Returning to print, this insiderÆs view of pre-Stonewall high class homosexual lifestyles retraces the authorÆs journey from his backwards Midwestern town to Manhattan in the 1950s. Reprint.
It’s 1952, and E.F. Bloodworth is finally coming home to Ackerman’s Field, Tennessee. Itinerant banjo picker and volatile vagrant, he’s been gone ever since he gunned down a deputy thirty years before. Two of his sons won’t be home to greet him: Warren lives a life of alcoholic philandering down in Alabama, and Boyd has gone to Detroit in vengeful pursuit of his wife and the peddler she ran off with. His third son, Brady, is still home, but he’s an addled soothsayer given to voodoo and bent on doing whatever it takes to keep E.F. from seeing the wife he abandoned. Only Fleming, E.F.’s grandson, is pleased with the old man’s homecoming, but Fleming’s life is soon to careen down an unpredictable path hewn by the beautiful Raven Lee Halfacre. In the great Southern tradition of Faulkner, Styron, and Cormac McCarthy, William Gay wields a prose as evocative and lush as the haunted and humid world it depicts. Provinces of Night is a tale redolent of violence and redemption–a whiskey-scented, knife-scarred novel whose indelible finale is not an ending nearly so much as it is an apotheosis.
Bringing together leading Wharton scholars from Europe, and North America, this volume offers the first ever collection of essays on Edith Wharton's 1913 tour de force, The Custom of the Country.
“If Catcher in the Rye has lost its raw clout for recent generations of Internet-suckled American youth, here is a coming-of-age novel to replace it.” —Publishers Weekly (starred review) The first days of summer: Jim Praley is home from college, ready to unlock Tulsa's secrets. He drives the highways. He forces himself to get out of his car and walk into a bar. He's invited to a party. And there he meets Adrienne Booker; Adrienne rules Tulsa, in her way. A high-school dropout with a penthouse apartment, she takes a curious interest in Jim. Through her eyes, he will rediscover his hometown: its wasted sprawl, the beauty of its late nights, and, at the city's center, the unsleeping light of its skyscrapers. In the tradition of Michael Chabon's The Mysteries of Pittsburgh, A Map of Tulsa is elegiac, graceful, and as much a story about young love as it is a love letter to a classic American city.
Kerrey's much-acclaimed and fascinating memoir tells the tale of a young boy's life in Nebraska, his journey as a young man into the dangers of Vietnam and finally to the Nixon White House. As much a story of the American heartland at mid-century as it is a story of a man who rebuilt his life after it was wrenched awry by war. photo insert.
Lawrence Watt-Evans, author of the acclaimed Legends of Ethshar and Worlds of Shadows novels invites readers to embark on a rollicking journey in a brand-new fantasy series. Anrel Murau is a scholar, a young man with no magical ability even though he is the son of two powerful sorcerers. Anrel's lack of talent bars him from the ruling classes, but he is content to be a simple clerk. Upon returning to his childhood home after years of study in the capital, Anrel finds his friends and family held under the thumb of the corrupt local lord. When this lord murders a dear friend, Anrel finds that although he's not a sorcerer, he is not without other means to demand justice. If he can survive life on the run, that is. Carrying only his sword, a few coins, and his wit, Anrel must leave behind everything he has ever known, trust himself to unexpected allies, and outmaneuver leagues of enemies who will stop at nothing to keep his dangerous ideas from ever being heard. Magic and intrigue collide in a swashbuckling tale of daring escapes, beautiful witches, and one quiet young man's rise to hero—or traitor. Nothing will ever be simple for Anrel again, as his personal quest may provide more peril for those he holds dear. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This unfinished work was unearthed among his papers by City College professor Murphy, along with Trilling's own preface and commentary on the work as it stands: 24 short chapters. The novel is based on the late-life of poet Walter Savage Landor (1775-1864), who got into some unpleasant business surrounding his Bath landlady and her 16-year-old ward. Trilling details the true-life incident in his preface, then moves his own story to 1930s New England.
This study shows how Wouk's plays and novels exemplify an extraordinary and often highly perceptive preoccupation with American society in war and peace. Situating Wouk in the same literary tradition as Cervantes, Richardson, Balzac, and Dickens, Beichman demonstrates that Wouk's novels have strong plots, moralist outcomes, and active -essentially positive- characters. Beichman's focus is on the social and literary qualities of Wouk's work.
"Once upon a time there were three men who exemplified, without knowing it, my ideal in life. All of them became famous as writers, influential thinkers, and public figures. Their names are Clifton Fadiman, Lionel Trilling, and Jacques Barzun. They met in college, they remained aware of one another as friends or, if less than friends, companions and fellow crusaders on behalf of similar ideals. Although one of them never knew of my existence, the second ignored it, and the third treated me with formal kindness, without them I would have had no concrete model in my youth of what I wanted to become. Theirs was the universe in which I wished to have my being." With these words, Carolyn Heilbrun begins a personal, pointed, and surprisingly moving account of how a woman, destined to become one of the leading feminist critics of her day as well as one of our most popular mystery novelists, found the models for the life she aspired to in men who neither imagined nor countenanced women as their equals or colleagues. Remembering these three figures as they were when she hung upon their printed words and professorial presences, reappraising them now half a century later, Heilbrun vividly evokes what these remarkable individuals had to offer to an admiring young woman who could not acknowledge—and later would not accept—the impossibility of following in their paths. In the admired anthologies, magazine articles, and introductions through which Fadiman transmitted the world of high culture to an educated general public, he indicated no devotion to questions of female destiny; yet long before Heilbrun could imagine the life in the academy that was denied to Fadiman but would eventually be hers, his was the career to which she privately aspired. Later, in her days as a graduate student at Columbia, it was Trilling who would have the most powerful intellectual effect upon her, formulating as he did the tensions inherent in the desire to salvage what was of worth from a sad, almost moribund culture, even if he frankly admitted to no interest in teaching women or in considering their destinies beyond the domestic sphere. Only the courtly Barzun, also a mentor at Columbia, seemed capable of respecting female accomplishment and eschewing stereotyped views of women. Yet together, all three men unconsciously made Heilbrun's life as a feminist possible, by representing both what she wished to join and what she needed to struggle against. When Men Were the Only Models We Had is a loving, admiring, but stringent account of youthful enthusiasms, of the romance of ideas, of the intellectual brilliance of three unwitting mentors, and of the hopelessness of female ambition in the years before the feminist movement of the last three decades of the last century. And it is, in the end, a book that offers splendid proof that the models we once had are no longer the only ones before us.