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The collected nonfiction of the Pulitzer Prize–winning author of Ironweed: “A great pleasure to read no matter what the subject” (Library Journal). When William Kennedy arrives in Barcelona, his guidebook recommends taking the trolley around town—but the trolleys haven’t run in the city for years. He’s on his way to interview the novelist Gabriel García Márquez when, out of the corner of his eye, he sees something impossible: a yellow trolley running down the street. Márquez, however, is not surprised; like all great writers of both fiction and nonfiction, he knows that impossible things happen every day. A remarkable collection from one of America’s greatest authors, Riding the Yellow Trolley Car features work from all stages of Kennedy’s career. Through each piece runs the thread that ties together his greatest works: a love and deep understanding of his hometown, the city of Albany, New York, and the good and evil men who have made it what it is. Featuring interviews and essays on some of the most prominent authors of the twentieth century, from Saul Bellow and E. L. Doctorow to Norman Mailer and the legendary García Márquez—as well as insightful reflections on topics from baseball to the death of a prominent cat to Kennedy’s wife’s hiccups—Riding the Yellow Trolley Car is an essential book for all those who love to read, or live to write.
A collection of Kennedy's book reviews over the last thirty years, literary essays on other authors and on his own writing; profiles of jazz musicians, movie stars, stories on the filming of Ironweed and The Cotton Club, and a soliloquy on the homeless.
In this stunning work chronicling the author’s exploration of his own past—and the lives of many hundreds of thousands of nameless immigrants who struggled alongside his own ancestors—Peter Quinn paints a brilliant new portrait of the Irish-American men and women whose evolving culture and values continue to play such a central role in all of our identities as Americans. In Quinn’s hands, the Irish stereotype of “Paddy” gives way to an image of “Jimmy”—an archetypal Irish-American. From Irish immigration to modern politics, Quinn vibrantly weaves together the story of a remarkable people and their immeasurable contribution to American history and culture.
The beloved Pulitzer Prize-winning novel, basis of the film starring Jack Nicholson and Meryl Streep. Francis Phelan, ex-big-leaguer, part-time gravedigger, full-time bum with the gift of gab, is back in town. He left Albany twenty-two years earlier after he dropped his infant son accidentally, and the boy died. Now he's on the way back to the wife and home he abandoned, haunted at every corner by the ghosts of his violent life. Francis; his wino ladyfriend of nine years, Helen; and his stumblebum pal, Rudy, shuffle their ragtag way through the city's bleakest streets, surviving on gumption, muscatel, and black wit. estiny is not their business. 'The premise of Ironweed was so unpromising, that in marketing terms the writer still to this day finds it funny: the story of a bunch of itinerant alcoholics, knocking around Kennedy's hometown, falling out, having visions, trying to pass for sober to cadge a bed for the night in the homeless shelter.' Guardian 'But for all the rich variety of prose and event, from hallucination to bedrock realism to slapstick and to blessed quotidian peace, ''Ironweed'' is more austere than its predecessors. It is more fierce, but also more forgiving.' Quoted from the classic New York Times review of Ironweed, which made it an overnight sensation.
In a famous passage in The Red and the Black, the French writer Stendhal described the novel as a mirror being carried along a roadway. In the twentieth century this was derided as a naïve notion of realism. Instead, modern writers experimented with creative forms of invention and dislocation. Deconstructive theorists went even further, questioning whether literature had any real reference to a world outside its own language, while traditional historians challenged whether novels gave a trustworthy representation of history and society. In this book, Morris Dickstein reinterprets Stendhal's metaphor and tracks the different worlds of a wide array of twentieth-century writers, from realists like Theodore Dreiser, Sinclair Lewis, Edith Wharton, and Willa Cather, through modernists like Franz Kafka and Samuel Beckett, to wildly inventive postwar writers like Saul Bellow, Günter Grass, Mary McCarthy, George Orwell, Philip Roth, and Gabriel García Márquez. Dickstein argues that fiction will always yield rich insight into its subject, and that literature can also be a form of historical understanding. Writers refract the world through their forms and sensibilities. He shows how the work of these writers recaptures--yet also transforms--the life around them, the world inside them, and the universe of language and feeling they share with their readers. Through lively and incisive essays directed to general readers as well as students of literature, Dickstein redefines the literary landscape--a landscape in which reading has for decades been devalued by society and distorted by theory. Having begun with a reconsideration of realism, the book concludes with several essays probing the strengths and limitations of a historical approach to literature and criticism.
Legsinaugurated William Kennedy's brilliant cycle of novels (including Billy Phelan's Greatest Gameand Ironweed) set in Albany, New York. True to both life and myth, Legsbrilliantly evokes the flamboyant career of the legendary gangster Jack "Legs" Diamond, who was finally murdered in Albany. Through the equivocal eyes of Diamond's attorney, Marcus Gorman (who scraps a promising political career for the more elemental excitement of the criminal underworld), we watch as Legs and his showgirl mistress, Kiki Roberts, blaze their gaudy trail across the tabloid pages of the 1920s and 1930s. Diamond and his gangster entourage emerge as emblematic figures from an era of American innocence-and corruption.
From the Pulitzer Prize-winning author of "Ironweed," a dramatic novel of love and revolution from one of America's finest writers. This is an unforgettably riotous story of romance and redemption set against the landscape of the civil rights movement.
Billy Phelan, a slightly tarnished poker player, pool hustler, and small-time bookie, moves through the lurid nighttime glare of a tough Depression-era town. A resourceful man full of Irish pluck, Billy works the fringes of Albany sporting life with his own particular style and private code of honor until he finds himself in the dangerous position of potential go-between in the kidnapping of a political boss's son. In relating Billy's fall from the underworld grace and his storybook redemption, Kennedy captures the seamy underside of a brassy, sweaty city that would prefer to pretend that the Depression doesn't exist.
A journalist, historian, and expert on the Irish American experience tackles the common stereotypes and presents a revisionist version of the notoriously crooked Tammany Hall, describing the crucial social reforms and labor improvements they contributed.
With five Nobel Prize-winners, seven Pulitzer Prize-winners and two Booker Prize-winning novelists, modern Irish writing has contributed something special and permanent to our understanding of the twentieth century. Irish Writing in the Twentieth Century provides a useful, comprehensive and pleasurable introduction to modern Irish literature in a single volume. Organized chronologically by decade, this anthology provides the reader with a unique sense of the development and richness of Irish writing and of the society it reflected. It embraces all forms of writing, not only the major forms of drama, fiction and verse, but such material as travel writing, personal memoirs, journalism, interviews and radio plays, to offer the reader a complete and wonderfully varied sense of Ireland's contribution our literary heritage. David Pierce has selected major literary figures as well as neglected ones, and includes many writers from the Irish diaspora. The range of material is enormous, and ensures that work that is inaccessible or out of print is now easily available. The book is a delightful compilation, including many well known pieces and captivating "discoveries," which anyone interested in literature will long enjoy browsing and dipping into.