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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
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This Toronto street corner has been a site of anti-Zionist activism for months. Police just opened a hate crime investigation.
The Toronto Police Service hate crimes unit is investigating teacher Abbas Hamze for remarks about “Zionists.” Canadian Jewish groups, including the Jewish Federations of Canada’s advocacy arm and B’nai Brith Canada, have called his speech, which went viral online, “blatant antisemitism.”
Hamze’s remarks invoked antisemitic tropes, accusing “Zionists” of performing “black magic” as well as raping and killing children. He spoke at the intersection of Bathurst and Sheppard, in the heavily Jewish Toronto neighborhood of Bathurst Manor – Clanton Park.
According to his LinkedIn, Hamze works as an instructor at several Canadian colleges in the area, including the University of Niagara Falls and Georgian College. He does not specify what he teaches.
Hamze could not be reached for comment. The University of Niagara Falls and Georgian College did not respond to requests to comment, and the Toronto Police declined a request for comment.
UNF issued a statement addressing Hamze’s remarks, distancing the university from the instructor’s statements and stating that they have “zero tolerance for discrimination, hate, harassment, or any conduct that threatens the dignity and well-being of others.” They announced that they are “launching an internal investigation” into the matter.
In his speech, Hamze claimed that “British colonizers have planted this cancerous, false Zionist state of Israel … right in the heart of Islam.”
Later — wearing a keffiyeh and reading from his phone into a megaphone emblazoned with the Lebanese flag — the instructor repeated numerous antisemitic conspiracy theories, including the debunked idea that Jews have caused or deserved centuries of persecution.
“The Zionists have never had a country of their own because of their mischief,” Hamze said. “They are the most kicked-out people in the world who are making black magic and horrible things.”
He went on to say that Jewish corruption is “crystal clear in Epstein Island where they have the Jewish leaders from all around the world.” He accused “Zionists” of having “raped, and killed, and ate children at the same time.”
Finally, he unfoundedly blamed the actions of President Donald Trump on “Zionists” who “blackmail” and “control” people.
“That’s why you can see now a guy like Trump who caused this genocide in Gaza kidnaps the presidents of Venezuala, kills the supreme leader of Iran Imam Ali Khamenei, may God sanctify his soul,” he said. “This is because of them, the terrorist Zionists.”
It appears that people became aware of Hamze’s remarks after Casey Babb, an Israel and International Relations scholar, posted a video of him on X.
In a joint statement, Canadian Jewish groups described Hamze’s claims as “antisemitic blood libels that have been used for centuries to justify hatred and violence against Jews.”
The statement says that the intersection where Hamze spoke, Bathurst and Sheppard, has long been a site of “antisemitic harassment, intimidation and provocation, too often under the guise of anti-Zionism,” and called on Toronto’s police department to investigate the incident.
“Allowing this behaviour to go unchecked is to normalize antisemitism as an everyday feature of life in this city,” it stated.
The city’s police have opened an investigation. However, online, some said that Hamze had been speaking at the street corner for months without police intervention.
In Canada, public incitement of hatred is considered a criminal offense. The Canadian criminal code says that “communicating statements in any public place” that “incites hatred against any identifiable group where such incitement is likely to lead to a breach of the peace” is a breach of law, resulting in up to two years in prison.
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West Elm’s Russ & Daughters merch did something their in-house line could never
Figuring out one’s Judaica vibe can be a challenging endeavor for those of us who don’t have tastes in line with the colorful stained glass or embossed silver aesthetics that tend to dominate the category. Newer designers have introduced some minimalist options, but that’s also not really for me.
But for those of us with a tendency toward the whimsical or kitsch, furniture retailer West Elm is coming to the rescue with two new collections, geared toward the High Holidays and Hanukkah.
There’s a Russ & Daughters collaboration of blue-and-white ceramics, featuring serving platters with handpainted designs such as a fish or latkes, trinket trays with pickles and more fish, simple Delft-colored dinnerware and napkins with little cutlery printed in the corners.
And, separately, in an apparent attempt to capitalize on the Jewish market, West Elm also released a set of their own plates, bowls and tea towels printed with colorful “deli favorites” — pickles, brisket, hamentaschen, black-and-white cookies, and the like.
The concepts are pretty similar; both lean into the idea of decorating plates with food objects that may or may not be the food you actually put on them.
I do admittedly already have a large blue-and-white platter with a fish painted on it that I find charmingly eclectic, and just as suitable for serving foods that are not of the oceanic persuasion as it is for foods that are indeed from the briny deep. So I’m not inherently opposed to the concept. But I don’t feel as good about the in-house West Elm Jewish designs, like a bowl with a sort of mushy depiction of matzo balls at the bottom. Imagine eating anything else out of that. Honestly, imagine eating matzo ball soup out of it. It seems disorienting.
Everyone’s tastes vary, and if you want to eat a salad off of a plate with a colorful brisket sandwich painted on it, be my guest. But I think the Russ & Daughters offering is the better of the options. For the most part, the collection stays on the artful side of kitsch largely thanks to the simplicity of the designs and the color scheme. And, more importantly, the internal logic seems actually Jewish. The pieces are useful — perhaps with the exception of the latke platter — for multiple Jewish occasions. The matchbox with a challah on it may feel a bit random at first glance but it does conjure an image of lighting candles on Shabbat, and there are matching candle holders. The art kind of evokes Marc Chagall.
The West Elm deli hits sets on the other hand — which are separate from their collab with the iconic Lower East Side deli — feel as though they’re screaming their Jewishness. The tea towel mixes together hamentaschen and sufganiyot (or possibly a bagel, it’s hard to tell) on the same piece of cloth, despite the fact that these desserts correspond to different holidays. The drawings are cute, but the overall effect is frantic, like someone dumped every Jewish food they could name onto the same page and sent it off to the printers. It’s giving Target Rosh Hashanah decorations — the sort that have a menorah alongside the apples and honey.
A few years ago, Crate and Barrel had Jewish lifestyle influencer Rebecca Lowin curate a Hanukkah display, but it was done using items the store already carried in white, blue and silver; only the menorah was specifically Jewish. Now, a similar home decor store is creating entire lines catering specifically to Jewish holidays and culture. That’s a sign of an increased mainstream embrace of Jewish culture, and that’s a good thing — it wasn’t so long ago that it wasn’t possible to find much public recognition of the existence of the High Holidays, and every attempt featured a hanukkiah with the wrong number of branches or a loaf of challah for Passover. Today, if Jews want twee merchandise — and no judgment — there’s plenty. There are even Hanukkah gnomes, if your taste runs to that.
But there’s still a dearth of decor that feels elegant and thoughtful, instead of try-hard. Decor that feels actually rooted in Jewishness, instead of like a Jewish gloss on something that’s really for another holiday. The Russ and Daughters collaboration is rooted in actual Jewish history. Even if you don’t like a fish motif as much as me, that’s a step in the right direction.
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Sephardic and Mizrahi groups accuse New York Magazine of erasing Middle Eastern Jews. The editor-in-chief agreed to a meeting.
As editors of New York Magazine dug in their heels this week, defending the magazine’s viral “Habibi City” package published earlier this month, 14 Sephardic and Mizrahi Jewish organizations delivered an open letter on Monday night, accusing the magazine of erasing Middle Eastern Jews from its coverage.
On Tuesday, Editor-in-chief David Haskell invited them to meet in September, saying he wants the magazine’s coverage to reflect the multitude of perspectives in the region.
In addition to asking for a meeting, co-signers of the letter, convened by JIMENA (Jews Indigenous to the Middle East and North Africa), asked the magazine to acknowledge what they call the package’s exclusionary framing and provide more representative coverage of Sephardic and Mizrahi Jews going forward.
The dispute centers on the magazine’s August issue about the city’s burgeoning Southwest Asian and North African cultural scene known as SWANA. The package explores restaurants, cafes, cultural collectives and dance parties, tracing much of their growth to the war in Gaza that followed theHamas-led attacks on Israel on Oct. 7, 2023.
“Out of that resistance,” the magazine writes, “a cultural ecosystem started to bloom.”
This week, the magazine published a statement standing by its use of the term genocide to describe Israel’s actions in Gaza, adding that “accusations of antisemitic intent were in fact obfuscating an overwhelming scholarly consensus, and that its use would be allowed in our pages.”
The open letter did not address the use of that term. Instead, it addressed the article’s framing.
The package describes membership in SWANA community in political terms.
“To be in SWANA community,” one article says, means “embracing a set of shared beliefs: that Palestinians deserve human rights. That what happened in Gaza in the aftermath of October 7 constitutes a genocide. That social justice and social welfare override capitalist concerns.”
The same article describes the place of Israelis within SWANA culture as “complicated,” in part because of the term’s “political framework.”
It also says SWANA New Yorkers “face xenophobia, Islamophobia and Zionism” in the city — language that drew particular ire from the coalition and online critics.
According to the letter, New York Magazine’s framing turns SWANA from a geographic and cultural identity into an ideological one, excluding many of New York’s Jews from the Middle East and North Africa unless they reject Israel — the country where many of their families found refuge after fleeing persecution and discrimination elsewhere in the region.
“A Mizrahi Jew whose grandparents were born in the region, expelled from their country of origin, and who carries the region in her language, liturgy, and kitchen belongs only upon disavowal of the movement through which her family survived,” the letter reads.
As the letter puts it, for a great majority of Sephardic and Mizrahi Jews to be represented “as we actually are” means representing them as Zionists.
The letter also faults the package for invoking Oct. 7 repeatedly without acknowledging the atrocities committed that day and erasing the region’s non-Muslim populations.
“When we read ‘Habibi City,’ we immediately saw that this wasn’t something one organization should answer alone,” Sarah Levin, JIMENA’s executive director told the Forward. “The feature made claims about who belongs in contemporary Middle Eastern and North African and ‘SWANA’ communities in NYC, so the response needed to come from the breadth of the communities being written out.”
After she read the package, she began contacting other Sephardic and Mizrahi organizations about writing an open letter. Within four days, all 14 organizations had signed on.
“Iranian, Iraqi, Syrian, North African and Sephardic communal organizations almost never act in concert, and they’ve united around one argument,” Levin said.
Signatories include the American Sephardi Federation, the Iranian American Jewish Federation of New York and the Jewish Community Relations Council of New York.
Levin said the groups had little difficulty reaching consensus. “When the argument is, ‘We exist, and we will not be defined out of our own region,’ there isn’t much for our communities to debate.”
What concerned Levin most, she said, was the size of New York Magazine‘s audience and cultural reach. The Pulitzer Prize-winning bi-weekly magazine boasts reaching 1.8 million readers each week.
“When a magazine that shapes American culture tells millions of readers that belonging to the Middle East requires renouncing Zionism, that is not a small thing,” Levin said. “That is why we responded the way we did.”
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