reinforce their identity, and share their background with friends.”
Another pair of Jewish game creators, Gabrielle Rabinowitz and her cousin, Ben Bisogno, were inspired by Passover.
“The seder is kind of like an RPG in that it’s a structured storytelling experience where everyone takes turns reading and telling, and there’s rituals and things you do at a certain time,” Rabinowitz said. “It’s halfway to an RPG.”
The game became a pandemic project for the two of them, and alongside artist Katrin Dirim and a host of other collaborators, they created Ma Nishtana: Why Is This Night Different? — a story game modeled on their family’s seder. The game follows the main beats of the Exodus story, and in every game, there will be a call to action from God, a moment of resistance, a departure and a final barrier — but different characters and moments resonate depending on the players’ choices.
As an educator at the Museum of Natural History, Rabinowitz said she is often thinking about how to foster participation and confidence, and she wanted to create a game-play mechanic to encourage players to be “as brazen as her family is.” The result was an in-game action called “Wait! Wait! Wait!” — if players wish to ask a question, make a suggestion, disagree with a course of action or share a new perspective, they can call out “Wait! Wait! Wait!” to do so.
The game also includes a series of scenes that are actively roleplayed or narrated, and each includes a ritual — one that can be done in-person or an alternate remote-friendly version. For example, at one point each player must come up with a plague inspired by the new story they’re telling together, and in the remote version, players go camera-off after reciting theirs.
“The fact that it was created during the pandemic and a way for us to connect and other people to connect with each other is really the soul of the game,” Rabinowitz said. “After each person tells a plague, by the end, all the cameras are off and everyone stays silent for another minute. It’s a hugely impactful moment when you’re playing remotely. The design is interwoven in the game itself.”
Rabinowitz said by playing a story of a family undergoing these trials, the themes of family and identity deepen every time she plays the game.
“A lot of people say, ‘Wow, I’ve never felt more connected to this story,’” she said. “Embodying these characters gave me a feeling of relevance and that makes it feel important as a Jewish precept.”
For other creators, that deep connection comes in more lighthearted scenarios. Nora Katz, a theatremaker, game designer and public historian working at the Goldring/Woldenberg Institute of Southern Jewish Life (ISJL) by day, created the Jewish deli-centered game Lunch Rush, which was included in the Doikayt anthology.
“There’s also types of institutions that come up a lot in [tabletop role-playing games], especially sort of high fantasy,” she said. “Everyone meets in a tavern, there’s an inn, things like that. So the idea of a deli as a central gathering place in a world like that felt fun to me.”
An important element of Lunch Rush is that players must be eating while playing, so for Katz’s first round with friends, they got together with chocolate chip ice cream and dill pickle potato chips. She said the deli is a shared language, and her fellow players were all bringing in their own favorite things about delis they loved into the fictional place they were building together.
Tabletop role-playing games “at their core are about collaboration and relationships and storytelling and community, and for me, all of those things are also what Jewishness is about, to me they totally go hand in hand,” Katz said.
The games are not meant to be for Jewish players only. Rabinowitz said the guidebook for Ma Nishtana includes essays to encourage people to further engage with the narrative.
“Jewish players, non-Jewish players, priests, non-religious people, all different people have played it and almost all of them have told us it’s given them a new way of thinking of how they relate to religious tradition, and I didn’t really set out to do that,” Rabinowitz said. “I feel really privileged to have helped create that space.”
Rabinowitz and Bisogno also commissioned other creators to build alternate backdrops for their game, so it can be repurposed to telling the story of another oppressed people’s fight for freedom. Players can interact as embattled yaoguai, spirits from Chinese mythology; explore a Janelle Monáe-inspired Afrofuturist world; play as Indigenous land defenders; or unionize as exploited workers at “E-Shypt.”
Fefer, who has been amplifying the work of other Jewish creators in the tabletop role-playing game space, said the harm of stereotyping and reinforcing negative tropes is still present in the industry, and not just for Jewish people. For example, fans recently criticized Dungeons & Dragons publishers Wizards of the Coast for reinforcing anti-Black stereotypes in the descriptions of a fantasy race, the Hadozee.
“I think it’s a process of talking to people who are from these groups and bringing them onto your teams and making sure you’re incorporating their perspectives into, in the example of Dungeons & Dragons, a hundred-million-dollar industry, being intentional about that design and looking at things from lots of different angles,” Fefer said. “How could our branding, our games be reinforcing something we’re not even aware of?”
Fefer hopes people who play Hanukkah Goblins and Esther and the Queens feel seen and have moments of shared joy, and also that they learn something from these games — about the antisemitic tropes in fantasy, or about underrepresented groups within the Jewish community. With Esther and the Queens, Fefer collaborated with a writer and artist, Noraa Kaplan, to retell the Purim story from a queer and feminist lens, drawing on Jewish texts that the pair said shows the long presence of queer and trans people in Jewish tradition.
“We have a lot of richness within Judaism to share our culture and share our upbringing but also just be representation,” Fefer added. “We’re living in a time of heightened antisemitism and the world being a gross place to be at times, and we can really bring the beauty of Judaism into game design and create experiences for people that are both representative of Judaism and also just very Jewish experiences.”
But for all the important conversations and learning experiences that can come from Jewish tabletop role-playing games, Katz said the goofiness and joy is important, too.
“We live in such a horrendous society that is of our own making,” she said. “If you can, for a little while, enjoy an anticapitalist fictional deli that you and your friends live in, I think that’s great.”
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Poland Returns Jewish Religious Objects to Greece Stolen by Nazis During WWII
A Torah scroll. Photo: Wikimedia Commons.
Poland on Wednesday returned 91 Jewish religious objects to Greece that were stolen by the Nazis from Greek synagogues and Jewish families during World War II.
The handover took place at a ceremony in Warsaw and marked the first time that Poland has repatriated cultural items illegally taken from their country of origin. The returned items included Torah scrolls, hanging ornaments, and fabrics.
The objects were stolen by the Einsatzstab Reichsleiter Rosenberg, a Nazi organization that focused on looting Jewish cultural items throughout Nazi-occupied Europe. The items were discovered in Poland after the war, and in 1951, the Polish Ministry of Culture transferred the Greek-Jewish artifacts to the Jewish Historical Institute in Warsaw, where they were stored until this week.
“These relics, which were removed from synagogues throughout Greece during the Second World War, are today on their way back to their homeland,” said Greece’s Minister of Culture Lina Mendoni. “These relics do not only have historical or artistic value. They are part of the memory of my country and of the Jewish Greeks. They are intertwined with narratives passed down by parents and grandparents. They connected with the memory of relatives who never returned from the camps, victims of the Holocaust … Their emotional weight is great and the desire of all of us for their return has been particularly intense.”
“In order to demand the return of what rightfully belongs to one, one must be ready to return what rightfully belongs to others, when there is a clear legal and moral obligation,” Mendoni added.
The Greek government officially requested the restitution of the Greek-Jewish artifacts in December 2024, and the World Jewish Restitution Organization worked with Greek and Polish authorities to organize the return of the items. The objects will now be transferred to the Jewish Museum of Greece in Athens.
“We have been waiting for this moment for many years,” said Poland’s Minister of Culture Marta Cieńkowska. “Today, we are living a historic moment. Thanks to the close and determined cooperation of our two ministries, to the systematic engagement of experts and researchers, in less than two years, we can deliver today this remarkable piece of history.”
Before World War II, approximately 77,000 Jews lived in Greece, according to Yad Vashem, Israel’s national memorial to the Holocaust. After Nazi Germany and its allies occupied the country, Greek Jews were deported to Nazi extermination camps and a total of 60,000 of the country’s Jewish population died in the Holocaust.
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Trump Seeks Kurdish Allies Against Tehran, but Analysts Say Plan Is Risky, Could Take Years
Iranian Kurdish fighters from the Kurdistan Freedom Party (PAK) take part in a training session at a base on the outskirts of Erbil, Iraq, Feb. 12, 2026. Photo: REUTERS/Thaier Al-Sudani
The Trump administration, weighing whether the war with Iran could eventually require US troops on the ground, has begun reaching out to Kurdish opposition leaders in Iran with an offer of “extensive US aircover” as it looks for ways to destabilize the regime while the American-Israeli campaign intensifies, an idea one analyst told The Algemeiner would be very difficult to translate into action.
The outreach comes amid reports from Iran that it had preemptively attacked Kurdish forces in Iraqi Kurdistan, claiming the strikes caused heavy losses.
According to The Washington Post, which cited people familiar with the matter, US President Donald Trump held calls with Kurdish minority leaders in Iraq, including Masoud Barzani and Bafel Talabani, as well as anti-regime Iranian Kurdish groups about taking control of areas in western Iran.
A senior official from the Patriotic Union of Kurdistan said Washington asked Iraqi Kurdish authorities to “open the way and not obstruct” and to “provid[e] logistical support” to Iranian Kurdish groups mobilizing in Iraq.
“He told us the Kurds must choose a side in this battle — either with America and Israel or with Iran,” the anonymous official told the paper.
Trump himself on Thursday encouraged Iranian Kurdish forces to go on the offensive but did not indicate whether the US has been coordinating with them.
“I think it’s wonderful that they want to do that; I’d be all for it,” the president told Reuters in an interview.
When asked if the US would provide air cover, Trump responded, “I can’t tell you that,” but noted that the Kurds’ objective would be “to win.”
“If they’re going to do that, that’s good,” he added.
Iran’s intelligence ministry said it had information that “separatist groups” intended to breach its western borders for an attack.
“We targeted the headquarters of Kurdish groups opposed to the revolution in Iraqi Kurdistan with three missiles,” the ministry said, according to a statement published by the state-run IRNA news agency.
Accounts diverged Wednesday night over whether an Iranian Kurdish ground invasion had begun. Fox News said Kurdish militias based in Iraq had crossed into Iran, but Tasnim, Iran’s semi-official outlet, reported via Reuters that its journalists in three border provinces found no evidence of an incursion. Israeli journalist Barak Ravid, who initially cited a US official as confirming the operation, later said reports were “conflicting,” adding that a senior official in one Iranian Kurdish faction also denied that any offensive was underway.
Peshawar Hawramani, a spokesperson for the government in the federated Kurdistan region of Iraq, known as the Kurdistan Region of Northern Iraq, has released a statement denying involvement in any incursions or armament.
“[A]llegations claiming that we are part of a plan to arm and send Kurdish opposition parties into Iranian territory are completely unfounded,” Hawramani said, calling the reports “malicious.”
Reports that speak about a role of the Kurdistan Region and the allegations claiming that we are part of a plan to arm and send Kurdish opposition parties into Iranian territory are completely unfounded. We categorically deny them and affirm that they are being published…
— Peshawa Hawramani (@PHawraman) March 5, 2026
The London-based Asharq Al-Awsat outlet reported that Iranian Foreign Minister Abbas Araghchi and Ali Bagheri Kani, deputy secretary of Iran’s Supreme National Security Council, have pressed Iraqi officials for details about the phone calls between Trump, Barzani, and Talabani.
Iran also told Iraq’s federal authorities in Baghdad that it “must provide sufficient guarantees and take the necessary measures” to prevent Iraqi Kurdish groups from aiding Iranian opposition groups, the report said, citing unnamed sources.
Iran’s Kurdish population — estimated at roughly 8 million to 12 million people — lives largely in mountainous western provinces along the Iraqi border, where several armed opposition factions have long operated and where some Iranian Kurdish groups maintain bases across the frontier in northern Iraq.
The country’s Kurdish minority has a long history of political activism based on decades of rebellion against central rule, a dynamic that predates the Islamic Republic. Kurdish forces briefly established their own state in northwestern Iran, the Republic of Mahabad in 1946, before it was crushed, and Kurdish groups have periodically clashed with successive governments in Tehran ever since.
A day earlier, CNN reported that the CIA has been working for months with Iranian Kurdish groups to foment an uprising.
US Defense Secretary Pete Hegseth told reporters Wednesday: “None of our objectives are premised on the support or the arming of any particular force. So, what other entities may be doing, we’re aware of, but our objectives aren’t centered on that.”
Northern Iraq’s Kurdistan region has long served as a rear base for Iranian Kurdish dissident groups, but only so long as local leaders kept them from launching attacks into Iran. That delicate arrangement could unravel if fighters mobilize across the border as part of the wider war effort, said Seth Frantzman, a regional analyst who has studied Kurdish militant groups.
If Iranian Kurdish factions begin operating from Iraqi territory and the broader US-Israeli campaign fails to decisively weaken Tehran, Kurdish authorities in Erbil and Sulaymaniyah could find themselves exposed to retaliation from Iran, Frantzman said. Leaders in Iraqi Kurdistan “have tried for years to keep the balance” hosting Iranian Kurdish opposition groups while maintaining a working relationship with Tehran, he said.
Even if Washington were prepared to support Kurdish factions, turning them into an effective anti-regime force would take far longer than the current conflict timeline suggests.
Frantzman said any outside backing would take time to put in place, requiring logistics channels and training. “These types of programs, advising and assisting groups, or arming them, takes time,” he said, pointing to past US experiences from Afghanistan to Syria as examples.
Frantzman said Kurdish factions would be looking for assurances that outside support would last, wary of being pulled into an uprising only to be left exposed if backing fades and Tehran reasserts control.
“They would be very wary and skeptical of taking chances today, having already lost lives and lost territory,” he told The Algemeiner.
He pointed to several examples, most notably the US-backed Kurdish campaign against the Islamic State terrorist group in Syria, when Washington trained and equipped Kurdish fighters to form the backbone of the Syrian Democratic Forces in 2015. The campaign, which took more than four years, required sustained support and came at a heavy cost, with about 11,000 fighters killed.
Even that effort, he noted, which targeted a terrorist group in a limited area rather than an established state, took over four years to complete. Any comparable attempt inside Iran — a country of roughly 90 million people with a far larger military and security apparatus — would be far more difficult.
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Redeeming the Time, Rabbinically
Reading from a Torah scroll in accordance with Sephardi tradition. Photo: Sagie Maoz via Wikimedia Commons.
We live in a culture that is very good at avoiding ultimate questions. Death is kept offstage. Time is treated as infinite. The modern self is trained to strive, consume, showcase, curate, and distract, but not often to reckon. The deepest matters are postponed, not necessarily out of malice, but out of habit: there is always another headline, another obligation, another performance of busyness.
That is why Ben Sasse’s recent conversation with Peter Robinson at the Hoover Institution lands with unusual force. On its surface, it is an interview with a former senator and university president. In reality, it is something rarer in modern elite discourse: an unsparing confrontation with mortality.
Sasse has been diagnosed with stage-four pancreatic cancer. The question hovering over the exchange is not legislative strategy or partisan maneuvering, but what remains when the usual distractions and ambitions are stripped of their power. He speaks candidly about regret, forgiveness, prayer, and what he calls “redeeming the time”: learning, as life narrows, to hold ambition lightly and to love more deliberately.
It is a moving reflection. But it is also, in a deeper sense, an ancient one.
Judaism has long insisted that the awareness of death is not a morbid fixation but a form of moral clarity. Kohelet – the book of Ecclesiastes – offers the sober verdict that modern life works so hard to avoid: “Vanity of vanities; all is vanity.” Not because nothing matters, but because so much of what we chase is mist: acclaim, accumulation, the restless display of importance.
The rabbis sharpen the point further. “Repent one day before your death,” the Talmud teaches. The student, understandably, asks: But how can a person know the day of death? And the answer is the point: Precisely because no one knows, one must repent today.
In other words, the moral task is not postponed until the final crisis. The human condition is already one of finitude. The question is whether we live as if we remember it.
This is what the Jewish tradition calls cheshbon hanefesh — an accounting of the soul. Not an exercise in self-obsession, but in proportion. What matters? What endures? What have we mistaken for ultimate that is, in truth, only temporary?
Judaism’s most piercing liturgical moment, recited each year on Rosh Hashanah and Yom Kippur, makes the matter unavoidable: “Who shall live and who shall die … Who by water and who by fire…”
Unetaneh Tokef does not offer comfort through denial. It offers clarity through truth: life is fragile, time is borrowed, and our pretensions are thin.
What mortality does, what Sasse’s diagnosis forces into view, is the stripping away of the false absolutisms that so often govern modern life. Reputation becomes less urgent. The metrics of elite success begin to look strangely weightless. And what remains, if we are fortunate, is relationship: family, forgiveness, obligation, love, and the hope that one’s days have been oriented toward something beyond the self.
Sasse, in his own Christian idiom, is showcasing ideas that Judaism has long institutionalized: the urgency of finitude, the moral demand of time, the necessity of living now as if the horizon is real.
His reflections are poignant precisely because modern America is, in so many respects, a culture of evasion. We have constructed entire systems – technological, professional, political – designed to keep first things at bay. Attention is scattered. Status becomes performative. The self becomes a brand. Seriousness is treated as optional.
And nowhere is this evasion more concentrated than among the people who govern our institutions. Our ruling class speaks endlessly in the language of urgency – power, justice, crisis – while quietly building lives organized around careerism, self-protection, and distraction. We have created a secular priesthood of ambition that cannot speak honestly about death, judgment, or the limits of human control.
The rabbis would recognize the spiritual danger immediately. They were never sentimental about public striving. Honor, they warned, is intoxicating. Recognition is fleeting. The pursuit of status can become a kind of idolatry; not because achievement is evil, but because the modern temptation is to treat achievement as ultimate.
“It is not your duty to finish the work,” Pirkei Avot teaches, “but neither are you free to desist from it.” The line captures Judaism’s balance: responsibility without grandiosity, obligation without self-worship. The work matters, but the work is not God.
That balance is precisely what our age lacks. We live amid unprecedented technological abundance, yet also amid unprecedented distraction. The self is curated. Attention is monetized. Institutions are hollowed out not only by ideology, but by exhaustion and drift.
Nowhere is this more visible than in higher education itself. Our most credentialed institutions often train young people to speak endlessly about justice and power, while offering them remarkably little formation in humility, duty, or the permanent things. They produce graduates fluent in moral performance, yet increasingly incapable of moral seriousness.
Even politics, which once demanded sacrifice, is increasingly consumed as spectacle: another theater of resentment, branding, and noise.
And yet a republic cannot survive on noise. Democracies depend on citizens capable of restraint, gratitude, seriousness, and moral perspective. They require people who can locate politics within a larger horizon of obligation – family, faith, community, the inheritance of civilization itself. A nation that cannot distinguish the urgent from the ultimate will not remain healthy or free for long.
Sasse’s conversation is powerful not because it offers a novel insight, but because it forces an old truth back into view: time is not infinite, ambition is not redemption, and the ultimate questions cannot be deferred forever.
The High Holy Day liturgy does not ask whether we will die. It assumes it. It asks instead what we will do with the time we are given: “Who shall live and who shall die…”
Death is the one fact no algorithm can curate and no institution can evade. It strips away our distractions and reveals what is real. The question is not whether life is short. The question is whether we will go on pretending otherwise – until we no longer have the luxury.
“Teach us to number our days,” we regularly pray, “that we may gain a heart of wisdom.”
And wisdom begins when we stop confusing busyness for meaning, ambition for redemption, and noise for life.
Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute.
