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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
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In the race for Jerry Nadler’s seat, much talk on Israel but little disagreement
With U.S. aid to Israel and the wars in Gaza and Lebanon pressing for voters in many Democratic primaries, the race to succeed Rep. Jerrold Nadler in Manhattan stands out for the relative consensus among the leading candidates on Israel.
Nadler, who is retiring after 33 years in the House, represents a heavily Jewish district and served as the leading voice in Congress for liberal Jews, making the choice of his successor a significant one nationally.
During a televised debate on Thursday between top contenders, New York Assemblymembers Alex Bores and Micah Lasher, political scion Jack Schlossberg and attorney Goergie Conway spent more time sparring over super PAC money, artificial intelligence and Donald Trump than on the Middle East conflict.
The three largely shared a broad agreement on support for Israel. None embraced the characterisation of Israel’s military campaign in Gaza as a genocide. They all touted support for a two-state solution and backed continued U.S. funding for Israel’s Iron Dome missile defense system.
The contrast with other competitive Democratic primaries was striking. In congressional races in New York City and some others nationally, debates have been dominated by contentious exchanges over military aid to Israel, accusations of genocide and the growing influence of anti-AIPAC politics within the party. Earlier this week, Israel consumed a significant portion of the televised debate between Rep. Dan Goldman and former New York City Comptroller Brad Lander in a neighboring congressional district.
In another neighboring district, former Columbia University Gaza War encampment activist Daraliza Avila Chevalier is challenging Rep. Adriano Espaillat with his support for Israel front and center. And in a TV debate this week in the race to replace retiring Rep. Nydia Velazquez in Brooklyn, democratic socialist Assemblymember Claire Valdez — who like Lander and Avilla Chevalier has been endorsed by Mayor Zohran Mamdani — called Israel’s actions in Gaza “U.S.-funded genocide.”
The relative consensus in Nadler’s district reflects the politics of the district they hope to represent. Jewish voters make up an estimated 30% of the Democratic primary electorate, which stretches across Manhattan’s Upper East and Upper West sides.. When Nadler ran for reelection in 2022 after redistricting forced him to go head to head with Rep. Carolyn Maloney, he campaigned on the need to preserve Jewish representation from New York City in Congress.
The candidates themselves have close ties to the Jewish community. Lasher, Nadler’s endorsed successor, is Jewish. Schlossberg, a grandson of President John F. Kennedy, was raised Catholic by his mother, Caroline Kennedy, but identifies as Jewish. Bores’ wife, Darya Moldavskaya, is Jewish, and the couple are raising their son Jewish.
Another factor distinguishing the race from other Democratic primaries is the district’s political makeup.
In last year’s Democratic mayoral primary, New York City Mayor Zohran Mamdani, an outspoken critic of Israel who rose to power by embracing pro-Palestinian activism, won handily in the Goldman and Espaillat districts, but the 12th District split almost evenly between Mamdani and former Gov. Andrew Cuomo. The candidates also took different approaches to Mamdani. Lasher and Bores did not endorse Mamdani until after he secured the Democratic nomination, mirroring Nadler’s own cautious approach. By contrast, Schlossberg endorsed Mamdani in the primary and has generally been the most critical in the field of Israeli government policies.
Mamdani, who resides in Gracie Mansion in the district, has said he won’t endorse in the race, but intends to cast a ballot. In Thursday’s debate, the candidates gave Mamdani A- and B grades.
Polling suggests the race remains highly competitive. A recent Emerson College survey showed Lasher with a slim advantage over Bores, while Schlossberg and Conway trailed behind. But most significantly, 32% of likely voters had yet to make up their minds.
In an online poll of 700 debate viewers by host PIX11, 42% said Bores won the debate, compared with 33% for Lasher and 24% for Schlossberg.
The leading candidates
Micah Lasher, 44, enters the race with perhaps the deepest roots in New York politics. A longtime Democratic operative and protégé of Nadler, Lasher has assembled support from many of the district’s traditional political leaders.
Lasher started his public career as a special assistant to Nadler in 2007. He previously worked for former New York State Attorney General Eric Schneiderman, New York City Mayor Michael Bloomberg and Gov. Kathy Hochul. At 17, he was an informal adviser to then-Assemblymember Scott Stringer, who is also Jewish. He is serving his first term in the State Assembly.
Growing up in the Upper West Side, Lasher first gained attention as a magician.
His campaign reflects continuity with the brand of liberal Zionism long represented by Nadler, co-chair of the Congressional Jewish Caucus: support for Israel’s security, opposition to Benjamin Netanyahu’s government and a commitment to a two-state solution.
Alex Bores, 35, has emerged as the progressive coalition-builder trying to bridge fierce Israel critics and mainstream Jewish voters. He attracted support from organizations aligned with the Democratic Party’s left flank, such as the Bernie Sanders-aligned Our Revolution, New York Progressive Action Network and PSC-CUNY, despite describing himself as a Zionist supporter of Israel.
Bores, a former Palantir data scientist, also serves in the state Assembly. His congressional campaign has become a focal point of a major political proxy war over the regulation of AI.
Some Jewish leaders have expressed concern over how Bores would align with the groups who backed him in Congress, as tensions between progressive activists and Zionist organizations continue to grow. Bores also faced scrutiny over social media posts of his father, William, some equating between Nazis and Zionists. Bores told Jewish Insider he disagrees with his father’s views.
Jack Schlossberg, 33, has become the race’s most recognizable figure because of his family name and social media presence. He has touted the younger generation’s voice wrestling publicly with questions of Jewish identity and Israel.
Raised Catholic but identifying as Jewish through his father, Schlossberg frequently references his Jewish heritage when discussing Israel and antisemitism. At the same time, he has adopted positions that place him to the left of many Jewish organizations, particularly his support for halting transfers of offensive weapons to Israel.
Schlossberg repeatedly shares that contrast on X as he challenges his rivals on Israel policy.
The online influencer turned political candidate made Jewish security a central pillar of his campaign. He said that if elected, he would immediately introduce legislation to nearly double federal funding for security upgrades at synagogues and other Jewish institutions.
Their views on U.S. military assistance for Israel
At Thursday’s debate, as previously, the leading candidates voiced support for funding Israel’s Iron Dome missile defense system amid growing calls for ending all U.S. aid to Israel.
Arms sales and aid for offensive weapons represented the clearest divide among the candidates.
Lasher said he’d support certain conditions on military aid in accordance with the Leahy laws, which enable the State Department to prohibit military aid to foreign countries when there is credible evidence that they have committed gross human rights violations.
Bores said he’d “strengthen those laws significantly” so they apply equally to Israel, Saudi Arabia and Egypt.
Schlossberg, however, said he would support Democratic efforts to block transfers of 1,000-pound bombs and oppose the sale of bulldozers that could be used for demolitions in Gaza or the occupied West Bank. He went on to accuse his rivals of lacking the “courage” to challenge the status quo.
“The Leahy laws give Donald Trump and Marco Rubio full discretion over what constitutes a humanitarian crime,” Schlossberg said. “I’m not comfortable passing the buck to them, and I think the candidates on this stage should be strong enough and have enough courage to actually answer the question.”
The war in Gaza
All three candidates voiced criticism of Israel’s handling of the war in Gaza, citing the dire humanitarian situation and the civilian death toll. However, when asked whether Israel’s actions in Gaza constitute genocide, they declined to use the term.
Lasher maintained that the debate over definitions often “does more to divide people of good faith than it does to find common ground. He called the killing of tens of thousands of people in Gaza “horrific,” while emphasizing the need to recognize the loss of civilian life.
Bores similarly said he’s “not comfortable” using that word “because of the high intent threshold that is required as part of it.” He said that while there are ongoing international investigations, the United States should focus on ending atrocities and expanding humanitarian aid.
Schlossberg also stopped short of calling the war genocide, though he delivered the sharpest criticism of Israel’s military conduct. “Israel had every right to defend itself following Oct. 7, but what has happened since then has gone above and beyond,” Schlossberg said. He added that the more important question was what policymakers would do next, pointing to his position on halting offensive weapon transfers.
Conway, a former Never-Trump Republican who is running on a platform to impeach President Donald Trump, said that while Israel ”did too much” in the name of self-defense, I don’t think it meets the threshold of genocide … and I don’t believe that we should abandon Israel as an ally.”
The debate followed a candidate forum Wednesday at which the candidates spoke at greater length about their attachment to Israel, support for a settlement between Israel and the Palestinians, and their opposition to Netanyahu.
The post In the race for Jerry Nadler’s seat, much talk on Israel but little disagreement appeared first on The Forward.
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A Hasidic wedding entertainer tries to keep up with the times — if his ego will let him
When Israeli director Gidi Dar made his film Ushpizin in 2004, it was one of the first pieces of Israeli media to humanize the Hasidic community for a secular audience. Now, more than 20 years later, during which he focused on his music and other film projects, he’s returned to the Hasidic world with The Wedding Entertainer (The Tale of Moishe Badhan), a humorous and heartfelt look at Hasidic wedding performers.
In an interview, Dar told me he had thought he was done with movies about Hasids. But when his friend Shruli Rand, the lead actor in Ushpizin and co-writer of Dar’s animated film Legend of Destruction, told him about badhans — professional wedding entertainers who have a history dating back to the Talmudic age — they quickly came up with a story.
“I’m always looking to connect to my heritage, to my tradition,” Dar said. “I’m not religious. I try to connect to the narrative, to the history of our storytelling.”
Moishe Striker, played by Rand, is a formerly famous badhan in Jerusalem who has been struggling to find work due to his alcoholism. When his daughter becomes set on getting married, Moishe has to find a way to raise the money for the wedding. Luckily, his wealthy childhood friend is about to marry his son to the daughter of an Israeli tea mogul.
The American-raised son is set on having flashy wedding entertainer Mehsulem Kaliker, played by comedian Elon Gold. But Moishe and his crafty kabbalah-practicing daughter find a way to get Moishe involved, hoping to reestablish his reputation, with a little help from kabbalah — and blackmail.
The story, co-developed by Dar and Rand, teeters between being a lighthearted farcical comedy and a drama about unfulfilled potential. Moishe’s ambition causes him to take comically big swings but also pushes him towards self-destruction. It’s not just the alcoholism he has to keep under control, which is hard to do in a community that celebrates almost every occasion by drinking, but his own ego.
The film fully immerses viewers in the Hasidic world — not one character is from outside of the community. The actors also speak Yiddish, which two of the actors — both ex-Hasids — knew already; Rand and his wife — who plays his wife in the movie — had to learn.
Although the tension in the film is between an Israeli and an American badhan, Dar explained that the conflict is really between old traditions and modern trends.
According to Dar, the badhan traditions Moishe uses originated in the shtetls of Eastern Europe in the 18th century and 19th centuries.
Meshulem doesn’t rely on old fashioned jokes and songs set to Klezmer music like Moishe does; he performs with backup singers, strobe lights, and a blaring electronic-dance music soundtrack. His style fits with that of the groom, who is first seen in Jerusalem with his tallit hanging down from under a designer hoodie.
Traditional badhans may not be flashy, but Dar believes they hold an important spot in Jewish culture.
“I think they’re in a way the origin of Jewish humor,” Dar said. “This specific humor, as we know it, is coming from this era of the diaspora, the late era of the diaspora, of the shtetls, and those who carried it were those badhans.”
Dar hopes this film, like Ushpizin, will help secular Jews connect with their Hasidic neighbors.
“The relationship between the Hasidic and the secular in Israel is very harsh,” Dar told me, but noted that cinema can create empathy. “You do identify with those people once you get in.”
Although The Wedding Entertainer depicts a culturally specific custom, Dar thinks the message is “something far more universal.”
“It deals with the limelight and with the desire for an audience for your art, as a comedian, as an actor,” Dar said. “And what are you willing to do for that? How far would you go?”
The Wedding Entertainer (The Tale of Moishe Badhan) will be screening at the Tribeca Film Festival on June 7 and June 14.
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Chaim Beer’s new book revolves around J. Opatoshu’s novella ‘A Day in Regensburg’
„לווייתן ברוח“ פֿון חיים באר
פֿאַרלאַג: עם עובד (2026)
303 זײַטן
די טעג איז אַרויס אין ישׂראל אַ נײַ, אייגנאַרטיק בוך, „לווייתן ברוח“ (אַ וואַלפֿיש אין ווינט), פֿונעם אָנגעזעענעם ראָמאַנען־שרײַבער און עסיייִסט חיים באר. דאָס איז דאָס 17סטע בוך זײַנע, וואָס אַלע פֿון זיי ווערן פֿאַררעכנט אין ישׂראל פֿאַר דער „סמעטענע“ פֿון דער העברעיִשער ליטעראַטור. איינער פֿון זײַנע פֿריִערדיקע ביכער האָט מײַסטעריש באַשריבן די באַציִונגען צווישן ח.־נ. ביאַליק, ש.י. עגנון און י.-ח. ברענער.
דאָס נײַע בוך איז אַ ביסל שווער צו דעפֿינירן: מע לייענט עס ווי עס וואָלט געווען אַ שפּאַנענדיקער ראָמאַן, אָבער עס געהערט גיכער צום זשאַנער פֿאַקטפּראָזע (non-fiction בלע״ז). אַלץ וואָס ער דערציילט אינעם בוך האָט טאַקע פּאַסירט. הייסט עס, אַז דער מחבר פֿון בוך איז גלײַכצײַטיק דער נאַראַטאָר: ער דערציילט וועגן פֿיגורן וואָס ער קען, מיט זייערע אמתע נעמען, און וועגן געשעענישן וואָס ער האָט אַליין דורכגעלעבט. און הגם „לווייתן ברוח“ איז געשריבן אין חיים בארס פּרעכטיקן העברעיִש — ער איז דאָך אַ גרויסער קענער פֿון די שפּראַך-אוצרות און דערצו אַ בקי אין די קליינע אותיות — האָט דאָס בוך אויך אַ סך צו טאָן מיט ייִדיש.
קודם-כּל, איז די הויפּטטעמע פֿונעם בוך יוסף אָפּאַטאָשוס נאָוועלע „אַ טאָג אין רעגענסבורג“, וואָס איז אַרויס אין יאָר 1933. און השנית, אין משך פֿונעם בוך באַקענט זיך דער מחבר (און דער נאַראַטאָר) מיט אַ ריי ייִדישע שרײַבערס און פֿאָרשערס — י. ל. פּרץ, ש. אַנ-סקי, מאַקס עריק, דבֿ סדן (שטאָק), חנא שמערוק און נאָך אַ סך אַנדערע ייִדישע פֿיגורן וואָס שטייען אויף תּחיית-המתים.
דער סיפּור-המעשׂה הייבט זיך אָן אין אַ ביכערקראָם אין ירושלים מיט פֿערציק יאָר צוריק. באר קויפֿט אַן עקזעמפּלאַר פֿונעם בוך „ספֿר חסידים“, אַן אַשכּנזיש-העברעיִשן חיבור פֿונעם 12טן יאָרהונדערט, און טרעפֿט צופֿעליק אינעם בוך נאָך אַ ביכל: די העברעיִשע איבערזעצונג פֿון יוסף אָפּאַטאָשוס ראָמאַן „אַ טאָג אין רעגענסבורג“ („יום ברגנספורק“). דער פֿאַרקויפֿער, וואָס איז נישט קיין עם-האָרץ, זאָגט אים: „זאָלסט וויסן אַז דאָס בוך איז אַ ווילדע מציאה!“ (די צוויי לעצטע ווערטער זײַנען אין בוך געשריבן אויף ייִדיש, ווי אַ סך אַנדערע ייִדישע אויסדרוקן וואָס באר ניצט).
אין אויטאָבוס, אויפֿן וועג אַהיים, הייבט באר אָן לייענען אָפּאַטאָשוס נאָוועלע, און תּיכּף ווערט ער אַנטציקט. היות ווי חיים באר איז אַליין אַ רעדאַקטאָר פֿון אַ ביכער-פֿאַרלאַג („עם עובד“), קווענקלט ער זיך, וואָס צו טאָן מיט דער נאָוועלע: זאָל ער אויסאַרבעטן די אַלטפֿרענקישע איבערזעצונג? זאָל ער עס איבערזעצן פֿון דאָס נײַ? צום סוף, קומט צו אים אין זינען גאָר אַ נײַער אײַנפֿאַל: אַנשטאָט איבערזעצן די נאָוועלע וועט ער דערציילן וועגן איר. במילא ווערט „לוויתן ברוח“ אַ דערציילונג וועגן אַ דערציילונג.
אין דער צווישנצײַט באַקענט זיך באר מיט דער געשיכטע פֿון דער אַלטער ייִדישער קהילה פֿון רעגענסבורג. די שטאָט געפֿינט זיך אין דרום־דײַטשלאַנד, צווישן מינכן און נירנבערג, אויפֿן טײַך דונײַ. דאָרטן האָבן אינעם 12טן יאָרהונדערט געלעבט די בעלי-תּוספֿות און די תּלמידים פֿון רבנו תּם. אינעם 13טן יאָרהונדערט, זײַנען דאָרטן באַרימט געוואָרן דער עטישער שרײַבער און קבליסט ר׳ יהודה החסיד מיט זײַנע תּלמידים, באַקאַנט ווי די „חסידי אשכּנז“ (די דאָזיקע „חסידים“ האָבן, אַגבֿ, גאָרנישט צו טאָן מיט די תּלמידים פֿונעם בעל־שם־טובֿ).
נישט געקוקט אויף די בלוטיקע קרײַצצוגן פֿון יענע צײַטן האָבן ר׳ יהודהס תּלמידים אָנגעשריבן „ספֿר חסידים“: אַ וויכטיקע שאַפֿונג פֿון אַ פֿאַנאַטישער און פֿאַנטאַסטישער פֿרומקייט און עס האָט זיך אַנטוויקלט אין רעגענסבורג אַ חשובֿע קהילה און אַ וויכטיקע ישיבֿה, וואָס זענען פֿאַרבליבן ביזן גירוש-רעגענסבורג אין יאָר 1519, ווען אַלע ייִדן זײַנען פֿאַרשיקט געוואָרן פֿון שטאָט. דער בית-עולם איז דעמאָלט פֿאַרשוועכט געוואָרן, און די מצבֿות האָט מען באַנוצט ווי בוי-מאַטעריעל.
אָפּאַטאָשוס „אַ טאָג אין רעגענסבורג“ דערציילט וועגן די לעצטע טעג פֿון דער ייִדישער קהילה דאָרט — אַ חתונה אין שטעטל, מיט כּלי־זמרים און חבֿרה-שוישפּילערס, פֿריילעכע באַנקעטן און באַלן — וואָס שטעלן זיך אָפּ מיט אַ מאָל, ווען די ייִדן באַקומען די בשׂורה פֿונעם גירוש. שטעלט באר אַזאַ קשיא: „צי האָט דער מחבר פֿון בוך באַנוצט אַ ליטעראַרישע טאַקטיק, כּדי די לייענערס זאָלן ווערן אַזוי באַצויבערט פֿונעם קאַרנאַוואַל, אַז זיי וועלן זיך נישט ריכטן אויף דער טראַגעדיע וואָס דערוואַרט זיי?“
במשך פֿונעם בוך לייענט מען ווי באר באַקענט זיך מיט פֿאַרשיידענע ענינים וואָס האָבן אַ שייכות סײַ מיט אָפּאַטאָשוס נאָוועלע און סײַ מיט רעגענסבורג. אָט, למשל, שילדערט אָפּאַטאָשו אינעם בוך אַ קאַרנאַוואַל, וווּ עס באַווײַזט זיך „דער שפּילמאַן“ — אַן אַרכעטיפּ אין דער ייִדישער ליטעראַטור וואָס אַ צאָל ליטעראַטור־פֿאָרשער האָבן באַצייכנט ווי אַ מין ייִדישער טרובאַדאָר, וואָס האָט כּבֿיכול געוואַנדערט פֿון איין קהילה צו דער אַנדערער. דערצו באַקענט זיך באר, און במילא די לייענערס, מיט אליהו בחור; מיט פֿאַרשיידענע ייִדישע אַרויסגעבערס און דרוקערס; מיט ייִדישע רופֿאטעס; מיט דער אויטאָביאָגראַפֿיע פֿון גליקל האַמעל און מיט נאָך אַ סך אַנדערע ווערק אין אַלט-ייִדיש און אין נײַ-ייִדיש, ווי „דער דיבוק“ און „בײַ נאַכט אויפֿן אַלטן מאַרק“.
צוזאַמען מיט בארן באַזוכן מיר געוועזענע ייִדישע אינסטיטוציעס, ווי די ענגע ייִדישע ביכערקראָם אויף ברענער גאַס אין תּל-אָבֿיבֿ. „וואָס ברענגט אײַך צו אונדז, חבֿר ׳בער׳, נאָך אַ שאָק מיט יאָרן?“ (אַזוי רופֿן זיי דעם שרײַבער מיט אַ טיפֿן ייִדישן אַקצענט.) ענטפֿערט ער אַז ער זוכט ביכער פֿון אָפּאַטאָשון. ער ווייסט גאַנץ גוט אַז די צוויי פֿאַרקויפֿערס „פֿילן זיך אַז זיי זײַנען די היטערס פֿון די אוצרות פֿון ייִדיש, און יעדעס מאָל וואָס זיי לאָזן אַרויס אַ בוך פֿון דעם שוץ-קעלער איז אַ פֿאַרברעכן, כּמעט ווי זיי וואָלטן עס מפֿקיר געווען“. צום סוף גיבן זיי אים דאָס בוך, אָבער מיט אַ וואָרענונג אַז אויב ער דאַרף עס נישט מער, זאָל ער עס אין גיכן צוריקגעבן.
אין חיים בארן איז אַ פּנים אַרײַן אַ מין רעגענסבורגער דיבוק: איצט וויל ער שוין אַלץ וויסן וועגן רעגענסבורג. כאָטש נאָך די צוויי גרויסע גירושים (דער פֿון 1519 און דער פֿון די נאַציס) איז גאָרנישט נישט געבליבן פֿון דער רעגנסבורגער קהילה, וויל ער זען יעדעס רעשטל מיט זײַנע אייגענע אויגן. פֿאָרט ער קיין רעגענסבורג זוכנדיק די ברעקלעך פֿון די ייִדישע מצבֿות, וואָס מע קאָן נאָך זען דאָ און דאָרטן אין די מויערן און אין די אַלטע הײַזער. ווײַזט זיך אויס אַז הײַנט צו טאָג קאָן מען אַפֿילו קריגן אין רעגענסבורג אַ מאַפּע, וווּ עס זײַנען מאַרקירט די גענויע ערטער פון די מצבֿות. גייט חיים באר זוכן „די נעכטיקע טעג“, וווּ ער אַנטדעקט, למשל, אַ מצבֿה פֿון אַ פּעסל בת יוסף, וואָס איז געשטאָרבן אין יאָר 1482.
אָבער פֿאַר וואָס איז חיים באר אַזוי פֿאַרכּישופֿט געוואָרן דווקא פֿון „אַ טאָג אין רעגענסבורג“? אַ פּנים פּרוּווט ער מיט דער הילף פֿון דער נאָוועלע פֿאַרשטיין ווי אַזוי מע לעבט אינעם שאָטן פֿון אַ קומענדיקן שטורעם. דאָס בוך „לווייתן ברוח“ איז געשריבן געוואָרן אין דער צײַט פֿון דער קריג וואָס האָט זיך אויסגעבראָכן דעם 7סטן אָקטאָבער 2023, און וואָס האָט, צום באַדויערן, זיך נאָך אַלץ נישט געענדיקט. אין די כּמעט דרײַ יאָר האָבן מיר, ישׂראלים, אַ סך געטראַכט וועגן די טראַגעדיעס וואָס מיר און אונדזערע שכנים האָבן איבערגעלעבט, און וועגן די וואָס קאָנען נאָך קומען, חלילה.
„הגם די נאָוועלע פֿון אָפּאַטאָשו דערציילט וועגן דער ווײַטער פֿאַרגאַנגענהייט — שרײַבט באר — פֿאַרנעמט זי זיך אין דער אמתן מיט אַן אייביקער מענטשלעכער סיטואַציע: ווי מענטשן קען זײַן אַזוי קורצזיכטיק און נישט זען די דראַמאַטישע און קריטישע מאָמענטן וואָס לויערן אויף זיי.“
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