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RIP Robert Gottlieb


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I will miss his writing.  I loved his memoir, Avid Reader, for it's energy.  The last time I saw him was in a delightful presentation, I believe from the 92 Y, in which he, Robert Caro, and his daughter, Lizzie Gottlieb discussed her documentary, "Turn Every Page," about their 50-year relationship as editor and author.  Back in January Gottlieb was still waiting to edit Caro's fifth and final volume on Lyndon Johnson.

In the New York Times:

https://www.nytimes.com/2023/06/14/books/robert-gottlieb-dead.html

In the Washington Post, with a Toni Morrison quote and a wonderful photo of the young Caro and Gottlieb:

https://www.washingtonpost.com/obituaries/2023/06/14/robert-gottlieb-editor-of-robert-caro-and-other-literary-greats-dies/

In The New Yorker, from David Remnick:

https://www.newyorker.com/magazine/2023/06/26/remembering-robert-gottlieb-editor-extraordinaire

More:

https://abcnews.go.com/US/wireStory/robert-gottlieb-celebrated-literary-editor-toni-morrison-robert-100085104

 

A Fresh Air interview from January 2023:

https://www.npr.org/2023/01/03/1146644054/acclaimed-book-editor-robert-gottlieb

May his memory be a blessing.

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26 minutes ago, California said:

 

I remember reading that in the 50s he actually did programming for NYCB! They could use him now. 

"Mr. Lavery's draft then goes to Mr. Martins and Richard Tanner, an assistant ballet master who gradually took over programming duties from Ms. Cage. For a time he was assisted by Robert Gottlieb, who was then editor in chief at Alfred A. Knopf, a City Ballet board member and, Ms. Cage observes dryly, one of the very few people ever to find programming of interest. Changes are made, and the draft is then vetted by the other company personnel."

From: https://www.nytimes.com/1996/11/24/arts/the-intricate-ballet-of-plotting-a-season.html?searchResultPosition=1

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A great loss, especially as it seems his mind was as sharp as ever. RIP.

An appreciation by Alastair Macaulay:

Quote

It was Kirstein, a master-politician who had brought Balanchine to the United States in 1933, who brought Gottlieb onto the board of City Ballet. No board member ever involved himself so fully: he watched rehearsals, he steeped himself in the history and lore of the company, for years he programmed its subscription series. Balanchine approved of him, he was once told, because “Gottlieb” was the German for Mozart’s middle name, Amadeus.

 

 

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