The author, a staff writer at The New Yorker for more than three decades, discusses his recently released book "The Spinach King: The Rise and Fall of an American Dynasty."
About the Book (from the publisher):
“Having left this material for his writer son, my father must have wanted the story told, even if he couldn’t bear to tell it himself.” So begins the story of a forgotten American dynasty, a farming family from the bean fields of southern New Jersey who became as wealthy and powerful as aristocrats—only to implode in a storm of lies.
The patriarch, C. F. Seabrook, was hailed as the “Henry Ford of Agriculture.” His son Jack, a keen businessman, was poised to take over what Life called “the biggest vegetable factory on earth.” But the carefully cultivated facade—glamorous outings by horse-drawn carriage, hidden wine cellars, and movie star girlfriends—hid dark secrets that led to the implosion of the family business.
At the heart of the narrative is a multi-generational succession battle. It’s a tale of family secrets and Swiss bank accounts, of half-truths, of hatred and passion—and lots and lots of liquor. The Seabrooks’ colorful legal and moral failings took place amid the trappings of extraordinary privilege. But the story of where that money came from is not so pretty
They say behind every great fortune there is a great crime. At Seabrook Farms, the troubling American histories of race, immigration, and exploitation arise like weeds from the soil.
A compulsively readable story of class and privilege, betrayal and revenge—three decades in the making—"The Spinach King" explores the author’s complicated family legacy and the dark corners of the American Dream.
About the Author: John Seabrook has been a staff writer at The New Yorker for more than three decades. He is the author of "The Song Machine", "Flash of Genius", and other books. The film “Flash of Genius” was based on one of his stories. He and his family live in Brooklyn.
Presented with support from the National Endowment for the Humanities: Any views, findings, conclusions or recommendations expressed in this programming do not necessarily represent those of the National Endowment for the Humanities.
