Closing the Archive: The Death of Andre Schiffrin Posted: 12/06/2013 12:38 pm Cross-posted with TomDispatch.com A death can feel like an archive closing forever on some aspect of your life. Such is the case for me with the death of Andre Schiffrin. This may not mean much to most readers of this little obituary, but Andre, publisher of Pantheon Books and my boss for 15 years, the person who, in 1976, hired me when there was really no obvious reason to do so and, more than anyone else, let me become what I am today, died last weekend. It's a moment of genuine sadness for me, an indication that an era -- my own in many ways, though he was nine years older than me -- has ended. The world of books is unimaginable (to me) without him. Without him, Studs Terkel might never have done his oral histories and Art Spiegelman's Maus, the "first graphic novel," might never have been published. (He let me do Spiegelman's masterpiece when, in embryonic form, it had been turned down by every major publishing house in New York.) I first spent time with Andre in 1971 after I had published an essay, "Ambush at Kamikaze Pass," in the single most obscure journal on the planet, The Bulletin of Concerned Asian Scholars. He nonetheless read it and invited me to lunch to urge me to turn it into a book, something I couldn't faintly imagine doing at the time. I did, however, finally come to agree with him and wrote that book, which was published in 1995 as The End of Victory Culture . In other words, with my project as with so much else in the world of books, he was a man almost 25 years ahead of his time. Ariel Dorfman, a writer whose work I published early on in my tenure at Pantheon, wrote me this after Andre's death: "His existence changed our lives, just by giving you free rein at Pantheon to believe in a young exiled writer." He couldn't have been more on the mark. â¤?Andre's New York Times obituary offered the gist of his life and the sense that he was a great one. It missed, however, his risk-taking nature and his radical view of what might matter to our world. It also provided a less than satisfactory account of how the right-wing owner of the conglomerate that housed Pantheon made use of a politically inauspicious time for a small left-wing publishing outfit to push him out of his job (after which we, his loyal editors and employees, quit in protest). Still, no complaints here. The world and the man that made me are both history. What more is there to say at the moment?