The Literary Mafia: Jews, Publishing, and Postwar American Literature

by Josh Lambert

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

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.

Genres: Judaism, Nonfiction, Jewish, American History, History

272 pages, Hardcover

First published July 26, 2022

Reviews

[josie]

this book's greatest sin is being extremely boring

[Robert S. · Rating 1 out of 5]

Capote: Well, it has brought about the rise of what I call the Jewish Mafia in American letters. This is a clique of New York-oriented writers and critics who control much of the literary scene through the influence of the quarterlies and intellectual magazines. All these publications are Jewish-dominated and this particular coterie employs them to make or break writers by advancing or withholding attention. I don’t think there’s any conscious, sinister conspiracy on their part—just a determination to see that members of their particular clique rise to the top. Bernard Malamud and Saul Bellow and Philip Roth and Isaac Bashevis Singer and Norman Mailer are all fine writers, but they’re not the only writers in the country, as the Jewish literary Mafia would have us believe. I could give you a list of excellent writers, such as John Knowles and Vance Bourjaily and James Purdy and Donald Windham and Reynolds Price and James Leo Herlihy and Calder Willingham and John Hawkes and William Goyen; the odds are you haven’t heard of most of them, for the simple reason that the Jewish Mafia has systematically frozen them out of the literary scene. Now, mind you, I’m not against any particular group adhering to its own literary values and advancing its own favored authors; such cliques have always existed in American letters. I only object when any one particular group—and it could just as well be Southern, or Roman Catholic, or Marxist, or vegetarian—gets a strangle hold on American criticism and squeezes out anybody who doesn’t conform to its own standards. It’s fine to write about specifically Jewish problems, and it often makes valid and exciting literature—but the people who have other messages to convey, other styles and other backgrounds should also be given a chance. Today, because of the predominance of the Jewish Mafia, they’re not being given that opportunity. This is something everyone in the literary world knows but never writes about.

[Morgan · Rating 4 out of 5]

The Literary Mafia explores (and debunks) the 1960s/70s conspiracy about a group Jews controlling publishing in the US. While the writing could be a bit dry in places, I’d highly recommend this to anyone interested in this section of history. Thank you to Netgalley and Yale University Press for the e-arc.

[Mandy · Rating 5 out of 5]

I found this such an interesting and thought-provoking book, an exploration of publishing in the US, a field from which Jews were very much excluded in the early part of the 20th century but who then came to dominate it. At first Jews had little access to literary institutions and were rarely, if at all, employed as writers, academics or editors. But by the 1960s the reverse was true, giving rise to the expression “literary mafia”, not only amongst non-Jewish writers such as Truman Capote and Jack Kerouac but also amongst Jewish writers themselves. In this intelligent and balanced account of this development, the author examines what he calls “literary enfranchisement” and its impact on American literature as a whole. In particular the rise of Jewish editors to important positions in the major publishing houses inevitably influenced what books were actually published. For anyone not much interested in the intricacies of the publishing world the book might feel a little dry but I found it fascinating – not least because it introduced me to writers I’d never heard of before but am now looking forward to discovering. An informative, illuminating and entertaining book.

[victor harris · Rating 2 out of 5]

An interesting topic undermined by an uneven narrative. And as one reviewer noted, quite tedious in stretches. Some paragraphs are monstrously awkward and too lengthy, with too many topics jammed in to make for fluid coherence. It was striking how influential Lionel Trilling was in promoting the cause of many writers, but the sidebars on his command of foreign languages or lack of command, seemed superfluous. This happens to frequently on a number of topics, the writing about writers is given to excess. Nevertheless, it earns closer to a 2.5 because it does dismantle the myth about a Jewish literary conspiracy.

[Steve · Rating 4 out of 5]

There are many aspects of the book I enjoyed. The thesis of the book is interesting and is supported by the information and analysis provided. Surprisingly, this doesn’t always happen. I found the biographical information and background very interesting. What I liked least about the book is its formal writing style. I much prefer a conversational tone. I also would have liked to see more history of publishing and Jewish involvement. Nonetheless, the book is well worth reading. Thank you to Netgalley and Yale University Press for the advance reader copy.

[Keith Raffel · Rating 5 out of 5]

Explores how and why so many Jews went into publishing. Once can only wonder at the flagrant and labyrinthine connection between editors, publishers, professors, and authors in the book and magazine industry in the 50s, 60s, 70s. Reads a little like a doctoral thesis, but thoroughly fascinating nonetheless.

[Louise Novis · Rating 5 out of 5]

This book is a must read for those of us who were never aware that so many publishing houses were headed by Jews. Even though the writing is scholarly, the writer mixes it up with colloquialisms, Yiddish, and humour.
I was very impressed by the depth of knowledge, the synopsis of many, many novels, autobiographies and memoirs, the apt use of Jewish history.

[Danielle Garthwaite · Rating 4 out of 5]

This book was surprisingly funnier than expected. Very eye opening and addictive from the first chapter.

[Kent Winward · Rating 3 out of 5]

Always interesting to see how culture and group affiliation impacts what we perceive to be literature.

[Morgan · Rating 3 out of 5]

2.5? Argument incoherent enough and then the conclusion really made me raise my eyebrows, not in a good way

[Luke]

Pub 2022