Read more
A revealing account of how agents have shaped book publishing and the literary canon from the 1950s to todayMiddlemen rewrites literary history from the perspective of one of its most important but least visible figures: the literary agent. Chronicling the story of agents in the United States from the 1950s to today, Laura McGrath uncovers their critical role in the making of American literature. From the famed three-martini lunch to the Frankfurt Book Fair,
Middlemen takes readers behind the scenes to show how agents influence what we read. Along the way, it explains why many debut novelists never publish another book, why agents champion short story collections even though they sell poorly, how agents advocate for writers of color in a system that values whiteness, and why there are so many New York novels.
Weaving together original archival research, data analysis, and interviews with scores of agents and other publishing professionals,
Middlemen demonstrates that agents—eighty percent of whom are in fact women—are much more than “middlemen.” As intermediaries between author and publisher, agents act as advocates, matchmakers, negotiators, and tastemakers, and they must balance artistic values with the commercial imperatives of publishing conglomerates. The book describes the decisive role agents have played in celebrated novels—from Jack Kerouac’s
On the Road to Colson Whitehead’s
The Intuitionist—but also in the creation of entire literary categories like the debut novel, the story collection, postmodernism, multiethnic fiction, and world literature.
Featuring profiles of agents past and present such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and Andrew Wylie, along with perspectives from agents at all stages of their careers,
Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made.
About the author
Laura B. McGrath is assistant professor of English at Temple University. Her writing has appeared in
The Atlantic,
The Nation, and
The Los Angeles Review of Books.
