We Unearthed Robert Caro’s Unfinished Novel Featuring a Daring Journalist Hidden in His Archives

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A deep dive into the legendary biographer’s papers leads to the surprising revelation of a work he has all but forgotten

Chris Heath

April 8, 2025 8:00 a.m.

Renowned biographer Robert Caro, known for his monumental historical narratives—such as The Power Broker, detailing the life of urban planner Robert Moses, and his in-progress multivolume biography of Lyndon B. Johnson—has long maintained that effective historical writing demands a literary flair comparable to that found in fiction. He has publicly expressed admiration for the manner in which Edward Gibbon crafted historical narrative in The Decline and Fall of the Roman Empire, regarding it as possessing a storytelling quality akin to legendary literary works like Tolstoy’s War and Peace.

In recent discourse, including discussions featured in the March issue of Smithsonian, Caro has shared insights into how fiction has influenced his writing process. He credits Ernest Hemingway with shaping his writing habits—starting each day in the quiet early hours and meticulously tracking daily word counts. Caro also learned interviewing techniques from fictional characters, specifically John le Carré’s George Smiley and Georges Simenon’s Inspector Maigret, who embody patience and attentiveness in their interactions. Caro highlighted the effectiveness of their approach: “They let the other person talk and really listen to what he’s saying,” he noted, drawing parallels between these characters’ methods and his own journalistic practices.

While Caro’s literary output includes celebrated nonfiction, he was also an aspiring fiction writer during his Princeton University days in the 1950s. He has recounted with pride a story he penned—focused on a young man’s unexpected experience with fatherhood—that filled most of an issue of the Princeton Tiger literary magazine. Further research into Caro’s early endeavors uncovered additional short stories published in Princeton’s Nassau Literary magazine, such as “Thirty Second Break,” which explores the regrets of a trumpet player, and “Salt Water Baptism,” a narrative about a trial lawyer’s personal failures.

Despite his early successes in fiction, Caro’s post-Princeton career has yielded no further published fictional works. However, scattered references indicate that he was engaged in writing a novel during the late 1970s. Articles noted in publications like Newsday and New York mentioned Caro’s progress on a journalism-centered narrative that explored the life of an investigative reporter. Initially titled The Powers of the Press, this novel has since been recalled under various names, including News Man: A Novel and The Ladies in the Lobby. Caro has described it as drawing from his experiences at Newsday, where he witnessed individuals—predominantly women—seeking an audience to share their stories of injustice.

Upon reviewing his archived material, Caro discovered 15 folders containing various drafts of this incomplete novel. “I haven’t looked at that in decades,” he remarked, examining what appears to be one of the earliest drafts of the work. In this opening passage, Caro reflects on the plight of individuals who, feeling unheard by the conventional mechanisms of justice, turn to the press in hopes of having their voices amplified.

Caro recounted how often he would receive calls at his office asking him to meet women who had come in, seeking to share their stories of injustice. This experience was pivotal, according to Caro, as it revealed the newspaper as a last bastion of hope for many. He expressed a fundamental belief that the topics of accountability and advocacy often missed the critical narratives represented by those coming to the lobby, desperately seeking help. This realization helped shape his understanding of the newspaper’s role in society.

In discussing the gendered implications observed in his story, Caro noted that while both men and women could occupy such roles, women were more commonly featured in his experiences. This led to deeper reflections on gender dynamics within journalism and how they intersect with societal issues.

When asked about the emotional satisfaction of writing fiction versus nonfiction, Caro paused before suggesting that both processes share similarities. “You know, writing is writing. There is a rhythm that things should be in,” he stated, emphasizing the universal nature of crafting a narrative regardless of genre.

As our conversation continued, I explored additional pages from Caro’s unfinished novel. Some parts evoke memories of his investigative series on misleading real estate practices, where retirees were sold barren land under false pretenses. One particularly poignant draft delineates a scene where a character confronts the stark reality of empty America, reflecting an emotional and physical landscape severed from hope.

Caro admits uncertainty about why this novel never saw publication, recalling that his early journalistic responsibilities pulled him away from fiction writing. Moreover, he shared a brief encounter with his editor, Robert Gottlieb, about the manuscript, which ultimately concluded with Gottlieb suggesting that Caro set aside the fiction project as he was entering a new phase in his literary career.

The unfinished narrative contains numerous resonances with Caro’s wider work—marked by reflective storytelling and an unwavering quest for truth in society. For Caro, despite the dust gathering on the manuscripts, the essence of his narrative remains encapsulated in the lives of ordinary individuals seeking justice through their stories. Presently, his focus has returned to his comprehensive biography of Lyndon B. Johnson, continuing to delve deep into the life of a figure who has captivated him for decades.

Caro’s ongoing dedication to his work showcases both the challenges and triumphs of a writer whose journey through nonfiction has, albeit indirectly, influenced his once-pursued fictional endeavors. The narrative of his earlier aspirations remains intertwined with his current projects, as legacy and truth coalesce in the stories he continues to tell.

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