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Poker in Tehran

The strategy is built on stretching the rope to its absolute limit. No one knows where the breaking point lies. When war threats are used as a bargaining tactic, the risk of error is enormous.

Donald Trump has never been a disciple of classical diplomatic textbooks. While traditional secretaries of state recite protocols of "confidence building," "gradualism" and "stability," Trump prefers calculated chaos.

In his approach toward Iran, the world is watching a bewildering and almost schizophrenic spectacle. With one hand, he issues threats on social media of an unprecedented military strike. With the other, he signals a surprising, almost eager willingness to enter direct negotiations and reach a "historic deal." This apparent contradiction is not a bug in the system. It is the core of his strategy. It is a high stakes poker game driven by what might be called "the diplomacy of anomaly."

To decode Trump, one has to look at the poker table. In poker, the sophisticated player does not play the cards but the person across from him. Trump raises aggressively not necessarily to overturn the table, but to make the opponent blink. The logic is simple. When the Iranians are convinced that the man in the White House is unpredictable, perhaps even deliberately irrational, they may prefer to fold and accept a painful compromise rather than risk a direct confrontation with a superpower that does not operate according to linear logic.

This is where the diplomacy of anomaly comes into play. Classical diplomacy strives for predictability. Trump uses anomaly, a blunt deviation from the norm, as a weapon. He manufactures crises in order to resolve them on his own terms. He shatters the status quo to build something new on the ruins. This anomaly sends a chilling message to Tehran. The rules have changed, and now I reset them in every round.

The major advantage of this method is breaking the psychological stalemate.

Iran, accustomed to a predictable and cautious Western policy, finds itself in a constant defensive posture. Uncertainty is an effective tool of pressure. It undermines the regime's self confidence and forces it to recalculate its course every morning. In this approach, Trump keeps all the cards close to his chest. He controls the tempo of the game. This could bring the ayatollahs to the negotiating table weakened, isolated and desperate for any form of stability, enabling Trump to secure a far better agreement than his predecessors.

But this poker game has a dramatic downside. The diplomacy of anomaly is brinkmanship. The strategy depends on stretching the rope to the very edge, but not beyond it. The problem is that no one knows exactly where that breaking point is. When war threats are used as a bargaining tactic, the risk of miscalculation is enormous. The Iranians could interpret a bluff as genuine intent to strike and launch a preemptive attack, causing the rope to snap and spiraling the situation out of control.

The policy of maximum pressure clearly serves Israeli interests. The poorer and more pressured Iran becomes, the harder it is for the regime to finance its terrorist proxies, Hezbollah, Hamas and the militias. Trump's anomaly frightens the Iranians more than any isolated Israeli threat. On the other hand, the drawback for Israel lies in Trump's business oriented mindset. The greatest fear in Jerusalem is that in his eagerness to clinch a "deal" and prove himself a peacemaker, Trump might settle for a shallow and hollow agreement, a made for television spectacle that looks good on screen but leaves Iran with its proxies and ballistic missiles intact.

Moreover, if the rope snaps and the game descends into a regional war, Israel will be the one absorbing the fire on the front lines, while America remains distant and secure across the ocean. Trump's strategy is a double gamble. He is betting that the chaos he creates will give birth to a new and better order. If he succeeds, he will change history. If he fails, the anomaly could turn into tragedy, with Israel sitting in the front row of the audience, or worse, standing on the stage itself.

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