From New Yorker staff writer and Harvard historian Jill Lepore, the dark, spellbinding tale of her restless search for the long-lost, longest book ever written, a century-old manuscript called “The Oral History of Our Time.”
“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
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.
“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*
“Engrossing…. Lepore’s book is as much about all the people, including herself, who project meaning and significance onto the work and personality of Joe Gould as it is about the man himself. Throughout history there have been peculiar characters who have captured the imagination of everyone they come into contact with, blinding them to obvious flaws and permitting all of us to imagine wonders just beyond what most of us can fathom. We owe Lepore a debt of gratitude for re-introducing us to one of the strangest strangers to have ever walked among us.” —Chicago Tribune
“Revelatory….Lepore’s inquiry, which first appeared as a long New Yorker article, discovers richer depths to Gould’s character than Mitchell ever explored, even if Gould’s likability is a casualty…. an impressive study of paradoxes….Lepore, a young prolific academic at the other end of the productivity spectrum from Mitchell, has upended the subject and author of the New Yorker’s most-read article….she ends up with more to get your teeth into.” —San Francisco Chronicle
“Marvelous….Lepore has established herself as perhaps the most prolific, nimble and interesting writer of American history today, vigorously kicking at the past until she dislodges it from the ossifying grip of received wisdom…. As she brings to bear the methods of an ace historian at the top of her game, Lepore turns “Joe Gould’s Teeth” into a ripping detective story….Of all the stories swirling around Gould’s, none interests Lepore so much as that of Augusta Savage, an African American sculptor and civil rights activist from Harlem who became the unreciprocated love of Gould’s life, an unwilling muse and, after she refused his offer of marriage, an object of outright harassment. No other writer has made this connection between Savage and Gould, and one of the central satisfactions of “Joe Gould’s Teeth” is the way it unexpectedly veers away from Gould to take Savage’s story on its own terms, delivering by Trojan horse, as it were, a gift-wrapped second biography, a personal history set against Gould’s in striking, illuminating relief.” —The Washington Post
“Lepore has taken up the mantle of literary resurrectionist, and in ‘Joe Gould’s Teeth’ she succeeds despite the unsavory nature of her subject’s life and spurious literary legacy. Lepore shrewdly recounts her quest to find a near-mythical ‘lost’ manuscript by her subject, the New York eccentric who claimed to have written down nearly everything anyone ever said to him, starting before the outbreak of World War I….A madman’s grossly engrossing tale.” —The New York Times
