797:), most Liveright-backed plays and musicals were financial disasters. Following the collapse of the stock market in 1929, book sales slumped and Horace Liveright was forced to sell the bulk of his shares in Horace Liveright, Inc. (as the firm was recently renamed), resigning from the company in August 1930. He worked briefly for film studios before he died from pneumonia and emphysema on September 24, 1933, at the age of forty-three. As its lists shrank in the early 1930s, so did the firm's revenues. Now under the helm of its longtime treasurer, Arthur Pell, Liveright Inc. fell into involuntary bankruptcy in May 1933, selling off many of their assets. However Pell did retain much of the backlist (including important works by Freud, Toomer, Loos, Cummings, and Crane) in a reorganization of the company called
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editorials in defense of free speech and leading a contingent of authors, journalists, and lawyers to fight the bill in Albany in April 1923. His lobbying efforts were bolstered by the support of James "Jimmy" Walker, future mayor of New York but then a minority leader of the State Senate, who coached
Liveright on how to lobby the legislators. On May 3, 1923, after a rousing speech by Walker belittling the bill, in which he joked "No woman was ever ruined by a book", the Clean Books Bill was defeated.
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689:'s nephew and a pioneer of modern public relations, helped define propaganda as an effective marketing tool. According to Bernays's memoirs Liveright singled out five titles for him to initially promote: "they covered sex, prohibition, psychoanalysis, radicalism, women's place in society." He would publish two of his influential books on public relations with Boni & Liveright as well as broker Freud's association with the publishing house.
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Only a year and a half after co-founding Boni & Liveright, Albert Boni departed the company due to differences with Horace
Liveright. Boni claimed that he won a coin toss over the opportunity to buy out the other's share, but then his backing investor dropped out, leaving him no alternative than
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The success was immediate and demand for more titles forced Boni & Liveright to expand the initial list to 36 before the year ended. It would quickly become the cornerstone for the young company and allow the firm to take on riskier books and high-profile authors. The sale of the Modern
Library
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If publishing the literary new guard brought more acclaim than cash flow to the press, sex, or the suggestion of it, created commercial opportunity for Boni & Liveright. Many of its bestselling books were considered scandalous or titillating for the period, inviting the scrutiny of figures like
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With outside investment that principally came from Horace
Liveright's father-in-law, paper executive Herman Elsas, Boni & Liveright incorporated on February 16, 1917. Though Liveright had no publishing experience (he had been a bond and paper salesman), Albert Boni recently had run a Greenwich
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T.R. "Tommy" Smith was hired in 1919 to replace Thomas
Seltzer, Albert Boni's uncle, as editor-in-chief. Well-connected and exceptionally bright, Smith, next to Horace Liveright, became B&L's most important editorial guiding force. An "authority on the erotic and the pornographic and, happily,
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Though Boni & Liveright's titles were consistently on bestseller lists during the 1920s, the firm survived on the barest of margins. Lavish ad campaigns, expensive offices (where
Liveright famously entertained his friends and authors at 61 West 48th Street), generous advances, and the loss of
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B&L's challenges to obscenity laws, innovative marketing, and its willingness to publish difficult, politically charged, or unconventional authors helped transform, according to Tom Dardis, "the staid, self-satisfied atmosphere of
American publishing into an exciting, pulsing forum in which
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Introduced in 1923, the bill broadly defined objectionable literature so any portion of obscene, lewd, or indecent text could serve as sufficient evidence to have a whole work banned. Liveright was nearly alone amongst New York publishers to publicly oppose the legislation, writing prominent
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592:(giving rise to the term "Banned in Boston"), informally enforced prevailing state laws prohibiting the distribution of inappropriate literature. What defined inappropriate would lead to some of the most notable fights between Liveright and Sumner.
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in his memoirs noted that until then other firms "were run like conservative banking houses." Bennett Cerf observed "There had never been a Jew in
American publishing, which was a closed corporation to the rising tide of young people described in
557:– Horace Liveright frequently fought off censors and obscenity legislation. The publicity surrounding these battles only stoked the curiosity of readers further and forced the publisher to reprint otherwise unexceptionally sensational works.
134:. Over the next sixteen years the firm, which changed its name to Horace Liveright, Inc., in 1928 and then Liveright, Inc., in 1931, published over a thousand books. Before its bankruptcy in 1933 and subsequent reorganization as
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would sell over 100,000 copies, becoming the bestselling play of the decade. In all
Liveright would publish thirteen of O'Neill's dramas, but would have to relinquish those rights in 1933 during bankruptcy proceedings.
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to sell to
Liveright. Though not as politically extreme as Albert Boni, Horace Liveright enjoyed the mantle of radical publisher as he quickly established an openness to new literary trends and avant-garde ideas.
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Corporation. That entity remained independent, publishing new books as well as repackaging backlist, until 1969 when it was sold to Harrison Blaine of New Jersey, Inc., a private holding company which also owned
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revenue from the Modern Library backlist stretched finances, but it would be Horace Liveright's poor investment decisions outside book publishing that ultimately jeopardized the company's solvency.
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Corporation, Inc., it had achieved considerable notoriety for editorial acumen, brash marketing, and challenge to contemporary obscenity and censorship laws. Their logo is of a cowled monk.
467:, due to the overwhelming legal challenges surrounding the controversial work. It would finally be published in America by Bennett Cerf, a former vice president of Boni & Liveright, at
760:. Suddenly there had burst forth on the scene some bright young Jews who were upsetting all the old tenets of the publishing business – and the flashiest of all was certainly Liveright."
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Despite being commercially risky for the times, Boni & Liveright would introduce many now influential experimental writers to the American reading public, including Cummings, Crane,
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Throughout the teens, '20s and early '30s, many notable writers, editors, and future publishers worked for Boni & Liveright. The core of his staff included T.R. Smith in editorial,
634:) often won in the court of public opinion. Only when on the verge of bankruptcy in 1930 did Liveright capitulate to Sumner and destroy the plates of "an allegedly obscene work called
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Though the New York Society for the Suppression of Vice and the Watch and Ward Society would threaten the publisher several more times in the late 1920s – notably for the novels
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Village bookshop with his brother, Charles. Boni's association with Village bohemia and his earlier success publishing a line of inexpensive, pocket-sized classics called the
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one who knew the difference between them, seemed to be able to smell out best-sellers and masterpieces alike." He would stay with the firm through its bankruptcy in 1933.
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at the New York Society for the Suppression of Vice, regularly threatened suit against publishers of risqué or prurient material. The New York Society, alongside Boston's
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has been noted by biographer Tom Dardis as a critical tactical error and major loss of revenue that likely crippled the firm in their final years of operation.
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Described by colleagues as a gambler, Liveright frequently lost money on the stock market, particularly following the advice of his friend and banker,
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noted B&L was "the most magnificent yet messy publishing firm this century has seen." In 1974 Liveright's remaining backlist was bought by
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In addition to publishing Ezra Pound's poetry, Liveright engaged Pound as a translator and scout in Europe. Pound would encourage his friends
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Because of its outside status, Boni & Liveright, along with the two other firms founded and run by Jewish-Americans in the late teens –
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in 1917, according to biographer Walker Gilmer, "reflected the avant-garde influence of Washington Square book-borrowing friends: Wilde,
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808:. Between 1969 and 1974 a new staff attempted a revival, publishing about 50 original books and about 50 reissues from the backlist.
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The publisher mostly got around these challenges by issuing limited editions available only by subscription (as in the case of
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would die $ 210 in debt to the house), O'Neill's plays were frequently amongst the firm's top-selling books. After winning the
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to poor reviews and sales. The following year Boni & Liveright agreed to publish a collection of prose by Pound,
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in 1925, retaining rights to the work well into the 1940s after the company collapsed and merged with Random House.
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to publish their latest works with Horace Liveright, who Pound praised "as a pearl among publishers." While
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was vice president between 1923 and 1925 before buying the Modern Library list and later starting, with
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A mix of well-known and hard-to-find literature priced at 60 cents apiece and bound in lambskin, the
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Dictionary of Literary Biography: The House of Boni & Liveright, 1917–1933: A Documentary Volume
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would appear on their list in 1922, Boni & Liveright would ultimately give up their pursuit of
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in sales, and Arthur Pell (who would ultimately succeed Liveright as president) in accounting.
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In April 2012 Liveright Publishing inaugurated its first original list in four decades. (See
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in 1920, the Greenwich Village playwright reached national attention. The B&L edition of
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In 1917, Alfred Knopf, then another newly established New York publishing house, published
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584:'s novels). Yet B&L could not escape the scorn of John Sumner who, as successor to
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were readers for Boni & Liveright. And several staff members, including
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Everything was Better in America: Print Culture in the Great Depression
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Third colophon used between 1925 and 1929. Designed by Lucina Bernhard.
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Fourth colophon used between 1929 and 1933. Designed by Rockwell Kent.
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bought the company where it has remained a wholly owned subsidiary.
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Boni & Liveright, like other new publishers of the era such as
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material published by Boni & Liveright was challenged by the
933:"Albert Boni, Publisher, Dies; Founder of Boni & Liveright"
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440:. Boni & Liveright bought Pound's next volume of poetry,
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in 1924, worked in sales for B&L during the early '20s.
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by Theodore Dreiser – Liveright and his lawyers (including
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122:(pronounced "BONE-eye" and "LIV-right") is an American
504:) that reflect the direction he took in later fiction.
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served as inspiration for B&L's debut list called
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The one exception to this risk-taking investment was
500:-winner but still contain modernist devices (such as
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484:, Hemingway, and Toomer. The two Faulkner novels (
255:. Norton revived the name as an imprint in 2012 as
764:contemporary American writing could come of age."
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243:'s plays. In his biography of Horace Liveright,
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496:) are considered among the lesser works of the
662:was published by Boni & Liveright in 1922.
1497:Sieburth, Richard. "Editor's Afterword". in
570:New York Society for the Suppression of Vice
547:New York Society for the Suppression of Vice
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733:published books of their own with B&L.
595:The first was over a modern translation of
279:Second colophon used between 1924 and 1925.
185:throughout the 1920s, it notably published
177:series. In addition to being the house of
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685:to consult on publicity. Bernays, who was
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549:. Throughout the 1920s – decades before
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126:established in 1917 in New York City by
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141:It was the first American publisher of
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986:"The ABC Book, A Pronunciation Guide"
959:Kinchen, David M. (August 25, 2014).
471:in 1934. Liveright published Pound's
1526:1917 establishments in New York City
358:Mademoiselle Fifi, and Other Stories
1505:. (2010). New York: New Directions.
1469:Egleston, Charles – editor. (2004)
931:Mitgang, Herbert (August 1, 1981).
536:Society for the Suppression of Vice
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1503:New Selected Poems and Translation
1399:"No way to run a publishing house"
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257:Liveright Publishing Corporation
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1397:Dempsey, David (May 31, 1970).
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912:Liveright Publishing (2012– )
553:'s landmark legal battles at
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236:Ten Days That Shook the World
16:American trade book publisher
7:
35:used between 1917 and 1924.
10:
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965:davidkinchen.wordpress.com
905:W. W. Norton & Company
851:W. W. Norton & Company
636:Josephine, the Great Lover
379:A Miracle of Saint Anthony
302:The Picture of Dorian Gray
293:of the World's Best Books.
253:W. W. Norton & Company
82:W. W. Norton & Company
1512:. University of Illinois.
1487:. New York: David Lewis.
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1177:Sieburth (2010), 355–356
1035:Duncan, Isadora (1927).
991:National Library Service
812:More recent developments
1483:Gilmer, Walker. (1970)
1043:: Boni & Liveright.
502:stream of consciousness
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590:Watch and Ward Society
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364:Thus Spoke Zarathustra
338:An Enemy of the People
286:Little Leather Library
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866:Headquarters location
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96:Headquarters location
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817:Liveright Publishing
799:Liveright Publishing
773:Surviving bankruptcy
697:Simon & Schuster
628:Arthur Garfield Hays
614:Replenishing Jessica
384:Studies in Pessimism
381:; and Schopenhauer,
136:Liveright Publishing
124:trade book publisher
120:Boni & Liveright
20:Boni & Liveright
996:Library of Congress
903:In September 1974,
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623:An American Tragedy
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938:The New York Times
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719:Louis Kronenberger
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522:Beyond the Horizon
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326:The War in the Air
291:The Modern Library
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270:The Modern Library
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874:Publication types
858:Country of origin
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659:The Enormous Room
618:Maxwell Bodenheim
528:Strange Interlude
355:; de Maupassant,
210:Miss Lonelyhearts
183:Sherwood Anderson
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110:Publication types
88:Country of origin
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442:Poems: 1918–1921
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147:Ernest Hemingway
143:William Faulkner
132:Horace Liveright
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672:Julian Messner
668:Manuel Komroff
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509:Eugene O'Neill
458:The Waste Land
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332:A Doll's House
314:Soldiers Three
305:; Strindberg,
297:Modern Library
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1442:Egleston, 18
1438:
1429:
1420:
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1402:
1392:
1383:
1374:
1365:
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1342:Egleston, 63
1330:Egleston, 42
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1303:Egleston, 44
1299:
1290:
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575:
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400:Bennett Cerf
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268:Beginnings;
256:
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218:
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208:
200:
190:
140:
135:
119:
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1433:Egleston, 4
1410:February 9,
1369:Gilmer, 226
1351:Dardis, 354
1258:Gilmer, 229
1204:Gilmer, 184
1195:Gilmer, 179
1186:Gilmer, 133
1168:Dardis, 213
1123:Dardis, 232
1078:Egleston, 5
1063:"Liveright"
1002:February 9,
970:February 9,
944:February 9,
582:Waldo Frank
555:Grove Press
543:John Sumner
498:Nobel prize
453:James Joyce
375:Maeterlinck
311:; Kipling,
187:T. S. Eliot
159:Jean Toomer
128:Albert Boni
64:Albert Boni
1520:Categories
1499:Ezra Pound
1294:Gilmer, 19
1285:Gilmer, 86
1267:Gilmer, 88
1249:Gilmer, 79
1240:Gilmer, 76
1231:Gilmer, 70
1222:Gilmer, 64
1159:Dardis, 86
1150:Dardis, 89
1132:Dardis, 67
1105:Welky, 150
1096:Gilmer, 11
1053:Dardis,xii
918:References
832:as of 2019
513:Hart Crane
493:Mosquitoes
449:T.S. Eliot
424:Ezra Pound
249:Tom Dardis
223:Ezra Pound
173:, and the
171:Anita Loos
163:Hart Crane
1037:"My Life"
828:Stylized
791:Otto Kahn
757:Our Crowd
602:Satyricon
597:Petronius
566:modernist
370:Poor Folk
329:; Ibsen,
323:; Wells,
247:, author
245:Firebrand
231:John Reed
78:Successor
830:colophon
545:and the
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104:New York
57:Founders
33:colophon
1450:Sources
853:in 1974
846:Founded
795:Dracula
747:Huebsch
464:Ulysses
308:Married
201:My Life
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349:France
344:Ghosts
341:, and
239:, and
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