This novel of Mississippi hill country life depicts some of the more troubling and unpublicized aspects of the New Deal by tracing the fortunes of the Taylor family, sharecroppers who move to town to work for the "WP and A," the Works Progress Administration. John Faulkner, a one-time WPA project engineer, has much to satirize in this broadly comic novel. First and foremost are the Taylors: exasperating and unemployable, they are unaccountably abiding; hopelessly destitute, they place a higher premium on a new radio than on food and shelter. Faulkner also casts a sardonic eye on the town merchants, who extend credit to WPA workers as quickly as they inflate prices, and, of course, on the WPA itself, an agency that entices naive, desperate country folk with the promise of a dole--only to lay them off and then ignore them. In his foreword, Trent Watts establishes the singularity of Men Working while noting in it echoes of Tobacco Road, As I Lay Dying, and The Grapes of Wrath. Watts also identifies in John Faulkner's tone an ambivalence shared by many southerners who witnessed the changes wrought by "progress" upon their traditional way of life.
WILLIAM FAULKNER, the writer, was a familiar figure to many, a gentle, shy and rather reserved man who, though tweedy, managed always, somehow, to appear dapper. He chose to minimize his role as literary genius, preferring to refer to himself as a simple dirt farmer and resident of Oxford, Mississippi, the prototype of the city of Jefferson, which appeared in almost everything he wrote. But if this William Faulkner was known to many, few ever got beyond that mask to the real Faulkner, a man who clung tenaciously to his privacy, or realized the true degree to which his family and the region that had borne him and molded his character and thinking. Of these, perhaps none knew him so well as his brother, John, himself a writer and as deeply influenced by these same forces. My brother Bill is little concerned with the public image of William Faulkner; rather it is about Bill Faulkner as a boy, growing up in the environment which furnished him with most of the raw material about which he later wrote, and as a man who retained for all of his life an almost mystical feeling for his native land. It is an intimate portrait, etched deeply with humor, of a man fiercely loyal to his family and old friends, though he often disagreed violently with each of them; of a man steeped in the gamey, Rabelaisian humor of the Frontier, which seems mainly to have survived only in the South; and of a man who both loved and hated his native ground because it never lived up to what he felt it capable of being. It is a book remarkable not only for its many insights into one of our most significant writers, but for its unique re-creation, in every detail, of the all-but-forgotten life in a southern village at the turn of the century, a picture sketched with rare skill and humor and a deep sense of nostalgia in the best sense of the word.
Faulkner is notoriously a 'difficult' writer to study, especially for first-time readers. This Literature Insight begins with three chapters clearly setting out the important facts of his life, mapping the people and history of his recurrent fictional setting, Yoknapatawpha County, and analysing the oddities and problems of his prose style. Later chapters turn directly to his great novel 'Go Down, Moses' and his later collection 'Big Woods', dealing in detail with each story and the intertexts and showing how they connect and add up to something much more than loose collections. Readers new to Faulkner will find it a very helpful introduction to his world, and those already familiar with him a valuable resource.
This bibliography brings up through 1989 the comprehensive listing of scholarship and criticism on William Faulkner begun by Bassett in two earlier books, William Faulkner: An Annotated Checklist of Criticism (1972) and Faulkner: An Annotated Checklist of Recent Criticism (1983). Since the latter, over a hundred books on Faulkner have been completed, along with hundreds of articles and dissertations. This work lists all new items, often with extensive annotations, and provides separate entries for chapters of books that cover individual novels and stories. Bassett's introductory essay provides an overview of the last decade of Faulkner studies, the first in which post-structuralist and other newer forms of criticism had a major impact on Faulkner studies.
In South Carolina, a young black man faces the death penalty for the rape and murder of Marianne Larousse, daughter of one of the wealthiest men in the state. It's a case that nobody wants to touch, deeply rooted in old evil--and old evil is Charlie Parker's specialty. He's about to enter a living nightmare, a dreamscape of sorrow haunted by the murderous specter of a hooded woman, by a black car waiting for a passenger that never comes, and by the sinister complicity of both friends and enemies in Larousse's brutal death. Soon, all will face a final reckoning in an unearthly realm where the paths of the living and the dead converge. A place known only as the White Road.
In Volume II of this special collectors’ edition, visit the terrifying world of John Connolly’s #1 internationally bestselling thrillers: The White Road, The Black Angel, and The Unquiet. THE WHITE ROAD In South Carolina, a young black man faces the death penalty for the rape and murder of Marianne Larousse, daughter of one of the wealthiest men in the state. It's a case that nobody wants to touch, deeply rooted in old evil—and old evil is Charlie Parker's specialty. He's about to enter a living nightmare, a dreamscape of sorrow haunted by the murderous specter of a hooded woman, by a black car waiting for a passenger that never comes, and by the sinister complicity of both friends and enemies in Larousse's brutal death. Soon, all will face a final reckoning in an unearthly realm where the paths of the living and the dead converge. A place known only as the White Road. THE BLACK ANGEL When a young woman disappears from the streets of New York City, ties of friendship and blood inevitably draw ingenious, tortured detective Charlie Parker into the search. Soon he discovers links to a church of bones in Eastern Europe, a 1944 slaughter at a French monastery, and to the myth of an object known as the Black Angel—considered by evil men to be beyond priceless. But the Black Angel is not a legend. It is real. It lives. It dreams. And the mystery of its existence may contain the secret of Parker's own origins. THE UNQUIET Daniel Clay, a once-respected psychiatrist, has gone missing. His daughter insists that he killed himself after allegations surfaced surrounding the harm done to patients in his care. Now, a killer obsessed with finding the truth about his own daughter’s disappearance is seeking revenge—and private investigator Charlie Parker finds himself trapped between those who want the truth about Clay’s disappearance to be revealed, and those who will go to any length—no matter the cost—to keep a deep, dark secret about a local town hidden.
Considered one of the great American authors of the 20th century, William Faulkner (1897-1962) produced such enduring novels as The Sound and the Fury, Light in August, and As I Lay Dying, as well as many short stories. His works continue to be a source of interest to scholars and students of literature, and the immense amount of criticism about the Nobel-prize winner continues to grow. Following his book Faulkner in the Eighties (Scarecrow, 1991) and two previous volumes published in 1972 and 1983, John E. Bassett provides a comprehensive, annotated listing of commentary in English on William Faulkner since the late 1980s. This volume dedicates its sections to book-length studies of Faulkner, commentaries on individual novels and short works, criticism covering multiple works, biographical and bibliographical sources, and other materials such as book reviews, doctoral dissertations, and brief commentaries. This bibliography provides an organized and accessible list of all significant recent commentary on Faulkner, and the annotations direct readers to those materials of most interest to them. The information contained in this volume is beneficial for scholars and students of this author but also general readers of fiction who have a special interest in Faulkner.
While investigating the death of a senator's daughter, Charlie Parker lands himself in a dangerously gruesome situation after he discovers a mass grave and a shadowy religious organization. Reissue.
From the knowledgeable perspective of 25 years as a criminal lawyer (mostly appeals like murder, rape, robbery, etc.), a former co-editor of Gilbert's Criminal Law & Procedure, and a free lance writer for over a decade, the author writes incisively about the remorseless cop killer described by America's newspaper of record as: "Perhaps the best known Death-Row prisoner in the world." (Page 1, New York Times, Dec. 19, 2001, the day after a federal court nullified a racially mixed jury's July 3, 1982 unanimous sentence of death.) Mumia Abu Jamal - The Patron Saint of American Cop Killers exposes the Hollywood backed "Free Mumia! Free All Political Prisoners!" movement's claims of "racism" in jury selection, "police frame-up," and "police intimidation of defense witnesses" as a transparent fraud. With the same precision and insight he devoted to a three part article in the East Hampton Independent (and the Southampton Independent) on the tragic carbon monoxide death of his friend, tennis star, and CBS TV commentator, Vitas Gerulaitis, Hayden takes the reader through the pre-trial, trial, and absurdly lengthy post conviction proceedings. Now that the chances of the cop hating ex Black Panther ever being executed for killing a 25 year old cop are about the same as his chances of ever being found "innocent," Hayden predicts that the middle aged Death-Row prisoner will, like Dr. Martin Luther King's cowardly assassin, racist James Earl Ray, die of old age in a 6 X 9 steel cage in a super max prison somewhere in rural America.
Western culture is composed of a subtle and complex mixture of influences: religious, philosophical, linguistic, political, social, and sociological. American culture is a particular strain, but unless European antecedents and contemporary leanings are duly noted, any resulting history is predestined to provincialism and distortion. In his account of American literature during the period 1919 to 1932, McCormick deals with the extraordinary work of artists who wrested imaginative order from a world in which the abyss was never out of sight.McCormick's volume is intended as a critical, rather than encyclopedic history of literature on both sides of the Atlantic between the end of World War I and the political and social crises that arose in the 1930s. Although he emphasizes American writers, the emergence of a vital and distinctly modern American literature is located in the cultural encounter with Europe and the rejection of national bias by the major figures of the period.McCormick deals with Gertrude Stein and the mythology of the "lost generation," the tensions and ambivalences of traditionalism and modernity in the work of Sherwood Anderson and F. Scott Fitzgerald, the effect and qualities of Hemingway's style as compared to that of Henry de Montherlant, and the provincial iconoclasm of Sinclair Lewis juxtaposed with the more telling satire of Italo Svevo. The formal innovations in the work of John Dos Passos, E.E. Cummings, and William Faulkner, the poetic revolution against cultural parochialism and genteel romanticism is given extensive consideration with regard to the work of T.S. Eliot, Ezra Pound, Wallace Stevens, William Carlos Williams, and Marianne Moore are also discussed. The concluding chapters discuss literary and social criticism and assess the influence of psychoanalysis, philosophical pragmatism, and radical historiography on the intellectual climate of the period.Teachers and students in English and American Literature, American History, and Comparative Literature, and the general reader interested in the writing of the period, may gain new insights from these valuations, devaluations, and re-evaluations.
Now long out of print, John Dunning's Tune in Yesterday was the definitive one-volume reference on old-time radio broadcasting. Now, in On the Air, Dunning has completely rethought this classic work, reorganizing the material and doubling its coverage, to provide a richer and more informative account of radio's golden age. Here are some 1,500 radio shows presented in alphabetical order. The great programs of the '30s, '40s, and '50s are all here--Amos 'n' Andy, Fibber McGee and Molly, The Lone Ranger, Major Bowes' Original Amateur Hour, and The March of Time, to name only a few. For each, Dunning provides a complete broadcast history, with the timeslot, the network, and the name of the show's advertisers. He also lists major cast members, announcers, producers, directors, writers, and sound effects people--even the show's theme song. There are also umbrella entries, such as "News Broadcasts," which features an engaging essay on radio news, with capsule biographies of major broadcasters, such as Lowell Thomas and Edward R. Murrow. Equally important, Dunning provides a fascinating account of each program, taking us behind the scenes to capture the feel of the performance, such as the ghastly sounds of Lights Out (a horror drama where heads rolled and bones crunched), and providing engrossing biographies of the main people involved in the show. A wonderful read for everyone who loves old-time radio, On the Air is a must purchase for all radio hobbyists and anyone interested in 20th-century American history. It is an essential reference work for libraries and radio stations.
Since World War II critics have been predicting the decline of the novel. This book argues that the novel is not dead. Looking at American and English fiction it claims that the novel can not only change the possibilities of art, but also contribute to awareness of life's possibilities.
No other person has done more to celebrate and encourage the short story in Canada than John Metcalf. For more than five decades he has worked tirelessly as editor, anthologist, writer, critic, and teacher to help shape our understanding of the form and what it can do. The long-time editor of the yearly Best Canadian Stories anthology, as well as a fiction editor at some of the pre-eminent literary presses in the country for more than forty years, he has worked to support and champion several generations of our best writers. Literature in Canada would be far less without his efforts. Sifting through a lifetime of reading, writing, and thinking about the short story in this country, and where it fits within the larger currents of world literature, Metcalf’s magisterial The Canadian Short Story offers the most authoritative book on the subject to date. Most importantly, it includes an expanded and reconsidered Century List, Metcalf’s critical guide to the best Canadian short story collections of the last 100 years. But more than a critical book, The Canadian Short Story is a love-letter to the form, a passionate defense of the best of our literature, and a championing of those books and writers most often over-looked. It is a guide not only to what to read, but also one, its author’s most fervent desire, which aims to make better readers of us all.
This overview of McCarthy’s published work to date, including: the short stories he published as a student, his novels, stage play and TV film script, locates him as a icocolastic writer, engaged in deconstructing America’s vision of itself as a nation with an exceptionalist role in the world. Introductory chapters outline his personal background and the influences on his early years in Tennessee whilst each of his works is dealt with in a separate chapter listed in chronological order of publication.
The co-author of Looking Glass Universe probes the nature of creativity and reveals the strategies and tactics of some of our greatest creative minds. What makes geniuses different from the rest of us? What is the difference between a prodigy and a genius? Are geniuses born or made? What is creative vision and where does it come from? What are the secrets of talent? And why do great creators seem to have so many oppositions in their personalities? In this mind-expanding investigation of creativity, John Briggs reveals that there is no special trait of genius. Geniuses are not necessarily smarter or more talented than other people, but they give their attention to subtle nuances, contradictory feelings and perceptions that others experience and ignore. By focusing on sensory nuances, geniuses create themselves. Fire in the Crucible offers a compelling exploration of the roots of creativity and genius. Drawing on the lives and work of extraordinary scientists, artists, writers, composers, and inventors, Briggs shows how creative individuals exploit doubt and uncertainty, and the mental strategies and tactics they employ when they work. “In asking about creativity,” he writes, “we are really asking about what is best, what is deepest in life.” Fire in the Crucible draws the reader into an eye-opening journey through the inner workings of some of the greatest creative minds of all time—and allows us to understand more deeply the nature of creativity in our own lives and work. Praise for Fire in the Crucible “His refreshingly open-ended approach brings us closer to the elusive nature of genius.” —Publishers Weekly “An exuberant voyage through the brains and minds of creative individuals, chock-full of intriguing scientific discoveries and puzzling paradoxes.” —Howard Gardner, Harvard University, author of Multiple Intelligences
With over 10,000 entries, this bibliography is the most comprehensive guide to published writing in the tradition of Leo Strauss, who lived from 1899 to 1973 and was one of the most influential political philosophers of the twentieth century. John A. Murley provides Strauss's own complete bibliography and identifies the work of hundreds of Strauss's students, and their students' students. Leo Strauss and His Legacy charts the path of influence of a beloved teacher and mentor, a deep and lasting heritage that permeates the classrooms of the twenty-first century. Each new generation of students of political philosophy will find this bibliography an indispensable resource.
This book presents three decades of writings by one of America's most distinguished historians. John Higham, renowned for his influential works on immigration, ethnicity, political symbolism, and the writing of history, here traces the changing contours of American culture since its beginnings, focusing on the ways that an extraordinarily mobile society has allowed divergent ethnic, class, and ideological groups to "hang together" as Americans. The book includes classic essays by Higham and more recent writings, some of which have been substantially revised for this publication. Topics range widely from the evolution of American national symbols and the fate of our national character to new perspectives on the New Deal, on other major turning points, and on changes in race relations after major American wars. Yet they are unified by an underlying theme: that a heterogeneous society and an inclusive national culture need each other.
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