Edmund Wilson's Night Thoughts " contains an astonishing arrangement of prose and poetry composed by the author from the years 1917-1919. "[C]haracterized by [Wilson's] spontaneity and wit. ... For Wilson followers, who are fondly familiar with his writing, this offers some delightful insights." - Kirkus Reviews on Night Thoughts
Edmund Wilson's The Fifties, edited by Leon Edel, is the highly acclaimed fourth volume in the series that began with The Twenties. It is complimented with photographs and journal excerpts of some of the most interesting characters of the decade, including Edna St. Vincent Millay, W.H. Auden, and Vladimir Nabokov. "A giant's workroom we can wander through, marveling ..." - Richard Locke, The Wall Street Journal on The Fifties: From Notebooks and Diaries of the Period
The friendship between Elizabeth Waugh and the influential literary critic and novelist Edmund Wilson developed in the early 1930s and lasted until Waugh's death in 1944. Despite the cultural differences between them - Waugh as a self-educated and emotional visual artist and Wilson an analytical and learned critic with a historical bent - they developed a bond that was close if often troubled." "The present volume contains eighty-eight letters from Waugh to Wilson, plus several from him to her and to her mother after her death. Their correspondence - now at Yale University - is presented here with meticulously detailed annotation of persons and events referred to in the letters, providing a provocative look into the private thoughts of these two representative figures from the artistic and literary worlds of the later 1930s. These letters, read against the portrayal of the fictional Imogen Loomis, offer fascinating insights into the process of artistic creation in the novel; taken with the biographical Introduction and Afterword, they can shed light on many of the problems faced by literary and artistic women of the upper middle class during the depression era."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This is a chronologically arranged collection of prose and poetry (the earliest here, dating from 1917-1919) characterized by spontaneity and wit. ... For Wilson followers, who are fondly familiar with his writing, this offers some delightful insights." - Kirkus Reviews
From the author of To the Finland Station comes a deeply personal and incisive memoir, A Piece of My Mind. Edmund Wilson, often considered to be the greatest American literary critic of the twentieth century, reflects back on life in his sixth decade with this insightful intellectual autobiography that covers topics ranging from Religion, War, the USA, Europe, Russia, Jews, Education, Science, Sex, and much more, all examined with his characteristic wit and intelligence.
The Wound and the Bow contains seven essays by "The greatest literary critic of the twentieth century.” -New York magazine. Combining biographical and critical sketches, Edmund Wilson writes brilliantly on a wide-range of authors including Dickens, Kipling, Edith Wharton, Ernest Hemingway, Joyce, Jacques Casanova, and Sophocles. "In the best tradition of literary criticism... combines exact information with shrewd and searching penetration into the personal life of the artist."-The New York Times
Presents a critical and historical study of European writers and theorists of Socialism in the one hundred fifty years leading to the Bolshevik Revolution of 1917 and discusses European socialism, anarchism, and theories of revolution.
In these pages, The Twenties: From Notebooks and Diaries of the Period, the preeminent literary critic Edmund Wilson gives us perhaps the largest authentic document of the time, the dazzling observations of one of the principal actors in the American twenties. Here is the raw side of the U.S.A., the mad side of Hollywood, the literary infighting in New York, the gossip and anecdotes of an astonishing cast of characters, the jokes, the profundities, the inanities. Here is the slim young man in Greenwich Village sallying forth to parties in matching ties and socks. Here is F. Scott Fitzgerald, Edna St. Vincent Millay, John Peale Bishop, H.L. Mencken, Dorothy Parker, e.e. cummings, John Dos Passos and Eugene O'Neill.
Controversial upon publication in 1946, Memoirs of Hecate County remained banned for more than a decade before being reissued. A favorite among his own books, Edmund Wilson's erotic and devestating portrait of the upper middle class still holds up today as a corrosive indictment of the adultery and intellectual posturing that lie at the heart of suburban America.
Little Blue Light: A Play in Three Acts from the leading literary critic of his generation, Edmund Wilson The characters in Little Blue Light include an old-fashioned newspaperman who has become editor of a literary magazine and is making his last stand for liberalism; his brilliant, egoistic wife, who is at once intensely ambitious and dissatisfied with everything she gets; a neurotic returned expatriate, who has found out how to exploit his neurosis by writing; the editor's twenty-six year-old secretary, who represents everything most admirable in the prep school and college tradition till he is subjected to the pressure of the contemporary world; and a mysterious moralizing gardener of indeterminate nationality. This horrifying satirical play is a study of American types and a comment on social tendencies. It has something of the author's Memoirs of Hecate County, something of the late George Orwell's 1984, and something of Charles Addams's New Yorker cartoons
The American Earthquake amply conveys the astonishing breadth of Edmund Wilson's talent, provides an unparalleled vision of one of the most troubling periods in American history, and, perhaps inadvertently, offers a self-portrait comparable to The Education of Henry Adams. During a twelve-month period in 1930 and 1931, Edmund Wilson wrote a series of lengthy articles which he then collected in a book called American Jitters: A Year of the Slump. The resulting chronicle was hailed by the New York Times as "the best reporting that the period of depression has brought forth in the United States," and forms the heart of the present volume. In prose that is by turns dramatic and naturalistic, inflammatory and evocative, satirical and droll, Wilson painted an unforgettable portrait of a time when "the whole structure of American society seemed actually to be going to pieces." The American Earthquake bookends this chronicle with a collection of Wilson's non-literary articles-including criticism, reportage, and some fiction-from the years of "The Follies," 1923-1928, and the dawn of the New Deal, 1932-1934. During this period, Wilson had grown from a little-known journalist to one of the most important American literary and social critics of the century.
Featuring critical and biographical portraits of notable figures of the American Civil War, Patriotic Gore remains one of Edmund Wilson's greatest achievements. Considered one of the 100 Best Nonfiction books by The Modern Library. Figures discussed include Harriet Beecher Stowe, Abraham Lincoln, Ulysses S. Grant, William Tecumseh Sherman, and Oliver Wendell Holmes, among many others.
The Duke of Palermo is a comedy about American academic life which is an integral part of Edmund Wilson's work and will be enjoyed by the admirers of literary chronicles, as well as by those who know his fiction. Also included in this collection of plays is An Open Letter to Mike Nichols, which first appeared in the New York Review of Books.
Edmund Wilson's personal and informative study on the plight of the Native American Indians, Apologies to the Iroquois As Wilson writes, “[In August 1975] I discovered in the New YorkTimes what seemed to me a very queer story. A band of Mohawk Indians, under the leadership of a chief called Standing Arrow, had moved in on some land on Schoharie Creek, a little river that flows into the Mohawk not far from Amsterdam, New York, and established a settlement there. Their claim was that the land they were occupying had been assigned them by the United States in a treaty of 1784. The Times ran a map of the tract which had at that time been recognized by our government as the territory of the Iroquois people, who included the Mohawks, the Senecas, the Onondagas, the Oneidas, the Cayugas and the Tuscaroras, and were known as the Six Nations. The tract was sixty miles wide, and it extended almost from Buffalo to Albany. "I had already known about this agreement as the Treaty of Fort Stanwix (now Rome, New York), which had first made it possible for white people to settle in upper New York State without danger of molestation by its original inhabitants; but I had not known what the terms of this treaty were, and I was surprised to discover that my property, acquired at the end of the eighteenth century by the family from which it had come to me, seemed to lie either inside or just outside the northern boundary. Having thus been brought to realize my ignorance of our local relations with the Indians and continuing to read in the papers of the insistence of Standing Arrow that the Mohawks had some legal right to the land on which they were camping, I paid a visit, in the middle of October, to their village on Schoharie Creek . . . .”
Edmund Wilson's last collection of criticism, The Devils & Canon Barham, contains ten essays on Poets, Novelists, and Monsters Previously published in the New Yorker and the New York Review of Books, Wilson's writing featured in this volume sees the critic returning to his roots and youth, with essays on his childhood love for The Ingoldsby Legends, the works of Hemingway, Eliot's The Waste Land, and ends with a piece on The Monsters of Bomarzo and by taking the Modern Language Association (MLA) to task.
From one of America's greatest literary critics comes Edmund Wilson's insightful and candid record of the 1930's, The Thirties: From Notebooks and Diaries of the Period. Here, continuing from Wilson's previous journal, The Twenties, the narrator moves from the youthful concerns of the Jazz Age to his more substantial middle years, exploring the decade's plunge from affluence and exploring the tenets of Communism. His personal life is also amply represented, from his marriage to Margaret Canby and her subsequent tragic death to various erotic episodes with unidentified women.
From one of the leading literary critics of his generation comes the first of Edmund Wilson's three novels, I thought of Daisy, published together with his short story "Galahad." Set in Greenwich Village in the 1920s, Edmund Wilson’s I Thought of Daisy tells the coming of age story of a young man living a bohemian life, and of his heartfelt relationship with a chorus girl he meets at a party. Fictional sketches drawn from real-life literary figures are scattered throughout, including John Dos Passos and Wilson's lover, Edna St. Vincent Millay. Also included in this volume is Wilson's short story "Galahad," about the sexual awakening of a young boy at prep school. "What needs to be [said] is how good, if ungainly, Daisy is, how charmingly and intelligently she tells of the speakeasy days of a Greenwich Village as red and cozy as a valentine, of lamplit islands where love and ambition and drunkenness bloomed all at once. The fiction writer in Wilson was real, and his displacement is a real loss." - John Updike
The last of Edmund Wilson's posthumously published journals turned out to be one of his major books, The Sixties: the Last Journal, 1960–1972--a personal history that is also brilliant social comedy and an anatomy of the times. Wilson catches the flavor of an international elite -- Stravinsky, Auden, Andre Malraux, and Isaiah Berlin -- as well as the New York literati and the Kennedy White House, but he never strays too far from the common life, whether noting the routines of his normal neighbors or the struggle of his own aging. "Candor and intelligence come through on every page--in this always absorbing journal by perhaps the last great man of American letters." - Kirkus Reviews
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