Features
My memories of Peretz Shul
By KINZEY POSEN It was a late Friday afternoon at Peretz Shul in 1964 or so. A good friend of mine at the time whose Yiddish name was Moishe said, “That’s it! I’m not coming back to school on Monday, I’m out of here!” Ok, as an 11 year old, he might have said it in a slightly different way. It was the first day of school in September and we were just about to go home. “Sure you are Moishe, I’m sure you’ll be back on Monday,” I told him.
Kinzey’s Grade 1 Peretz School class circa 1960
(Thanks to Sandy Shefrin for helping with identifying almost everyone; comments supplied by Kinzey)
Bottom Row crosslegged, left to right: Arthur Greenspan, unidentified, Matthew Levin (a.ka. Moishe in the story)
Second Row (l-r): Paula Wolfman, Rosa Scyzgiel, Shirley Starek, Myra Miller, Faye Golubchuk, Ruthie Rosenzweig,, Honey Leah Berman, Marcie Fleisher
Third Row (l-r): Diane McKay, Lucy Baumel, Janice Goldberg, Howard Kaplan, Sandy Shefrin, Heather Wallace, Pammy Zimmer (Kinzey’s wife, Shayla Fink’s first cousin, a beautiful person (alev hasholem)
Top row (l-r): Sidney Lieber, Martin (Kinzey) Posen, Sheldon Weidman, Harvey Zahn, Harvey Koffman (my first cousin) , Sidney Shoib, Morris Glimcher, Shawn Zell, Miss (Claire) Nelko (who is now Claire Breslaw)
Come Monday, true to his word, my friend did not come back. He had entered an alternate dimension it seemed; he was finished with Peretz Shul! Unheard of! Impossible! How did he do it? Moishe’s act of sedition was a reaction to the Yiddish teacher we had been blessed with that year and he was done. All of us in the class were in awe and Moishe, no worse for wear, having left the school, went on to become a respected ambassador for Canada’s Foreign Service.
A little while back, Bernie asked me to write about Peretz Shul from a different perspective: My own, as a student. I have often wondered why this institution. for those of us who went there, lives so large in our memories. Full disclosure: My grandmother Katya Posen Z’l, nee Gurarie, was one of the founders of Peretz Shul and a lifelong member of the Muter Farein – the women’s organization that helped establish the kindergarten and supported the school.
My father, Abe Posen, attended the school as did his sister, my aunt, Goldie Zuidema Z”l. My dad often told me stories of how various teachers at Peretz used to rent one of the rooms in their house on Burrows. To put it mildly, our family was steeped in Peretzness.
My era began in 1957 when I attended nursery school and then, kindergarten. To this day, I can still smell the matches when our teacher lit the Shabbat candles on Friday and we laid out our little mats to have a nap on. Being a socialist school for the most part, you would think Shabbat would not have been part of the school experience, but I have so many great reminiscences of those two years from making little coloured paper rings several metres long, to receiving the right colour star if we behaved. I loved getting those silver and gold ones alongside my name on the wall – wonderful, warm memories.
Our principal in those early days was Chaver Herstein – an imposing man with a wonderful head of hair and a bit of a temper. We called all our teachers by either “chaver” or “chaverteh” which, in this context, translated to “comrade”. We also called them Leher or Leheren – teacher in Yiddish. Our school was located at 601 Aikins, between Inkster and Polson Avenues. How do I remember the address? Early on as soon as we could write, we always wrote the address at the top of the left corner of the sheet of paper. Now, the building is a health community centre. Once we entered Grade One, our days were separated into half day Yiddish and half day English classes.
Grade One for me – and I am sure for my classmates, was a truly seminal experience. Pushed out of the warm bosom of kindergarten, Grade One meant getting down to serious work. Reading, see Dick run, see Jane run, see Dick and Jane run, writing, singing and my own personal challenge………arithmetic. Our Yiddish teacher, Miss Nelko, was the most beautiful woman who genuinely cared about her students. We loved her and she laid the groundwork for us learning Yiddish and how to be little menches and menchettes. Many years later, Shayla and I received a call about playing a wedding for an older couple. They came over to our house one evening and as we planned the event, it occurred to me that I knew who this woman was: My beloved Miss Nelko, some 40 years later. What a reunion it was!
Our English teacher, on the other hand, had a different style of teaching that could be best described, as adversarial. I renamed her Tyrannosaurus Rex and the invisible scars are still with me. Her approach to learning arithmetic was to say the least, extremely challenging. I was one of those kids who learned math in a different way and in those days, kids such as myself fell through the cracks and we fell deeply. All I remember is after a short explanation of one plus one equals two, etc., we all had to stand up by the blackboard as T Rex wrote a problem on the board. We could not sit down unless we put our hands up and answered correctly. Guess who was often the last kid standing? Me, of course, and I eventually memorized it all so I could finally sit down.
Another time, T Rex distributed to each of us a sheet of paper for some writing project. She gave me what we called at the time “grade one” paper. It’s where the lines were printed with one bold line and two lighter lines and then another bold line. It also had big wood chips in it. I noticed that she was also giving out what we called “grade two” paper. These were all symmetrical bold lines and I wanted one. When she finished giving them out, she asked if everyone received one and me, being me, said, “I didn’t.” My six-year-old brain conveniently forgot that my desk was in the front row and I had scrunched up the grade one paper into a ball and cleverly thought she wouldn’t see it in the wood support for the desk.
As I put my hand up and told her I didn’t get one, she approached my desk in a threatening way, reached into the desk support and said, “What is this?” I was fully chastised, and T Rex bellowed, “You will only get grade one paper for the rest of the year.”
The reality was, in those days, especially in the context of a parochial school, you sometimes had people teaching who were not trained and did not have the skills to do the job. Not only that, more than a few were survivors of the Holocaust and we eventually learned that they experienced terrible horrors in the camps and ghettos.
That being said, I had several wonderful teachers, whose voices to this day still reverberate in my head and I often reflect about their ability to connect and elevate the students.
Mrs. Gold, Mrs. Brooks and Pascal Fishman were some of them. Chaver Fishman came to us from Buenos Aires and was one of our Yiddish teachers. He had a great capacity to see potential in students and encourage them. Another of our teachers, Mrs. Wallace, taught us English and her daughter was in our class for years. The family wasn’t Jewish, but Heather my classmate, spoke Yiddish like a pro. I remember one of our later Yiddish teachers, Mrs. Korman, taught us “Zol Nit Keynmol” the Warsaw Ghetto Song, and led us in a procession to St. John’s Park in the spring, while we sang that song and others.
The year at Peretz Schul was highlighted by two major events. The annual essay contest in Yiddish and English, and the graduation, which took place towards the end of June. For each of those occasions, the auditorium would be absolutely packed and very hot. As students, we often escaped outside to cool off in the lane and we could hear what was going on by the open side doors.
The cultural offerings at Peretz were in my opinion, outstanding. We were taught so many great songs, we acted in plays and we created art. Jewish holidays were celebrated with a Yiddishe taam (Yiddish flavour). Since my Hebrew name was Mordechai/Motel, I always got the part of Mordechai in the Purim play. The music component was delivered by Chaver Bronstein or Mr. Brownstone as he was known at Talmud Torah. His classes were always held in the auditorium, where he’d stand by his easel flipping the song sheets written in Yiddish and we’d follow the words as he used his pointer. Contrary to the Talmud Torah choir experience, he never gave us names or hit us. After he retired, Mrs. Udow took over and when I hoped to join the choir, she said, “Modechai, your voice is changing, perhaps another time.”
After the principal Chaver Herstein retired, Mr. Heilik who was previously at the Calgary Peretz Shul became our new principal. He was an interesting man and because of my ‘occasional’ naughty behaviour, I got to know him a little better than most students. He was an artist. His medium was oil painting and I remember, on one occasion, we were taken out of our class and brought to the auditorium. When we arrived, we saw that all four walls had been covered with his paintings. There were dozens of them. It was a full-blown exhibition of his work.
I bring this up because I became the class artist at Peretz and my teachers often ‘commissioned’ me to draw and colour huge murals in the hallway of the school. This gave me the opportunity to get out of class. Chaver Heilik would always come out of his office to check out my work. My artistry was far below his level, but he was always encouraging and interested in what I was doing.
In my day, we all graduated from Grade Seven and you had the choice of continuing in what was called Mittel Shul. These classes were held after 4 o’clock, after you finished English school. No one in my class went to Mittel Shul and we felt sorry for those who did as they arrived at four, just as we were leaving.
For me, and I’m sure others, the experience of attending Peretz Shul, wasn’t truly appreciated until after we graduated. The real world out there wasn’t as warm and friendly as it was at 601 Aikins. I do know that the school gave me the education that my Baba and other founders were hoping to achieve: an ability to speak Yiddish, a love for the language, Jewish history known as Yiddishe geshicteh and above all, an appreciation for the Jewish people and our incredibly rich journey. I also had my Peretz Shul family, the 12 or so students in my class that I spent 35 hours a week with for nine years. We all take something different away from the experience, but I can guarantee you, many of us, including my friend Moishe the ambassador, will always carry Peretz Shul memories with us for the rest of our lives.
Post script:
Ed. note: It didn’t take me too long to figure out who the “Moishe” was to whom Kinzey refers in his article. I was actually friends myself with “Moishe”, although I knew him better as Matthew Levin.
Matthew was always very independent-minded – even as a kid. That being said, he went on to an illustrious career in Canada’s diplomatic service. Among other posts he held, he was Canada’s Ambassador to Columbia, Cuba, and most recently Spain.
It was while he was Ambassador to Cuba that Matthew, along with his wife, Rosealba, played an instrumental role in helping Cuban Jews emigrate to Israel (since Israel and Cuba did not have diplomatic relations).
When I read Kinzey’s story I decided to send it to Matthew – before I outed him as the “Moishe” in the story. Matthew was pleasantly surprised to see that Kinzey mentioned him in a story and even further that he referred to him as “Moishe”.
In my email to Matthew I mentioned that the last time I had attempted to contact him was when Stephen Harper was Prime Minister and Matthew was Canada’s Ambassador to Cuba. At the time, some low level functionaries in what is known as Global Affairs Canada interceded and said that I would not be able to communicate directly with Matthew. Instead, I was told, I could submit any questions that I had to Global Affairs, they would vet them (no doubt looking for anything that might potentially embarrass the government, such as asking about Matthew’s boyhood years in Winnipeg).
So, when I reached out to Matthew – again, this time after reading Kinzey’s piece, I said that I didn’t know whether he would even receive my email since I suspected “apparatchiks” in the government would see it first – and probably attempt to prevent me from communicating with him directly – again.
I was surprised then, to receive a very warm response from Matthew – in which he explained that he is no longer under the supervision of government “apparatchiks”.
Here’s what Matthew Levin wrote to me, in part:
Wonderful to hear from you! I’m so glad you made the effort to reach out.
I finished my posting to Spain a couple of months ago and am now back in Ottawa and transitioning to retirement. So no more apparatchiks.
First of all, I hope you’re well and coping successfully with these strange times.
Your lovely message brings back all sorts of very fond memories. It’s a long time since anyone called me Moishe (often shortened to Moish back then). I never saw most of my Peretz Shul classmates after I left the school, as Kinzey recalls, at the start of Grade 5 (a long story). Kinzey was one of the very few I did see occasionally, including a few times when he was playing with Finjan. But most of the others I completely lost touch with. Now I sometimes wonder what has become of many of them. It’s really heartwarming to think that Kinzey (Martin at the time and I believe he was Mordechai in Yiddish, or maybe Mendel) remembered me as he was writing this story. Since you and I and our group of friends never called each other by our Yiddish names I’m surprised, but delighted, that you thought of me when you saw this reference to a Moishe.
Thanks so much for sending along Kinzey’s story. I’m sending you this reply before having read it, because I didn’t want to delay getting back to you, but I’ll certainly read it with great interest and undoubtedly pleasure. I really feel honoured and delighted to be included. If you’re in touch with Kinzey, please thank him and give him a big hug – virtual of course for now – from me.
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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