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The New York Times bestselling writer Tracy Daugherty illuminates his most vital subject yet in this first biography of the Catch-22 author Joseph Heller Joseph Heller was a Coney Island kid, the son of Russian immigrants, who went on to great fame and fortune. His most memorable novel took its inspiration from a mission he flew over France in WWII (his plane was filled with so much shrapnel it was a wonder it stayed in the air). Heller wrote seven novels, all of which remain in print. Something Happened and Good as Gold, to name two, are still considered the epitome of satire. His life was filled with women and romantic indiscretions, but he was perhaps more famous for his friendships—he counted Mel Brooks, Zero Mostel, Carl Reiner, Kurt Vonnegut, Norman Mailer, Mario Puzo, Dustin Hoffman, Woody Allen, and many others among his confidantes. In 1981 Heller was diagnosed with Guillain-Barré Syndrome, a debilitating syndrome that could have cost him his life. Miraculously, he recovered. When he passed away in 1999 from natural causes, he left behind a body of work that continues to sell hundreds of thousands of copies a year. Just One Catch is the first biography of Yossarian's creator.
Updates entries already published and supplements the Dictionary of Literary Biography series with entries on newly prominent writers.
Theado offers close readings of the works that make up the "Duluoz Legend" - Kerouac's series of barely fictionalized re-creations of his life - and reveals how his awareness of his writing self increased over the course of his career.".
Few if any are better endowed than George Garrett to comment on the general and the particular, the long and the short, of southern letters in our time. Garrett— a prolific and internationally renowned author of fiction, poetry, drama, and biography as well as a teacher, editor, critic, and frequent jurist for literary competitions—has been immersed in the writers and literature of his native region for almost a half century. Southern Excursions contains more than fifty of the best essays, reviews, and other short pieces of his career. For the connoisseur of good writing, this book is a depository, a treasure, a veritable time capsule of southern, literary, and American culture. Without sacrificing reverence for modern masters such as Faulkner, O’Connor, and Welty, Garrett has consistently embraced worthy new artists through the years, deftly and judiciously drawing the line between critical acclaim and popular success. Payton Davis, Shelby Foote, Walker Percy, William HoVman, Madison Jones, Reynolds Price, Robert Morgan, R. H. W. Dillard, Wendell Berry, Doris Betts, William Goyen, Mary Lee Settle, Randall Kenan, David Huddle, Allan Gurganus, Dorothy Allison—these are a few of the writers Garrett has championed. If some names sound less familiar, Garrett, in these pages, will inspire readers to swift investigation. The author’s charm, wit, and anecdotal style make reading Southern Excursions a delight, and yet there’s no mistaking his erudition. Wise like a prophet, with a talent scout’s enthusiasm, Garrett is not afraid to tell unwelcome truths, covering topics that include southern publishing houses and literary quarterlies, the alliance between writers and academia, the state of criticism and theory, and, most eloquently, the persistence of place, memory, and the Civil War as themes in southern letters. Southern Excursions is a book for the ages, stowing as it does the sage views of one as learned, respected— and modest—in his time as George Garrett. “My strong suggestion [to readers],” he states, “is to plunge in and fare forward. Experience the story before turning to or trusting the opinions and judgments of others, myself included.”
"Going to See the Elephant is a safari into the wilds of the mind of George Garrett, and a more interesting place to explore is hard to imagine. Whether he (or his beleaguered alter-ego, John Towne) is examining the writing life, tipping his hat to other writers, or fulminating about the sorry state of the world we live in, he is well worth a listen - both for the sheer pleasure of it and for the wisdom to be found in it." —R.H.W. Dillard, author of Understanding George Garrett
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The writer John O'Hara (1905-1970) came from Pottsville in Pennsylvania. He put his home town and the surrounding vicinity under a microscope to produce an account of 'The Anthracite Region' that rivals Edith Wharton's descriptions of New York and Sinclair Lewis's anatomy of Sauk Centre. With the discerning eye of a local resident, O'Hara recreated this coal-rich region and its people so well that his novelettes, novellas, novels, plays and short stories give a true record of his 'Pennsylvania Protectorate' in the latter part of the nineteenth century and the first half of the twentieth century. In order to reveal the ethnographical, geographical and historical authenticity of the O'Hara Canon, this book examines his writings in the context of Pottsville and the borough of Tamaqua, as well as the nearby towns and villages. The author also investigates both O'Hara's genteel upbringing and his gangster stratum. The book explores the many dimensions of O'Hara's life from the time of his birth until his escape to New York City in 1928. New sources such as unpublished letters and interviews with O'Hara's family, friends and enemies provide important insights into O'Hara, as well as into Pottsville and the surrounding region.
Intimate, in-depth portraits, interviews, and essays of America's black leaders—from the founding of the nation and Frederick Douglass to the 2008 presidential race and Barack Obama. Each figure is interconnected with the next, exploring themes of family and intergenerational community, spirituality, and diligence, activism, and struggle. These remarkable portraits reveal the true spirit of the American pioneers who forged much of the heart of this nation, but whose achievements have been largely overlooked. New York Times bestselling author Dick Russell examines the lives of musicians, civil rights leaders, philosophers, writers, and actors including Duke Ellington, Will Marion Cook, Louis Armstrong, Wynton Marsalis, Albert Murray, Ralph Ellison, Toni Morrison, and Romare Bearden. Concluding with a list of sources and suggested reading, this fascinating and vibrant look at American history is a must for any collection.
After the Fact: Authority and the Historical Document in Late Twentieth-Century Literature examines historiographic metafiction’s epistemological concern with the historical document. The six texts herein recover official and neglected documents, viewing history from marginal perspectives endeavoring an ethical reconsideration of dominant historical narratives. Thematically paired chapters focus on eye-witness narratives, legal and official government documents, and news publications. The first two chapters, D.M. Thomas’ The White Hotel with Toni Morrison’s Beloved, explore the writers’ reconsideration of eye-witness accounts, specifically the Holocaust survivor narrative and the slave narrative. The second pair reviews mythologies of the nation in the United States. Susan Howe’s Singularities rewrites the Indian captivity narrative. Hannah Weiner’s Spoke revises the 1868 Black Hills treaty to focus on how popular and official texts promote the colonial imaginary and function to justify colonial expansion. The final two chapters examine Margaret Atwood’s Alias Grace and Robert Coover’s The Public Burning, which critique the press’s authority by questioning its claim to objectivity.