and moved the Caros to an apartment in the Bronx where she had taken a teaching job, so that her husband could continue. Moses "did his best to try to keep this book from being written—as he had done, successfully, with so many previous, stillborn, biographies." After Caro had been working on the book for more than a year, Moses agreed to sit for a series of seven interviews, one lasting from 9:30 A.M. until evening, providing much material about his early life, but when Caro began asking questions ("for having interviewed others involved in the subjects in question and having examined the records—many of them secret—dealing with them, it was necessary to reconcile the sometimes striking disparity between what he told me and what they told me") the series of interviews was abruptly terminated." Caro's final manuscript ran to about 1,050,000 words. Editor Robert Gottlieb told him that the maximum possible length of a trade book was about 700,000 words, or 1,280 pages. When Caro asked about splitting the book into two volumes, Gottlieb replied that he "might get people interested in Robert Moses once. I could never get them interested in him twice." So Caro had to cut down his manuscript, which took him months. Reception The Power Broker generated substantial public discussion upon publication, especially after the "One Mile" chapter ran as an excerpt in The New Yorker. The chapter highlighted the difficulties in constructing one section of the Cross-Bronx Expressway and the way Moses ran roughshod over the interests of residents and businesses of the section of East Tremont which the road effectively destroyed. Before publication, Caro, largely unknown at the time, challenged the magazine's legendary editor, William Shawn, over his changes to Caro's prose. It was common for the magazine to edit excerpts to conform to its house style. This did not make allowance for many of the author's narrative flourishes, such as single-sentence paragraphs. Caro also complained that much of his work had been compressed. The book won the Pulitzer Prize for Biography or Autobiography in 1974, as well as the Francis Parkman Prize awarded by the Society of American Historians to the book that best "exemplifies the union of the historian and the artist." On June 12, 1975, The New York Chapter of the American Institute of Architects conferred a "Special Citation upon Robert Caro ... for reminding us once again, that ends