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“Mad Men for the literary world.” —Junot Díaz
Farrar, Straus and Giroux is arguably the most influential publishing house of the modern era. Home to an unrivaled twenty-five Nobel Prize winners and generation-defining authors like T. S. Eliot, Flannery O’Connor, Susan Sontag, Tom Wolfe, Joan Didion, Philip Roth, and Jonathan Franzen, it’s a cultural institution whose importance approaches that of The New Yorker or The New York Times. But FSG is no ivory tower—the owner's wife called the office a “sexual sewer”—and its untold story is as tumultuous and engrossing as many of the great novels it has published.
Boris Kachka deftly reveals the era and the city that built FSG through the stories of two men: founder-owner Roger Straus, the pugnacious black sheep of his powerful German-Jewish family—with his bottomless supply of ascots, charm, and vulgarity of every stripe—and his utter opposite, the reticent, closeted editor Robert Giroux, who rose from working-class New Jersey to discover the novelists and poets who helped define American culture. Giroux became one of T. S. Eliot’s best friends, just missed out on The Catcher in the Rye, and played the placid caretaker to manic-depressive geniuses like Robert Lowell, John Berryman, Jean Stafford, and Jack Kerouac. Straus, the brilliant showman, made Susan Sontag a star, kept Edmund Wilson out of prison, and turned Isaac Bashevis Singer from a Yiddish scribbler into a Nobelist—even as he spread the gossip on which literary New York thrived.
A prolific lover and an epic fighter, Straus ventured fearlessly, and sometimes recklessly, into battle for his books, his authors, and his often-struggling company. When a talented editor left for more money and threatened to take all his writers, Roger roared, “Over my dead body”—and meant it. He turned a philosophical disagreement with Simon & Schuster head Dick Snyder into a mano a mano media war that caught writers such as Philip Roth and Joan Didion in the crossfire. He fought off would-be buyers like S. I. Newhouse (“that dwarf”) with one hand and rapacious literary agents like Andrew Wylie (“that shit”) with the other. Even his own son and presumed successor was no match for a man who had to win at any cost—and who was proven right at almost every turn.
At the center of the story, always, are the writers themselves. After giving us a fresh perspective on the postwar authors we thought we knew, Kachka pulls back the curtain to expose how elite publishing works today. He gets inside the editorial meetings where writers’ fates are decided; he captures the adrenaline rush of bidding wars for top talent; and he lifts the lid on the high-stakes pursuit of that rarest commodity, public attention—including a fly-on-the-wall account of the explosive confrontation between Oprah Winfrey and Jonathan Franzen, whose relationship, Franzen tells us, “was bogus from the start.”
Vast but detailed, full of both fresh gossip and keen insight into how the literary world works, Hothouse is the product of five years of research and nearly two hundred interviews by a veteran New York magazine writer. It tells an essential story for the first time, providing a delicious inside perspective on the rich pageant of postwar cultural life and illuminating the vital intellectual center of the American Century.
- Sales Rank: #184941 in eBooks
- Published on: 2013-08-06
- Released on: 2013-08-06
- Format: Kindle eBook
From Booklist
John Farrar (1896–1974), a quick-to-anger “High Episcopalian editor,” and Roger Straus (1917–2004), a wealthy, charismatic “Jewish prep-school jock,” joined forces in 1946 to launch a New York publishing house. In 1955, Straus hired the immensely talented editor Robert Giroux (1914–2008), a working-class “Jersey City Jesuit.” Journalist Kachka tells Farrar and Giroux’s intriguing stories with zest, but Straus is the sun around which this scintillating history revolves. Possessed of “lordly benevolence and canny calculation,” Straus ran a cosmopolitan, intellectual, if shabby kingdom where sex was the currency of the realm, a CIA connection opened doors to overseas writers, parties served as publicity campaigns, and the prestigious literary house of Farrar, Straus & Giroux published a record-making 25 Nobel laureates. Writing with vigor, skill, and expertise and drawing on dozens of in-depth interviews, Kachka shares risqué gossip and striking insider revelations and vividly profiles the house’s world-shaping writers, including Flannery O’Connor, Tom Wolfe, and Susan Sontag. Kachka’s engrossing portrait of an exceptional publishing house sheds new light on the volatile mixture of commerce, art, and passion that makes the world of books go round. --Donna Seaman
From Bookforum
For anyone with a sweet tooth for the book world or a thought and a care for American culture after the Second World War, Kachka's book is a brightly lit, well-stocked candy store. Its pages are stuffed with tales of book parties and Nobel Prizes, of Edmund Wilson meeting Susan Sontag at a dinner with Straus, of former employees looking back on their time there, of good ideas gone to the remainder bin and suprising ones to the best-seller list, of advances written off and royalties piling up for some of the best books of our time. Like other essential books about publishing, Hothouse is a rousing reminder that, virtually alone among the professions and trades, a publishing firm is called a "house"--and, to paraphrase Le Corbusier (a rare midcentury culture grandee that FSG didn't publish), what a wonderful machine for living a publisher can be. --Matt Weiland
Review
A Wall Street Journal, Boston Globe, and IndieBound Bestseller
“Swashbuckling . . . Exhaustively researched and sometimes gossipy . . . Hothouse is the hot book that book people are talking about, and understandably so.” (Maureen Corrigan NPR)
“Gripping . . . [A] wonderful book . . . Hothouse is Pepys for our time, an unblinking account of publishing history as it was made by Roger’s firm, the last of America’s major independent publishing houses. Roger would have been thrilled to publish this fine book, including its frequent and deserved criticisms of himself.” (Jason Epstein, The New York Review of Books)
"Riveting . . . Stellar . . . A vivid narrative . . . Hothouse fits nicely on a shelf next to entertaining business books such as Walter Isaacson’s Steve Jobs or Michael Lewis’ Moneyball." (Dallas Morning News)
“Valuable . . . [A] vigorous and often diverting trot through the history of an important cultural institution . . . No one has previously anatomized a publishing house in such depth . . . Farrar, Straus & Giroux, moreover, is well worth anatomizing. It’s had a larger-than-life central character, an amusing cast of secondary characters, and a history replete with drama. Most important, it has maintained an amazingly consistent level of quality.” (Robert Gottlieb The New Yorker)
“Hothouse simmers with gossipy tales of publishing . . . and [is] blessed with real-life characters who could star in any sexy novel. . . . It’s not a book just for intellectuals.” (USA Today)
“Vivid . . . Witty . . . Immensely enjoyable . . . Kachka sets forth a strikingly unexpurgated history of FSG, impressively researched, rich in anecdotes and journalistically balanced.” (Michael Dirda The Washington Post)
"Excellent . . . Hothouse is as engrossing as a biography of any major cultural icon." (Elissa Schappell NPR)
“Hothouse is a thrilling look at the heyday of the publishing industry . . . [and] the man who, as Kachka points out, shaped the postwar intellectual tone in this country through the sheer dint of his brazenness and charm.” (Entertainment Weekly)
“Irresistible . . . Juicy history . . . A delectable story about the intersection of art, commerce, passion and personalities. . . . Hothouse feels like a party where you’re surprised to discover that you know—and admire—most of the other guests.” (Los Angeles Times)
“What is it about literary types? Oh, the sex! Oh, the emotional drama! And, oh, what tremendous fun it all is to read about when we’re in the hands of a writer who knows how to spin a savory tale. So it is with Boris Kachka’s delectably gossipy Hothouse, a deeply researched, jam-packed, surprisingly hard-to-put-down history of the eminent publishing house Farrar, Straus & Giroux that escapes lit-nerd ghettoization by the sheer force of its storytelling. . . . Hothouse is a ripping read.” (Laura Collins-Hughes The Boston Globe)
“Colorful history . . . Hothouse isn’t a management book; it’s a narrative of large personalities at play. Yet out of it comes a clear account of how to thrive in a tough commercial environment. . . . Kachka tells the story of the house’s ‘class-mass’ success in delicious detail.” (Paul Elie The Wall Street Journal)
“Dishy . . . Entertaining . . . [A] vivid account.” (Mary Dearborn The New Republic)
“A roaring chronicle . . . For anyone with a sweet tooth for the book world or a thought and a care for American culture after the Second World War, the book is a brightly lit, well-stocked candy store. . . . It’s also a superb business story, revealing how an enterprise became an institution. . . . [An] essential book.” (Matt Weiland Bookforum)
“The truth about industry books is that they rarely interest those who live and breathe outside of the industry in question. In other words, people on the street rarely clamor for tours of the office buildings above them. The rare ability not only to lead the reader in, but induce him to want to stay and peer into the filing cabinets is what makes Boris Kachka’s first book Hothouse something of a masterpiece of business biography. . . . The real success of Hothouse lies in its telling, and Kachka manages a commanding momentum through decades at full wingspan.” (Interview)
“A rough-and-tumble, heroic tale . . . Kachka takes us back to the black-and-white era when good old-fashioned hardcovers stood unassailably at the very heart of the culture. . . . I loved reading the spiky, spicy evocation of the company’s good old days.” (Jonathan Galassi, New York magazine)
“Scintillating . . . Crammed with delicious anecdotes . . . [A] compulsively readable tale of the creation, triumphs and tribulations of Farrar, Straus and Giroux.” (Julia M. Klein The Forward)
“Scintillating history . . . Writing with vigor, skill, and expertise and drawing on dozens of in-depth interviews, Kachka shares risqué gossip and striking insider revelations and vividly profiles the house’s world-shaping writers. . . . Kachka’s engrossing portrait of an exceptional publishing house sheds new light on the volatile mixture of commerce, art, and passion that makes the world of books go round.” (Booklist)
“Essential reading . . . A lively and entertaining story any book lover will devour with relish.” (Harvey Freedenberg Shelf Awareness)
“A juicy account of the postwar New York book world . . . Not your average beach read, Hothouse, out August 6, is one nonetheless—a Gossip Girl for those fascinated with the literary elite.” (Harper’s Bazaar, Summer 2013 “Hot List”)
“Farrar, Straus and Giroux is the Versailles of American publishing. . . . But every palace has its intrigue, as Kachka shows us in this lively, witty account. . . . The extramarital (and often intramural) affairs conducted by publisher Roger Straus in the 1960s and ’70s were legendary—his wife called the company a ‘sexual sewer’—but the entire office apparently would have made Don Draper blush. Kachka dishes up these cold cases piping hot, but his research reveals an equally fascinating business story: How do you balance fine art and filthy lucre?” (Mark Athitakis, AARP Magazine)
“Juicy . . . The New York book world, poised between scruffy glamour and crass commercialism, emerges in this lively chronicle of an iconic institution . . . Entertaining, accessible, smart, and thought-provoking, this is a book very much in tune with the lost literary milieu it re-creates.” (Publishers Weekly)
“Lively history . . . A smart, savvy portrait of arguably the country’s most important publisher . . . complete with sex, sour editors, and the occasional stumble into financial success. . . . A smart and informative portrait of the mechanisms of modern publishing.” (Kirkus)
Most helpful customer reviews
15 of 18 people found the following review helpful.
A Letdown
By Beowulf
I was looking forward to this very, very much: many of my favorite writers began at FS&G and I had recently learned what a terrific editor (and stand-up guy) Robert Giroux was. But this is a dull, dull book that, I suspect, would have been far better as long essay, perhaps serialized in The New Yorker. Almost every page follows the same pattern: paragraphs filled with names of people that the reader (at least this reader) couldn't hold in his head after a few paragraphs. Lots and lots of names are dropped of minor players, office assistants, etc. The total effect is a nest of quacking ducks. I challenge anyone who reads this to retain over 10% of it after an hour or two, other than vague impressions ("Straus was a vulgarian . . . his son didn't like him . . . the FS&G offices were shoddy . . . Straus may or may not have slept with his assistant . . .") A blurb on the back cover (by Toni Morrison) says, "To call Boris Kachka's prose 'brilliant' is not a cliche; it has meaning." Really? "Brilliant?" What in the world is she talking about? He's a fine enough writer, but there are no diamonds in this mine. The one memorable utterance comes from T.S. Eliot on the subject of whether most editors are failed writers. (Eliot said yes, but also added that so were most writers.)
8 of 10 people found the following review helpful.
Every author hoping to be published should read this book
By G. Landry, Author of The Bridge Tender
From start to finish, "Hothouse" is a fun, engaging, almost mesmerizing read. This book is part history, part Toto pulling back the curtain on the inner workings of an esteemed publishing house, part "The Devil Wears Prada" grafted onto the New York publishing scene, and part New Orleans style jazz funeral for that once independent house of legends and lovers of the written word. With the conglomerate-corporatization and hyper-commercialization of the New York publishers that began in earnest a quarter of a century or so ago, and the attendant, insipid primacy of the bottom line that has since so woefully cast its dark shadow on what was once a precious harbor of hope for aspiring authors, we may never again see the kind of nurturing of serious talent that was once upon a time the true bottom line of places like Farrar, Straus, and Giroux.
This book was particularly enlightening on a personal level since I submitted a manuscript years ago to someone who was then barely known but is now one of the most powerful literary agents in the country (one of his authors, like FS&G's Jonathan Franzen, had his novel selected by Oprah for her book club). He called me up the morning after receiving it, said he had stayed up almost all night reading my novel, and not only told me that he loved my book but also paid me one of the kindest compliments I have ever received, telling me that I reminded him of, and was as good of a writer as, Pat Conroy. But although he tried for two years to get a publisher to take my novel, he could not do so despite his considerable talents. He noted that the corporatization of the major publishing houses had resulted in a fixation with publishing franchise authors who were not only already known but who were bound in golden handcuffs that resulted in them becoming purveyors of franchise characters who could be packaged into virtually guaranteed annual bestsellers. In retrospect, after reading "Hothouse," I realize that he was telling me that a golden era had passed for aspiring new authors. This wonderful book has now laid out for all to see just how that came to be. For new writers, so many doors have now been slammed that we now have little choice but to follow the yellow brick road of ebooks and cling to a hope eternal that a real life "Glenda" will come along and be our savior.
Gary P. Landry, author of "The Bridge Tender" (a historical murder mystery/romance/courtroom drama shining the spotlight on the utter idiocy of prejudice) and "River of Mist and Light" (a contemporary thriller/murder mystery set in New Orleans and the adjoining river parishes). [...]
6 of 7 people found the following review helpful.
Suffers from Too Much Detail
By Cynthia C.C.
This isn't a bad book. It is clearly exhaustively researched and contains some good and interesting information. But getting through the entire volume is an exhausting slog. It is not entirely the author's fault. The book covers many decades and hundreds of people. After a while, the endless litany of personalities and unconnected anecdotes blur together until a reader ceases caring. I read the book cover to cover, as I always do when reading. But perhaps this book would be more interesting if a reader just opened to a random page, skimmed a few vignettes, and then picked another random page. It is a good reference, perhaps, but not a great read.
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