
Max Perkins: Editor of Genius

Later that day, Perkins told Elizabeth, he spoke to Charles Scribner about a book on the training of bird dogs, which they decided to accept.
A. Scott Berg • Max Perkins: Editor of Genius
“Snows of Kilimanjaro”
A. Scott Berg • Max Perkins: Editor of Genius
The successful editor is one who is constantly finding new writers, nurturing their talents, and publishing them with critical and financial success.
A. Scott Berg • Max Perkins: Editor of Genius
Into the fourth July since The Great Gatsby, Fitzgerald was encouraged when James Joyce came to dinner at his home in Paris.
A. Scott Berg • Max Perkins: Editor of Genius
one of the most interesting things about Max was that “perpetual war with himself that made him in the end a ‘prey to sadness.’ ” It was the “despairing refusal to be oneself” which really means that a man “does not give the consent of his will to his own being.”
A. Scott Berg • Max Perkins: Editor of Genius
Before the afternoon ended, Max also heard from Thomas Wolfe’s lawyer.
A. Scott Berg • Max Perkins: Editor of Genius
Nineteen twenty-three was one of Broadway’s brightest years. John Barrymore played Hamlet just a few blocks away from where his sister Ethel was appearing in Romeo and Juliet. Elmer Rice’s The Adding Machine and Pirandello’s Six Characters in Search of an Author also opened. Most critics cited Galsworthy’s Loyalties as the best play of the season.
A. Scott Berg • Max Perkins: Editor of Genius
Max never asked Fitzgerald (or any writer) to sign a permanent contract
A. Scott Berg • Max Perkins: Editor of Genius
He often spoke of “dear old Adolf” and his SS, who knew what to do with thugs who picked on artists. America was the place, he said, “where honest men were all robbed and bludgeoned by scoundrels.”