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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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Israel Becomes World’s 7th Largest Arms Exporter
Israel’s Iron Dome missile defense system, on display during a visit by US President Joe Biden. Photo: Ariel Hermoni / Ministry of Defense
Israel has become the world’s seventh-largest arms exporter, steadily increasing its share of global weapons sales even amid a multi-front war and mounting international criticism, according to a new report.
On Monday, the Swedish-based Stockholm International Peace Research Institute (SIPRI) released its latest report on global arms exports, analyzing trends from the last five years (2021–2025) and comparing them with the previous period (2016–2020).
For the first time, Israel has surpassed Great Britain to become the world’s seventh-largest arms exporter, with its share of global weapons sales rising to 4.4 percent in 2021–2025, up from 3.1 percent in the previous period.
“Despite conducting the war in Gaza and attacks in Iran, Lebanon, Qatar, Syria, and Yemen, Israel still managed to increase its share of global arms exports,” Zain Hussain, researcher at SIPRI’s Arms Transfers Program, said in a statement.
According to the newly released report, Israel also ranked as the 14th-largest arms importer in the world, acquiring most of its weapons from the United States (68 percent) and Germany (31 percent), with a small share from Italy (1 percent), showing that arms embargoes and international criticism have done little to slow its defense trade.
Overall, the total volume of the global arms trade rose by 9.2 percent in the last five years compared to the previous period, with European nations more than tripling their weapons imports to become the world’s largest arms-importing region amid rising regional tensions with Russia and escalating conflict in the Middle East.
The US continued to be the world’s largest arms exporter in 2021–2025, holding a 42 percent share of global sales, followed by France (9.8 percent), Russia (6.8 percent), Germany (5.7 percent), China (5.6 percent), Italy (5.1 percent), and Israel.
Among Middle Eastern countries, Saudi Arabia leads as the top purchaser of American arms with 12 percent of sales, followed by Qatar and Kuwait, while Israel ranks 12th globally, receiving just 3.1 percent of all US arms exports
SIPRI’s latest report comes as the Jewish state faces growing international pressure, with European states among the most vocally critical and threatening arms embargoes over Israel’s defensive war against the Palestinian terrorist group Hamas in Gaza and its military campaign against Iran.
Despite these threats, Israel’s arms exports have continued to grow, solidifying its position as a leading player in the global weapons market.
For example, the UK and Germany have pressed ahead with arms purchases from Israel despite repeated threats and public warnings to suspend defense trade, signaling the limits of international pressure.
Israel now supplies 8.2 percent of British arms purchases, second only to the US, which accounts for 85 percent.
In Israel’s biggest-ever arms export deal, Germany recently acquired the Arrow missile defense system, marking the largest weapons sale in the country’s history.
According to the SIPRI report, Israel’s growth in global arms exports was driven primarily by international sales of air defense systems, even as the country faced heavy domestic demand for weapons amid a multi-front war.
Overall, Israel sold arms to 23 European countries (41 percent of its total exports), 10 Asian countries (40 percent), five in North and Latin America (8.6 percent), and seven African nations.
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I was sexually abused at my synagogue as a child. Here’s how our community can protect others from that horror
This week, I settled a lawsuit that I filed nearly five years ago against the synagogue in New Jersey where I was sexually abused in the 1990s while learning to read Torah. The settlement agreement is significant because of its restorative focus, which I designed intentionally to help make my childhood community a safer place for children. Here is my full story.
I am glad to see these developments. But it should not have taken years of litigation to force a synagogue to implement protective measures that should be part of the work of every Jewish organization that counts children as part of its community.
My experience, and the enablement of my abuser by multiple Jewish institutions, fuels my passion to advocate for change in how Jewish institutions approach child safety.
Many Jewish institutions still struggle to follow basic policies and procedures for handling these kinds of incidents when they are put to the test — although, in recent years, more have proactively adopted policies and procedures and implemented training programs that help.
But safeguarding Jewish institutions from child predators requires more than a set of rules. It requires that Jewish leaders have an informed understanding of the topic, and more importantly, have the courage to speak up and make difficult decisions. The Jewish community desperately needs more of both.
Here’s what needs to be done.
Appreciate the danger within
Combating child sex abuse starts with understanding that 93% of sex crimes committed against children are perpetrated by someone the child knows and trusts. Jewish institutions must begin to reckon more thoroughly with that fact.
On a recent visit to a Jewish day school, an administrator told me that she runs background checks on everyone who enters campus, including every vendor and contractor, without fail. When I asked if she ran a background check on me, she demurred.
I understand why. But Jewish institutions need to find a way to effuse warmth and community without shortcutting safety.
Train kids and parents, not just teachers
One way to begin this work is to bring children and parents into abuse prevention training, in which teachers are already generally required to participate. This kind of training teaches us how to recognize grooming behavior, which is prevalent in most cases of child sex abuse.
Professional training also helps parents learn how to talk to their children about sensitive topics, which reduces a predator’s ability to prey on a child’s natural curiosity. My own children’s day school recently hired ChildUSA to audit its child safety policies. Later, it conducted age-appropriate student training, followed by an abuse prevention workshop for parents. It’s an easy but highly effective example that all day schools should follow, yet few do.
Draw clearer lines
Another way that we can reduce child sex abuse is by better defining red lines, and by proactively responding to inappropriate behavior.
A few years ago, I alerted a Chabad rebbetzin that a regular congregant watched pornography on his cell phone during Rosh Hashanah services. “It only happened once,” she said, and besides, “he has dementia — where’s your compassion!” Other colleagues breathed a sigh of relief — “at least he didn’t touch anyone.”
Our instinct is to try and explain malbehavior through an innocent lense, but when it comes to sexual boundaries, we should resist that urge. Sexual predators intentionally push both physical and conversational boundaries to normalize their behavior. We need to recognize boundary-pushing and appreciate its role as a grooming tactic.
Prioritize the safety and wellbeing of survivors
Yes, our tradition teaches us to be slow to judgment and quick to compassion. It’s a wise dictate, but not one appropriately applied to convicted child abusers, especially as data shows they often reoffend. The Orthodox community in Englewood, New Jersey allowed my abuser to fully participate in communal life long after discovering he had hidden multiple convictions. Some leaders admonished their community as insufficiently compassionate for having concerns about his involvement.
Their mistake: practicing more compassion for a child abuser than for his victims.
Predators tend to find many ways to get close to their victims, and often frequent multiple communities to maximize their pool of victims and to avoid detection of their behavior. These are both textbook characteristics of how my abuser has long operated. Jewish leaders need to speak up, both within their own communities, and when they know predators have moved to new ones.
Conduct transparent investigations
When faced with a case of suspected abuse, it’s imperative that institutions conduct a transparent, independent investigation, and disclose its entire contents, redacting only information that could identify a victim.
Too often, Jewish institutions conduct internal reviews, only disclosing a summary rather than exposing the entire process to public scrutiny. Such exercises often allow an institution to maintain legal privilege over the contents of the report, thus preventing its contents from being used against it.
These investigations are, therefore, largely performative. Putting children first means Jewish institutions should commit to complete transparency to allow the public to fully understand what occurred and how it was handled, and to ensure that conflicts are properly managed.
Prioritize accountability
Holding Jewish institutional leadership accountable for their actions — and inaction — is needed to ensure that child safety is handled professionally. Accountability means articulating standards of expected conduct, and taking remedial action — like relieving bad actors of their jobs — when conduct falls below the standard.
Community members, lay leadership, and the professional organizations that provide the backbone for institutional Jewish leadership — such as the Rabbinical Assembly — need to be more proactive in holding clergy accountable.
If you sit on the board of a day school, camp or synagogue, you must ask whether your institution is doing everything possible to create a safe environment for kids.
Do you have a child safety policy? Does your board include people with a background in child safety and abuse prevention? Have you participated in abuse prevention training?
If your institution is dealing with a sensitive matter, are you working with professionals who have experience in abuse prevention? If your institution mishandled a case, have you owned up to it?
And finally, if you’re reading this and survived being sexually abused as a child, I believe you and I support you. It’s not your fault. And you have the right to speak up and be heard at the time of your choosing.
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This Jewish philosopher knows our politics are absurd — and why that’s a good thing
Should we survive the next three years, the odds are good we will look back on Donald Trump’s second presidency as the “Years of Living Absurdly.” This, at least, is the view of media outlets, ranging from the Wall Street Journal and Financial Times to The Daily Beast and The Guardian, on the dizzying variety of the president’s words and actions.
But there is the politically absurd and, well, the philosophically absurd. For the latter, a good place to start is with the contemporary philosopher Thomas Nagel, who was born to German-Jewish refugees living in prewar Belgrade who then immigrated to the United States after the war’s end. Perhaps understandably, Nagel had an ironic take on the word.
In 1970, this professor of philosophy at New York University, perhaps best known for his essay “What Is It Like to Be a Bat?”, published “The Absurd,” an essay which could be thought of as “What Is It Like to Be in an Absurd World?” In a dozen sharp and snappy pages, Nagel makes the case — unusual for most professional philosophers who treat the “absurd” with either skepticism or scorn — that “absurdity is one of the most human things about us: a manifestation of our most advanced and interesting characteristics.”
Of course, when we hear the word “absurd,” some of us tend to think of Albert Camus. That we do so is not at all absurd. After all, when he was still an unknown 20-something, he declared that “the feeling of absurdity can strike us in the face at any street corner.” In other words, at one point or another in most of our lives, we have reason to look to the skies and ask what the reason is to our lives — and fail to receive an answer.
“The absurd is born,” Camus writes, “from this confrontation between the human need and the unreasonable silence of the world.”
The young Camus eventually found the reason in rebelling against this absurd condition, finding meaning not beyond, but in this world. Yet Nagel did not fall for this youthful and heroic response. “It seems to me,” he drily observes, “romantic and slightly self-pitying.” But he nevertheless acknowledged that Camus was on to something essential and enduring. It is simply that our absurdity “warrants neither that much distress nor that much defiance.”
Though I fell hard for Camus, I wonder if Nagel is on to something important. He suggests that we think of the absurd as a form of epistemological skepticism. By this, he means our unbreakable habit of taking the world, and everything which constitutes it, for granted. We cannot help but do so even though we can always provide excellent philosophical reasons for not doing so. You know the familiar variations on this tune. For example, how do I know that what I unthinkingly take for reality is not a dream (or nightmare)? Or, for that matter, how do I know what I unconsciously take for my embodied or physical self is not simply an electrical impulse sent to a brain floating in a vat? And so on.
Despite these skeptical doubts that reason cannot satisfactorily answer, I nevertheless experience the table where I am now sitting as very real and not a dream. And I live my life as if “I” am the white-haired figure I see in the mirror, one who also enjoys life. Nagel quotes a famous line by the Scottish skeptic, David Hume: “Since reason is incapable of dispelling these clouds, nature herself suffices…I play a game of backgammon, I converse, and I am merry with friends.” As for the skeptical speculations, they are filed away for another day of philosophizing.
To think absurdly, Nagel suggests, is not unlike to think skeptically. It happens when we question not the reality of the world, but instead the seriousness with which we treat it. While I might well insist on the very real possibility that life is meaningless — a position I underscore in my existentialism class with all the gravitas an aging academic can muster — I confess that, phony that I am, I do take my life very seriously. And, moreover, this is what I wish my students would do.
When we step away, if only mentally and momentarily, from the world we take so seriously, Nagel believes we win something important — namely, the ability “to appreciate the cosmic unimportance” of our situation. By “transcending ourselves in thought,” we adopt a view from above — an ironic perspective — that provides the critical distance necessary to take our lives less seriously.
We can and must, as Camus argues, rebel against an unjust and unraveling world. The situation in which we find ourselves as a nation — one at the mercy of a merciless and monstrous ego — is existentially important. But is it not, from a certain perspective, also absurdly unimportant? This is the gift of ironic distance; by “making us spectators of our own lives,” we can smile at the spectacle in which we all have roles.
But irony, if I understand Nagel rightly, is also a burden. Our late-night comics are masters at slicing the men and women who run our country down to size, but here is the rub: While we are busy delighting in the deflation of these oversized egos, we are also delighting in the inflation of our own. We take comfort in our superior smarts and morals, but as we all discover sooner or later, this comfort proves as lasting as a May fly.
As the philosopher Alexander Nehamas has suggested, true irony, or at least the irony practiced by Plato in his dialogues, is meant not only to knock the fools in power down a peg or two, but also those who are busy laughing — e.g., you and me. In an age which pits one half of the country against the other, no lesson — one that teaches modesty and humility — seems more vital.
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