Features
Decision to invite former member of Nazi-aligned Ukrainian military unit to House of Commons raises questions about why he was allowed into Canada in the first place

By BERNIE BELLAN (Originally published Sept. 25 in The Jewish Post & News)
The storm that erupted over the revelation that a former member of a Ukrainian unit that fought with the Nazis during the Second World War was invited to attend the appearance by Ukrainian President Volodymyr Zelensky when he spoke to the House of Commons on Friday, September 22, has led to a whole series of questions:
- Who is Yaroslav Hunka, the 98-year-old Ukrainian-Canadian who received a standing ovation from members of all four parties in the House of Commons on Friday, September 22, when he was introduced by House of Commons Speaker Anthony Rota prior to Ukrainian President Volodymyr Zelensky’s speech in the House of Commons?
- What was the Wafen-SS Galicia Division (also known as the SS 14th Wafer Division)?
- How is it that many former members of the Wafen-SS Galicia Division were allowed entry into Canada following World War II?
- Why was there no vetting of Hunka by anyone prior to his having been invited to attend the House of Commons on September 22?
The fierce reaction from various Jewish Canadian groups, including the Friends of Simon Wiesenthal Centre for Holocaust Studies, B’nai Brith Canada, and the Centre for Israel and Jewish Affairs, was unrelentingly critical of the decision to invite Hunka to attend Zelensky’s appearance in the House of Commons.
Hunka’s past participation in the Wafen-SS Galicia Division was well known. As an article that appeared on Wikipedia on September 24 noted: “Yaroslav Hunka (Ukrainian: Ярослав Гунька; born c. 1925) is a veteran of the 14th Waffen Grenadier Division of the SS (1st Galician), a Nazi Germany military formation. Hunka was born in Urman, then in Poland, and volunteered for SS Galizien in 1943. He emigrated to Canada after the conclusion of World War II. In 2023, Hunka made international headlines after he received a standing ovation from the House of Commons of Canada, and was recognized by Canadian prime minister Justin Trudeau and Ukrainian president Volodymyr Zelenskyy. Later, it was revealed Hunka was affiliated with Nazis, and Canadian government officials apologized to the worldwide Jewish community. Hunka is retired and lives in North Bay, Ontario.
Biography
“Yaroslav Hunka was born in
“Yaroslav Hunka was born in Urman, Second Polish Republic (now Ukraine) c. 1925. In 1944, Hunka was deployed into combat against Red Army forces on the Eastern Front of World War II. Following the conclusion of World War II in Europe, Hunka immigrated to Canada and joined the Ukrainian-Canadian community.] As of 2022, Hunka lived in North Bay, Ontario, and travelled to Greater Sudbury to protest against that year’s Russian invasion of Ukraine.”
The question why so many former members of a Ukrainian military unit that fought for the Nazis were allowed into Canada following WWII is laced with controversy. A website that is very sympathetic to Russia lists a number of very serious allegations about Canadian complicity in allowing those individuals into the country:
“In the immediate postwar period, Canada’s then Liberal government, working in close cahoots with US and British intelligence, opened Canada’s doors to Ukrainian Nazi collaborators. These included members of the infamous 14th Grenadier Division of the Waffen SS, also known as the Galicia Division.
“The scale of the influx of Nazi collaborators only became public knowledge in the 1980s. A comprehensive study carried out by Alti Rodal on behalf of the federal government-appointed Deschênes Commission of Inquiry on War Criminals in Canada uncovered records proving that US intelligence agents in Europe had funneled Nazi collaborators from Eastern Europe through the Canadian immigration system using false papers. Rodal revealed that large numbers of identically typed applications were received by Canada’s immigration department from one address in West Germany. On closer inspection, this address turned out to be a US military base.
“The Progressive Conservative government of Brian Mulroney established the Deschênes Commission in 1985, in response to a mounting public outcry over exposures of Nazis and Nazi accomplices who had found a safe haven in Canada and tasked the inquiry with identifying Nazi war criminals residing in Canada.
“Around the same time, the Simon Wiesenthal Center estimated that upwards of 2,000 Nazis and Nazi collaborators emigrated to Canada in the years after the war. A quarter-century later, in 2011, it would give Canada an “F minus” in its annual report ranking countries on their efforts to prosecute war criminals. This placed Canada on a par with Ukraine and the former Baltic republics, i.e. countries where the right-wing, nationalist regimes that have emerged since the Stalinist bureaucracy’s dissolution of the Soviet Union openly venerate the ultranationalists who aligned with the Nazis when they invaded the USSR.
“War criminals in Canada
“A significant number of those who made their way to Canada were members of the Nazi SS’s Galicia Division, which was made up of Ukrainian nationalist volunteers who fought on the side of the Wehrmacht against the Red Army during the Nazis’ war of annihilation against the Soviet Union. This preplanned onslaught—launched in June 1941 when a 3 million-strong force comprised of German troops, their Axis allies and fascist volunteers invaded the Soviet Union—led to the deaths of 27 million Soviet citizens and the Holocaust.
“In waging war, suppressing the population, and pursuing the annihilation of the Jews, across Eastern Europe and above all in the USSR, Hitler’s Wehrmacht and SS shock troops relied on the loyal collaboration of ultraright-wing, anti-Semitic forces. Among the Ukrainian nationalists, in both occupied Poland and the USSR, the Nazis found eager collaborators. The Galicia Division was formed in 1943 out of a faction of the Stepan Bandera-led Organisation of Ukrainian Nationalists Bandera (OUN-B) and fought with the Nazis against the Red Army throughout 1944.
“Massacres perpetrated by the division against Polish and Jewish civilians have been well documented, including at Huta Pieniacka, Podkamien, and Palikrowy. At Podkamien, 100 Polish civilians were massacred in a hilltop monastery, and at least a further 500 in surrounding villages as the Red Army approached the German-occupied area in March 1944.
“Members of the Galicia Division were initially prohibited from entering Canada due to their membership in the SS. But in 1950, Britain made an appeal to the Commonwealth for volunteers to accept a total of 9,000 division members who were at that time residing in the UK after being disarmed by British troops at the war’s end.
“When Canada’s External Affairs Department, prompted by complaints from the Canadian Jewish Congress (CJC), raised concerns about the division’s ties to the Nazis and role in Nazi atrocities, the British government insisted that it had carried out background checks. “While in Italy these men were screened by Soviet and British missions and neither then nor subsequently has any evidence been brought to light which would suggest that any of them fought against the Western Allies or engaged in crimes against humanity,” claimed the British Foreign Office. “‘Their behaviour since they came to this country, added London, ‘has been good and they have never indicated in any way that they are infected with any trace of Nazi ideology.’
“With this letter serving as political cover, Prime Minister Louis St. Laurent and his cabinet declared that Galicia Division members would be permitted to immigrate to Canada unless it could be proved that they had personally committed atrocities against civilian populations based on ‘race, religion or national origins.’ Simply having been a Galicia Division member would not be considered a valid reason to prevent entry, even though after the war all Waffen-SS members had been deemed complicit in war crimes.
“The immigration of Nazi and Nazi-allied war criminals continued for more than a decade after the war and was a significant factor in Canada’s emergence during the Cold War as a political-ideological centre of far-right Ukrainian nationalism.
“Speaking to a CBS “60 Minutes” programme in 1997, Canadian historian Irving Abella, who is currently Professor for Canadian Jewish history at York University, bluntly summed up the political climate of the time. ‘One way of getting into postwar Canada,’ he said ‘was by showing the SS tattoo. This proved that you were an anti-Communist.’
“Ottawa carried out this policy in close collaboration with US authorities, who similarly permitted ex-Nazis to settle in the US and recruited hundreds to act as spies against the Soviet Union and the Soviet-allied regimes in Eastern Europe. According to investigative reporter Eric Lichtblau, up to 1,000 former Nazis were made use of by the CIA in Europe, within the US itself, the Middle East, and in Latin America.
Yet, other historians dispute the notion that Canada became a safe haven for Nazi and Nazi-allied war criminals. In a book titled , written by historian Howard Margolian, and reviewed by Urs Obrist in 2002, Obrist writes the following:
“Even though the debate on the admission of Nazi war criminals to Canada after World War II seemed to have reached its apex in the mid-1980s, with the investigation of the Jules Deschênes Commission and its inquiries on war criminals, the issue has continued to stir historical interest in the 1990s and beyond.[1] This recent publication by Howard Margolian, Unauthorized Entry, revises the widely held view that Canada has been a safe haven for Nazi war criminals. Margolian is a Canadian historian with a special interest in the history of World War II and Nazi-occupied Eastern Europe. As the author of Conduct Unbecoming, he has already shed light on the story of the murder of Canadian POWs in Normandy and the trial and fate of the SS-General Kurt Meyer.[2] In Unauthorized Entry, Margolian challenges and refutes accusations stating that the King and St. Laurent governments had been negligent in the admission of Nazi war criminals and collaborators to Canada.
“His study concludes that neither the immigration bureaucracy, nor the immigration lobby in Canada, nor the western intelligence community were as responsible for the influx of about 2000 war criminals and collaborators as has been generally assumed. Instead, he argues, the blame is to be put on the war criminals and collaborators who gained entry to Canada by forged identities or by giving false information about their wartime history. The great majority of Nazi war criminals and collaborators who settled in Canada after the Second World War were admitted not on purpose, but as a result of the absence of, or inaccessibility to, information about their wartime activities. Margolian summarizes that, in view of the benefit drawn from the immigration of the 1.5 million immigrants arriving in Canada between 1945 and 1955, it was worth taking the risk and admitting some 2000 war criminals to Canada.”
However, in his review of Margolin’s book Obrist notes that the Canadian government made exceptions for three categories of immigrants – who were not denied entry even if they might have had Nazi connections: “German scientists, Estonian refugees from Sweden and former members of the Ukrainian SS-Division ‘Galicia’.”
As for how the Speaker of the House of Commons could have completely overlooked Hunka’s past membership in a Nazi-affiliated unit during WWII, Rota released a statement late Sunday afternoon saying he recognized an individual in the gallery on Friday, and that he has “subsequently become aware of more information which causes me to regret my decision to do so.”
“I wish to make clear that no one, including fellow parliamentarians and the Ukraine delegation, was aware of my intention or of my remarks before I delivered them,” he wrote.
“I particularly want to extend my deepest apologies to Jewish communities in Canada and around the world.”
The statement does not make clear what Rota is apologizing for, and it does not name Hunka or give any details about what information Rota learned about him since Friday.
Features
Is Netflix’s new show the most Jewish cartoon ever?

Nearly every episode in ‘Long Story Short,’ from the creator of ‘BoJack Horseman,’ revolves around a very Jewish moment
By Mira Fox, PJ Grisar, Olivia Haynie and Nora Berman August 22, 2025
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
The following contains light spoilers for the Netflix show Long Story Short.
The Schwooper family, the central figures in the new animated Netflix series Long Story Short, are diverse and unique — religious and atheist, gay and straight, farmers and businesswomen. Simultaneously, they are basically like every Jewish family you’ve ever met.
Naomi (Lisa Edelstein), the family’s domineering matriarch, is constantly nagging her kids to do better — her youngest son Yoshi (Max Greenfield) should be more professional; Shira (Abbi Jacobson), the middle child, should wear more dresses; her oldest, Avi (Ben Feldman) should be more observant. Her kids are constantly rolling their eyes and responding with sarcastic jabs. You’ve certainly seen this family. Maybe you’ve lived it.
The show, from animated hit BoJack Horseman’s creator Raphael Bob-Waksberg, isn’t linear; it jumps across the decades to show us snapshots of the young Schwoopers circa day school as well as their own parenting during the COVID pandemic and its aftermath. (Season 1 ends in 2022.)
Though the Schwoopers face crises that could befall any family — like Yoshi signing up for a multi-level marketing scheme involving spring-loaded mattresses — many of the show’s plotlines grapple deeply with Jewish identity.
Avi wonders if being Jewish simply means staying insular, eating fish that looks like a brain and being constantly afraid; Yoshi has a bar mitzvah crisis, struggling with what the rite means if you don’t believe in God; Shira is desperate to get her kids into day school, and is convinced it is only through making her mother’s knishes that she can win the administration’s approval.
The show takes a thoughtful, specific approach to Jewishness. But it also feels no pressure to explain itself, leaving plenty of Jewish moments that might not land, or even make sense, if they don’t reflect your experience.
Which left the Forward’s culture team with a lot to chew on. Who is Long Story Short for, and what is it saying? Read on for our discussion.
Jewish representation and Jewish clichés
Mira: I really liked that this show was not heavy-handed with its depictions of actual Jewish practice and identity. And I loved that we had a lot of really realistic different depictions. We have the oldest brother, Avi, who has sort of rejected Judaism, and resents it; he married a non-Jew and isn’t raising his daughter Jewish. Then there’s Shira, the middle child, who is gay — but even though her family looks different, she has pretty much stayed true to the Conservative Judaism she was raised with, and is sending her kids to Jewish day school. And then there’s Yoshi, the youngest, who ends up forging a totally different Judaism from his family, after a winding and experimental journey. I know lots of Yoshis and Avis and at least a few Shiras.
That being said, some characters’ sort of Jewy affect did rankle me a little. My mom and particularly my maternal grandmother absolutely do fit the show’s depiction of an overbearing Jewish mom. But as accurate as that feels to me, it also feels a little overdone; haven’t we told the jokes about the nagging Jewish mother enough times? It felt like a little bit of a cop-out because it’s such a trope. It’s an easy way to make a show feel really Jewish, but not an interesting one.
Nora: At first, I felt like the show was building up to be a deeper revelation about who Naomi was. There’s a really moving moment in an episode that flashes back to when she was a kid, and she cuts herself with a brooch to get her chaotic family’s attention. I thought, OK, we’re finally getting into it, this will be the episode where we learn who Naomi is. But it didn’t get explored.
Similarly, with Avi, I wanted to know what the roots of his Jewish disaffection were. He just comes off as a grump that Shira makes fun of for being a self-hating Jew. There were moments where I thought we’d get a deeper character study, and it didn’t fulfill that promise.
PJ: I think part of what it’s trying to do, with this fractured storytelling, is reflect the flow of when you’re with family and you’re remembering things. The conversation is discursive, it goes back and forth in time. We don’t talk about these things in a linear way.
The show feels like a blank check for Raphael Bob-Waksberg to make whatever he wanted after this huge success with BoJack Horseman, which was a weird and funky show, basically about Scott Baio as a horse (and a Democrat). What is interesting about Long Story Short was that it is living in this real place of specificity and isn’t afraid to do that.
Based on my conversation with Bob-Waksberg, he didn’t want to be boxed in. So it’s a Jewish show that’s not about antisemitism. And it doesn’t want to touch Israel because it’s just not interested in that. These people have rich Jewish lives and through these three siblings we have this dialectic with different ways to engage with being Jewish. I found it refreshing.
On the show’s approach to diversity
PJ: I want to talk more about the Nicole Byer character, Shira’s wife, Kendra. When we first meet her, it is clear she’s Jewish. And I think we were all hoping that it wouldn’t be explained, because why would we have to; Black Jews exist. But then it’s revealed that she’s a convert, and we have this moment with her in the Vidui prayer on Yom Kippur. And the story we’re given about how she ends up finding Judaism feels a little contrived.
Olivia: That’s something I thought a lot about. Black Jews are still treated as an anomaly, as something that needs explaining. When they meet at the grocery store while shopping for Rosh Hashanah dinner, the show seems to make fun of Shira for being so presumptuous when she tells Kendra that it’s nice she got invited to a Rosh Hashanah dinner. Kendra asks, “Why are you assuming, how do you know I’m not hosting?”
But then in the next episode, it sort of seems like she was right to assume that. We find out that Kendra became interested in Judaism as a way to explain a sudden absence from work without getting in trouble. It was very Black Cindy from Orange is the New Black — she’s converting to get something out of it. They turn it into a genuine moment, but why did she need to be swindling her way out of something?
I also think the show oversimplified how accepting Naomi would be of a Black daughter-in-law. She can’t stand Avi’s “shiksa” girlfriend, but Kendra is perfect? From what I know about interracial relationships, I wouldn’t say that is likely.
Mira: I think the smoothing of how diversity is received in general was interesting. Not just with Kendra’s conversion moment, but also with her and Shira being queer. It’s not really touched on if that would be an issue for them at all in the synagogue or day school or with any of the family, and I think it almost certainly would be, at some point.
The audience for the show
Mira: I wonder what the sell for this show is. I know that I am overwhelmed every time I open a streaming app by the sheer volume of new shows I’ve never heard of. And if there’s not some big monocultural show like Succession that everyone is watching, or nothing that I go in searching for, I have trouble choosing. While “cartoon about Jewish family” obviously will appeal to a certain set of Jewish families, who else is going to watch that? I’m sure some BoJack fans will watch, of course, but I wonder if they will stay.
Nora: What is Raphael Bob-Waksberg saying about Judaism? We think he got a blank check to make this show, and he does present this diversity of American Judaism. But I’m still curious about which parts he chooses to tease out more and which he doesn’t and why.
Olivia: It feels like the show is really for Jews. I really couldn’t imagine non-Jews watching this. I was thinking it will be a word-of-mouth show, like they read about it in the Forward or hear about it from their kids.
I think there’s things you just can’t understand if they’re not explained to you. Like when Naomi explains their observance level.
PJ: The way Naomi describes their practice is “progressive, Conservative, ritual over faith and blind practice. That’s literally the only way it makes sense.”
Olivia: That makes perfect sense to me because it’s like my grandparents. My grandmother would cook bacon, and they didn’t believe in God, but it was super important to them that their grandkids were raised Jewish in a synagogue. But when my mom stopped eating shellfish and pork, her parents never knew because they’d make fun of her — that’s too observant. Even though they were huge members of their congregation.
That said, I did think that some of the references that would have been inside jokes will make sense because of how much Jewish organizations have been in the news, like a bit about a bar mitzvah check that’s a donation to the ADL.
Mira: I agree that a lot of stuff is going to fly over some non-Jews’ heads, or even some Jews’ heads. But I also think that is what makes this show good, and not annoying or didactic. I’ve written so many reviews of Hallmark Hanukkah movies complaining about how they feel the need to put in these awkward, forced explanations. A character will say something like: “Hey, do you want to come spin the dreidel? It’s my favorite traditional Hanukkah game! Gee, I just love those chocolate gelt coins.”
If I don’t want a show to explain every little Jewish thing, I think it looks like Long Story Short. Maybe not everyone gets every joke. But that means it is going to be a richer text for Jews. Even in places where I maybe wanted more development, I didn’t need it. I know so many people who have, for example, converted or are in an interfaith relationship, so I have a depth of references that I extrapolate from to enhance or enrich my understanding of the characters.
What does the show say to Jews?
PJ: I think that it’s not meant to be prescriptive or say anything definitive. When I spoke to him, he said he had a lot of ideas and he didn’t feel the need to decide anything. He could just let the characters talk through things. Which I think is not a cop-out, actually, it’s a very Jewish approach.
Nora: It’s refreshing that it’s not about what it’s like to be a Jew after Oct. 7. It’s not that it doesn’t deal with deep themes, but it’s just a family of Jews existing, and we don’t need to explain anything about it. They deal with maybe internalized antisemitism, or grief, or wrestling with how they want to be Jewish in the world. But it’s not so angsty.
Mira: Because Abbi Jacobson from Broad City plays Shira, I was thinking a lot about Broad City while I watched, and where Long Story Short fits into the canon of Jewish media.
I felt like Broad City offered a new model of Judaism for our generation, where some of these old tropes about nagging Jewish mothers or Jewish American Princesses or Jewish guilt were present, but the characters didn’t feel weighed down by them. The show offered this very empowered version of Jewish femininity that wasn’t about competing against shiksas or being scolds. Abbi and Ilana got to be fun and irreverent in their Jewishness, like when they made a huge deal about fasting for Yom Kippur and then broke it with bacon, egg and cheese sandwiches and didn’t feel bad about it at all.
I think Long Story Short is very much about the younger generation trying to figure out their relationship with Judaism, but it doesn’t offer as clear of an idea of how they do so as Broad City did. But it’s clear that all the children feel some need to reinvent their Jewishness.
Olivia: Crazy Ex-Girlfriend is one of the shows that comes to mind for me, and the mother in that has so few redeeming qualities. There’s that whole song, “Remember How We Suffered,” that’s talking about how the only thing Jews do is talk about the Holocaust. There’s really no representation of Judaism outside of it being a chore. And Broad City was refreshing in that way — the mother in it was a stereotype, but she and her daughter have a great relationship.
I think Long Story Short was refreshing in the sense that Judaism isn’t only a burden, there’s a value and a richness to it.
PJ: I think this show is continuing in a longer tradition, maybe starting with Philip Roth and Portnoy’s Complaint, of Jews writing without their own institutional PR in mind. Not to make us look noble or good, but to present us as openly flawed. That continues on through the Coen brothers and A Serious Man, where it’s incredibly Jewish but not particularly flattering. Now we’re at this point where we don’t have to care so much about making a political statement or to dig so hard to critique our own community. It’s more tender, it’s coming from less of an angry place, but it still feels part of that tradition. We can approach with love but with an awareness that some stereotypes exist for a reason.
Like there’s this shyster-y lawyer character, the uncle, played by Danny Burstein. We go back and we see the family has a running joke about him. It is acknowledging that this uncle guy is a type of person who exists, but it’s also the type of person we make fun of — they’re a source of humor. We’re all in on the joke.
Nora: I kept thinking about the show Transparent; I think it is just sort of nice to see a family with a lot of tenderness going through these evolutions and challenges without having to justify it. It doesn’t shy away from stereotypes, but lovingly engages with them.
I also really appreciated the way it was talking about what it’s like to be marginalized as a Jew in America without it being didactic or political. I’m thinking of the episode where they go to school for a Christmas show, and the songs — one of them has the lyrics “Hanukkah, Ramadan, Kwanzaa too — we tolerate them all, but there’s nothing like Christmas!” That is exactly what it’s like to be a Jew in America at Christmas, where everyone is goading you to just participate because everyone loves Christmas. It’s just such a specific experience that I’d never seen represented.
Mira: Long Story Short might not give a lot of factual information about what it means to keep kosher or anything like that, but I think it does a good job at presenting Jews of all levels of observance as normal people who are also a relatable American family.
What do we want to see in the second season?
Mira: I’d love to see Shira’s coming out, and the first time she brought Kendra home, to know how her family came around to loving her wife so easily. I also want to see more of Yoshi’s Jewish journey, which is clearly winding; I feel like he definitely took a Buddhism pit stop at some point, maybe while he worked on the goat farm and smoked a lot of weed.
And I think I want to see the grandparents’ generation, and with it, more about how Naomi and Elliot — but particularly Naomi — grew up. I want to see a bit more of her tenderness; we get glimpses, but that’s it.
Nora: I want to see how Naomi and Elliot met. I also would love a bris episode for Shira’s kids, Walter and Benjamin — I think that would be hilarious. I also want to know what happened with Avi and his ex-wife’s marriage; I have the impression it has something to do with his relationship with Judaism.
Olivia: There’s a scene in the opening episode where Avi makes a joke in the car and it relieves some tension and he and Naomi make eye contact in the rearview mirror and smile. It shows they have this deep, sweet, special relationship that kind of falls apart by the time he’s an adult. I want to know more about him.
I’d be curious to know more about Kendra’s family; we get a bit of them in that one episode on her conversion, but I’d love to see where her family is now after she has converted. I’d like to know more about ָָAvi’s teenage daughter and how she sees her family. And maybe more about their lives outside the family, like with friends — I have no idea what Shira does for work.
PJ: I imagine Shira is an academic who wrote her dissertation on Walter Benjamin, and that’s why her two kids are named Walter and Benjamin.
Mira Fox is a reporter at the Forward. Get in touch at fox@forward.com or on Twitter @miraefox.
PJ Grisar is a Forward culture reporter. He can be reached at grisar@forward.com and @pjgrisar on Twitter.
Olivia Haynie is an editorial fellow at the Forward.
Features
New biography of Carole King explores the musical genius of America’s most successful female singer-songwriter

Reviewed by BERNIE BELLAN
Carole King (born Carol Klein in 1941) is arguably the most successful female singer-songwriter of all time. With over 75 million record albums sold and with 118 songs that she either wrote or co-wrote, King’s prolific and fabulously successful career has been the subject of several books and numerous articles, including her own memoir, published in 2012, which was titled “Carole King: A Memoir.”

Now, in a soon-to-be-released book, titled “Carole King: She Made the Earth Move,” journalist Jane Eisner takes a fresh look at King’s life, including her two most recent marriages (which King tends to gloss over in her own memoir, according to Eisner) to two men who were abusive to King, both physically and mentally.
Eisner herself has had a very successful career, having worked at the Philadelphia Inquirer for 25 years in various positions, including as a reporter, editor, and executive. Later, she spent 10 years as editor of The Forward, a leading American Jewish newspaper (which has now transitioned to an online version only and can be read for free at forward.com.)
The book is the latest addition to a series of books produced by Yale University Press titled “Jewish Lives.” According to the Jewish Lives website, “Jewish Lives is a prizewinning series of biography designed to explore the many facets of Jewish identity.
“Individual volumes illuminate the imprint of Jewish figures upon literature, religion, philosophy, politics, cultural and economic life, and the arts and sciences.
“Subjects are paired with authors to elicit lively, deeply informed books that explore the range and depth of the Jewish experience from antiquity to the present.”
In Carole King’s case, however, King has given very few interviews over the years and Eisner was not able to speak to King directly. In explaining how she approached this book, Eisner writes: ” I’ve taken on the challenge to write an interpretive biography of a musical icon who is brilliant, accomplished, and complicated.
“This book was quite a journey. Though I’ve admired her music since Tapestry was released, I wanted to understand it from the inside out. To do that, I studied piano for two years, which enabled me to dissect her musicality and describe what musicians call the ‘Carole King chord.’
“Carole King was her own kind of trailblazer — she often led recording sessions in a studio full of men as she defied expectations of what a woman can and should do. I can relate. Often being the only woman in the room deeply shaped my outlook, too. It made me aware of the stories we weren’t telling and the perspectives that escaped our attention; it also made me try hard to pay it forward, and to help younger women achieve their own professional dreams.
“Ambition and anxiety, accomplishment and regret – all those conflicting emotions have laced through my personal and professional lives. That’s one reason I was drawn to write about Carole King. She faced that juggling act from the highest levels in her field. ‘My baby’s in one hand, I’ve a pen in the other,’ as she memorably wrote.”
I hadn’t realized that Eisner did not have a background in music until after I finished reading her biography of King. That makes what she has produced all the more admirable, as a great many parts of the book dissect the song writing experience in great detail. In fact, if you don’t know how to read music (which, I admit, I myself don’t), you will probably be at a loss trying to understand many parts of this book. Eisner aims to do her best to explain the genius that lay behind KIng’s best works – and how incredibly varied her style was.
Anyone who has seen the Broadway musical about King, titled “Beautiful: The Carole King Musical,” would have an appreciation for just how gifted King was. As Eisner explains, King’s musical talent was on clear display from a very early age. Her mother, Eugenia (née Cammer) discovered that young Carol (who added an “e” to her name when she left home when she only 17 to try to forge a career in songwriting, and changed her name from Klein to King) was very gifted musically already by the age three. Eugenia taught Carol piano herself, including music notation and proper note timing.
In Eisner’s account of King’s childhood, her early years come across as very happy. The book’s introductory chapter delves into both Carole’s mother’s and father’s family histories, going all the way back to Europe in the 1800s. King’s father, Sidney, was a firefighter in Brooklyn, where the family lived but, along with several other Jewish firefighters, Sidney purchased land on a lake in Connecticut called Lake Waubeeka. Young Carol loved her summers spent in what were very rustic conditions – and Eisner suggests that early childhood experience played a pivotal role later in King’s life when, after having achieved fabulous success – beginning with the release of her seminal album, Tapestry, in 1971 – soon to be followed by a prodigious number of other albums, King threw it all away and went to live in the Idaho wilderness – with two different husbands in succession, as mentioned, who both treated her cruelly.
Since King has remained largely silent about what led her to take such a major shift in her life – when she was still only in her 30s, moving away from the vibrant music scene of Los Angeles, where King had produced her greatest work, only to virtually cut herself (and three of her four children) from the world, Eisner uses her reportorial skills to pore through previous accounts of King’s life (including, of course, King’s own memoir), along with first hand interviews of many of the individuals who played key roles in King’s life, to try to understand how King could have changed gears so dramatically.
Eisner also refers to King’s younger brother, Richard, who was intellectually disabled and shunted off to live in an institution when he was only three. Since King rarely referred to him, Eisner speculates that King was somewhat traumatized by that experience – and that it might have played a role in the trauma that surfaced later in her life when she entered into marriages to two different – and abusive men – along with the trauma she endured when she found out her first husband, Gerry Goffin, had been unfaithful to her.
Since this book is part of a series called “Jewish Lives,” Eisner spends a fair bit of time examining how much being Jewish meant to Carole King – when, in her early years, for instance, she met Gerry Goffin, who was her first husband and first songwriting partner – and whom she married in a typically Jewish ceremony. After she was finally able to put the disastrous marriages to her last two husbands behind her, King once again returned to her Jewish roots, albeit in a spiritual form, but not with any particular involvement in the Jewish community, per se.

As Eisner writes toward the end of her book, “Throughout her very long career, King has displayed an anguished and conflicted attitude toward the public celebrity expected of her as an iconic musician. The yearning for privacy and the consequent fear of exposure, gripped her early on. Even though she had performed as a child, and sought the spotlight as a teenager, she often recoiled from it as an adult, especially as a mother. She complained about being so far away from her family when she was touring – indeed, wrote the definite song about just that experience – and yet grew to relish live performance with the same zeal and affection as she did when recording in a closed studio.”
The Broadway musical about King ends with the dissolution of her marriage to Goffin. Anyone who would have seen that show and might have been curious about what happened next in King’s life would find the answers in “Carole King: She Made the Earth Move.” Eisner notes that King’s second husband, Charles Larkey, was also Jewish and, like Goffin, was introduced to King through music, as Larkey was an accomplished musician who collaborated with King on many of her albums. But Larkey was five years younger than King, and Eisner speculates that the age difference played a major factor in their growing apart.
As talented as King was, she was also very much a devoted mother who was determined to stay at home with her children – two born while she was with Goffin, and two with Larkey. Eisner describes King’s initial reticence about playing her music in public – and the gradual ease she felt playing in front of larger and larger crowds, culminating in a concert in Central Park in 1973 with over 100,000 people in attendance.
“Carole King: She Made the Earth Move” is not meant to be an exposé of any sort. It’s written in a very professional, reportorial style. Eisner’s years of newspaper experience shine through, as she tells a very compelling story of genius punctuated by frequent heartbreak. Of course, anyone who has listened to Tapestry or some other of King’s albums of that era would be well aware that she fully used music to express her emotion. But Eisner also analyzes some of King and Goffin’s early – and greatest songs, such as “Up on the Roof,” “Will You Love Me Tomorrow?” and “You Make Me Feel Like a Natural Woman, ” to show that King was a musical genius from the very beginning – and that she knew exactly how to elicit an emotional response to her most heartfelt songs.
“Carole King: She Made the Earth Move” is set to be released September 16, according to information available online, but you can pre-order the book from a number of different sources.
“Carole King: She Made the Earth Move”
By Jane Eisner
Yale University Press
Set to be released Sept. 16, 2025
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