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Robert Gottlieb, legendary editor who championed Joseph Heller, Robert Caro and Chaim Potok, dies at 92
(JTA) — Robert Gottlieb, the legendary literary editor who shepherded into print and best-sellerdom such 20th-century classics as Joseph Heller’s “Catch-22,” Robert Caro’s “The Power Broker” and Chaim Potok’s “The Chosen,” died Wednesday at age 92.
Few editors of his generation had as big an impact on the literary culture, from his time as editor-in-chief of Simon & Schuster to his later association with Alfred A. Knopf (now Knopf Doubleday). He edited The New Yorker for five years and wrote numerous books himself, including several on one of his many passions: ballet.
The eye and obsessiveness he brought to editing (and what he once described as his “convoluted, neurotic, New York Jewish mind”) were captured last year in a documentary, “Turn Every Page,” about his longtime relationship with Caro, a fellow Jewish New Yorker. The film, by Gottlieb’s daughter Lizzie Gottlieb, remembers when Gottlieb and Caro sat side by side trimming Caro’s massive manuscript for “The Power Broker” — an epic biography of the New York City master builder Robert Moses — into a still weighty 1,200 pages. The book went on to become a bestseller and remains a touchstone for a generation of journalists and city planners.
“From the day 52 years ago that we first looked at my pages together, Bob understood what I was trying to do and made it possible for me to take the time, and do the work, I needed to do,” Caro said in a statement on Gottlieb’s passing. “People talk to me about some of the triumphant moments Bob and I shared, but today I remember other moments, tough ones, and I remember how Bob was always, always, for half a century, there for me. He was a great friend, and today I mourn my friend with all my heart.”
At his death, Gottlieb was working with Caro on the last installment of his five-volume Lyndon Johnson biography. There was no word from Knopf Doubleday on who would finish the edits on the long-awaited book.
A self-described “Jew who knows nothing about Jewishness,” Gottlieb was working at Simon & Schuster when in 1966 he received the manuscript for a novel by a rabbi about two Orthodox Jewish boys — one Modern, one Hasidic. Gottlieb saw the potential in Chaim Potok’s book, thinking it might introduce gentile readers and secular Jews like himself to the world of Orthodoxy while telling a universal story about fathers and sons. Gottlieb advised on the title of the book, and took his scalpel to the manuscript.
“I recognized that the book had come to an end, and that Chaim had written 300 more pages,” Gottlieb told the Paris Review in 1994. “The material that was the motor of the book had worked itself out, and he had gone on to write the sequel. So I called up Chaim’s agent and said, I love the book and would like to talk to him about it, but please explain to him it’s only on the condition that he drop the last 300 pages that I want to publish it; if he wants to leave it as it is, it’s a different book. Chaim immediately saw the point, so there was no problem.”
Following its publication in 1967, the book stayed at the top of the New York Times bestseller list for 10 months. It spawned a movie starring Robbie Benson and Rod Steiger, and a sequel, “The Promise.”
Gottlieb also proposed that Potok write a nonfiction history of the Jews. “I grew up in an atheist household; I never attended anything. I thought that Chaim could write a very popular and useful book that might instruct someone like me,” said Gottlieb. “Wanderings” was published by Knopf in 1987.
Gottlieb’s other credits include fiction by future Nobel laureates Toni Morrison, Doris Lessing and V.S. Naipaul; spy novels by John le Carré; lyrics by Bob Dylan; fiction by the Canadian Jewish novelist Mordecai Richler; essays by the Jewish screenwriter, journalist and novelist Nora Ephron, and blockbuster science thrillers by Michael Crichton.
Born and raised in Manhattan, he graduated from Columbia University in 1952. After studying at Cambridge University, he joined Simon & Schuster in 1955 as an editorial assistant. Soon after, he took on a satirical novel by a Jewish writer and former World War II pilot named Joseph Heller. Gottlieb saw its potential when senior editors didn’t, and among his suggestions was changing the book’s title from “Catch-18” to “Catch-22” — to avoid confusion, Gottlieb explained, with Leon Uris’ “Mila 18,” a bestseller about the Warsaw Ghetto uprising. The book was a huge success and “Catch-22” entered the lexicon as a phrase meaning an unsolvable dilemma.
“I suppose our convoluted, neurotic, New York Jewish minds work the same way,” Gottlieb said about his relationship with Heller.
Gottlieb was married twice, the second time to actor Maria Tucci, and had three children. A famous workaholic, he reportedly was reviewing proofs of a book by the Jewish author Cynthia Ozick while helping his pregnant wife through labor.
Earlier this year, Lizzie Gottlieb told the New York Jewish Week that her father and Caro both strongly identified as New York Jews.
“It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are,” said the filmmaker. “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.”
Lizzie Gottlieb also commented on her father’s various eccentric collections, including kitschy Israeli record albums from the 1960s and ’70s.
“Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him,” she said. “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.”
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A ‘deficit of courage’ killed the free press in Germany. Will American journalists find the courage to thwart Trump?
Paul Reusch was managing director of a major German industrial conglomerate known as GHH, whose holdings included Bavaria’s largest newspaper, the Münchner Neueste Nachrichten.
After two meetings with Adolf Hitler early in 1932, Reusch signed an agreement that the Munich broadsheet would refrain from “all unwarranted and personal attacks against Hitler and individual National Socialist leaders.”
One year later, Hitler lackeys were calling the shots in the newsroom, Jewish journalists had been forced out, and the newspaper was spewing hate propaganda.
The Third Reich brutally smashed free speech. Nearly a century later, it’s America’s Fourth Estate that is getting battered — by Donald Trump’s drive to muzzle his critics by exploiting the greed and hunger for power of corporate media executives.
Scott Pelley’s firing and the turmoil at CBS News are the freshest manifestations of this threat. But it’s been going on since the start of Trump’s second term — witness the craven settlements by ABC News and CBS News of frivolous lawsuits brought by Trump last year, his favored treatment of MAGA-aligned outlets, and his dehumanization of actual journalists.
“The news executives are acting as though, (if) we just placate Donald Trump we’ll get through this,” veteran TV journalist Jim Acosta said the other day in an interview on MS Now. “We have a deficit of courage and honor in this country right now and we need to get back to it.”
It was a deficit of courage that killed the free press in Weimar Germany. And like Paul Reusch, German media baron Alfred Hugenberg is a case study in corporate submission to authoritarianism.
Hugenberg was a steel executive, ultra-nationalist politician, and owner of some 50 provincial newspapers, of the Telegraph-Union wire service, as well as Ufa, the Third Reich’s largest producer of movies and newsreels. The Great Depression hollowed out Germany’s newspaper market, allowing Hugenberg to use his considerable capital to buy distressed papers and blanket the market with articles calling for an end to democracy.
Hitler’s Nazis and Hugenberg’s German National Peoples’ Party joined forces in 1931 in the Harzburg Front, an attempt to topple Chancellor Heinrich Brüning. Although the alliance ultimately unraveled, it brought huge financial contributions to the Nazis from German industrialists.
After Hitler came to power he struck rapidly to muzzle any dissent, either shutting down newspapers or taking them over to serve as cogs in the Nazis’ propaganda apparatus.
As America nears its 250th birthday, media turmoil is playing into the hands of Donald Trump’s authoritarian ambitions.
Trump’s obsession with silencing truth-writing journalists kicked into overdrive early in his second term, with his banning of The Associated Press, my former employer, from the Oval Office and from Air Force One, the Trump administration dictating who gets to be in the White House press pool, and giving preferential treatment to journalists who ask softball questions or can be relied on to make fawning statements about Trump’s grandiose ideas, as Trump’s personal insults toward journalists — mainly women — pile up in number and in viciousness.
What’s been happening at CBS News and Scott Pelley’s firing are warning signs of moves by Trump to take control of news media and suppress criticism of him. The drama started last summer with CBS’ parent company — Paramount — agreeing to pay Trump $16 million to settle a toothless lawsuit over the editing of a 60 Minutes interview with Kamala Harris. And then came approval by the FCC — led by Trump loyalist Brendan Carr — of Paramount’s merger with Skydance Media. No quid pro quo here!
David Ellison, the CEO of Paramount Skydance, hired Bari Weiss to lead CBS News. After firing a half-dozen top people at 60 Minutes, Weiss was accused by Pelley of “murdering” the vaunted TV news program and doing Trump’s bidding.
“My impression at the time was that she was putting a thumb on the scale on behalf of the administration. Constantly looking out for the views of the president,” Pelley said in an interview with The New York Times published this past Sunday.
Weiss and CBS News have denied Pelley’s allegations.
There’s more turmoil on the horizon — and more reason to fear the Trump administration will seek to deepen its influence on news operations.
This past February, Paramount Skydance and Warner Bros. Discovery signed an agreement for Paramount to acquire WBD for $110.9 billion, and WBD shareholders approved the merger. Whether the deal goes through is up to regulators. The Trump administration is eager to see Ellison, the son of Oracle CEO and Trump buddy Larry Ellison, calling the shots for CNN. Defense Secretary Pete Hegseth said a few months ago: “The sooner David Ellison takes over that network, the better.”
Ellison has said “editorial independence will absolutely be maintained” at CNN. But the purges at 60 Minutes are hardly reassuring. Jim Acosta maintains that the media conglomerate resulting from the merger of Paramount Skydance and Warner Bros. Discovery “will essentially act like a state media organization in support of Donald Trump.”
There are calls among journalists to show more support for each other, and to stand up to Trump when he personally attacks them. The optics at this year’s White House Correspondents Dinner weren’t great, with journalists giving a warm welcome to a man who regularly calls them “stupid,” “fake news,” “horrible,” “terrible,” among other insults. I wonder how they would have responded had a gunman not interrupted the proceedings and Trump gave a scathing speech about the assembled members of the Fourth Estate.
Acosta and other journalists are urging their colleagues — as well as news executives — to show more backbone.
“They (the Trump administration) are trying to put together a state-dominated media system in this country. And it has to be stopped,” Acosta said.
“There are a lot of journalists who can do something about it, and a lot of corporate executives who can do something about it. “
Acosta is not wrong.
Journalists working in the Third Reich were a mixed bag of Nazi fanatics, sycophants, opportunists, and career professionals who may have felt queasy about collaborating with the Nazis but kept quiet about it.
Resistance could have fatal consequences. Fritz Gerlich, editor of the Munich-based newspaper Der gerade Weg (The Straight Path), was murdered at Dachau. Erwein von Aretin, political editor at the Münchner Neueste Nachrichten, was also hauled off to Dachau, but survived. Editors and reporters at the Münchener Post, a pro-democracy newspaper owned by the Social Democrats, were rounded up, jailed, and after their release ostracized and forced to live in penury, a story I tell in my book Enemy of The People: The Munich Post and The Journalists Who Opposed Hitler.
German journalists never put up any serious resistance to Hitler’s suppression of the free press at least partly because most of the populace had turned against democracy.
American journalists are in a different situation, one far less perilous than that of their German colleagues. They might lose access to administration officials by standing up to Trump, perhaps forfeit their seat at press conferences to MAGA media, be banished from Air Force One, suffer juvenile insults from Trump, or anger their corporate bosses.
But today’s journalists need to ask themselves this: Isn’t standing up for democracy worth more than a seat in the briefing room?
While interviewing Trump on Meet The Press this past Sunday, Kristen Welker showed how it should be done, persisting in holding Trump to account. When Welker challenged Trump’s claims of election rigging by Democrats, he exploded.
“We’re like a Third World country,” he yelled at Welker. “Your elections are crooked. And you’re crooked, and Meet the Press is crooked, and so is ABC and CBS and CNN.” Red-faced, Trump stood up and stormed out
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YiddishPOP can bring more diversity to American Jewish education
Every Sunday morning, a group of families in Stockholm, Sweden, meets in a local school to create handicrafts, do gymnastics — and learn Yiddish.
Katka Mazurczak, the instructor of this grassroots group called The Yiddish Club, told me that the families seem to really enjoy the weekly Yiddish immersion. One of the resources she uses is YiddishPOP, a free online animated and game-based learning tool that features short episodes about a young teenager named Nomi, her robot sidekick Moby and her friends.
I’ve known about YiddishPOP for years and often share its videos with my grandchildren. The episodes cover topics that are familiar and easy for children to relate to. In one, a friend of Nomi’s finally scores a basket. In another, Nomi and Moby laugh as they look at their comical reflections in funhouse mirrors.
Each story is accompanied by a video clip presenting the new vocabulary and grammar, interactive games and a multiple choice quiz.
“Children love YiddishPOP,” said Mazurczak, who also uses the program when teaching kids in more formal school settings like the Stockholm Jewish Hillel School, known as Hillelskolan. “It has captivating graphics, clear speech and the movie goes at a good pace. Some episodes are really funny and kids laugh out loud.”
Part of the appeal of YiddishPOP, particularly for beginners, lies in Moby’s slapstick antics. I too find myself laughing during those scenes.
In a time when seeking diversity has become a main focus in schools across America, Jewish educators might want to consider introducing young students to the multi-faceted language and culture of Ashkenazic Jewry, using a contemporary language learning tool like YiddishPOP.
Teaching the Yiddish language through animation and interactive games helps it come alive for children, depicting it as a natural, even cool way to express Jewish identity, rather than stereotypically sending the language to the dustbin of history.
One school that has tried out YiddishPOP is the Krieger Schechter Day School in Baltimore, MD. When the school piloted the program with its third-grade class last year, the director of the lower school, Toby Kaplowitz, was impressed.
“Though students had just four sessions, they were truly engaged and walked away with both a sense of the language and an appreciation for its connection to their Jewish learning,” Kaplowitz wrote in an email. Krieger plans to continue using YiddishPOP with these same students, as they transition to fourth grade.
Last year, YiddishPOP began distributing $500 microgrants to help teachers and parents bring the Yiddish program to schools. Dana Yudovich Katz, a teacher at Kehillah High — a supplemental program for students in grades 8–12, run by the Jewish Federation of Greater Houston — was the first recipient. She added YiddishPOP to a course she had initiated with the teens called TAM: A Taste of Yiddish Language and Culture. Tam is Yiddish for “flavor.”
Most of the students came away from using YiddishPOP with a positive feeling towards the language. As one student in Yudovich Katz’s class told her: “The film was good at using the words in a way I could understand because it was just slow enough.”
The YiddishPOP team is now working on teacher materials that will make it easier for people without a background in Yiddish or language teaching to use YiddishPOP. Teachers and school administrators who’d like to apply for a YiddishPOP microgrant can do so here until July 31.
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UK Jewish leaders demand answers after Muslim police group paper calls Zionism a form of hatred
(JTA) — British Jewish groups say they are alarmed about revelations that a fraternal society for Muslim police officers published a policy paper that described Zionism as a form of anti-Muslim hatred and called the Israeli army a “Zionist terrorist group.”
The Board of Deputies of British Jews called the paper posted by the National Association of Muslim Police “disturbing” in its presentation of Jewish identity, history and the nature of antisemitism.
“If this is being circulated among officers, it poses a direct challenge to the integrity of policing and it should be withdrawn immediately,” the group said.
NAMP has distanced itself from the report and, in a statement, rejected any allegation that the group “supports Hamas.”
The 39-page paper titled “From Past Prejudices to Present Policies: Confronting anti-Muslim hatred and Promoting Human Rights,” was written by NAMP’s then-vice president, Khaldoun Kabbani, and published in July 2025. It says “Zionism represents one of the manifestations of anti-Muslim hatred”; likens the war in Gaza to the Holocaust; and disputes facts about Hamas’ Oct. 7, 2023, attack on Israel, including that Israeli children were killed.
The Spectator, a right-wing British newspaper, drew attention to the report in a piece published on Friday that said the report illuminated “the disturbing truth about the National Association of Muslim Police.” The group has a formal affiliation with 16 of 43 police departments in the U.K. and says it represents more than 20,000 officers.
Kabbani, a forensics officer, was briefly the chair of the Scottish Muslim Police Association but planned to move abroad after retiring earlier this year, according to a post by the group on LinkedIn.
The revelation of the NAMP report comes at a time of heightened tension over policing in the U.K., amid both a surge in anti-Jewish crimes and a renewed uproar over a December murder that has fueled allegations of “two-tier policing” that treats some victims differently from others. The Spectator referenced the victim, Henry Nowak, in the column about NAMP.
The NAMP report has spurred distress for many British Jews who are on edge amid a string of violent incidents targeting Jewish communities. The Campaign Against Antisemitism, a watchdog group, said its polling shows that 83% of British Jews do not think the police are doing enough to protect them — and that the report suggested their concerns were well founded.
“The people responsible for publishing this extremist screed on the official police.uk web domain are unfit to be police officers and must be immediately investigated by their respective forces’ professional standards departments and dismissed,” Steven Silverman, CAM’s director of investigations and enforcement, said in a statement.
“British Jews have long suffered two-tier policing that sees antisemitic crime go unpunished,” he said, adding that CAM would press the British government “ensure a clear message is being sent. This cannot pass with the document being quietly deleted.”
The report was removed from NAMP’s website over the weekend. The group distanced itself from the report in a statement published on Tuesday, saying that it had removed the report “immediately” after learning about its existence and emphasizing that the author was “no longer associated” with NAMP.
“We understand that the publication of this document has affected several communities, and we regret any concern, discomfort, or misunderstanding it may have caused,” the group said.
It added, “NAMP categorically does not ‘defend’ Hamas or any other proscribed organisation. We condemn all forms of terrorism and extremism.”
The document is “deeply troubling,” a spokesperson for the Jewish Leadership Council, which coordinates British Jewish groups, said in a statement.
“This document appears to falsely associate an ideology held by the majority of Jewish people as a threat to Muslims. It also engages in deeply troubling Holocaust inversion and denial of some of the worst atrocities carried out by Hamas on October 7th,” the spokesperson said. “At a time of rising antisemitism including violent attacks on British Jews, this document further threatens community cohesion and police forces should be clear in distancing themselves from it.”
The Board of Deputies of British Jews said it plans to speak with the “relevant” government and police departments to discover the paper’s provenance, how it’s being used and “how to ensure that the valued relationships of trust between British Jews and the police are not being undermined.”
The Metropolitan Police of London, the largest police department in the U.K. and a formal NAMP affiliate, declined to comment on the report. The department has recently stepped up policing in Jewish communities in an effort to stem antisemitic violence.
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