In this interview, we speak with Laura B. McGrath, an Assistant Professor of English at Temple University and the author of Middlemen: Literary Agents and the Making of American Fiction (Princeton University Press, 2026). Her writings have appeared in the Los Angeles Review of Books and The Atlantic.
Middlemen rewrites
literary history from the perspective of one of its most important but
least visible figures: the literary agent. Chronicling the story of
agents in the United States from the 1950s to today, Laura McGrath
uncovers their critical role in the making of American literature. From
the famed three-martini lunch to the Frankfurt Book Fair, Middlemen
takes readers behind the scenes to show how agents influence what we
read. Along the way, it explains why many debut novelists never publish
another book, why agents champion short story collections even though
they sell poorly, how agents advocate for writers of color in a system
that values whiteness, and why there are so many New York novels.
Weaving
together original archival research, data analysis, and interviews with
scores of agents and other publishing professionals, Middlemen demonstrates
that agents—eighty percent of whom are in fact women—are much more than
“middlemen.” As intermediaries between author and publisher, agents act
as advocates, matchmakers, negotiators, and tastemakers, and they must
balance artistic values with the commercial imperatives of publishing
conglomerates. The book describes the decisive role agents have played
in celebrated novels—from Jack Kerouac’s On the Road to Colson Whitehead’s The Intuitionist—but
also in the creation of entire literary categories like the debut
novel, the story collection, postmodernism, multiethnic fiction, and
world literature.
Featuring profiles of agents past and present
such as Sterling Lord, Lynn Nesbit, Candida Donadio, Marie Brown, and
Andrew Wylie, along with perspectives from agents at all stages of their
careers, Middlemen is an entertaining and eye-opening account of how literary fiction—and the literary canon—is made.
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