Read Muse by Jonathan Galassi Online

muse

Paul Dukach is heir apparent at Purcell & Stern, one of the last independent publishing houses in New York, whose shabby offices belie the treasures of its list. Thanks to his boss, the flamboyant Homer Stern, Paul learns the vagaries of the book world: how to work an agent over lunch and swim with the literary sharks at Frankfurt book fair; how to marry flattery withPaul Dukach is heir apparent at Purcell & Stern, one of the last independent publishing houses in New York, whose shabby offices belie the treasures of its list. Thanks to his boss, the flamboyant Homer Stern, Paul learns the vagaries of the book world: how to work an agent over lunch and swim with the literary sharks at Frankfurt book fair; how to marry flattery with criticism when combing over the manuscripts of brilliant, volatile authors. But though things can be shaky in the age of conglomerates and ebooks, Paul remains obsessed by one dazzling writer: poet Ida Perkins, whose outsize life and audacious verse have shaped America‘s contemporary literary landscape, and whose longtime publisher – also her cousin and erstwhile lover – happens to be Homer's biggest rival.When Paul finally meets Ida, at her secluded Venetian palazzo, she entrusts him with her greatest secret – one that will change all of their lives forever. Enriched by juicy details only a quintessential insider could know, written with both satiric sharpness and sensitivity, Muse is a love letter to the people who write, sell – and, above all, read – the books that shape our lives....

Title : Muse
Author :
Rating :
ISBN : 9780224102414
Format Type : Hardcover
Number of Pages : 272 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Muse Reviews

  • Marianne
    2019-03-22 16:30

    “It was not where or who you came from but what you did with your own grab bag of advantages and disadvantages that made you remarkable. He’d learned early on in his work that the real writers hadn’t gone to Yale or Oxford; they came from everywhere - or nowhere – and their determination to dig down, to matter, whatever the odds against them, was the only key to their succeeding”Muse is the first novel by American poet, translator and publisher of iconic Farrar, Straus and Giroux, Jonathan Galassi. The only literature-appreciating member of his decidedly non-literary family, a teen-aged Paul Dukach takes refuge in Pages, the local bookstore. When proprietress, Morgan Dickerman introduces him to the poetry of Ida Perkins, it is the beginning of a life-long passion. He devours her work and becomes a fanatical expert on all there is to know about this elusive woman who was”… literally enamored with art – arguably less so with the individuals who created it, who often turned out to have inconvenient needs and egos of their own, which on occasion dwarfed even hers”On graduation from college, Paul eventually finds employment with independent publisher, Purcell and Stern, learning a great deal from his boss, the brash but knowledgeable Homer Stern: “Sexual activity for Homer was an index of moral fallibility and vitality at one and the same time. It didn’t matter what people did; he was sure they did something illicit. It meant they were alive, like him. Maybe he was simply looking for companionship in transgression”. Paul also gets to know Stern’s arch-rival, Sterling Wainwright, Ida’s second cousin and publisher of all her works. On the way home from a European book fair (“Frankfurt [Book Fair] was anything but social; it was carnivorousness at its most rapacious, with a genteel European veneer. The dressy clothes, the parties, the cigars, the jacked-up prices in the hotels and restaurants, the disappointing food were all of a piece. It was exhausting and repetitive and depressing – and no one in publishing with any sense or style would have missed it for the world”), Paul finally gets the opportunity to meet his idol, now reclusive for many years in Venice. He finds that Venice “… wasn’t dead at all. Venice was a Platonic beehive buzzing with covert vitality. Its fabulous gilt-encrusted past wasn’t the point; it was how the past kept gnawing away at the present, digesting and fermenting and reforming it, and extruding it into the future”. And for some reason, Ida takes him into her confidence, entrusting him with an explosive secret. “Ida had surely been no saint…Ida had been guileless and wilful, passionate and snobbish, generous, great-hearted, self-seeking, myopic, petty” This he knew, but now he faces a dilemma. Galassi’s extensive experience in both the publishing industry and as a poet are apparent on every page. He peoples his novel with a cast of highly believable authors, editors and publishers that, no doubt, bear more than a passing resemblance to figures in the actual literary industry. Of his publishers, he says: “Their authors and their work had been the ultimate raison d’etre for whatever they themselves had done. Beyond their petty self-aggrandizing, Homer and Sterling and their kind had been true to their writers’ gifts. …Their authors were their gods…”. He completes the effect with a bibliography of Ida’s works and books about her. This is quite a debut novel, one that will have a broad appeal, but in particular to those involved in the industry. Outstanding.

  • Beth
    2019-04-15 16:47

    Writing a critical word about anything having to do with anything even close to Jonathan Galassi feels like sacrilege to this publishing industry veteran...so let it suffice to say here that this book is a publishing geek's delight, and a common reader's disappointment. The inside-baseball goss about the business is delicious to those in the know...but the book takes too long to get its (fascinating) plot going and this will be an irritation to the civilian reader.

  • Cecil Vosges
    2019-03-19 18:21

    Many of the poor notices given to MUSE allude to the boredom of it. It is true, it is boring. But while remaining an incontrovertible defect, this is surely one of its lesser offenses to good aesthetic judgment. Firstly, it is strange that an editor writes a book that is filled so uniformly with clichéd idioms. Opened to any page at random, MUSE yields up its bromides. Ladies men are 'handsome and charming', WASPs are 'card-carrying', a work experience is 'peaches and cream', poems are 'hypnotically lyrical,' and most tiresomely, love, as it is insisted, is not 'productive'. (The review at the New Republic has a bunch more; there are, unfortunately, plenty for everyone.) The tone of the book is constantly gushing yet conventional, florid yet buzzy and platitudinous. As I read it, knowing of this man's authority in our world of books, it reminded me of the queasy feeling you get as a kid when your high-school music teacher 'goes wild' on the saxophone at a school assembly, tootling and trilling his heart out, squandering his ethos and authority in a way that cannot be undone.That the book is written in such poor language (by an oft-published poet, no less!) is nothing, though, compared to the larger bill of goods for sale here. Galassi wants you to imagine that this world he insists on calling 'glamorous', will take on a glamorous identity merely by his constant reiteration of the invocation. It is as though the author believed that accumulation of allusions could hide the essential emptiness, the lack of imaginative coherency, in what he describes. I began to have the suspicion that the publishing world in its modern incarnation has disappointed Jonathan Galassi, and so he hopes, by cobbling together such a novel, to call back, as at a séance, the ghost of the alluring. And yet the poverty of his means of doing so, which has to do with the essential conventionality of his system of values, the fetishistic overvaluation of literary genius which results, paradoxically, in its devaluation, his apparently inexhaustible vulnerability to cults of personality, and his cowardly, rather clubby recycling of themes long threadbare, all make this reader feel that perhaps the downfall of the 'good old days' of publishing that Galassi so keenly, so nostalgically decries, was in part a development brought on by the lurking unoriginality of Jonathan Galassi himself. This book has troubled me for a few days now. As many readers have pointed out, much of the book is taken up with kitchen-sink reminiscences of ‘dazzling figures’ old wealthy, good old boys and gals, all ‘legendary’ for their ‘eccentricity’. And yet when this lop-sided construction, in which the action doesn’t start until the book is two-thirds done and then abruptly reaches a premature climax, only to limp on and on, into meandering afterward-style chattering-on, all these figures have made no impression at all, their ‘eccentricities’ have been forgettable, their life stories clumsily conventional and soporifically journalistic. Throughout this work, Galassi mistakes celebrity for character, nostalgia for beauty, and most fatally, sensation for action. And I asked myself: How can it be that Galassi--president of the stalwart FSG, one-time poetry editor at the Paris Review--offers as his tribute to the values of real literature a lazy, fogged out, unconsidered work? How can a person in his position not care more? Having meditated for some time, the only theory I have come up with to explain it is the possibility that Galassi has locked himself inside a contradiction. It is possible, given his position, that he accepts or has been forced to accept the most fundamental axioms of the literary marketplace he inhabits, a world that, while not entirely gone to pot, is uncoupled from the forces which allow or even require the natural daily exercise of the muscle of rigorous aesthetic judgment. From things explicitly stated in his text, it is clear Galassi knows this truth as well as I, and probably far better. And yet, apparently fundamentally conservative and peaceable, he accepts these terms, these axioms, all the same. The French philosopher Alain Badiou suggests that there is a link between holding a self-contradictory position, and melancholy. A person who "accepts the fundamental axioms of [their] society while bitterly complaining about the consequences of those same axioms [...] will become more and more melancholy." Perhaps it is Galassi's frustrated relationship with the _living_ values of great literature that makes him retreat to a clumsy, highly melancholy celebration of books, via the cult of confabulated fame and humbug personality. Certainly, this reader never believed in Ida Perkins. But he does believe in something else -- something better.

  • Dee
    2019-03-31 00:46

    "This is a love story. It's about the good old days, when men were men and women were women and books were books, with glued or even sewn bindings, cloth or paper covers with beautiful or not-so-beautiful jackets and a musty, dusty, wonderful smell; when books furnished many a room, and their contents, the magic words, their poetry and prose, were liquor, perfume, sex, and glory to their devotees. These loyal readers were never many but they were always engaged, always audible and visible, alive to the romance of reading. Perhaps they still exist underground somewhere, hidden fanatics of the cult of the printed word."This is an insider's descriptive tale and a drama of the publishing industry where two houses compete for one iconic poet, told in rich, lyrical prose with a colorful cast of New York eccentrics, homosexuals and Communists. Another reviewer lamented the book's lack of simple sentences, but that's what I enjoyed most about this quick and engrossing read. The writing weaves layers of allusions, details and anecdotes together to create a realistic, crystal-sharp world full of love affairs, lives, the passage of time and the tragedies that all revolve around books. A solid debut novel of passion-driven intellectuals and self-made men that's entertaining enough to read on the beach and intelligent enough to keep on the bookshelf. More reviews on my blog.

  • Tara
    2019-03-31 21:45

    Unless you are an elder employee of a large publishing company or a highly published, wealthy author familiar with the history of the publishing industry, you will struggle to find an enjoyable aspect of this book until about 3/4 of the way through where the characters become more important than the author showing off his knowledge of the publishing industry, which admittedly, is extensive and intelligent, but snore-able.

  • M.L. Rio
    2019-04-15 22:27

    I obtained this title free of charge from NetGalley in exchange for an honest review.Jonathan Galassi knows what he's talking about. Muse turns the peculiar world of publishing inside-out, and presents a broad, hilarious, and unbelievably believable cast of characters for the reader's examination. This is the best part of the book; Galassi's portrait of the literati is at once poignant, irreverent, and scathingly funny. If you've ever wondered what the book business looks like from the inside, this is a great place to start. However, if you don't have an abiding interest in the publishing industry, you might not find it quite so enthralling. Galassi's characters leap off the page, but anyone looking for a strong narrative thread to follow may be frustrated. There's definitely a plot, but what actually happens is much less interesting than the people it happens to. The ending feels a little too tidy for such a messy group of people, and even though nearly everyone is dead by the time you turn the last page, there's no real sense of closure. Still, that didn't keep me from enjoying this book immensely. A good read for anyone with an abiding interest in books.

  • Fernando Jimenez
    2019-04-11 16:27

    'Musa' es una novela en clave sobre el mundo de la edición independiente que no oculta sus miserias, un canto a una época que las grandes empresas de Internet acaban devorando al tiempo que se acaban sus páginas. Pero también es la historia de una fascinación por los escritores, por hacer colección de ellos a través de la publicación de sus obras. Y es Ida Vitale, oculta tras otro nombre, la que representa con su vida la historia literaria del siglo XX, quizás el último en el que se ha apreciado la edición como una de las bellas artes.

  • Myriam
    2019-04-10 22:42

    Un roman aux allures d'essai sur les coulisses du monde de l'édition new-yorkaise des années 50 à nos jours, qui regorge d'anecdotes caustiques et terriblement d'actualité. Ce roman n'est toutefois peut-être pas destiné à tous les lecteurs, mais à un public déjà aguerri, ou tout du moins que le sujet intéresse en détails. Peut-être les trop longs passages biographiques sur la poétesse Ida Perkins et les nombreux autres protagonistes du livre peuvent alourdir le récit, même s'ils ne le rendent que plus intéressant pour un lecteur averti.

  • Gerhard
    2019-03-21 16:38

    I expected this take on the inner workings of the publishing industry, written by someone who has been on both sides of the fence, as a publisher and a poet, to be snarky and all-knowing. What I did not expect is how charming and delightful a novel it is. Muse is a love letter to the halcyon days of an industry where publishers were larger-than-life, and often more notorious than the authors they represented.I always read reviews prior to embarking on a new book, mainly to get a feel of what people in general think (as opposed to prejudging an author or forming advance opinions.) In this case, a lot of reviewers bemoaned the fact that their enjoyment of Muse was affectively hobbled by Jonathan Galassi’s insider knowledge.Yes, there is a whole level of allusion here that definitely escaped me. A cursory glance at Galassi’s biography reveals that he heads up Farrar, Straus and Giroux, which he joined in 1985 after being fired from Random House, for reasons I cannot discern.If this had been another kind of book, Galassi would have loaded it to the teeth with broadside salvos aimed at the mercenary industry that had rejected him at one stage. Instead, the book opens with the following declaration: “This is a love story. It’s about the good old days, when men were men and women were women and books were books.”Of course, this means real books, not e-books, which come in for some of the funniest ribbing towards the end, when Paul has a brief relationship with Rufus from Medusa, a clear reference to Amazon: “Content was king at Medusa, they claimed, but Rufus’s expertise ran more to genre novelists and management gurus than literary writers.”While Galassi highlights the intrinsic appeal of this shiny new world, he also laments its inadequacies:Paul was enchanted by the lingo of Rufus’s world: big data, scalability, pivoting, crowdsourcing, virtual convergence, geo-location, but before too long he came to understand that everything his guy was talking about – platforms and delivery systems and mini-books and nanotech and page rates and and and – had very little to do with what mattered to Paul, which was the words themselves and the men and women who’d written.And, one might add, the men and women who champion them. This is not to suggest that Galassi paints a rosy-hued portrait of publishing: “The Impetus offices, in a venerable Meatpacking District building not far from Sterling’s apartment, were at least as scruffy as P&S’s, with upholstery that looked lice-infested and filthy walls that had not been washed, let along painted, in forty years.”Providing a link between the two rival publishers of Impetus and P&S is the character of Paul, who idolises the work of a particular poet published by his boss’s nemesis. The plot kicks into high gear when he has a meeting with his literary idol, a meeting that not only changes a life-time’s worth of fanciful conjecture about her, but which also sees him bestowed with an explosive secret, like a ticking time bomb, set to destroy his world and its dinosaurs.There are fantastic set pieces, such as a warts-and-all depiction of the Frankfurt Book Fair, while Galassi’s descriptions of Venice are achingly beautiful. I also loved the way he addresses such issues as attracting the ‘right’ readers and dealing with the ‘cult of personality’.As much as Muse is a lament for this bygone era, it is equally a celebration of writers, publishers and readers, indeed the entire madcap magic circle that begins and ends every time a single book is opened and closed.

  • Kim
    2019-03-22 17:36

    I received a copy of this book via NetGalley in exchange for an honest review.This novel seemed to me to be almost two books – the first 65%, which didn’t work for me in the slightest bit, and the last 35%, which worked incredibly well.For the first 65%, I felt as if I was Nick Carraway in “The Great Gatsby”. I was given access to a world populated by those with money and means. A literary world, full of allusions which I didn’t understand. I felt like a complete outsider to this world. I expected to get used to it the longer I visited, but instead I just got more and more frustrated. This part seemed to be filled with blustery run on sentences, filled with appositives and superlatives that never ended. I actually tried to find a simple sentence and didn’t.I admit I checked other reviews to see if this was just me or if others felt the same, and I understand that I am in the minority. I have heard others rave about this book, saying that it’s a glimpse into the publishing world. I agree that seemed to be the gist. But it seemed to me that Paul was so wrapped up in being literary and being important that there wasn’t enough attention paid to Paul being an individual. In fact, one other reviewer said that you have to basically be patient and wait for the book to improve. Which it does, in spades.Once Paul actually got to meet the reclusive Ida Perkins, the entire book starts to make sense. I understood his motivation, and I could use parts from the first part of the book to understand his actions. This part of the book flew by, as I was just as interested in Paul’s quest for information and details as he was. Although I’m not a poetry person by any means, I loved Ida’s final manuscript. I thought the poems were brilliant and I’m considering searching out other volumes of poetry for later reading. Unfortunately, I cannot say that I enjoyed enough of the book to recommend it. But for a debut novelist to get me to read poetry is indeed an accomplishment.

  • Giant Steps
    2019-03-20 21:29

    Conquistato dalla sinossi e dalla copertina, pensavo di aver centrato l'obiettivo, ma quando ho intravisto i giudizi su anobii, ho capito che anche stavolta mi ero fatto infinocchiare da delle lusinghe, da delle perline colorate. Iniziata la lettura tutto sembrava confermare questa ipotesi, tant'è che mi sono meravigliato di non averlo mollato, come faccio ultimamente con molti libri. Il fatto è che trattava di editoria ed era ben scritto, per quanto fosse un po' vacuo e votato al pettegolezzo. Che cosa è cambiato dopo? Non lo so, forse niente, per me questo è un romanzo originale e intenso, anche se eccessivo. La musa stessa, la poetessa Ida Perkins, per quanto sia affascinante, è concettualmente superficiale. Perché è tanto straordinaria? Perché va a letto con tutti?... Anch'io amo l'arte, ma l'arte come bellezza, come forza generatrice, non idolatro un artista come se fosse un'icona. Mi sembra un atteggiamento troppo feticistico, che smarrisce l'equilibrio generale. L'arte si base sulle differenze e su delle splendide interpretazioni fatte da dei grandi artisti, non sull'esaltazione di questo o dell'altro, quasi fosse una squadra di calcio. Anche se poi in certi momenti anch'io ho un debole per taluni artisti, ed è normale. Ma non ne resto per sempre ammaliato. Mi spiego?... Questo è solo il mio giudizio e ognuno è libero di pensarla come vuole, è ovvio. Approvo l'idea di inserire delle poesie nel romanzo, anche se, da quel poco che capisco di versi, non mi sembrano esaltanti. Direi comunque che, per chi ama i libri, pur con i suddetti difetti, è un romanzo che si lascia leggere.

  • Molly
    2019-04-05 00:29

    Every poet (or every person with a poet's soul) who has even a hint of nostalgia for a poetry world that is almost gone by should read Jonathan Galassi's MUSE, a roman a clef novel about a young man in the publishing world and a poet of such fantastic renown she'd be Edna St. Vincent Millay (who read to audiences of thousands) AND Elizabeth Bishop, but with a reputation ratcheted up to, say, Meryl Streep. But much more warmly interesting is the young editor and narrator of the novel as he portrays (and, with finesse, betrays) the life inside two publishing houses. Galassi is so witty that his moments of profundity are surprises, delicious ones. I listened to MUSE on Audible.com and the narrator, Arthur Morey, was pitch perfect.

  • Sergio D. Lara
    2019-04-09 19:28

    Me parece un libro fascinante. Es muy entretenido leer una novela sobre el mundo de la edición, reconocer nombres y situaciones míticas; en fin, espiar por una ventana que desde la distancia parece tan llena de misticismo y misterio. Sin embargo creo que se trata de un libro de poco interés para un público que no esté obsesionado o vinculado de algún modo con este universo. El "name dropping" es por momentos agotador y las anécdotas difícilmente tendrán un interés universal. En resumen: para todo aquel que tenga un interés particular en la edición y sobre todo la edición en Norteamérica este libro resultará interesante, para el resto de los lectores probablemente sea una decepción.

  • Rita Arens
    2019-03-24 21:38

    For best results, start on page 85.You know how in the Bible there are chapters that spend sixty-five lines telling who begat whom? The first part of this book is like that. All you need to know is that Stern and Homer own two competing indie presses and both want to publish the fictional but fabulous Ida Perkins. Paul works for Homer but is friendly with Stern. He's also fascinated by Ida. I can't even describe how odd it is for me to have such a good book emerge after I nearly quit it three times. The poetry in the end is interesting and the endgame is great. Just start on page 85.

  • Beth
    2019-04-03 19:25

    Fast read, almost lyrical prose. I felt like an outsider to a club for book lovers that I desperately wanted to belong to. Especially after the introduction. Pick me pick me!!! Although I never quite got inside as I had hoped I would with continued reading, I did feel the emotion that the author feels for books, poetry, and the fictionalized Ida, who I look forward to reading in 2020.

  • Sofya_ch
    2019-04-10 19:29

    2,5It was filled with unknown (to me) names and companies and trends and so on, that is probably the reason the better half of the book wasn't well understood by me but the last part of it was quite tragic and interesting and I was touched by Ida P's poetry - its' simplicity reminded me of Russian 19th century classics (like Pushkin).

  • Julie
    2019-03-22 20:48

    If you are not as obsessed with books and the publishing industry as I am, you may not like this novel as much as I did. I loved the insight into publishing, and the muse behind the scenes. Galassi writes well.

  • Samantha
    2019-03-30 18:38

    I just don't know who the intended reader of this book was. It certainly wasn't me. There are lovely moments, but for me, they were only moments. Good writing and good poetry, but they didn't carry the story enough.

  • Patriciafoltz
    2019-04-06 21:51

    Didn't finish. This book seems to be the self involved musings of a publisher and poet trying to prove that he knows more than anyone about publishing and poets. I'm convinced but bored to tears. No thanks

  • Greg Zimmerman
    2019-04-15 20:47

    Ugh. A long-winded, name-dropping inside joke for deep publishing insiders. Plot only emerges in the second half, and is interesting - a dude gets to publish a famous poet's last manuscript. But not enough to save this sleep-inducing novel.

  • Text Publishing
    2019-03-19 16:27

    Falling in love with a famous poet can be more trouble than it's worth.Apologies to the poets out there. Don't blame me. I'm just following Jonathan Galassi's thinking here.

  • Kristina Harper
    2019-04-08 19:33

    The first two or three chapters of Muse were tedious and difficult to get through, unless, I suspect, you are intimately involved in the publishing world or a serious student of poetry. I came close to putting it down unfinished. But in the end, I’m glad I stuck with it—things pick up when the personal stories of the characters are told, and the end is terrific.

  • Kristen U
    2019-03-27 20:51

    There are very few books that I find so uninteresting that I can't finish it, but this book just made the list. I am not sure if it was the story itself, the style in which it was told or a combination of the two. But I couldn't connect with the characters o find a interest in the story line.

  • Marcia
    2019-04-05 16:46

    Definitely a slow starter, and I had to get used to the style, but I enjoyed the insider writing and publishing basis of the story's plot.

  • Emily
    2019-03-25 21:46

    I feel bad about the low rating. The author clearly loves books and, especially, authors. I appreciate that. His gifts may lie in editing and publishing, not in crafting his own tale.

  • Emily
    2019-03-28 16:50

    Just could not catch the story on this - 70 pages in and I definitely am not invested in the characters

  • Jean
    2019-03-28 18:33

    (Audible; Morey, narrator). Much of this satire is too inside for the hoi polloi like me, but the chapter describing the Frankfurt Book Fair makes the book worth a listen.

  • Alarie
    2019-04-12 20:24

    If this had been a library book and not a gift, I'd have given up before page 10. The book improves near the end, but not enough to redeem it. I believe a good book should reel the reader in quickly and never let go.I mostly read literature. I'm a poet. I have a lot of experience in the powerless side of the publishing world, so a book called Muse about literary publishing called my name. Still I absolutely hated the first 80 or so pages for the same reasons I don't watch Mad Men. My mother struggled to crawl up the ladder in the Good Old Boy working world. Then I faced similar problems in college, in getting credit, and in the workplace. Spending more time in that flood of testosterone is something I try to avoid. Creating a female poet to be the most popular, money-making author of all time didn't balance out the sexism. It was simply too farcical to swallow. Aside from the unpleasant characters, the book doesn't flow well either. The first 80 pages, in particular, are laden with too many introductions to people we don't need to know and tons of name dropping (ineffective when so many names are fictional). It’s gutsy to create a great poet and include your own writing to support her success. I didn’t buy Ida Perkins’ greatness.The only reason I finished Muse was that I could see myself a bit in Paul, the young author-worshipping English major who takes a low-paying job to near the authors and writing he loves.

  • Rebecca Wilkins
    2019-04-03 20:33

    This book got better the further into it but it was confusing. There were so many names and I never knew if they were real people, fictional people or fake names given to real people. I couldn't keep track of the time-line either. There is a little story here but more toward the end. I kept wondering if Ida Perkins was a real poet and then see in the back where it lists a bibliography that books written about her were done in 2020! This is 2016 so she must be fictional. I also couldn't believe other than Maya Angeleau that any poet was popular or well known in the USA but it could just be me, not interested in poetry. My paperback has a sexy lady from the 60's on the cover, ala Mad Men looking. I see the Goodreads photo of the cover is just a misty red cover. If the cover photo was of Ida Perkins, it was funny because in the book she is 83 years old and dying. The little bit that you might learn about the publishing industry is so outdated that it isn't really worth your effort for the little bit of story here. This guy should stick to publishing.

  • Leticia Vila-Sanjuán
    2019-03-27 19:36

    3,7For publishing folks