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The Business of Books: How the International Conglomerates Took Over Publishing and Changed the Way We Read Paperback – Nov 17 2001

3.4 out of 5 stars 14 customer reviews

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Product Details

  • Paperback: 194 pages
  • Publisher: Verso; New edition edition (Nov. 17 2001)
  • Language: English
  • ISBN-10: 185984362X
  • ISBN-13: 978-1859843628
  • Product Dimensions: 13 x 1 x 20.3 cm
  • Shipping Weight: 281 g
  • Average Customer Review: 3.4 out of 5 stars 14 customer reviews
  • Amazon Bestsellers Rank: #2,442,651 in Books (See Top 100 in Books)
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Product Description

From Publishers Weekly

The descendant of a distinguished publishing family, Schiffrin has been the gadfly of American publishing ever since he quit his post as head of Random House's Pantheon imprint in a blaze of publicity 10 years ago, complaining that the publisher's new management wanted to trim his list severely, removing from it many of the socially conscious titles he was proud to publish. He went on to found and run the New Press, which, with strong foundation support, has continued to do many of the kinds of books that Schiffrin insists should be published, but which he claims have increasingly been abandoned by big commercial houses. In this brief but pithy treatise, some of which has already appeared in Europe, Schiffrin forcefully argues that publishing only for immediate commercial return is not only economically shortsighted but culturally disastrous. Without being unduly nostalgic for the "good old days," he insists that big American publishers used to offer lists that were much better balanced between popular entertainment and necessary social and political commentary than they are today. He further argues that the attempt to appeal to the lowest common denominator of taste, which has, he says, led network television and movies in such depressing directions, has dumbed down publishing to an alarming degree, robbing it of much of its standing as a vehicle for the expression of significant ideas and outlooks that may not have instant appeal. Whether the increasing use of the Internet for publishing will prove to expand this more enlightened mission remains to be seen, but based on past experience with the urgencies of the profit motive, Schiffrin is not optimistic. His book is a salutary and sensibly written reminder of the ideals that drew so many into publishing, and that, if he is right, are so seldom reflected in it today. (Oct.)
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.


“Andre Schiffrin is an old-fashioned New York publisher, the sort that loves and believes in books. Not just best-sellers, but little books with big ideas.”—The Times [London]

“André Schiffrin presents a somber portrait of American publishing where the pursuit of profit has strangled all creativity.”—Nouvel Observateur

“Newsworthy and important, eloquent, smart, thoughtful, and well-presented.”—The Nation

“An absorbing account of the revolution in publishing during the last decade.”—Financial Times

“Forceful evidence that corporate insistence on higher profits has been cultural and business folly.”—Business Week

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Customer Reviews

Top Customer Reviews

Format: Hardcover
At least from a writer's perspective, all of Schiffrin's assertions about the publishing industry are stunningly true. In fact, my agent quit the business some years ago after attending a lecture by a revoltingly wealthy and revoltingly arrogant agent who assured her and the rest of the audience that yes, money is indeed the bottom line.
As Mr. Schiffrin points out, publishers are simply not interested in authors anymore, they are interested only in the book being submitted. That is to say, there is no attempt-as in the days of Max Perkins, the legendary Scribner's editor of F. Scott Fitzgerald, Hemingway, and Thomas Wolfe-to invest in an author whose first book may not be a great seller, nor even her second but who will nonetheless write books the house can be proud of and may some day turn produce that most marvelous of beasts, the literary bestseller (a la Gabriel Garcia Marquez, John Updike, Toni Morrison).
In a smooth, flowing voice that, while it may lack bells and whistles, is exceptionally lucid, Schiffrin tells the story of how publishing houses went from being, for the most part, "family owned and small, content with the modest profits that came from a business that still saw itself as linked to intellectual and cultural life" to an industry in which some of the executives, such as Alberto Vitale at Random House, freely admit they are too busy to read a book! I was riveted almost from the opening page.
Some of the reviewers have accused Schiffrin of being elitist-maybe because he lives on the Upper West Side or because he believes editors should have some say-beyond profitability--in what is being published. They find him distressingly left wing. The fact is, Schiffrin is arguing for all editors, EVERYwhere to get behind authors of their choice.
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By A Customer on Feb. 27 2001
Format: Hardcover
Schiffrin's arrogance annoyed not only the rightwing reviewers whose reviews appear below, but also this reader who is an ex- 60s left-wing hippie who has authored a bestselling book and now runs a successful publishing house.
He speaks with the voice of privilege and the assumption that important books are the books he likes. These turn out to be books promoting the now discredited Freudian world view and Marxist tomes authored by those tenured professors who live in $400,000 homes in trendy university communities, whine if they have to teach more than one course a semester, and somehow imagine that they are the voice of the workers.
Schiffrin makes such a to-do about what a brilliant editor he is that one is surprised at how badly he writes. At least Korda, the other "kiss and tell ex-big house editor" whom Schiffrin insults here, knows how to write a gripping book. (Or if you want to be really cynical, at least Korda knows how to hire a good ghostwriter.) But Schiffrin violates the primary rule of good writing: show, don't tell. There was almost no actual data in this book to support his claims about what is going on in the publishing world and even fewer meaty anecdotes--which are what readers look for in a celebrity memoir.
Schiffrin's main whine seems to be that he is no longer allowed to be the arbiter of what is intellectually important. He deplores the lack of gatekeepers on the Net, were scum like me can post their reviews right next to those of his friends at Publisher's Weekly!
After losing his job at Pantheon, Schiffrin managed to continue his expensive Upper West Side lifestyle by getting friends at rich foundations to subsidize his new publishing house and by getting other friends at an established publiishing house to take over the actual work of distributing his books. Nice work if you can get it. But people looking for information about publishing for those without intense ruling-class connections should look elsewhere.
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Format: Hardcover
Through this "memoir/history," Andre Schiffrin has not allowed a thirty year career at Pantheon to pass without comment. Largely a critique of the dynamic aspects of the publishing industry, Schiffrin bemoans the emerging, profit driven behemoths geared toward publishing commercially viable works while ignoring "books with new, controversial ideas or challenging literary voices." Not without hubris, the author portrays his nurturing of the likes of Studs Terkel, Noam Chomsky. R.D. Laing, and a host of literary luminaries. He seems to delight in the contrast of Michael Korda's best selling authors, Harold Robbins, Irving Wallace, and Jaqueline Susann. These authors are discussed in Korda's memoir, "Another Life," selected as one of the best hundred books of 1999 by Publisher's Weekly (see my review of this work). Schiffrin's hostility over leaving Pantheon, along with a coterie of editorial honchos, is understandable. However, he was not flexible enough to get with the program of the new owners. Schiffrin's logic is flawed. It does not follow that a profit making mandate precludes the release of worthwhile works. While Schiffrin recognizes the Internet as an avenue for disseminating information, he balks at the vastness of the material on line. "How can we know if what is offered is reliable?" With characteristic arrogance he avers that, "publishers, above all, are people who make a selection, who choose and edit material that will be distributed according to certain criteria, and then market and publish it. By putting their name to writers' work, they provide a guarantee and guide to the reader.Read more ›
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