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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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The post Robert Gottlieb, legendary editor who championed Joseph Heller, Robert Caro and Chaim Potok, dies at 92 appeared first on Jewish Telegraphic Agency.
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Jewish Chef Eitan Bernath Sets New Guinness World Record for Making Largest Matzah Ball Soup
Eitan Bernath set a new Guinness World Record for making the largest serving of matzah ball soup on Feb. 27, 2026. Photo: Eric Vitale
Jewish chef and cookbook author Eitan Bernath recently set a new Guinness World Record for making the largest serving of matzah ball soup.
The matzah ball soup weighed in at 1,356.9 pounds and was verified by Guinness World Records in Brooklyn, New York, on Feb. 27. The soup contained 847 hand-rolled matzah balls, and it took 10 chefs about 11 hours to prepare the soup, according to the Guinness World Records. All the soup was donated to City Harvest, New York City’s largest food rescue organization, which will serve it to thousands of hungry New Yorkers in food pantries and soup kitchens.
“There’s no food that brings back more memories of being surrounded by family than matzo ball soup,” Bernath, 23, told The Algemeiner in a statement. “So, when I set out to make the world’s largest version of a dish, choosing matzo ball soup was a no-brainer. Every bowl is a bowl of comfort. Being able to create a giant version was both an incredible challenge and a thrill. It meant even more to me that after setting the record, we were able to donate all the soup to New Yorkers in need — sharing the comfort of matzo ball soup even further.”
Bernath — who is also a social media content creator and the principal culinary contributor for “The Drew Barrymore Show” — said the matzah ball soup was comprised of 120 chickens, 300 carrots, and 250 bunches of herbs. The soup also included parsnip, turnip, celery root, onions, parsley, dill, paprika, and salt. Bernath used ChatGPT to scale up his grandmother’s matzo ball soup recipe to a 200-gallon version, and to help him also find the right vessels needed to make such a large portion. To hold more than 160 gallons of hot liquid, he ended up using a water trough, typically used for horses, which was lined with a food-grade liner.
On Instagram, Bernath shared behind-the-scenes photos that show the making of the massive matzah ball soup. In the caption, he explained that creating the record-breaking dish “was one of the most challenging things I’ve ever done.”
“As a proud Jew, creating a record-setting giant version of such an important Jewish dish meant the world to me,” he added. “I couldn’t be prouder of my team and I for pulling this off. I will never look at a bowl of matzo ball soup the same again!!”
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The real reason for the US war with Iran may have nothing to do with Israel
The lack of a clear, coherent reason for this war is bad for the Jews.
Overstatement? Consider that Tucker Carlson is now blaming Chabad — yes, Chabad — for the conflict. Yesterday the watchdog organization The Nexus Project released a series of posts on X clarifying how to have a “robust debate about the U.S.-Israel war with Iran” without veering into antisemitism — because certain parties seem to have come to the consensus that, to put it bluntly, the Jews did it.
Americans need a good reason to shed blood thousands of miles away, and the problem is that while President Donald Trump has taken the United States to war, neither he, Secretary of State Marco Rubio, nor anyone else in his administration has offered a convincing explanation as to why.
So pundits like Carlson are filling the void with poison. As I wrote last summer during the first U.S.-Israel attacks on Iran, if the war goes badly, fingers will point at Israel and its supporters. It’s clear, now, that the blame game is also going to generate a huge amount of antisemitism.
A default explanation
Why strike now? Is it because of the Iranian nuclear weapons program, the one that Trump previously boasted the U.S. “obliterated” last summer? Is it because the Iranian regime has taken American hostages, killed American service personnel and sponsored terror abroad?
All those things are true, but they’ve been true for decades. So why now?
Sen. Tom Cotton, defending the choice to go to war, said on Fox News that “Iran has been an imminent threat to the United States for 47 years.”
That stretch of the word “imminent” only underscored the, um, imminent need for a better reason.
The lack of one has left Israel and its American Jewish supporters as the default scapegoat. Rubio told reporters earlier this week that the U.S. attacked Iran because Israel had decided to do so, and the U.S. had to join in because Iran would then hit back at U.S. targets.
He and the president later tried to clarify that the U.S. was going to attack anyway, and Israel’s intentions only influenced the timing.
Few on the left or right, or around the world, are buying it.
“No war for Israel!” former Marine and Green Party Senate candidate Brian McGuinness shouted during a congressional committee hearing March 4, before Capitol police and Sen. Tim Sheehy dragged him out. (McGinnis claimed his arm was broken in the process.)
“It’s hard to say this, but the United States didn’t make the decision here. Benjamin Netanyahu did,” said Carlson, days before he pivoted to blaming Chabad. The left-leaning investigative outlet The Lever titled its piece on America’s Operation Epic Fury, “Operation AIPAC Fury.”
The China syndrome
The Israeli commentator Haviv Rettig Gur stepped into this mess with a thoughtful and convincing explanation: That the attack is part of a great power game, as the U.S. makes a bid to stop Iran from being a Middle East outpost of Chinese power.
“America is in this fight because of China,” Gur wrote in an essay in The Free Press earlier this week.
After decades of effective American-led economic sanctions, Gur explained, Iran has become economically dependent on China through oil exports, which fund roughly a quarter of Tehran’s budget and sustain its military and internal security. China, which receives 90% of Iran’s crude oil, has used it to build a petroleum reserve that hedges against a potential U.S. naval blockade.
Furthermore, China has armed Iran with advanced anti-ship missiles, hardened its cyber infrastructure, conducted joint naval exercises, and given it the wherewithal to control global trade through the Strait of Hormuz.
Gur isn’t alone in asserting that what matters to the U.S. isn’t Israel’s immediate needs, but rather the China-U.S. chessboard.
China, wrote Zineb Riboua, a scholar of Chinese-Middle East politics, “bet a decade of foreign policy on Khamenei’s ability to withstand American pressure, and the bet did not pay off.”
Gur, Riboua and others making this argument might be wrong. And their reasoning still raises questions of “why now?” that are hard to answer. But it’s striking that it sounds so much more coherent than anything that’s been offered by our government.
Why we fight
Right now, about 60% of Americans oppose the war. As it drags on, and casualties and costs mount, those polling numbers will get worse — especially without a clear rationale to explain why the suffering is necessary.
One casualty of every modern Mideast war is the standing of American Jews.
After the first Gulf War in 1991, the ADL recorded 1,879 antisemitic incidents — an 11% spike over the prior year. It was the highest number since tracking began, driven largely by “politically related antisemitism” in the war’s opening months.
After the second, far more unpopular Gulf War broke out in 2003, incidents climbed again — reaching 1,821 in 2004, the highest in nearly a decade. Never mind that 70-77% of American Jews opposed the Iraq War, a higher rate than any other major religious group.
Why? Because the right and left converged on the same target: Israel-supporting neoconservatives who supposedly dragged the U.S. into a war for Zionist interests. Researchers called the conspiracy a “Trojan horse” — age-old tropes about Jewish power and dual loyalty wheeled in as foreign policy critique.
And here we are again.
In the scheme of things, now, there are bigger worries. American service personnel, innocent Iranians and their Arab neighbors are in harm’s way, Israelis are once more locked down in shelters, facing the barrages of madmen.
But these sacrifices make it more, not less urgent for the administration to land on a coherent reason for this war, and a clear set of aims.
Just as the U.S. entered into World War II, the director Frank Capa made a series of propaganda films called “Why We Fight”. By then, the title was rhetorical. In early 1941, 68 % of Americans supported the campaign against Japan and Hitler. After the attack on Pearl Harbor on Dec. 7, 1941, support was nearly unanimous.
Now, appropriately for our polarized age, we are fighting over why we are fighting. And so much is riding on the answer.
The post The real reason for the US war with Iran may have nothing to do with Israel appeared first on The Forward.
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Noam Bettan Releases Song ‘Michelle’ He’ll Perform as Israel’s Rep for 2026 Eurovision Song Contest
Noam Bettan in the music video for “Michelle.” Photo: YouTube screenshot
Noam Bettan revealed on Thursday the song he is set to perform when he represents Israel at the 70th Eurovision Song Contest in Vienna, Austria, in May.
“Michelle” is a trilingual song written by Bettan, Nadav Aharoni, Tzlil Klifi, and Yuval Raphael, who represented Israel in last year’s Eurovision and finished in second place. The song features lyrics in Hebrew, English, and French, and premiered during a special broadcast on the Kan public broadcaster.
“‘Michelle’ tells the story of choosing to break free from a toxic emotional cycle. It’s a story about emotional growth and maturity, at the moment when the protagonist realizes they must let go and choose a new path for themselves,” Eurovision stated in its official description of the song.
“Michelle” is largely in Hebrew and French with only one verse in English. “Walking down Florentin/Ocean eyes/Memories/I, I’m losing my mind,” Bettan sings in English. “An angel but it is hell/Trapped in your carousel/Round and round/Under your spell.”
Bettan, who turned 28 on Thursday, was born in Israel and raised in the city of Ra’anana. His parents are French and lived in the French city of Grenoble before immigrating to Israel with their two older sons.
Bettan is fluent in French, Hebrew, and English. He won the Israeli television show and singing competition “HaKokhav HaBa” (“The Rising Star”) in January, which automatically secured him the position of representing Israel at this year’s Eurovision. Bettan will perform “Michelle” during the second half of the first Eurovision semi-final on May 12.
“I’m very proud of the song,” Bettan said in a released statement. “It’s a great privilege to bring such a creation to the Eurovision stage. The song is full of energy and emotion that touches on a wide range of feelings. I feel that ‘Michelle’ will bring us moments of shared joy and pride, and I hope this song can bring a little of that light with it.”
Watch the music video for “Michelle” below.