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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
—
The post Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor appeared first on Jewish Telegraphic Agency.
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For fleeing Jews, Venezuela was a golden land — now in exile, they watch their homeland’s unrest with trepidation
After their overcrowded motorboat ran aground and took on water, the 15 migrants swam up to a Tampa beach. The men they paid back in Havana had promised they’d be in Miami within five hours; instead they were at sea for five days, running out of food and water.
Two of the migrants had to be carried ashore, where they were swiftly detained by the police. Years prior, their entry would have been easy with a pathway to citizenship, but now with an anti-immigrant backlash they were sentenced to a year in jail.
After a week, a sympathetic Cuban-born prison guard smuggled out a letter asking for help. “They hold us,” it read, “as if we were criminals, murderers, in stifling dark rooms. We are given only black coffee in the morning and fed once a day, and very limited at that.”
The letter writer worried that he and his fellow refugees might spend months in the dark cell without air or light. But what he feared most was being deported.
Amazingly, the letter got them out.
The letter’s author was Mordechai Freilich, a 26-year-old Polish Jew who had run into trouble as a socialist organizer in a shoe factory in Cuba then ruled by General Gerardo Machado. Written in Yiddish, the letter was mailed to Freilich’s uncle in New York who was instructed to share it with this newspaper, the Forward, which published it on May 14, 1931 under the headline: “Jewish immigrants rescued from sinking boat and arrested when they try to smuggle themselves into America.”
Mordechai, known as Máximo, had written articles for the Forward before he’d left Poland two years earlier. At the time, it was the most widely read ethnic publication in the United States. The newspaper’s general manager, the influential New York politician Baruch Charney Vladeck, persuaded the future governor of New York Herbert H. Lehman to intervene. Freilich and the others were released on condition they find a country to accept them within two weeks.
“The United States was the goldene medine; it was the salvation, but it was closed,” Máximo’s daughter Alicia Freilich told me by phone from her home in Delray Beach, Florida, “Venezuela became our goldene medine.”
Alicia was born in Caracas in 1939, and for the past 57 years, she has been a columnist for El Nacional, the leading Venezuelan newspaper, which itself has become an exile. In 2018, the government seized its headquarters. Today, the web-only publication is blocked by the nation’s internet providers, limiting its readership to the Venezuelan diaspora and those within the country determined enough to digitally bypass the censorship.
In 2012, Freilich suspected her phone was tapped by the government and fled to Florida. If it wasn’t for her advanced age, she’s sure she would have been jailed for her criticism of then-President Hugo Chavez.
“I became an immigrant at the age of 73,” Alicia told me in Spanish the week after President Nicolás Maduro and his wife were arrested by American forces. “I never thought I’d leave.”
Since 2012, a quarter of Venezuela’s population, nearly 8 million people, have left, fleeing food insecurity, political oppression and spiraling gang violence. Though Venezuela was once home to a community of 25,000 Jews, its Jewish population has fallen to 5,000. Alicia Freilich remembers full synagogues, and generous charities that allowed for even the poor to attend Jewish day schools and take advantage of the busy community center, and Jewish retirement home. Now the first thing visitors to the website of the nation’s leading Sephardic organization see is detailed information on how to apply for Spanish citizenship,
While there was a small Sephardic Jewish community in Venezuela in the 19th century, the country’s Sephardic families came mainly from Morocco during the country’s post-war oil boom. Most Venezuelan Jews, however, are Ashkenazi, the children or grandchildren of Eastern European Jews who left Europe before the Holocaust, like Alicia’s parents Máximo and Rifka, or survivors who came after the war, like Alicia’s ex-husband Jaime Segal.
In 1938, Máximo made a return trip back to Poland. “I begged them [my extended family] to leave, that there was going to be a war,” Máximo told Alicia in an interview published in her 1976 book Interviewees in the Flesh, “but they laughed at me.” After the war, his in-laws, Alicia’s aunt and uncle Gutka and Abraham, who survived Auschwitz, joined the family in Caracas.
Officially, Venezuela had restrictive immigrant policies, but made exceptions. In 1939, the government of Eleazar López Contreras gave refuge to 250 German Jews onboard the Caribia and Köningstein ships which had been denied entry at all other ports. Máximo Freilich was one of the representatives of the Jewish community who welcomed the new arrivals at the port in La Guaira.
“Venezuelans are magnificent, generous,” Alicia told me, “like my father used to say, ‘the people are so generous that even a beggar would offer some of his coffee.’”
Máximo, like most Jewish immigrants at the time, was a “claper,” the Yiddish term for an itinerant salesmen. After years of “claping” on doors, peddling rags, he graduated to a Caracas storefront. Among Jews, the self-educated Máximo was a respected figure, a contributor to Yiddish newspapers like the Forward, a settler of disputes, a man consulted over beet soup and gefilte fish. But he never mastered Spanish, and to Venezuelans he remained a “musiu,” slang for a foreigner.
In 1987, Alicia wrote her first novel, Cláper, adapting Máximo’s Yiddish diary from his early years in America, which she intertwines with her own story. Máximo’s journey is from his shtetl, fictionalized as “Lendov,” Alicia’s is from her sheltered Jewish day school childhood into the wider Venezuelan society, attending college and starting her career. She mixes in literary circles, rubs shoulders with leading intellectuals and leftwing dissidents, yet she’s never fully at ease, discovering she is not so different from the “Polish peasant” parents she wished to escape.
“Half a century ago, a bunch of musiús began arriving. They knocked on doors in order to sell rags. They knocked: clap, clap, clap,” she writes reflecting on her success in journalism. “So daughter of a cláper, I too am a caller. When I knock and knock from the pressroom, what I wish to sell for free is what we might call ethical anxiety.”
Alicia’s part of the narrative comes in the form of a monologue to her psychoanalyst, like in Philip Roth’s novel Portnoy’s Complaint, which she references in her book. But Caracas is not Newark. Beyond the middle class of the cities is vast poverty. Venezuelan Jews helped build the democracy that emerged in 1958 after the Pérez Jiménez dictatorship, and for four decades Venezuela was considered one of Latin America’s most stable and affluent countries. But oil wealth bred corruption, inequality fueled unrest and by the 1990s the system was fracturing.
In 1999, the socialist Hugo Chavez, who had led a failed coup attempt seven years earlier, was elected president. Initially popular for promising to redistribute oil wealth to the poor, Chavez chipped away at democratic norms leading many professionals to exit the country in the early 2000s.
“They never directly target the [Jewish] community,” said Alicia, but Chavista anti-Israel rhetoric created a hostile atmosphere. In 2009, armed men overran the nation’s largest synagogue Tiféret Israel in Caracas, desecrated the sanctuary, stole objects and spray painted antisemitic and anti-zionist messages demanding the government expel Jews. That’s when she first thought about leaving.
Soon, she said, her younger sister Miriam Freilich, a culture writer for El Nacional and host of a radio program, decided it was impossible to be an independent female journalist in Caracas. She moved to Colombia before joining her daughter in Israel, and passed away in Spain last year. Alicia’s two sons had left years earlier. They did post-graduate studies abroad in the 1990s and decided not to return.
Ernesto Segal is a physician in Florida and Ariel Segal, who has lived in both the U.S. and Israel, is a communications professor in Lima. “’I prefer Venezuela as a people, as a climate, as the landscape,’ Ariel, 61, told me over Zoom from Lima. “I haven’t returned because of the Chavismo.”
“‘We lived in paradise, but we didn’t realize it,’ Ariel said. He particularly remembers Club Hebraica, the Jewish community center in Caracas, not just a sports center but a hub for youth groups, singles mixers, and holiday celebrations. It’s where he went to school. “After Chavez, we realized, ’wow, that was wonderful. We had freedom. We could change the president every five years. Politicians never threatened each other.’”
For years after he’d left, Ariel returned for weeks at a time each year to lecture at Venezuelan universities on authoritarianism and the Middle East. Then, in 2016, he was accused by name on a government television program of being an agent of the Mossad. He hasn’t been back since.
It was after Chavez’s death in 2013 that most Venezuelans migrants left. With a fall in oil prices and Nicolas Maduro in power came inflation, shortages and increased corruption. Increases in U.S. sanctions further strained the economy making it difficult for the average person to access food and medicine. Early waves of middle-class immigrants left the country on planes with visas. Jewish Venezuelans headed to Florida, Spain, Panama, and Israel.
More recent migrants are poorer without passports or visas. Many fled initially to countries within the region with over 2 million residing in Colombia, but others were forced to head north to the United States. Their treacherous and unauthorized immigration was not so different from Máximo’s journey in 1931.
At the end of his first term, President Trump deferred deportation for Venezuelans. More recently, he has turned hostile claiming “hundreds of thousands” of Venezuelan migrants are members of what he calls “savage” and “bloodthirsty gangs” like the Tren de Aragua, which he says President Maduro sent to “terrorize Americans.” Last year, he stripped the protective immigration status of more than half of the nation’s 1.2 million Venezuelan immigrants, targeting them for deportation. Now, his administration has suggested that with Maduro in prison, Venezuelans can return home.
“They took the clown out of the circus, but they left the rest of the troupe,” Alicia told me. Maduro’s arrest has been celebrated by Venezuelan exiles, but she doesn’t feel it’s enough. The current acting president Delcy Rodriguez and her brother, Jorge, the National Assembly president, long allies of Maduro, are extremely dangerous, she says.
She’s hopeful that slowly things will improve, but she says that Trump’s unpredictable personality and disregard for the rule of law worry her, as both a Venezuelan and as a Jew living in the United States. While he has been friendly to Jews, she says she fears he could easily turn on them, and, she added, his focus with Venezuela is oil, not human rights. “They are not acting with solid democratic principles in the country,” she said, “but the United States [democracy] itself is also at risk.”
Even if Venezuela gets on the path to democracy, it will take time. Alicia doesn’t believe exiles will return home anytime soon. She herself doesn’t seem to be going anywhere. At 86, her energy goes into her weekly column for El Nacional. On the 80th anniversary of the liberation of Auschwitz, she wrote about her survivor aunt and uncle. Mostly, though, she focuses on current Venezuelan politics.
Her father had written from Caracas for Yiddish speakers thousands of miles away. Now, Alicia speaks to a Venezuelan diaspora.
In a recent column, she stressed the only people with the legitimate authority to run Venezuela and restore freedom to the masses are those who were fairly elected in 2024 “There is no other correct way to rescue the imperfect and perfectible democracy,” she concluded.
Florida, Alicia Freilich told me, is not her home; her community, her focus, her heart remain in Caracas. It reminds me of something she quoted her father as saying: “I stayed back in Lendov, just my feet left.”
The post For fleeing Jews, Venezuela was a golden land — now in exile, they watch their homeland’s unrest with trepidation appeared first on The Forward.
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Netanyahu alleges that Israeli soldiers died because Biden-era arms ’embargo’ meant they ‘didn’t have enough ammunition’
(JTA) — Israeli Prime Minister Benjamin Netanyahu alleged in comments on Tuesday that Israeli soldiers died during the war in Gaza because of a Biden-era “embargo” on weaponry.
“We paid a very heavy price in the war,” Netanyahu said during an appearance in Jerusalem. “Part of it is that at a certain point, we simply didn’t have enough ammunition, and people fell, heroes fell. Part of the loss of ammunition was also a result of the embargo.”
The Biden administration held back some heavy arms from Israel in mid-2024 in an effort to pressure Netanyahu not to enter the southern Gaza city of Rafah. It pledged to continue supplying other weapons.
Both Netanyahu and President Donald Trump, who resumed sending the heavy weapons in March 2025, have said the Biden-era restrictions amounted to an “embargo” and have charged that the Biden administration held back more arms than it said.
Biden administration officials immediately decried the comments, saying that Netanyahu was lying and emphasizing Biden’s personal and political support for Israel.
“Netanyahu is both not telling the truth and ungrateful to a president that literally saved Israel at its most vulnerable moment,” Amos Hochstein, whom Biden appointed as a Middle East envoy during the Gaza war, told Axios, in one example. He reiterated the point on X, where he noted that the Biden administration sent $20 billion in military aid to Israel and also participated twice in deflecting Iranian missile attacks.
The comments come at a delicate time for Netanyahu. The retrieval earlier this week of Ran Gvili, the last Israeli hostage in Gaza, adds pressure for him to support a new phase in the Gaza ceasefire which has the potential to become a wedge between him and Trump.
At the same time, the prime minister is facing potential political turmoil at home, with elections required before the end of the year and a budget process getting underway Wednesday that could trigger earlier elections if lawmakers cannot reach a deal over haredi Orthodox army enlistment.
The comments also come as Netanyahu has recently said he wants to “taper” U.S. military aid to zero over the next decade and instead position Israel to fund its own defense. A top Republican lawmaker, Sen. Lindsey Graham, said he thought the shift should come sooner.
The post Netanyahu alleges that Israeli soldiers died because Biden-era arms ’embargo’ meant they ‘didn’t have enough ammunition’ appeared first on The Forward.
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Looking back on my 30 years as a Yiddish translator
איך בין געווען אַ מאָדערנער חסיד אַ בעל־תּשובֿה, וועלכער פֿילט זיך היימיש סײַ צווישן די חסידים, סײַ צווישן די וועלטלעכע ייִדישיסטן.
נישט לאַנג צוריק האָב איך געבלעטערט מײַן עלטסטע אָפּגעהיטע העפֿט מיט לידער אויף ייִדיש, אָנגעשריבן אין 1995 – 1996. האָב איך זיך פֿאַרטראַכט, אַז עס באַקומט זיך אַ יוביליי פֿון מײַן ייִדיש־שאַפֿן און אַן אײַנפֿאַל אַ ביסל אָנצושרײַבן וועגן דעם.
עפּעס האָב איך געגראַמט אויף ייִדיש נאָך פֿריִער, אָבער פֿון יענע „אורשאַפֿונגען‟ מײַנע איז נישט געבליבן קיין שפּור. אין יענער אַלטער העפֿט, וואָס האָט דורכגעמאַכט אַ לאַנגן וועג קיין אַמעריקע און מיט יאָרן שפּעטער צוריק קיין רוסלאַנד, געפֿינען זיך אויך דרײַ מײַנע איבערזעצונגען פֿון מײַן באַליבטן רוסישן דיכטער אָסיפּ מאַנדעלשטאַם.
אין 2002 זענען יענע איבערזעצונגען פּובליקירט געוואָרן אינעם אינטערנעץ־זשורנאַל „דער באַוועבטער ייִד‟, נאָר אין גאָר אַנדערע ווערסיעס. די היסטאָרישע העפֿט איז דעמאָלט געווען אין פּעטערבורג, און איך האָב געוווינט אין קווינס. אויף אויסווייניק האָב איך מײַנע טעקסטן נישט געדענקט און ממילא געמוזט זיי איבערשרײַבן. דער נײַערער נוסח האָט זיך באַקומען לאַוו־דווקא בעסער, פּשוט אַנדערש. פֿאַרגלײַכט:
געהיים איז שאָרכען אינעם וואַלד:
אַ פּרי פֿאַלט אַראָפּ אַנטשוויגן
אין אייביק הילכן פֿונעם ניגון,
וואָס וועלדער־שווײַגעניש אַנטהאַלט.
(1995-1996)
אַ טויבער, אַ געהיטער קלאַנג:
אַ פּרי איז אַראָפּגעפֿאַלן
אינמיטן טיף און אייביק שאַלן
אין שטילקייט פֿונעם וואַלד־געזאַנג.
(2002)
אינעם זעלבן יאָר, ווען אָט די שורות זענען דערשינען אינעם „באַוועבטן ייִד‟, האָב איך אָנגעהויבן אַרבעטן ווי אַ נײַעס־איבערזעצער אינעם פֿאָרווערטס. צוערשט האָב איך געאַרבעט צוויי טעג אַ וואָך; ביסלעכווײַז, מיט עטלעכע יאָר שפּעטער, האָב איך אָנגעהויבן אַרבעטן אין דער רעדאַקציע די גאַנצע וואָך. פֿאַרן באַקומען די שטעלע, זײַענדיק אַ יונגער ענטוזיאַסטישער יאַט, האָב איך געפֿירט ייִדיש־לימודים פֿרײַ פֿון אָפּצאָל אויף דער אינטערנעץ און פֿאַרשיידענע דיסקוסיעס אַרום דער ייִדישער שפּראַך. מײַן מיטבאַטייליקטער אין דעם איז געווען אַריה לאָנדאָן ז״ל (1946 – 2017) – דער זשורנאַליסט פֿון די ייִדיש־אוידיציעס אויף דער אינטערנאַציאָנאַלער ישׂראלדיקער ראַדיאָ „קול ישׂראל‟. מיר האָבן אָפֿט אַרומגערעדט מאַנדעלשטאַמס לידער.
ווי אַזוי האָב איך געפֿונען די אַרבעט אינעם פֿאָרווערטס? ערגעץ אין די ייִדישיסטישע אינטערנעץ־פֿאָרומס האָט זיך פֿאַרשפּרייט אַ קלאַנג, אַז דער פֿאָרווערטס זוכט אַ מיטאַרבעטער. האָב איך זיך פֿאַרבונדן מיט דער צײַטונג און זיך געיאַוועט אינעם ביוראָ. באַלד איז צו מיר צוגעקומען אַ סימפּאַטישע רויטהאָטיקע פֿרוי, וועלכע האָט זיך פֿאָרגעשטעלט: „איך בין שׂרה־רחל שעכטער‟. מיט אַזאַ באַשטעטיקנדיקן טאָן האָט זי זיך באַגריסט, אַז איך האָב פֿאַרשטאַנען אַז איך מוז זיך מאַכן, אַז איך ווייס, ווער זי איז!
דעם אמת געזאָגט, האָב איך קיין השׂגה נישט געהאַט. אין יענע יאָרן, צו וועלכע עס געהערט מײַן אַלטע לידער־העפֿט, האָב איך געטראָפֿן אַ קופּע נומערן פֿונעם פֿאָרווערטס אין דער פּעטערבורגער שיל, איבערגעלייענט אַ פּאָר צי אפֿשר אַ טוץ צײַטונגען. קיין שׂרה־רחל שעכטער האָב איך דאָרט נישט באַמערקט. פּונקט דעמאָלט, ווען איך האָב זיך געלאָזט קיין אַמעריקע, כּדי זיך אָנצושליסן אין אַ וויליאַמסבורגער ישיבֿה, האָט שׂרה־רחל באַקומען איר שטעלע אין דער צײַטונג.
רעדן האָב איך אין אַמעריקע גערעדט די ערשטע יאָרן רק אויף ייִדיש און כּמעט קיין ענגליש נישט געקענט, נאָר אינעם סאַטמאַרער וויליאַמסבורג האָב איך קיין פֿאָרווערטס אַוודאי בכלל נישט געזען.
אינעם ביוראָ האָט מיר יענע, נאָך אומבאַקאַנטע פֿרוי אײַנגעהענטיקט אַ שטיקל פּאַפּיר און געבעטן איבערצוזעצן אַ נײַעסל פֿון ענגליש אויף ייִדיש. האָב איך עס געטאָן, גלײַך באַקומען די שטעלע און זיך באַלד גוט באַקענט מיט דער רעדאַקציע: באָריס סאַנדלער, איציק גאָטעסמאַן, באָריס בודיאַנסקי און אַנדערע. אין גיכן האָב איך זיך אויך באַקענט מיט כּמעט אַלע באַוווּסטע ניו־יאָרקער ייִדישיסטן, און געוואָרן אַ יוצא־דופֿנדיקער פּאַרשוין: אַ מאָדערנער חסיד אַ בעל־תּשובֿה, וועלכער פֿילט זיך היימיש סײַ צווישן די חסידים, סײַ צווישן די וועלטלעכע ייִדישיסטן.
אַגבֿ, יענע איבערזעצונגען פֿון מאַנדעלשטאַמען האָב איך אַמאָל אויך פֿאָרגעלייענט אויף „קול ישׂראל‟. צו דער דאָזיקער ראַדיאָ־אוידיציע האָט דער פֿאָרווערטס האָט געהאַט אַן אומדיקערט צופֿעליק שײַכות. אַריה לאָנדאָן האָט מיר פּשוט אָנגעקלונגען אין דער רעדאַקציע און רעקאָרדירט דעם שמועס.
אינעם ביוראָ האָב איך נישט זעלטן געשמועסט וועגן מאַנדעלשטאַמען מיטן ייִדישן פּאָעט שלום בערגער וועלכער האָט דעמאָלט געפֿירט די וועבזײַט פֿון דער צײַטונג; שפּעטער האָב איך איבערגענומען אָט די מלאָכה.
אין מײַן היים־ביבליאָטעק שטייען נישט ווייניק ביכער, וואָס איך האָב זינט דעמאָלט רעדאַקטירט, איבערגעזעצט צי טיילווײַז אָנגעשריבן. דרײַסיק יאָר איז אַ לאַנגער וועג – אַ גאַנצע תּקופֿה, נאָר צו מאַנדעלשטאַמען קער איך זיך אום כּסדר. דעם פֿאַרגאַנגענעם דעצעמבער, בין איך אויפֿגעטראָטן אינעם פּעטערבורגער ייִדישן קהילה־צענטער מיט מײַנע נײַע איבערזעצונגען פֿונעם דאָזיקן פּאָעט אין פֿאַרגלײַך מיט מײַנע צען ייִדישע איבערזעצונגען פֿון רײַנער־מאַריאַ רילקעס לידער. מסתּמא צום ערשטן מאָל זענען רילקעס לידער איבערגעזעצט געוואָרן אויף ייִדיש; דער ליטעראַטור־פֿאָרשער וואַלערי דימשיץ האָט מיר געזאָגט, אַז קיין פֿריִערע ייִדישע איבערזעצונג פֿונעם דאָזיקן דיכטער אויף ייִדיש האָט ער נישט געזען.
וואָס שייך דעם פֿאָרווערטס, זענען בײַ מיר פֿונעם ייִנגערן דור מיטאַרבעטער פֿאַרבליבן באַזונדערס וואַרעמע זכרונות פֿון צוויי מיידלעך, דעמאָלט גאַנץ יונגע: אַנע (חנה) קוקאַ פֿון בערלין און ליודמילאַ שאָלאָכאָוואַ פֿון קיִעוו. נישט לאַנג האָבן זיי אָפּגעאַרבעט אינעם פֿאָרווערטס, נאָר מיט זיי האָט מען אַלעמאָל געקאָנט שמועסן אויף כּלערליי טשיקאַווע טעמעס (אַרײַנגערעכנט פּאָעזיע!) און זיך גוט אָנלאַכן. משה־יודאַ דײַטש, אַ סאַטמאַרער חסיד, וועלכער האָט דעמאָלט מיט אונדז געאַרבעט ווי אַ מיטדיזײַנער, איז געווען שטאַרק אומצופֿרידן דערמיט. סטײַטש, איך שרײַב טיפֿע אַרטיקלען וועגן חסידות און קבלה, און פּראַווע קלות־ראָש מיט אַ דײַטשקע און אַן אוקראַיִנקע! סאַראַ חוצפּה!
אויך זייער טשיקאַווע איז מיר געווען צו פֿירן די רובריק, דער עיקר, וועגן וויסנשאַפֿטלעכע ידיעות און נײַעס, וואָס האָט טאַקע געהייסן „טשיקאַוועס אַרום דער וועלט‟. כ׳האָף, אַז מע וועט דיגיטאַליזירן יענע נומערן און איך וועל קענען יענע אַרטיקעלעך אַליין איבערצולייענען.
להיפּוך צו אומאָנגענעמע קאָרפּאָראַטיווע צי סתּם העסלעכע אַרבעט־סבֿיבֿות, איז די פֿאָרווערטס־רעדאַקציע געבליבן אין מײַן זכּרון אַ פֿרײַנדלעכע חבֿרה, כּמעט אַ משפּחה, וווּ מע האָט געקאָנט שעפּן פֿון די מיטאַרבעטער און ביוראָ־באַזוכער אַ סך ידיעות וועגן די סאָוועטישע ייִדישע שרײַבער, דעם בונד, די אַמאָליקע ייִדישיסטישע אָרגאַניזאַציעס, און נאָך, און נאָך. און וואָס שייך מאַנדעלשטאַמען, וועל איך אים, אַוודאי, ווײַטער איבערזעצן.
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