By Jonathan Galassi
From the writer of Farrar, Straus and Giroux: a primary novel, right away hilarious and soft, in regards to the decades-long competition among publishing lions, and the enduring, fascinating author who has obsessed them both.
Paul Dukach is inheritor obvious at Purcell & Stern, one of many final self sustaining publishing homes in big apple, whose shabby places of work on Union sq. belie the treasures on its record. operating along with his boss, the fancy Homer Stern, Paul learns the fine details of the publication trade—how to paintings an agent over lunch; the right way to swim with the literary sharks on the Frankfurt booklet reasonable; and, most vital, the right way to nurse the delicate egos of the marvelous, unstable authors he adores.
yet Paul’s private admiration has consistently been reserved for one author: poet Ida Perkins, whose audacious verse and infamous deepest lifestyles have formed America’s modern literary panorama, and whose longtime publisher—also her cousin and erstwhile lover—happens to be Homer’s greatest rival. And while Paul finally has the opportunity to fulfill Ida at her Venetian palazzo, she entrusts him together with her maximum secret—one that may switch all in their lives eternally.
Studded with juicy information just a necessary insider may well be aware of, written with either satiric verve and openhearted nostalgia, Muse is a super, haunting booklet in regards to the beguiling interaction among existence and artwork, and the everlasting romance of literature.
From the Hardcover edition.
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Additional resources for Muse: A novel
He kept his t o o t h b r u s h in her b a t h r o o m , a n d his clothes in her cupboard. T h e r e wasn't a special m o m e n t w h e n this h a p p e n e d . First there was the long C h r i s t m a s holiday w h e n A l e x a n d e r was at home alone. So Macon began to stay w i t h h i m in the d a y t i m e after he spent the n i g h t there. A n d w h y not b r i n g his typewriter and work at the kitchen table? A n d then w h y not stay for supper, and after that for bed? But p e r h a p s he really m o v e d in on the day w h e n he brought E d w a r d to stay.
H i s h e a r t was j u m p i n g . " T h e d o o r o p e n e d a n d h e saw M u r i e l i n the d a r k . " M a c o n , w h a t are you d o i n g h e r e ? " He gave her the letter. She took it a n d opened it. She used both h a n d s . ) She read it a n d looked at h i m . He saw that he needed to explain. "Last year," he said, "I l o s t . . I lost my . . " She w e n t on looking into his face. "I lost my son," Macon said. " H e was . . he was in a restaurant a n d s o m e b o d y . . shot h i m .
W a s there a n y t h i n g w r o n g ? " asked the waitress. " E v e r y t h i n g was fine," M a c o n said. New York Macon's leg was better now. Rose asked h i m w h a t he planned to do w i t h E d w a r d d u r i n g his trip t o N e w York. " I ' m leaving h i m w i t h you," M a c o n said, surprised. " W i t h m e ? " " W h a t can h a p p e n in such a short time? I'll be h o m e tomorrow night. " "I d o n ' t like this at all," Rose said. But she agreed to drive Macon to the station.