This essay examines an understudied Jewish American autobiographical text, Harriet Lane Levy's memoir 920 O'Farrell Street (1947). Completed when she was eighty years old, the memoir uses modernist aesthetics to describe Levy's Jewish upbringing in late nineteenth-century San Francisco. Arguing that 920 O'Farrell Street fills a significant gap in Jewish American literary history, I consider Levy's modernist memoir as an alternative to the established Jewish American autobiographical tradition, which has privileged the stories of working-class immigrants making their way from the ghetto into mainstream America. As I demonstrate through close analysis of the memoir, and in particular Levy's use of the Victorian house as a structuring device, 920 O'Farrell Street expands the parameters of Jewish American literary history by mapping Jewishness to the geographic and architectural sites of turn-of-thetwentieth-century San Francisco, and displacing the ghetto as the sole locus of Jewish life and literature in the United States. Further, Jewish American literary scholarship's New York-centrism and its privileging of the ghetto tale have obscured the pivotal role played by California Jewish women in the early stages of the modernist movement. As a corrective, I preface my close reading of the memoir with background on Levy, placing her in the context of a group of remarkable women-including Gertrude Stein, an Oakland resident in her youth, and Alice B. Toklas, Levy's O'Farrell Street neighbor-who moved between the middle-class Jewish communities of northern California and the expatriate salons of Paris in the first decades of the twentieth century.