The first time I read Max Perkins: Editor of Genius, I did so because in the spring of 2019 my writing friend Milan suggested that I read it. He said it was a wonderful book. Then he kept following up with the question, “Have you read Max Perkins: Editor of Genius yet?” I felt bad when I had to admit that once again I hadn’t. So, in late fall I borrowed the book from the library and started reading it.

I did indeed love the book, but I never got the chance to talk about it with Milan.

Milan and I met through our local writers’ association, to which we both belonged. Before COVID the association held a gathering once a month at a local coffee house. As a person who was new to the world of writing, it was a great place for me to be in 2019. Not only did I receive lots of good advice, but it was a joy to be with fellow writers.

Every month the usual cast of writers, like me, showed up, and others came when they could. Milan came often. His enthusiasm for being with writers showed in his kindness, his warm smile, and easy laughter. He loved to talk about ideas, writing, social issues, education, and even his pickup truck when I wanted advice about trucks. Born in France, Milan had immigrated to the United States with his mother when he was a young teenager. He had written a fascinating memoir, Ma’s Dictionary: Straddling the Social Class Divide, about his life. He had a book deal with a French publisher, so at the time I met him he was translating his memoir into French, his native language.

Milan became my mentor. He asked to read my short stories, and he gave me encouraging feedback via email, which often arrived at three or four in the morning because that is the time of day when he worked on translating his memoir into French. It was always fun to wake up in the morning and find an email from him. Even nicer — he asked me for feedback on an essay he was writing.

The second week of December in 2019 was the last time I heard from Milan. I had sent him feedback on his essay, but he didn’t respond. Over the next couple of weeks, I sent two more emails but received no answer. That wasn’t like Milan. I figured maybe he had traveled to France for the holidays or maybe he had lots of company. I tried not to think about the fact he might be seriously ill or that perhaps he had died. I had never met any of Milan’s family, and other than email, I had no way to contact him.

On January 14, 2020, I sent Milan another email but again received no response. I started checking the online obituaries every few days. Perhaps that sounds morbid, but if Milan had died, I wanted to know. In March his obituary posted. He had died on March 6, 2020, at the age of 78. I’m assuming because of the time lapse between his last email to me and his death that he’d become seriously ill before he died.

I had known Milan for almost a year. We saw each other about once a month at the coffee house gatherings. And I had attended a couple of community outreach discussion groups he had facilitated regarding his memoir and the social issues it touched upon. After reading about his passing, I was so sad. I’d lost a friend, a fellow writer, and a mentor. Milan had once said that he loved to visit with me because I could talk about ideas. It was such a nice compliment. Talking about ideas was also one of the reasons I enjoyed his company so much.

I finished reading Max Perkins: Editor of Genius shortly before Milan died, but we would never talk about the book. I would never know why he liked it so much or why he kept insisting I should read it. Instead, the book became an unfinished conversation between Milan and me.

I recently reread the book about Max Perkins. My second reading of the book was prodded by a conversation with someone about a well-known writer (who was five years old when Perkins died) and his strained relationship with his editor. At the heart of the conversation was the question: How much can an editor intercede in a piece of writing before a line is crossed and the work becomes not just the writer’s but rather almost a collaboration? This conversation reminded me of the working relationship Thomas Wolfe had with his editor Max Perkins.

Because A. Scott Berg had access to hundreds of letters between Wolfe and Perkins, he was able to write about their often-tumultuous writer-editor relationship. In his book, Berg details the massive manuscripts Wolfe presented to Perkins, and Perkins’s long hours of work with Wolfe to pare them down into manageable books. (Perkins always stated that any suggestions he made to Wolfe were always subjected to Wolfe’s complete approval.)

Berg also included the opinions of some literary critics who believed Wolfe should be able to revise his own work from a rough draft into a cohesive and readable novel without extensive help from an editor. And because Wolfe couldn’t seem to do that, the critics had questions about his overall abilities as a novelist. Eventually, this caused a rift between Wolfe and Perkins, with Wolfe leaving Scribner’s for another publishing house and a new editor. Wolfe wanted to prove the critics wrong.

It’s commendable that Berg never takes sides on either the question of Wolfe’s writing ability posed by literary critics or Perkins’s role in readying Wolfe’s work for publication. Instead, Berg presents Wolfe’s and Perkins’s letters, the accolades and criticisms by others, and the events of Wolfe’s leaving Scribner’s without interjecting his own point of view. It’s up to the reader to form an opinion. I’m sure Milan would have liked to discuss Wolfe and Perkins.

I can’t say for certain what else Milan may have liked to discuss, but I’m sure there would have been lots. Berg’s book is well researched and well written. He does an excellent job of presenting information about Perkins and the many writers Perkins worked with, such as F. Scott Fitzgerald, Ernest Hemingway, Thomas Wolfe, Nancy Hale, Marjorie Kinnan Rawlings, Taylor Caldwell, and other fine writers of the 1920s through the 1940s, many of whom are still well known today.

I wish I would have read Berg’s book when Milan first suggested it to me. We would have liked talking about Max Perkins and the many writers he worked with during his editing career. I miss Milan, and I miss the conversations we never had.

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[In 2016, A. Scott Berg’s book was made into a movie called Genius. I haven’t seen the movie, but it has some A-list actors in it. I don’t always like seeing movies based on factual events because Hollywood favors dramatic scenes over reality, but I might make an exception and watch this movie because it appears to stick to the facts better than some biographical dramas. However, overall critics panned the movie, so maybe I won’t. For information on the movie’s historical accuracy, click on Genius: History vs. Hollywood. For a synopsis of reviews by movie critics, click on Genius (2016 film).]