There are two men in the life of the eponymous Edwardian novelist in Elizabeth Taylor’s 1957 novel Angel. She adores and marries one, the painter Esmé Howe-Nevinson. He is a wastrel and a philanderer, loses a leg in the 1914-18 war and dies a frustrated and disappointed man. The other is Theo Gilbright who survives her to become her literary executor. As it says in her will, he is Angel’s ‘publisher and life-long friend’.
The relationship between Angel and Theo – though much distrusted by Theo’s wife Hermione – is platonic and professional, and critical to the writer’s career. Angel is initially a ‘gold mine’ for the publishing house of Gilbright and Brace, but Theo remains loyal even when her books are no longer popular and the firm no longer feels able to publish her. She can no longer write and her fame lives on only in the tinned butter received during the next war in a food parcel from Australia, where some ‘old admirer of Angel’s books had sent it from the backwoods, where only, it seemed, they were ever read now’.
This testimony to the relationship between writers and publishers may no longer represent the world where agents hold sway and publishers no longer have such close relationships with or commitment to their authors, but one telling detail may still hold some truth.
When Theo is unhappy with some detail of Angel’s writing, he does not confront her head on, but says that changes are demanded or suggested by a fictional publisher’s reader, Mr. Delbanco. This tactic avoids any extreme conflict or needless unpleasantness in the publisher-author relationship, and one suspects such a ruse is still used today by clever book people.
Elizabeth Taylor, Angel, 1957