Gone are the days of the “Jonathans”—be it Franzen, Lethem, or Safran Foer—running the literary scene. But in their wake, stardom isn’t what it used to be.
Modern American book publishing began to take shape in the early 1900s. Highly educated, overwhelmingly male editors and agents did handshake deals over three-martini lunches at the Century club, then went back to the office and sexually harassed their secretaries.
As in Vegas, there are still a few winners. But recent jackpot strikers have had to provide the people shelling out for their books with a “platform,” a social media following or a sound-bitey backstory. The Jonathans didn’t have to contend with that. Wunderkind emeritus Safran Foer aside, they published apprentice books that didn’t sell oodles but weren’t required to, and then hit it big with more mature novels.
Because of all this, it’s easy to see why the Jonathans’ mere continued existence makes novelists and the people who love them go absolutely cuckoo for Cocoa Puffs—and why they can’t get over Franzen’s primal sin.to promotebut what actually happened was worse. The novel was anointed a book club pick , and preparatory B-roll was shot in Franzen’s hometown of St. Louis.
Books by people other than straight white men have lately dominated prizes and review coverage to such an extent that think pieces are asserting things like “Female novelists replaced white male authors in the 2010s” and, much less credibly, that men are being “shut out” of publishing. It’s true that the U.S. paperback of Sally Rooney’ssold more than 325,000 copies in just over a year, and during a pandemic.
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