Luiz Schwarcz, founder of the Brazilian publishing house Companhia das Letras, reflects on the unique and intimate relationship between books, authors, editors, and readers in his recently published memoir, *The First Reader: On Writers and Editors*. Drawing from decades of experience working with renowned writers such as Susan Sontag, José Saramago, Salman Rushdie, Amos Oz, and Oliver Sacks, Schwarcz explores the idea that books are living entities that transcend their physical form.

Schwarcz’s appreciation for books as tactile, almost animate objects began early in his career, inspired by his mentor Caio Graco Prado of Editora Brasiliense, who would inhale the scent of freshly printed books, savoring the smell of glue and paper. This ritual symbolizes a deeper approach to books as dynamic creations rather than mere objects. Schwarcz ties this modern sensibility to ancient literary traditions, citing the Indian phalashruti—verses in which texts address readers directly, promising rewards and inviting engagement. One example cited is the *Devi Mahatmya*, a 5th-6th century text revered during Durga Puja festivals by many Bengalis, which contains a chapter promising divine protection to those who recite its hymns.

At the core of Schwarcz’s reflection is the fundamental interplay among author, editor, and reader. He argues that authors and readers are co-creators of a literary work. While writers pour their own vulnerabilities into their characters, readers bring their memories and experiences to the text, making each reading a unique act of collaboration. Schwarcz asserts that readers are not passive consumers but active participants—the “second protagonist” alongside the author, shaping the book’s meaning in personal and unpredictable ways.

Editors, according to Schwarcz, hold a crucial role as the “first reader” of a manuscript and the author’s closest companion in the creative process. Their task is to guide and shape works without overshadowing the author’s voice, preserving a balance marked by what Schwarcz calls “tenderness.” Through a series of anecdotes, he illustrates the multifaceted relationships between editors and authors, highlighting both the challenges and joys inherent in the literary world. For example, he portrays José Saramago quietly working in Lanzarote and recalls an eventful book tour with Gore Vidal, emphasizing the human, often unpredictable nature of literary production.

Schwarcz also draws attention to the physical qualities of books, noting that the tactile experience—the irregularities of the page and the scent of the paper—connect readers to the imperfections that make books relatable and human. He suggests that the act of reading is deeply personal and immersive, involving an attentive embrace of these physical and emotional traces.

In reflecting on his memoir, Schwarcz renews a sense of anticipation and curiosity that accompanies opening a new book. He invites readers to rediscover books as living beings that grow and change through each encounter, fostering a timeless bond between writer, editor, and reader.