Robert Gottlieb, the visionary and diverse literary editor, whose illustrious trajectory began with Joseph Heller’s “Catch-22” and spanned several decades, leaving an indelible mark with Pulitzer Prize-winning masterpieces like Toni Morrison’s “Beloved” and Robert Caro’s “The Power Broker,” passed away at the age of 92 in New York.
On Wednesday, Robert Gottlieb passed away at a New York hospital due to natural causes, as confirmed by the Knopf Doubleday Publishing Group. Gottlieb, known for his extensive collaboration with Robert Caro on the acclaimed Lyndon Johnson biographies, was featured alongside Caro in the documentary “Turn Every Page” last year. In a heartfelt statement, Caro expressed that he had never encountered an editor as deeply connected to the intricacies of the writing process as Gottlieb.
Reflecting on their enduring partnership, Caro’s statement beautifully captures the profound impact Robert Gottlieb had on his writing journey. Caro shared that their collaboration began 52 years ago, and from that very first encounter, Gottlieb comprehended Caro’s artistic vision, enabling him to dedicate the necessary time and effort to his work. While many may recall the triumphant moments they shared, Caro chooses to reminisce about the challenging times, emphasizing how Gottlieb consistently stood by his side for half a century. With deep sorrow, Caro mourns the loss of his dear friend, expressing heartfelt grief for the departed soul.
As Caro continues his highly anticipated fifth and presumed final volume of the Johnson books, a series that he embarked upon nearly 50 years ago, the question of who will take on the role of editor remains unanswered, according to a spokesperson from Knopf Doubleday.
Robert Gottlieb, distinguished by his tall and confident stature, along with his wavy dark hair and dark-rimmed glasses, enjoyed an extraordinary career as an editor following World War II. He played a pivotal role in shaping the modern publishing canon. Among his notable projects were works of fiction by future Nobel laureates Toni Morrison, Doris Lessing, and V.S. Naipaul. He also contributed to the success of spy novels by John le Carré, essays by Nora Ephron, science thrillers by Michael Crichton, and Caro’s monumental nonfiction works. In addition, Gottlieb worked on memoirs by iconic figures such as Katharine Hepburn, Lauren Bacall, and Katharine Graham, whose memoir “Personal History” garnered a Pulitzer Prize. His editorial expertise made such an impression on Bill Clinton that the former president chose Alfred A. Knopf as his publisher, in part to have the opportunity to collaborate with Gottlieb on his post-presidential memoir, “My Life.”
In response to Robert Gottlieb’s passing, former President Bill Clinton expressed his deep admiration for the acclaimed editor, describing him as both a remarkable editor and a captivating individual. Clinton shared his genuine fondness for Gottlieb, acknowledging that he greatly admired him even when he pushed him beyond his comfort zone and occasionally insisted that he delve into not just the influential individuals and accomplishments that shaped his life, but also his personal emotions and reflections.
The statement by Clinton serves as a testament to the profound impact that Gottlieb had on his writing process, highlighting their collaborative relationship and the depth of trust and respect they shared.
Robert Gottlieb possessed a truly exceptional combination of being extensively well-read while maintaining an unpretentious demeanor. He was known to boast about completing Leo Tolstoy’s epic masterpiece, “War and Peace,” in an astonishingly short time, with some accounts suggesting he accomplished the feat within a single day, while others claimed it took only a weekend. Yet, in stark contrast to such literary feats, he also had a passion for collecting plastic handbags, which adorned shelves above his bed, showcasing his unique and eclectic tastes.
Gottlieb’s literary appetite knew no bounds, as he found equal enjoyment in works as diverse as “Miss Piggy’s Guide to Life” and the writings of Chaim Potok. This remarkable breadth of interest characterized his approach to literature, reflecting his openness to exploring various genres and authors.
A fixture on his desk throughout his decades-long publishing career was a bronze paperweight, a treasured gift presented to him when he first entered the world of publishing. The weight bore an inscription that embodied Gottlieb’s philosophy towards his readers: “GIVE THE READER A BREAK.” This sentiment underscored his belief in the importance of providing readers with enjoyable and accessible content, highlighting his commitment to engaging and entertaining the audience.
Robert Gottlieb was a prominent figure among the few remaining editors who had thrived in the publishing industry before it became heavily corporatized. He earned his esteemed reputation during his tenure as the editor-in-chief at Simon & Schuster and later at Alfred A. Knopf, where he continued to contribute as an editor-at-large in more recent years. Prior to these positions, Gottlieb held the role of editor at The New Yorker for a five-year period, although he departed due to “conceptual differences” with publisher S.I. Newhouse. Additionally, Gottlieb showcased his own writing prowess, establishing himself as an accomplished prose stylist. He delved into dance criticism for The New York Observer and shared his insights through book reviews for The New York Times.
Gottlieb’s literary endeavors extended beyond editing and criticism. He authored a concise biography of George Balanchine, co-authored the book “A Certain Style: The Art of the Plastic Handbag, 1949-59,” and curated esteemed anthologies of jazz criticism and 20th-century song lyrics. In 2016, he released his memoir titled “Avid Reader,” providing readers with a captivating glimpse into his life and experiences in the publishing world.
Robert Gottlieb entered into two marriages during his lifetime, with his second union being with actor Maria Tucci. Together, they had three children. However, his dedication to his work was so all-encompassing that he would even find himself reviewing early proofs of a Cynthia Ozick book while simultaneously tracking the contractions of his pregnant wife. This level of commitment led author Thomas Mallon to succinctly describe Gottlieb’s life as a “busman’s holiday without any brakes,” highlighting his relentless work ethic and constant immersion in the publishing world.
In the documentary “Turn Every Page,” a biographical exploration of both Robert Gottlieb and Robert Caro directed by Gottlieb’s daughter, Lizzie Gottlieb, he expressed his perspective on editing as a “service job.” Despite his deep involvement and influence in shaping the books he worked on, he maintained a crucial distinction that these literary works were not his own. At the same time, he believed that the ideal editor-writer relationship should be an “equivalence of strength,” where both parties contribute their best talents to create exceptional literary works. This sentiment underscores his belief in the collaborative nature of the editing process and the importance of mutual respect and shared expertise between editor and writer.
Acknowledging his own human nature, Robert Gottlieb candidly admitted to his daughter that he possessed an ego, acknowledging that he was not entirely devoid of it.
Growing up in Manhattan, Gottlieb’s passion for books was ingrained in him from an early age. He described himself as having “extra drive” and was a devoted bookworm throughout his life. He recalled frequenting his local public library, where he would check out as many as four novels a day. Even as a teenager, he would visit the library at Columbia University, immersing himself in the world of literature by exploring old copies of Publishers Weekly and studying the bestseller lists.
Gottlieb pursued higher education at Columbia University, where he completed his undergraduate studies in 1952. Following this, he spent two years studying at Cambridge University in England and briefly ventured into the world of theater. In 1955, Gottlieb joined Simon & Schuster as an editorial assistant. He approached the position with a sense of ambition, claiming that he took the job to support his wife and child. However, he also held an unwavering belief in his superior reading abilities, even at that early stage in his career, as he recalled in the documentary.
In the memoir “Another Life,” Michael Korda, a fellow editor at Simon & Schuster, vividly depicted the young Robert Gottlieb, resembling a character straight out of a Russian novel—penniless and perpetually studious. His glasses were so smudged that Korda marveled at his ability to see. Behind those smudged lenses, Korda observed shrewd and intense eyes, yet with a glimmer of kindness and humor.
Within a mere two years of joining Simon & Schuster, Gottlieb took on the task of editing a partially written novel by a former World War II pilot named Joseph Heller. The novel, titled “Catch-18” at the time, contained a daring and satirical take on war. Heller, in search of an open-minded editor who could handle his provocative work, had been advised by his agent that Gottlieb was renowned for his receptiveness to innovative writing. With his persuasive abilities, Gottlieb managed to convince skeptical executives at Simon & Schuster to take a chance on the novel, ultimately leading to its publication.
Impressed by Joseph Heller’s novel, Robert Gottlieb confidently praised its comedic elements as wildly funny and regarded the serious aspects as excellent when presenting the work to the editorial board.
In a deal with Heller, Gottlieb agreed to pay $1,500 for the novel, dividing the payment into two installments of $750—one upon signing the author and the other after publication. Additionally, Gottlieb offered some broad suggestions, including a title change from “Catch-18” to “Catch-22” to avoid any confusion with Leon Uris’ work, “Mila 18.”
Initially, the novel received a lukewarm reception upon its release in 1961. However, its fortunes changed when S.J. Perelman, another author represented by Gottlieb, recommended it to a critic at the New York Herald Tribune. The subsequent endorsement sparked widespread interest, leading to “Catch-22” becoming a cultural phenomenon and a cornerstone of counterculture literature. Gottlieb himself became closely associated with the novel, earning a reputation as a literary celebrity primarily connected to Heller’s work among those who pondered such matters, as revealed in his memoir.
Despite the immense success of Joseph Heller’s “Catch-22,” Robert Gottlieb confessed that he had mostly set the novel aside in the years following its publication. He admitted to not revisiting the book and harbored a fear that his initial love for it might diminish upon a reread.
The achievement of “Catch-22” served as a catalyst for Gottlieb’s ambition. He continued to attract emerging talents to his roster of authors, including Edna O’Brien, Mordecai Richler, and Len Deighton. Demonstrating his cultural awareness, Gottlieb even acquired John Lennon’s collection of verse, vignettes, and drawings, titled “In His Own Write.” Furthermore, he collaborated with Bob Dylan on a book featuring the musician’s lyrics. Gottlieb marveled at the contrast between Dylan’s revered status as a rebellious genius and superstar and his seemingly childlike nature, often appearing inexperienced in everyday tasks such as tying shoelaces or writing a check.
While Robert Gottlieb had many successes in his career as an editor, he also experienced disappointments along the way. One such setback was his rejection of Larry McMurtry’s novel “Lonesome Dove,” a decision that he would later regret. Another notable struggle was with John Kennedy Toole’s novel “A Confederacy of Dunces.” When Toole initially submitted the novel to Gottlieb in the early 1960s, it received a positive response, but Gottlieb requested numerous revisions. Over the course of two years, Toole made changes as requested, with Gottlieb continuously seeking further revisions. Gottlieb emphasized the need for the book to have a genuine point beyond just amusing elements that needed to be resolved.
Ultimately, Gottlieb reached a point of surrender, giving up on the novel. Tragically, in 1969, Toole took his own life. However, a decade later, Toole’s mother played a pivotal role in getting “A Confederacy of Dunces” published by Louisiana State University Press. The novel received public acclaim, won the Pulitzer Prize, and garnered enduring affection from readers—a fate that many of Gottlieb’s other authors often enjoyed. The story of “A Confederacy of Dunces” highlights the complexities of the publishing world and the profound impact an editor’s decisions can have on an author’s work and legacy.
In addition to the numerous accomplishments throughout his career, Robert Gottlieb achieved further success with notable works such as Charles Portis’ “True Grit,” Chaim Potok’s “The Chosen,” and an anthology of John Cheever’s short stories, which won a Pulitzer Prize. Despite Cheever’s reservations, Gottlieb compiled the collection, showcasing his skill in curating literary excellence. During his tenure as editor of The New Yorker from 1987 to 1992, Gottlieb published Denis Johnson’s short fiction, which later gained critical acclaim as the renowned collection “Jesus’ Son.”
Gottlieb’s influence extended beyond the works he edited, as he also made his mark by introducing a more informal style to the esteemed pages of The New Yorker. This included a willingness to embrace occasional profanity and allow certain four-letter words to appear in print—a departure from the magazine’s traditional tone and a reflection of Gottlieb’s efforts to reflect contemporary language and expression.
Known for his dedicated work ethic, Robert Gottlieb was not only a meticulous editor but also deeply involved on a personal level with the authors he worked with. When Nora Ephron went through a difficult period following the end of her marriage to Carl Bernstein, she and her children found temporary refuge with Gottlieb, who opened his home to them. He had a personal approach to his relationships with writers, often referring to male authors as “dear boy.” Gottlieb’s commitment to his authors was unwavering, exemplified by his collaboration with Robert Caro on the monumental book “The Power Broker.” Together, they spent arduous weeks working side by side, painstakingly editing the manuscript. The original manuscript exceeded 1 million words, and they managed to trim it down by approximately 300,000 words, resulting in a final length of over 1,200 pages. Although they had intense debates about the use of semicolons (with Caro in favor and Gottlieb against), they shared a common vision of Caro’s ambition to create an authoritative account of the influential urban planner Robert Moses.
In a 2016 interview with The Guardian, Robert Gottlieb expressed his belief that it is essential for an editor to have a genuine affinity for the books they choose to work on. He emphasized the importance of wanting to enhance and improve a book, rather than trying to transform it into something entirely different, which can lead to trouble.
Gottlieb demonstrated his exacting standards when he took on the novel “The Andromeda Strain” by a young medical student named Michael Crichton. While Gottlieb appreciated the premise of a deadly virus, he sought a stronger emphasis on plot and factual details, advocating for less focus on character development. His approach highlighted his commitment to shaping the narrative and ensuring its effectiveness within the context of the story.
In a 1994 interview with The Paris Review, Michael Crichton, author of “The Andromeda Strain,” shared his experiences working with Robert Gottlieb. Crichton recounted how Gottlieb would reach out to him with great enthusiasm, addressing him as “Dear boy!” and providing specific instructions on what needed to be done with the manuscript. Gottlieb’s straightforward approach didn’t shy away from challenging Crichton’s abilities, sometimes questioning if he was capable of accomplishing certain tasks. This, in turn, motivated Crichton to push himself even harder. The combination of Gottlieb’s directness and doubt served as a catalyst for Crichton’s determined efforts to meet the editor’s expectations, making the editing process highly effective.
