Features
“Reckonings” – riveting documentary film explains how the agreement to offer reparations to Holocaust victims came about
By BERNIE BELLAN Since 1952 the German government has paid more than $562 billion in compensation for crimes committed during the Holocaust, of which $472 billion has been paid to the State of Israel (in goods and services) and $90 billion in cash to individual Holocaust survivors.
How the German government came to agree to compensate victims of the Holocaust is a fascinating story – and one that is the subject of a spellbinding documentary film called “Reckonings.”
On Sunday afternoon, November 12 over 150 people gathered in the auditorium of Westwood Collegiate in St. James to view “Reckonings” and to participate in a discussion that followed the film led by Jewish Heritage of Western Canada Executive Director Belle Jarniewski and Jewish Child and Family Service Holocaust Support Services Worker Adeena Lungen.
The event was timed to coincide with the 85th anniversary of Kristallnacht – “the night of broken glass,” which took place Nov. 9-10, throughout Germany, when over 7,000 Jewish businesses were damaged or destroyed, 30,000 Jewish men were arrested and incarcerated in concentration camps, and at least 100 Jews killed.
“Reckonings,” released in 2022, was directed by award-winning documentary filmmaker Roberta Grossman. In a style first pioneered by documentary filmmaker Ken Burns, Grossman uses historical footage, occasional reenactments, interviews with various individuals who appear from time to time throughout the film – but never for more than a couple of minutes at one time, and music composed to fit the moment, all in a fast-cutting mode that maintains your attention throughout the 74 minutes of the film.
The crux of the story is how the West German government, led by Chancellor Konrad Adenauer, decided to take full responsibility for the crimes of the Holocaust, and offer reparations to Holocaust victims.
If there is any one hero in this film, it is Adenauer. As the film explains, he was a former mayor of Cologne whose family was fiercely anti-Nazi. As well, Adenauer was a devout Catholic – something that played a significant role in his wanting to come to terms with German guilt and atone for the collective sins of the German people.
On the Jewish side, the key figure working with Adenauer – and negotiating on behalf of Holocaust victims was Nahum Goldmann, who co-founded the World Jewish Congress in 1936 with Rabbi Stephen Wise.
Goldmann had been stripped of his German citizenship by the racist German Nuremberg laws (and although the film doesn’t explain it, he found refuge in Honduras.) Yet, the fact he was German-born and was able to develop a warm relationship with Adenauer proved key to the eventual creation of what came to be known as the “The Conference on Jewish Material Claims Against Germany.”
The film unravels the many complexities that were involved in negotiating what turned out to be an agreement of monumental consequence, especially bringing together Jewish and German negotiators across from one another.
In the opening moments of “Reckonings,” co-producer Karen Heilig observes, “You can just imagine what it was like for Jewish representatives to sit down with German representatives only seven years after World War II…It was like negotiating with the devil.”
As the film explains, Israelis themselves were largely opposed to negotiating reparations with the German government. As Heilig observes, “They didn’t want German money.”
Similarly, most of the German population was also opposed to the idea of reparations. “Only 11% of the German population supported compensation” for Jews, according to the film.
In a very interesting insight into the psyche of the German population following the war, it is also noted that, when it came to who the German people thought were most victimized by the war, “Jews were last on the list.”
Amidst what was evidently still a deeply-rooted antisemitism within the German population – and strong opposition from within his own party (Christian Democrat), Adenauer remained adamant that Germany would negotiate reparations – both for individual victims of the Holocaust and for the recently formed State of Israel. (The Federal Republic of Germany itself only came into being in 1949.)
One of the crucial factors in Israel agreeing to negotiate reparations – after having been so solidly opposed, came toward the end of 1951, the film explains, as a result of the Israeli treasury almost being totally bare. The reason was the extraordinarily high cost that the Israeli government had incurred as a result of absorbing hundreds of thousands of refugees since the formation of the state – both Holocaust survivors and refugees from Arab countries.
Yet, despite the precarious state of Israel’s finances, there were still many who refused to countenance the notion of Israel accepting German reparations. In fact, at the time that negotiation began, in 1952, there was a boycott of German goods in Israel.
As the leader of Herut (also leader of the Opposition in the Knesset), Menachem Begin insisted, “reparations will lead to cleansing the guilt of the German people.”
However, notwithstanding the fierce opposition from among many Israelis to entering into negotiations with the German government, Israel’s government, led by David Ben Gurion, did announce that it was ready to discuss reparations, but it led off with a claim for $1 billion – the cost, it said, for absorbing 500,000 Holocaust survivors.
Adenauer agreed to negotiate with both the Israeli government and a representative organization of the Jewish people – but at the time there was no organization in place to do that.
Thus was created “The Conference on Jewish Material Claims Against Germany,” with Nachum Goldmann at its head. The other members of the negotiating team had clear goals in mind: What they were negotiating with the West German government was not about “morality,” it was about dollars and cents.
To that end, the negotiators wanted to break down compensation into two different categories: compensation for personal suffering and compensation for property lost to the Nazis.
The problem was: Who would claim compensation for property when everyone who might have owned particular properties had been annihilated?
I actually put that question to Adeena Lungen during the discussion that followed, since the film didn’t go into any detail as to how that circle could be squared. Adeena explained that survivors of Holocaust victims are often able to claim compensation for personal suffering, for which there is significant information available, but compensation for loss of property is often much more difficult to ascertain.
Agencies such as JCFS, which help survivors apply for compensation often rely upon archival information that “gives a wealth of information about property based on the recollections of others from a particular shtetl.” As Adeena further noted, “in Poland, wherever you lived there was a document that recorded where you lived” – and there is now an “online database” based upon those documents from where anyone can get detailed information about where individuals lived.
Before teams representing the three parties (West Germany, Israel, and the Conference on Jewish Material Claims Against Germany) for the coming negotiations met, however, Konrad Adenauer met with Nahum Goldmann in secret to determine certain basic points: Was West Germany actually ready to pay reparations and where would the negotiations take place?
The answers to those questions were: Yes, West Germany was ready to pay and two, the negotiations were to be held in a neutral county – in this case, The Netherlands.
Although Israel and the Claims Conference were to be separate parties to negotiations with West Germany, it was agreed that Israel and the Claims Conference would coordinate their strategies together.
Prior to the commencement of negotiations, however, the film explains, “German officials wanted to come to terms with the rest of the world, then Israel and the Claims Conference,” but Israel took the position that “No, you have to come to terms with us and the Claims Conference, then the rest of the world.”
With West Germany accepting that as a pre-condition to negotiations, the representatives met and, after a prolonged series of negotiations, West Germany did agree to provide $857 million in reparations, of which $750 million was to go to Israel (but not in cash, as the film explains; rather, it was in goods and services, including raw materials, industrial machinery, and ships for the Israeli navy), while the Claims Conference was to receive $107 million.
However, many individuals were excluded from the deal to receive compensation, including anyone living behind the Iron Curtain and people who had been in hiding during the war.
One of the key individuals during the negotiations with Germany was Ben Ferencz, who passed away this past April. Not only was Ferencz the sole surviving negotiator for the Claim Conference, as Belle Jarniewski also pointed out, Ferencz was the last surviving prosecutor from the famed Nuremberg trials of Nazi war criminals. Ferencz is featured quite prominently in “Reckonings,” as he was able to give a first-hand account of what the negotiations were like.
The final agreement worked out between West Germany and Israel, on the one hand, and West Germany and the Claims Conference, on the other, came to be known as the Luxembourg Agreement. It has served as the basis for all subsequent agreements to compensate Holocaust victims by the German government.
Of the $90 billion that has been paid out in reparations since 1953, over 270,000 Holocaust survivors were among the first recipients of the initial $107 million paid in 1953. Since then, an additional 500,000 individuals have received payments. And, although the Luxembourg agreement was only intended to provide compensation to survivors in 1953, ever since then there have been regular negotiations between the German government and the Claims Conference, which have resulted in varying amounts being negotiated each time.
Insofar as Holocaust survivors who moved to Winnipeg are concerned – of whom there have been over 1500 individuals over the years, Belle Jarniewski explained the process through which they receive compensation from the German government.
In 1948 something called the United Restitution Office was established to help Holocaust survivors. (The Canadian office was founded in 1952.) The purpose of the office was to help survivors with individual claims. Case files were established for survivors, including claims and documentation describing difficulties survivors have encountered during their lifetimes. In 2022 those files were transferred to the care of the Jewish Heritage Centre.
Adeena Lungen (about whose role at JCFS helping Holocaust survivors we described in some detail in an article in our December 20, 2021 issue, which can be downloaded on our website – simply go to jewishpostandnews.ca and, under the “Search Archive” tab at the top, and enter Dec. 20, 2021 to download the complete issue. The article about Adeena is on page 3.), explained that JCFS has been working with Holocaust survivors in Winnipeg since 2000. Adeena has been serving in her role as Holocaust support services worker for the past 20 years, she noted.
Adeena noted that, in addition to compensation available from the German government for Holocaust survivors, other countries have, in recent years, also begun to offer compensation in certain cases. (For instance, in our two most recent issues we posted an advertisement for compensation now being offered to Jews who were former residents of Lithuania.) Other countries offering compensation now include France, Austria, Poland and Romania, Adeena added.
When asked how a survivor could go about proving that they are actually a Holocaust survivor (and there have been numerous bogus attempts over the years by individuals falsely claiming to be Holocaust survivors), Adeena described the steps JCFS, for instance, will take to verify someone’s claim, noting however that, while JCFS will do an initial assessment of someone’s claim, the final determination rests with the Claims Conference.
According to Adeena, a claimant must submit documents, such as identity papers from the country of origin.
Currently there are still 200,000 Holocaust survivors worldwide, of whom 150,000 have been receiving distributions from the Claims Conference. Adeena noted that new files are still being opened for Holocaust survivors. (Apparently there are still Holocaust survivors who have been unaware that they are eligible to receive compensation.)
In 2022, for instance, the Claims Conference was able to distribute $562 million to 150,000 individual Holocaust survivors. An additional $750 million was distributed to social welfare agencies worldwide, including JCFS. If you would like more information about compensation for Holocaust survivors, contact Adeena Lungen at alungen@jcfswinnipeg.org.
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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