On Burning Books, Burning Book Publishers, and Me
What it means when we lose a publishing house.
No one listened better than Studs. For those of you old enough to remember, that's Studs Terkel, of course. The most notable thing about him in person, though, was this: the greatest interviewer of his moment, perhaps of any moment, never stopped talking, except, of course, when he was listening to produce one of his memorable bestselling oral histories -- he essentially created the form -- ranging from Working and Hard Times to The Good War.
I still remember him calling my house. He was old, his hearing was going, and he couldn't tell that my teenage son had rushed to answer the phone, hoping it was one of his friends. Instead, finding himself on with Studs talking a mile a minute, my son would begin yelling desperately, "Dad! Dad!"
With that -- and a recent publishing disaster -- in mind this morning, I took my little stepladder to the back of my tiny study, put it in front of my bookcase and climbed up until I could reach the second to the top shelf, the one that still has Studs's old volumes lined up on it. Among others, I pulled down one of his later oral histories, Will the Circle Be Unbroken?: Reflections on Death, Rebirth, and Hunger for a Faith. In its acknowledgments, I found this: "Were it not for Tom Engelhardt, the nonpareil of editors, who was uncanny in cutting the fat from the lean (something I found impossible to do) and who gave this work much of its form, I'd still be in the woods."
And that still makes me so proud. But let me rush to add that, in the years of his best-known work when I was at Pantheon Books (1976 to 1990), I was never his main editor. That honor was left to the remarkable Andre Schiffrin who started Studs, like so many other memorable authors, on his book career; ran that publishing house in his own unique way; found me in another life; and turned me into the editor he sensed I already naturally was.
For me, those were remarkable years. Even then, Andre was a genuinely rare figure in mainstream publishing -- a man who wanted the world to change, a progressive who couldn't have been a more adventurous publisher. In fact, I first met him in the midst of the Vietnam War, at a time when I was still an Asian-scholar-to-be and involved in organizing a group, the Committee of Concerned Asian Scholars, that had produced an antiwar book, The Indochina Story, that Andre had decided to publish.
In my years at Pantheon, he transformed me into a book editor and gave me the leeway to find works I thought might, in some modest fashion, help alter our world (or rather the way we thought about it) for the better. Those included, among others, the rediscovery of Charlotte Perkins Gilman's early-twentieth-century utopian masterpiece Herland; the publishing of Unforgettable Fire, Pictures Drawn by Atomic Bomb Survivors (not long before, in the early 1980s, an antinuclear movement in need of it would arise in this country); Nathan Huggins's monumental Black Odyssey; Eduardo Galeano's unique three-volume Memory of Fire history of the Americas; Eva Figes's novel Light; John Berger's Another Way of Telling; Orville Schell's "Watch Out for the Foreign Guests!": China Encounters the West; and even -- my mother was a cartoonist -- the Beginner's comic book series, including Freud for Beginners, Marx for Beginners, Darwin for Beginners, and, of course, Art Spiegelman's MAUS, to mention just a modest number of works I was responsible for ushering into existence here in America.
The Second Time Around
What a chance, in my own fashion and however modestly, to lend a hand in changing and improving our world. And then, in a flash, in 1990 it all came to an end. In those years, publishing was already in the process (still ongoing) of conglomerating into ever fewer monster operations. Si Newhouse, the owner of CondeNast and no fan of progressive publishing, had by that time taken over Random House, the larger operation in which Pantheon was lodged and he would, in the end, get rid of Andre essentially because of his politics and the kind of books we published.
We editors and most of the rest of the staff quit in protest, claiming we had been "Newhoused." (Writers like Barbara Ehrenreich and Kurt Vonnegut would join us in that protest.) The next thing I knew, I was out on the street, both literally and figuratively, and my life as a scrambling freelancer began. Yes, Pantheon still existed in name, but not the place I had known and loved. It was a bitter moment indeed, both personally and politically, watching as something so meaningful, not just to me but to so many readers, was obliterated in that fashion. It seemed like a publishing version of capitalism run amok.
And then, luck struck a second time. A few years later, one of my co-editors and friends at Pantheon, Sara Bershtel, launched a new publishing house, Metropolitan Books, at Henry Holt Publishers. It seemed like a miracle to me then. Suddenly, I found myself back in the heartland of mainstream publishing, a "consulting editor" left to do my damnedest, thanks to Sara (herself an inspired and inspiring editor). I was, so to speak, back in business.
And as at Pantheon, it would prove an unforgettable experience. I mean, honestly, where else in mainstream publishing would Steve Fraser and I have been able to spend years producing a line-up of books in a series we called, graphically enough, The American Empire Project? (Hey, it even has a Wikipedia entry!) In that same period, Sara would publish memorable book after memorable book like Barbara Ehrenreich's Nickel and Dimedand Thomas Frank's What's the Matter with Kansas?, some of which made it onto bestseller lists, while I was putting out volumes by authors whose names will be familiar indeed to the readers of TomDispatch, including Andrew Bacevich, James Carroll, Noam Chomsky, Michael Klare, Chalmers Johnson, Alfred McCoy,Jonathan Schell, and Nick Turse. And it felt comforting somehow to be back in a situation where I could at least ensure that books I thought might make some modest (or even immodest) difference in an ever more disturbed and disturbing America would see the light of day.
I've written elsewhere about the strange moment when, for instance, I first decided that I had to publish what became Chalmers Johnson's remarkable, deeply insightful, and influential book Blowback: The Costs and Consequences of American Empire on the future nightmares my country was then seeding into the rest of the planet. Think, for instance, of Osama bin Laden who, Johnson assured his readers well before 9/11 happened, we had hardly heard the last of. (Not surprisingly, only after 9/11 did that book become a bestseller!) Or consider Noam Chomsky's Hegemony or Survival: America's Quest for Global Dominance, which I published in 2003. So many years later, its very title still sums up remarkably well the dilemma we face on a planet where what's on the mind of top foreign policy officials in Washington these days is -- god save us! -- a new cold war with China. We're talking, in other words, about a place where the two major greenhouse gas emitters on Planet Earth can't agree on a thing or work together in any way.
The Second Time Around (Part 2)
But let me not linger on ancient history when, just the other day, it happened again. And by it I mean a new version of what happened to me at Pantheon Books. It's true that because, in my later years, TomDispatch has become my life's work, I hadn't done anything for Metropolitan for a while (other, of course, than read with deep fascination the books Sara published). Still, just two weeks ago I was shocked to hear that, like Pantheon, Metropolitan, a similarly progressive publishing house in the mainstream world, was consigned to the waves; its staff laid off; and the house itself left in the publishing version of hell.
Initially, that act of Holt's, the consigning of Metropolitan to nowhere land, was reported by the trade publication Publisher's Weekly, but count on one thing: more is sure to come as that house's authors learn the news and respond.
After all, like Pantheon, at the moment of its demise, it was a lively, deeply progressive operation, churning out powerful new titles -- until, that is, it was essentially shut down when Sara, a miraculous publisher like Andre, was shown the door along with her staff. Bam! What did it matter that, thanks to her, Metropolitan still occupied a space filled by no other house in mainstream publishing? Nothing obviously, not to Holt, or assumedly Macmillan, the giant American publishing conglomerate of which it was a part, or the German Holtzbrinck Publishing Group that owns Macmillan.
How strange that we're in a world where two such publishing houses, among the best and most politically challenging around, could find that there simply was no place for them as progressive publishers in the mainstream. Andre, who died in 2013, responded by launching an independent publishing house, The New Press, an admirable undertaking. In terms of the Dispatch Books I still put out from time to time, I find myself in a similar world, dealing with another adventurous independent publishing outfit, Haymarket Books.
Still, what an eerie mainstream we now inhabit, don't we?
I mean, when it comes to what capitalism is doing on this planet of ours, book publishing is distinctly small (even if increasingly mashed) potatoes. After all, we're talking about a world where giant fossil-fuel companies with still-soaring profits are all too willing to gaslight the public while quite literally burning the place up -- or perhaps I mean flooding the place out. (Don't you wonder sometimes what the CEOs of such companies are going to tell their grandchildren?)
So the consignment of Metropolitan Books to the trash heap of history is, you might say, a small matter indeed. Still, it's painful to see what is and isn't valued in this society of ours (and by whom). It's painful to see who has the ability to cancel out so much else that should truly matter.
And believe me, just speaking personally, twice is twice too much. Imagine two publishing houses that let me essentially find, edit, and publish what I most cared about, what I thought was most needed, books at least some of which might otherwise never have made it into our world. (The proposal for MAUS, for instance, had been rejected by more or less every house in town before it even made it into my hands.)
Yes, two progressive publishing houses are a small thing indeed on this increasingly unnerving planet of ours. Still, think of this as the modern capitalist version of burning books, though as with those fossil-fuel companies, it is, in reality, more like burning the future. Think of us as increasingly damaged goods on an increasingly damaged planet.
In another world, these might be considered truly terrible acts. In ours, they simply happen, it seems, without much comment or commentary even though silence is ultimately the opposite of what any decent book or book publisher stands for.
You know, it suddenly occurs to me. Somebody should write a book about all this, don't you think?
"Les" sketched by my mother at the Stage Door Canteen on April 20, 1942.
Bonwit Teller ad--my mother "at war."
The cover of one of my mother's "scrap-books" sent to my father at war.
My mother draws a soldier on the set of the movie The Stage Door Canteen.
My mother welcomes me into a world still at war, July 20, 1944. My birth announcement drawn by "Selz."