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Jill Lepore - Joe Gould's Teeth

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Description

 							
   
  Joe Gould, a madman, believed he
was the most brilliant historian of the twentieth century. So did some of his friends, a group of modernist writers and
artists that included E. E. Cummings, Marianne Moore, William Carlos Williams, John Dos Passos, and Ezra Pound. Gould
began his life’s work before the First World War, announcing that he intended to write down nearly everything
anyone ever said to him. “I am trying to preserve as much detail as I can about the normal life of every day
people,” he explained, because “as a rule, history does not deal with such small fry.” By 1942, when
The New Yorker published a profile of Gould written by the reporter Joseph Mitchell, Gould’s manuscript had grown
to more than nine million words. But when Gould died in 1957, in a mental hospital, the manuscript was nowhere to be
found. Then, in 1964, in “Joe Gould’s Secret,” a second profile, Mitchell claimed that “The
Oral History of Our Time” had been, all along, merely a figment of Gould’s imagination. Lepore,
unpersuaded, decided to find out.  
  
  Joe Gould’s Teeth is a Poe-like tale of detection, madness,
and invention. Digging through archives all over the country, Lepore unearthed evidence that “The Oral History of
Our Time” did in fact once exist. Relying on letters, scraps, and Gould’s own diaries and
notebooks—including volumes of his lost manuscript—Lepore argues that Joe Gould’s real secret had
to do with sex and the color line, with modernists’ relationship to the Harlem Renaissance, and, above all, with
Gould’s terrifying obsession with the African American sculptor Augusta Savage. In ways that even Gould himself
could not have imagined, what Gould wrote down really is a history of our time: unsettling and ferocious.
  
 
PRAISE
  “A breezy, compulsively readable inquiry that touches on several big subjects, including what
constitutes due diligence in journalism versus in history…No one could accuse Lepore of shoddy research: Undaunted
by archives, she pores over reams of Gould’s letters and diaries, pans for gold in Mitchell’s boxes of
notes at the New York Public Library, and corroborates her findings with extensive footnotes.….Joe Gould’s
Teeth is more than just a fascinating footnote to a beloved literary landmark. Using the tools of her trade, Lepore
ended up broadening her search for his lost notebooks to encompass trenchant questions about journalism, race, and
mental illness. The result has bite.” —Heller McAlpin, NPR
  
  “A well-aimed hand grenade
of a book, fiercely concentrated in its precision and unflinching in its revelations. Best-selling Lepore’s
exciting approach to hidden and scandalous historical stories is drawing an enthusiastic, ever-growing readership that
will be well primed for this thoughtful exposé.” —Booklist, *starred review*
  
 
“Anyone who has read Lepore knows that, let loose in archives—library archives, archives of
memory—she is crackerjack, squeezing into claustrophobic corners where the good stuff is found….She
surfaces with different riches, profiles of her own, of Gould, Mitchell and sculptress Augusta Savage, a subject of
Gould’s uninvited advances…. Savage is a vital counterpoint here, and Lepore seemingly plucks her story
from the air, a sculpted piece of African-American experience all its own, but you know she found it in those cobwebby
archives….It is easy to get a charge out of this parti-colored, flabbergasting tale, one that typifies what Lepore
understands as ‘the asymmetry of the historical record.’ In the noise and silences, with only the evidence
at hand, our sleuth must discern the card-carrying account.” —Star Tribune
  
  “Like a
detective, Lepore describes her mazelike quest, her clues, her dead ends, the many people she met and talked to, the
dusty archives visited in a wonderful, sprightly prose lusciously filled with allusions and
references….Borges’ great short story about the fictional writer Pierre Menard, author of the Quixote,
comes to mind. Lepore is Borges to Gould’s Quixote, which was his life writ large…maybe. A fascinating,
sharply written, thoroughly engaging jeu d’esprit.” —Kirkus Reviews
  
 
“Fascinating…a tragicomic tale of a madman at the intersection of history, fame and
fiction….Lepore’s book is not only a work of scholarship, but a layered gem of storytelling. It’s a
puzzle, mystery and archaeological dig rolled into one….This is a book about how we record history and what
constitutes the historical record. It’s also about the line between fact and fiction. At bottom, the book
highlights the limitations of observing and reporting on other people, and the inevitability of bias.”
—Portland Press Herald
  
  “Engaging….This book will delight readers interested in the
people’s history of literary modernism.” —Library Journal 						

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