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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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From one Australian deli, he built a shopping empire. His parents taught him what to do with its riches.
I first learned about Sir Frank Lowy at the Australian Museum in Sydney. Alongside an opalized plesiosaur skeleton and a 19th-century rug made of 75 platypus skins, there was a brief account of a Czechoslovakian Holocaust survivor who went on to become Australia’s richest man. It was a bizarre way to discover that the origins of the ubiquitous Westfield shopping malls lay in the Levi family from the tiny pre-War Jewish community of Fiľakovo on the Hungarian/Slovakian border.
In 2018, Sir Frank sold the company he ran with his three sons David, Peter and Steven and moved to Israel. At that point, Queen Elizabeth II had already made Lowy a Knight Bachelor and Australia’s Governor-General had appointed him Companion of the Order of Australia, Australia’s highest honor. Then, in 2024, as Lowy was receiving Israel’s highest civilian award, the Israeli Presidential Medal of Honor, a production marketing team was charged with making a short introductory film about him.
Over the next year, that film grew into To Be a Jew: Frank Lowy in his own words, a new feature-length documentary by Sarit Asnapi. A film about one of Australia’s most successful businessmen could easily have become an inventory of 50 years of deals. Asnapi, known for My Sister’s Keeper (2023) about the ultra-Orthodox community, though, frames the film using the attacks of Oct. 7 that deeply affected Lowy. Talking to me, he teared up at the thought of his young relatives who were brutally murdered at Kibbutz Be’eri, comparing them to his Slovakian cousins murdered in the Shoah. Asnapi shows what Pinchas “Frantisek” Levi — the boy who lost his father in the Holocaust — carried into Frank Lowy’s later life.
When I met him in his New York apartment overlooking Central Park, Lowy told me about an episode during the war that didn’t quite make it to the film. While his older siblings illegally worked around Budapest, he and his mother were relatively safe, though hungry, in the international ghetto. At midnight, his brother sometimes brought food to the building where they were living so that Frank, then a boy, could carry the parcel upstairs to the crowded apartment. His mother would open it, set it out on the table, and invite everyone to eat.
“I protested,” Lowy told me. There were perhaps 30 people in a flat intended for three or four, and he could see how little food they had. What, he wanted to know, would they eat tomorrow?
“Tomorrow, God will provide.” his mother told him.
Lowy, who is now a spry 95, about to turn 96, built and sold Westfield, the shopping center company whose name is familiar to millions of Americans; helped remake Australian soccer; and founded major synagogues and think tanks in both Australia and Israel. But when he describes the principle behind his philanthropy, he returns to that apartment: “When you have a little, give a little. When you have a lot, give a lot.”
We began, though, with soccer. I’m a Leeds United supporter and his son Peter is now a director of the club. Lowy’s connection to the game goes back much further: to Fiľakovo, where his father took him to watch the local team on Sundays. On a return visit years later, Lowy sought out the spot by the field where his father Hugo, who was murdered in Auschwitz, had sat.
Lowy, his mother and his siblings survived. After the war, he went to Palestine, fought in Israel’s War of Independence and, in 1952, reunited with his family in Australia. He told me that on his first weekend in Sydney, he was back at a soccer ground, watching Hakoah, the Jewish club founded by immigrants on the model of the legendary Austrian team, Hakoah Vienna.
Years after that first Sunday at Hakoah, Lowy — who was president of the club from 1969-to-1988 — was asked to help overhaul Australian football. The sport had devoted supporters, but it was a “Volksport” where clubs often carried the national identities and rivalries of immigrant communities. Lowy recalled matches at which hostility in the stands overwhelmed what was happening on the field. He wanted a league that those communities could enjoy together with the rest of Australia.
After being approached by the Australian premier to transform the sport in that country, Lowy led the national governing body from 2003 to 2015. Under his chairmanship, the A-League began in 2005 with Australian city clubs taking over from the Macedonian, Italian, Croatian, Jewish, and other clubs that had preceded them. As well as refashioning the league, Lowy helped the “Socceroos” national team take on a pan-Australian character. With “the kick that united a nation,” John Aloisi’s successful penalty against Uruguay meant that Australia qualified for the 2006 World Cup, its first appearance in 32 years. It was a moment that transformed soccer’s standing in Australia from a niche sport into a mainstream powerhouse.
Soccer isn’t just a hobby for Lowy. In the wake of December 2025’s Bondi Beach massacre, he wrote to the Royal Commission on Antisemitism, suggesting the same principles he used to change the profile of the sport as a potential solution to the blight of rising antisemitism in the country.
He does not pretend that running a league supplies a complete answer to hatred. He does believe that people can change the public life of a country by building institutions, speaking openly and refusing to retreat.
“In soccer, we didn’t try to take people’s ethnic identity away; we worked to stop the expression of ethnic conflict in public. Similarly, it is probably not possible to eradicate a dislike of Jews, but it is possible to help people understand why, in Australian society, the public outpouring of this aversion is not right.”
The persistence of soccer in Lowy’s life fascinated me. So did the contrast between Hakoah, a place where immigrants could keep something of their old lives, and the more broadly Australian game Lowy later helped build. He did not see a contradiction. His early businesses had already taught him what could happen when people from different places found a reason to gather.
After finding factory work on arrival in a burgeoning immigrant Australia, Lowy took a job making sandwiches. Soon, he and fellow immigrant John Saunders opened a delicatessen in the Western Sydney suburb of Blacktown. “The delicatessen was very successful because we were the only ones that were selling continental goods,” he told me, “And the Russians, the Slovaks, and all the people that came were hungry for that. Because in Australia, then, a sandwich meant white bread, a slice of cheese, and white bread on top of it.” So their customers included Europeans from all over, who missed the food they had known before emigrating. The partners bought “Australia’s second espresso machine” and Lowy remembers the Italian workers queuing for coffee on Sunday mornings
One afternoon, an acquaintance told Lowy he was building shops nearby. Lowy, as he avers is the case throughout his career, was “aware and alert.” How does what I observe affect me? What can I do about it? With whom can I take action? So he went back inside and asked Saunders a question that would recur throughout our conversation: Why don’t we do the same? They began with a few shops in Sydney. In 1959, they opened their first proper shopping center in Australia, and in 1977, their first shopping center in America – in Trumbull, Connecticut.
Lowy describes this habit of noticing an opening, then acting on it, as “active optimism.” It is an appealing phrase, though his version has less to do with expecting things to turn out well and more to do with moving into an area and being open to pivot with partners to change goals and maximize success. He spoke of watching for dangers as closely as opportunities, and of the financial crises the company had to survive. He also spoke with unusual ease about the help he received: Saunders, bankers who stood by the business, and colleagues he chose well. “Alone you cannot succeed,” he said.
Lowy is similarly unwilling to make his Jewishness less visible for the comfort of others. He told me that he objected when newspapers called him a “Jewish businessman” in stories where another man’s religion would never have appeared. He wanted to be known as a businessman on the same terms as anyone else. At the same time, wanted no one to mistake who he was.
“I carried the Jewish flag,” he told me. Does he still? “All the time.”
For all his talk of building things, Lowy’s memories of Jewish life begin with what his parents did for people who had little power. Before the war, traveling Jews looking for money far from home in Poland or Carpathia would often sleep for free in the synagogue. On Friday nights, the rabbi would see whether any heads of household would take them in for meals. Lowy remembers that his father would bring these travelers home, and even seat them at the head of the family table, even when other hosts might have put them in the kitchen.
He founded the Lowy Institute, an international policy organization to combat what he saw as Australian isolation. By providing world class, original “policy-relevant research from an Australian perspective,” it can bring Australia into international conversations. Sometimes, that means bringing world leaders to speak in Sydney, or by convening meetings across the world under an Australian umbrella.
In a similar vein, in 2006, he became chairman of Israel’s Institute for National Security Studies, one of the world’s leading security think tanks. He described his private support for Jewish causes, including Holocaust commemoration, Tel Aviv University and the Australian Jewish Communal Appeal (JCA) as something he learned at home, from those meals and from the coins his mother put into a Jewish National Fund box at their home on Fridays.
The documentary follows Lowy as he reflects on nearly a century of Jewish life and visits communities devastated by the Oct. 7 attacks. Its title sounds definitive, but, when we spoke, Lowy was still working out what he wanted people to take from the film. He hoped some might follow his example in giving to others. He hoped, too, that telling a Jewish story openly might do some good.
Near the end of our conversation, Lowy said he was “a Jew, body and soul, Israeli on top of it.” After his journeys to Budapest, Tel Aviv, Sydney, Trumbull and New York, it was a strikingly simple account of himself. I thought again of the boy carrying food up the stairs, anxious about tomorrow, and of his mother setting a place for everyone anyway.
His mother and his father had both shown young Pinchas how to take pride in sharing food with strangers but it took an adult Frank Lowy to bring diverse people together at a massive scale no matter what their differences: whether it was through food at a deli, politics at a think tank, crowds at soccer games, or shoppers at malls across the world.
To Be a Jew: Frank Lowy in his own words, will screen at the Marlene Meyerson JCC Manhattan on Sept. 29, and there will be a Q&A with Sir Frank Lowy afterwards.
The post From one Australian deli, he built a shopping empire. His parents taught him what to do with its riches. appeared first on The Forward.
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They settled in a city where 200,000 Jews thrived. After Kristallnacht, her family fled and she stayed behind.
The City Without Jews: Life and Death in Nazi Vienna
By Douglas Smith
FSG, 560 pages, $37
Several years ago, the historian Douglas Smith, who has won wide recognition for his several books on modern Russia, turned his attention to Vienna and its Jewish community during the rise and fall of the Third Reich. During his research, he discovered the recently published diary and letters of Mignon Langnas (née Rottenberg), one of the few Jews who remained and survived in Vienna under Nazi rule. Gripped by Langnas’ experience of events we have difficulty even now of fully grasping, Smith decided to center his book on this remarkable woman.
It was a brilliant choice: Smith’s new book, The City Without Jews: Life and Death in Nazi Vienna, seamlessly weaves Langnas’ story with the wider account of how Vienna, home to the largest Jewish population of any city in the German-speaking world with nearly 200,000 inhabitants, was declared by Nazi officials, with only slight exaggeration, as Judenrein.

From its fin-de-siècle brilliance in the late 1800s to its fin-des-juifs darkness in the mid-1930s, Vienna was home to both illustrious Jews like Sigmund Freud and Gustav Mahler as well as notorious antisemites like the influential politician Georg von Schönerer and Karl Lueger, the city’s mayor from 1897 to his death in 1910. But antisemitism was a worldview that extended far beyond a political elite. Smith underscores the countless acts of spontaneous antisemitism that erupted in Vienna following the 1938 Anschluss, when Jews were forced to scrub anti-Nazi graffiti from sidewalks and carry pro-Nazi placards. The American journalist and historian William Shirer, on a visit to the city, reported that the Viennese, “usually so soft and sentimental, were behaving worse than the Germans, especially towards Jews.”
Of course, what followed was unspeakably worse. The rapid and rapacious process of Aryanization by the Viennese shocked even German Nazi officials, who hurriedly issued a series of laws and warnings against “wild Aryanization.” The lurid logic of Aryanization, in turn, beggared the Jewish community, making the resolution of the “Jewish question” even more imperative for the Third Reich.
Adolph Eichmann, recently arrived in Vienna, created the Central Office for Jewish Emigration and placed Josef Löwenherz, the director of the Viennese Jewish Community, at its head. Though Löwenherz’s actions were condemned by some survivors after the war, Smith echoes the Holocaust scholar Doron Rabinovici’s conclusion that, while Löwenherz was “co-opted” by the Nazi state, he nevertheless acted courageously in impossible circumstances, saving the lives of tens of thousands of Viennese Jews.
Smith’s account of the evolution of the Final Solution in Vienna, based on an impressive familiarity with primary and secondary sources, manages to be both cogent and comprehensive. What makes his narrative truly compelling, though, is how well he weaves the life of Mignon Langnas into the wider story. Upon settling in Vienna, her family quickly learned German, thoroughly immersed themselves in the literary culture and, despite recurring spasms of antisemitism, thought of Vienna as their home. As Smith observes, the parents’ very choice of “Mignon” as their daughter’s German name, rather than her Hebrew name of Mamcze, signaled their embrace of Viennese Kultur. In 1928, the young woman married Leon Langnas, also a Polish immigrant with whom she had two children, Georg and Manuela. Though they struggled financially, they had no reason to believe that their lives, along with their extended families, would not continue to improve.
Of course, this belief was shattered by the birth of the Third Reich and death of the Austrian Republic. As the prospect of annexation by Nazi Germany loomed, the deep reserves of Austrian antisemitism seeped then burst into public life. In Vienna, the violence of Kristallnacht was far greater and gruesome than in Germany, with dozens of synagogues and thousands of Jewish businesses destroyed, several thousand Jewish residents arrested, and at least 27 Jews murdered and dozens more who took their own lives. As Joachim Fest, a biographer of Hitler, concluded, Kristallnacht was “successful only in Vienna.”

This event persuaded the Langnas family that they had to leave. While fires lit the streets along which roving bands sought out Jews, SS officers came to the Langnas apartment to arrest Leon. He succeeded to hide that night and, at Mignon’s urging, eventually made his way to New York after nearly a year of travails and travels. Mignon then managed the Herculean task of completing the paperwork for the children, who joined Leon in 1940, but refused to leave her parents who could not secure the necessary money and visa.
At this point, alone and anguished, Mignon began the journal that serves as Smith’s window into her life. Over the next four years, what remained of her family, friends, and neighbors were gradually “extracted” — the term of art for the round-up and deportation of Jews by either the SS or Jewish “stewards” employed by the Central Office. Though both of her ailing parents died, Mignon managed to survive through pure luck and sheer will. She leapt at the chance to train as a nurse, a position that not only helped save her from the relentless wave of extractions, but no doubt helped save the lives of many of her patients.
During the final months of the war, when she worked twelve-hour shifts at the Children’s Hospital and Vienna was pounded daily by Allied air strikes, Mignon adopted a mantra: “Don’t think — just don’t think.” If she did allow herself a thought, it was that she wanted to live and see her husband and own children. When the city was liberated in April 1945, slightly more than 5,000 Jews — either employed by the Central Office or married to gentiles — had survived including Mignon, who had lost more than fifty family members. But there was an insurmountable distance between survival and revival.
In June 1946, Mignon arrived in the port of New York City and rejoined her family. Yet she had become a stranger to them — after six years in the US, the children had forgotten not just their German, but mostly their mother as well, and they had become strangers to one another. As she wrote to a cousin, “We are all broken people and nothing happy or bright can resonate in us anymore. I have to cry so much.”
Three years later, Mignon, ill and unable to leave her bed, was admitted to Gotham Hospital where she died a few weeks later. Yet thanks to Douglas Smith’s masterful account, it is not just the horrors Mignon experienced but also the humanity she embodied that will continue to resonate with the reader.
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Could a convert’s kid play Jewish geography?
It was, I think, some small measure of divine consolation that the most dispersed minority on the planet got a little game to bring us back together. Yes, I’m talking about Jewish geography — that special small-talk ritual that often follows when two Jews meet for the first time.
It’s a precious thing, finding out that the stranger from across the country is in fact related to your old day-school pal…or went to camp with his sister…or dunked on him one time in a gap-year program basketball tournament. These connections, however stretched, mark our closeness, placing us somewhere on a giant tree of shared Jewish ancestry that, presumably, begins at Sinai.
But Jewish geography never played that way for me. My dad converted — no Jewish friends or family there — and my mom’s relatives were non-observant, leaving me with dangerously few character references outside of my synagogue and day school class. We didn’t do Pesach programs or Camp Ramah — we didn’t even shul-hop. So on NCSY Shabbatons or at Hillel dinners, when everyone else knew someone who knew someone, I didn’t. Like the converts of the biblical desert, I felt I’d always be pitching my tent on the fringes.
Everything changed one day earlier this year when, doomscrolling on X, I came across a post from a user with my last name. I’ve never met another Keene I wasn’t related to, so I followed my curiosity to her profile. Her bio (it’s since changed) read something like: “Best-selling author. Feminist. Jew.” Gobsmacked, I followed her.
A few minutes later, a message arrived. “Holy s—,” Meg wrote, “are we the only two Jews on earth with the last name Keene?” I guess writing for a Jewish publication gave me away. Over DMs, she told me she lived with her husband and two kids in the Bay Area; like my dad, she had converted from Christianity. Her Keene ancestors hailed from the antebellum South; I told her mine fought for the North. We soon pieced together that we were both descended from Mayflower folks — believe it or not, the same one.
At some point, we realized this was the least Jewish game of Jewish geography that’s ever been played. Of course, playing at all was new for both of us. “Because talking about being a convert is discouraged,” Meg said, “and honestly because most people who talk about being converts converted 5 minutes ago, not 20 years, I end up just sitting quietly during Jewish geography convos. I find it interesting that people generally don’t notice.”
A few days later, we picked up the conversation over the phone, when I learned that she made her name writing about wedding planning but had since pivoted to fiction. She’d finished a novel — but was having trouble getting it out, she said, because her characters had been deemed too Jewish by publishers. (Not long after our call, Cousin Meg launched her own imprint, Meg Keene Books, to take the Big Five head on.)
Still, not all the Jewish Keenes were accounted for. A few months later, Meg told me she’d found another. Andrew Keene lives in Tel Aviv, and — here’s a real twist — he didn’t convert. Instead, Andrew told me over LinkedIn this week, his ancestors were Cohens who changed their name. I’d met Kanes, Kahns and Katzes who were at one point Cohens, but never Keenes. Well, unless I counted myself — after all, Cohen is my mother’s maiden name.
Andrew, whose family hails from Wisconsin, said he wasn’t sure how Cohen had become Keene, or why. “But I do know my grandfather had an uncle, Louis Cohen.” Funny he should say so: I’m named after one. His Louis Cohen worked for Pabst Brewing; mine was a dentist. Andrew’s visiting LA next month, and we’re trying to drag Meg down here for a Jewish Keene summit.
I should caveat that my newfound Jewish geography has come at a price. There had been one nice thing about being the sole Jewish Keene family, which was the illusion of brand control. I grew up believing that whatever name recognition Jewish Keenes achieved would begin with our family of five — what could be, unburdened by what has been. Then, this week, I got a text I had never received before: Are you related to Meg Keene?
The answer’s kind of a long story, but it dates back to Sinai.
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