It was tiny, the slightest piece of prose ever published under my name. If you were nearsighted or preoccupied, you might easily have missed it. It probably went unnoticed by many readers of The New York Times Book Review when it appeared, at the foot of page twelve, on March 14, 2004, under the heading “Author’s Query.” What followed was a variation on a standard theme:
For a biography of the legendary fashion editor Carmel Snow (1887-1961), editor in chief of Harper’s Bazaar from 1934 to 1957, I would appreciate hearing from anyone who might have relevant personal recollections, memos or other correspondence, photographs
or other material.
22 Hamilton Avenue
Princeton, NJ 08542
It was the very last time that one of these long-familiar author’s queries—diminutive written requests by writers seeking help with their research—appeared in the Book Review. According to a Times spokeswoman, they were dropped because of space constraints.
Such requests first ran in the Times’s book review section in about 1949. Their authors, over the years, ranged from the celebrated—the biographer Richard Ellman; Ralph Ginzburg, the controversial publisher—to the now deeply obscure, such as Dorothy Laughlin McGuinn and the wonderfully named Ernest Earnest.
As a book-addicted teenager growing up in New York, I thrilled to those items, which provided a clue to the mysterious process by which books actually got written. Their very matter-of-factness seemed delicious to me. That one could secure a book contract and soberly announce it to the world! And now and then, to my delight, I’d spy a favorite writer’s name—Janet Malcolm, for one—sometimes, amazingly, with an address attached. I felt privileged to be able to learn what an author I admired was working on, long before the book itself appeared in stores.
The queries turned up frequently back then. There might be several, even as many as five, in a given week—more in summer than in other seasons. (I pondered this, too. Was it because academics, having summers off, tended to begin their book projects then?) The formula behind them rarely changed. Even so, in this tight format, personalities burst through, as in the case of a writer named Pearl Sieben, engaged in researching Al Jolson, who sounded almost pleading (and can’t any biographer relate?). “Any material sent to me I would promptly return,” she swore. In 1956, Wallace Stegner, requesting correspondence by Bernard De Voto, oozily promised to handle it “with gratitude and alacrity.”
I sent my own query in, rather late in the process of writing the biography it described, blindly, and with little expectation of seeing it published; I’d noticed fewer and fewer author’s queries in the Times. Even so, I dropped a letter in the mail and was pleasantly surprised to learn a few weeks later, via a call from an assistant editor, that my item would run in several weeks.
Although I’ve worked as a journalist for more than twenty years, and have written several illustrated books, A Dash of Daring: Carmel Snow and Her Life in Fashion, Art, and Letters, as my biography came to be called, was my first full-length project. I found its subject endlessly fascinating. At Harper’s Bazaar, Carmel Snow’s mandate was to create a magazine for “the well-dressed woman with a well-dressed mind.”And she did, bringing the newest in not just fashion, but photography, art, fiction, and more to her magazine. She was an extraordinary person, larger than life, funny, domineering, imperious, generous, infuriating. People who encountered her rarely forgot her. She filled the room.
Which I think explains what happened after my author’s query ran. Although a fellow biographer had warned me that the response was likely to be underwhelming, that wasn’t the case. It began with a trickle, then widened to a stream. There were letters, e-mails, and telephone calls, even though my number wasn’t included in my query.