The novelist ‘cancelled' by Oprah: ‘I'm here to be the most divisive author alive'

Telegraph

19-06-2025

'I don't know whether I've ever said this publicly.' James Frey is leaning back in his chair, but his look is intent. 'I keep my f------ sword hand strong… That is born of battle. That is born of decades of having people come for me, decades of people f------ trying to finish me off. I have weathered storms, and I'm still here.'
You'll know, at least in part, what those storms have been. Most famously, there was the furore over A Million Little Pieces, Frey's immersive account of drug addiction and rehabilitation, which he published in 2003. Oprah Winfrey picked it for her book club – still a big deal today, but 20 years ago absolutely as big as publishing got. When it was revealed that many of the events recounted in what was billed as a 'memoir' weren't factually true – the authenticity of Frey's purported criminal career, for instance, the time he had spent in jail, and much else – Oprah hit the roof. Readers were offered refunds; Frey's agent dropped him. He was in the vanguard of what we now call 'cancellation'.
But he was not cancelled. 'I've got over 39 million books out the door,' he says. 'We had to provide the numbers to The New York Times. And that's just the books with my name on them.' There are many others, penned with Full Fathom Five, the 'fiction collective' he founded in 2009 and has now sold to a French 'media-tech' company.
During that time, he tells me, the collective produced over 40 New York Times bestsellers and a hit film, I Am Number Four. 'I don't look at Oprah as a bad thing. I'm here to be the most influential, most controversial, most divisive, most widely read literary author of my time. Put me up against anybody: I'll stand the test of time. The media still hates me. Academia will always despise me – but the record speaks for itself.'
Before we move on, let's acknowledge just how obnoxious this all might sound, set down in black and white. And yet, in the course of our conversation, it doesn't come across that way. I commend an artist who will not be defeated, who sticks to his last no matter what. Frey is not troubled by the distinction between 'memoir' and 'novel'; his books are books.
For the record, neither am I, insofar as I truly believe that as soon as you choose to tell a story – well, you're telling a story. A memoir is not the same as a scientific paper. It would be eccentric, to say the least, to hold them to the same standard. (I've read that A Million Little Pieces has since been 'reclassified' as a novel; rather brilliantly, on the Waterstones website, it is tagged as both 'fiction' and 'biography & true stories'. Marvellous.)
Since that controversy, Frey has continued to publish steadily: the last time he and I met was in 2011, when his novel The Final Testament of the Holy Bible was published – by John Murray Press in the UK, but by the Gagosian art gallery in the US, in order to circumvent the publishing industry over there. ('I'm the only writer,' Frey says, 'that any major art gallery in the world has ever published as an 'artist'.') Katerina was released in 2018; there have been a slew of successful co-authored YA sci-fi books published under the pseudonym Pittacus Lore.
Frey's new novel, Next to Heaven, is a page-turning satire of the super-rich set in the Connecticut town of 'New Bethlehem', a place which bears more than a passing resemblance to New Canaan, where Frey now lives. (He was born in Cleveland, Ohio, which he calls 'the Leeds of America', for its post-industrial toughness.) 'The accumulation of wealth in the United States, and globally over the past decade, has been unlike anything we've ever seen,' he says.
It's a tale of glittering hoards and adultery and sex-swapping parties and murder. It's filled to the brim with brand-names and anomie (spoiler alert: money doesn't buy you happiness.) And it arrives at a time when our thirst for such tales seems insatiable: Big Little Lies was ahead of the game, but look, now, at how obsessed we've become with The White Lotus.
To Frey, I draw a parallel to the new Apple TV series Your Friends and Neighbours, which stars Jon Hamm as a hedge fund guy who is fired from his job and starts to steal things from his, yes, friends and neighbours in his ultra-wealthy enclave. Frey guffaws. 'Jonathan Tropper' – the series' creator – 'is a super-old buddy of mine. We didn't know we were each working on those things, and the announcements for them both came out at the same time. And we were both like, Oh, you f-----!'
But it's more than the zeitgeist of course: it's the story of America. Frey and I discuss the centenary of The Great Gatsby, another novel about 'extraordinary wealth and lawlessness', as he puts it. I'm making a link to Fitzgerald's world; Frey, never one for modesty, is ready for straight comparison. 'Fitzgerald held up a mirror to the society he lived in, and I hold up a mirror to mine, and they're not different. People will blast me but frankly I think Next to Heaven is close to as good as Gatsby. One hundred years from now, if we're all still around, I'd take that bet.'
I really like James Frey, and I love talking to him. A conversation with him is energising, invigorating. No, I don't think his new opus stands up to The Great Gatsby. That said, I'm only a critic, and plenty of critics thought that Gatsby was, as one reviewer put it, 'a dud'. We'll only know, as Frey himself remarks, a century or so from now.
But one way (at least) in which Fitzgerald and Frey differ is in their attitudes to the way they make their work. The former was famously meticulous, revising drafts to the moment of publication. But Frey tells me that since A Million Little Pieces, 'all my books are first drafts. I've never read a book I've written. They're not edited by anybody. I turn them into the publishers, that's that. Contractually I have total control of the text and the book. We did a little bit of work on this one, but that was simply because I had so much respect for my editor' (Robin Desser, at just-launched US publisher Authors Equity).
He's also unlike many in his field in his enthusiasm for AI. 'It's the greatest research tool ever. It doesn't write my books, but it helps me with a lot of things. So, there's a history of New Bethlehem in the book. All I did was say, 'AI, can you give me a concise and complete history of New Canaan, Connecticut' – and I got all the facts I needed. Of course, it's not written in my style, not anything remotely like it, but the information is all there.'
In 2023 Frey was the keynote speaker at a conference in Paris about literature and AI: 'I'm basically the only person who acknowledges using it.' When I ask him what his answer is to all those who would say – and I'm one of them – that these language models are all based, essentially, on the theft of authors' work, his answer is a shrug. 'Nothing I can do about it. All I can do is to take advantage of the tools that are available to me at any given time.'
But then he's a businessman as much as he's a writer. When he launched Full Fathom Five – which took on a slew of writers to produce what is now called 'content' – he was seen to be taking advantage of clients, offering contracts for not much money and almost no control. 'I never got sued,' he says evenly. 'There was one article' – a big piece in New York magazine – 'at the beginning of that company by a writer who had tried to get a job with me. When I rejected them, they came after me, and I just shrugged. All that article did was help business.'
You will not take down James Frey. He has known hardship, real hardship. He and his ex-wife lost a child to a rare genetic condition in 2008; he understands that everything is relative. Of the turmoil over Pieces and Oprah: 'Sure, it was a bad day, but I've had vastly worse. I've had hundreds of days worse than that one, right?'
There's a lot of talk these days about resilience; how we cultivate it, how we instil it in the young. I may not agree with everything James Frey says or stands for, but I admire his resilience. I'm glad he keeps his sword arm strong.