A classic novel of love, sex, and the vagaries of the literary life, as witnessed by a young woman on the verge of success Dina Reeve is a talented writer with a dry, urban sense of humor and a tendency to worry about sharks in bathtubs. Howard Ritchie is an editor of a literary magazine and a boozing, compulsive womanizer. Newman Sykes is a philandering, acerbic critic. They are among the seducers and the seduced in this witty and elegantly written novel, which follows its richly drawn characters as they move between bed and typewriter. Praise for Elbowing the Seducer “The debut of an enormously gifted writer.”—The New York Times “A juicy slice of life—intelligent, bitingly honest, funny.”—Kansas City Star “Wonderfully witty and sharp-eyed writing.”—Ms. “Excellent satire.”—The Philadelphia Inquirer

“The tangiest literary-world roman à clef to emerge from the ’80s—it is almost certainly the best of the past four decades . . . Gertler has a high style, a feel for social comedy and a deadly eye for detail.” —Dwight Garner, New York Times New York, the early 1980s. Newman Sykes is a feared book critic, failed novelist, and savage interviewer, with a must-read monthly column and a weekly segment on the local TV news. His friend and rival Howard Ritchie is a fiction editor whose keen eye and near-lunatic force of will have turned a sleepy university journal into a star factory. The two men share more than high standards and a hunger for the next big discovery; they also share keys to Newman’s Village pied à terre, where (unbeknownst to their wives) each has his own set of sheets. This unsavory arrangement is strained to the breaking point when Howard receives a story from one “D. Reeve,” a newcomer, who turns out to be the fresh talent they’ve both been waiting for—and a woman with ambition and appetites as ruthless as their own.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

An investigation into the transformation of publishing in the United States from a field in which Jews were systematically excluded to one in which they became ubiquitous "Readers with an interest in the industry will find plenty of insights."--Publishers Weekly "From the very first page, this book is funnier and more gripping than a book on publishing has any right to be. Anyone interested in America's intellectual or Jewish history must read this, and anyone looking for an engrossing story should."--Emily Tamkin, author of Bad Jews In the 1960s and 1970s, complaints about a "Jewish literary mafia" were everywhere. Although a conspiracy of Jews colluding to control publishing in the United States never actually existed, such accusations reflected a genuine transformation from an industry notorious for excluding Jews to one in which they arguably had become the most influential figures. Josh Lambert examines the dynamics between Jewish editors and Jewish writers; how Jewish women exposed the misogyny they faced from publishers; and how children of literary parents have struggled with and benefited from their inheritances. Drawing on interviews and tens of thousands of pages of letters and manuscripts, The Literary Mafia offers striking new discoveries about celebrated figures such as Lionel Trilling and Gordon Lish, and neglected fiction by writers including Ivan Gold, Ann Birstein, and Trudy Gertler. In the end, we learn how the success of one minority group has lessons for all who would like to see American literature become more equitable.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Smart. Funny. Fearless."It's pretty safe to say that Spy was the most influential magazine of the 1980s. It might have remade New York's cultural landscape; it definitely changed the whole tone of magazine journalism. It was cruel, brilliant, beautifully written and perfectly designed, and feared by all. There's no magazine I know of that's so continually referenced, held up as a benchmark, and whose demise is so lamented" --Dave Eggers. "It's a piece of garbage" --Donald Trump.

Novel Competition describes the literary and institutional struggle to make American novels matter between 1965 and 1999. As corporations took over the book business, Hollywood movies, popular music, and other forms of mass-produced culture competed with novels as never before for a form of prestige that had mostly been attached to novels in previous decades. In the context of this competition, developments like the emergence of Rolling Stone magazine, regional publishers, Black studies programs, and “New Hollywood” became key events in the life of the American novel. Novels by Truman Capote, Ann Beattie, Toni Cade Bambara, Cynthia Ozick, and Larry McMurtry—among many others—are recast as prescient reports on, and formal responses to, a world suddenly less hospitable to old claims about the novel’s value. This book brings to light the story of the novel’s perceived decline and the surprising ways American fiction transformed in its wake.

The newest novel by Elisabeth Sheffield, the award-winning author of Gone and Fort Da What does it mean to really live? Or not? Set in eastern, upstate New York, Helen Keller Really Lived features a fortyish former barfly and grifter who must make a living in the wake of her wealthy husband’s death, and who finds work in a clinic helping women seeking reproductive assistance. The other main character is the grifter’s dead ex-husband, a Ukrainian hooker-to-healer success story, who prior to his demise was a gynecologist and after, an amateur folklorist, or ghostlorist, who collected and provided scholarly commentary on the stories of his fellow “revenants.” Their intertwined stories explore the mistakes, miscarriages, inadequacies, and defeats that may have led to their divorce, including his failure (according to her) to “fully live.” As it investigates the theme of what it means to “really live” or not, Elisabeth Sheffield’s brilliant new novel is also an exploration of virtual reality in the sense of the experience provided by literature. It is a novel awash in a multitude of voices, from the obscenity-laced, Nabokovian soliloquys of the dead Ukrainian doctor, to the trade-school / midcentury-romance-novel-constrained style of his dead mother-in-law.