Jarvis Cocker Quotes

As the publisher of FSG and the custodian of its legacy, I have an interested insider's view.

Frank Morley, who had worked in London at Faber and Faber, was the new head of Harcourt Brace, and he hired me to start in 1940. The early years at Harcourt were wonderful. Almost my first assignment was Virginia Woolf's novel 'Between the Acts.'

I worked in publishing before I became an author, so I knew how a book gets made.

I'm really looking forward to working with Meghan Trainor because that's in the pipeline, and I'm eager for it to really happen.

No matter how well a person writes, a successful book is a team effort involving many, many people.

At the end of the 1950s, I started working at a publishing company, Estudios Cor, as production manager, so returning, but not as an author, to the world of letters I had left some years before.

My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters.

First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house.

Everything is different - except for publishing itself: getting hold of an amazing author, working to make his or her book the best and best-looking it can be, telling the world.

When a book comes from the publisher and you see it for the first time... Of course it's not remotely like seeing a baby for the first time, but I can remember with each book what room I was in when I opened it. That would be excitement, though, I think. Not pride.

We see them when they come to New York. They stay at my wife's apartment. We have quite a correspondence with them at all times. They play a very important role, the authors in the firm, because so much of the material we publish is suggested by them.

Would you care to publish this? Sincerely, Robert B. Parker.

I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.'

A good part of the work is just reading a manuscript and coming to the office. I can't imagine wanting to even read an article about book publishing.

My mother obviously was in the publishing business.

So I became a publisher by mistake - well, not quite by mistake, because I wanted to be an editor but I had to make sure the magazine would survive. The point is this: Most businesses fail, so if you're going to succeed, it has to be about more than making money.

It may take a village to raise a baby, but hell! it takes an army to produce a book.

I can say that working with Jessica Lange has been one of the most incredible joys of my life.

There are a couple of stories that I have in my head for which I feel like I should collaborate with people. So yes, if I would like to direct, I would also like to write whatever I direct.

I'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.

Everybody seen me talking to Frank Ocean, so they know something is coming, so something is coming with Frank Ocean - just wait on it - and, you know, people were just like, 'Whoa, Rich the Kid found Frank Ocean!'

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

I am very pleased to be working with director Woo.

Many years, I would publish four books - an anthology, a book of criticism, a new book of poems, a book of essays.

I want to put out a few books throughout my lifetime.