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"The most important work of fiction by an American in this literary generation." -The New Republic Now celebrating the 50th anniversary of its publication, Omensetter's Luck is the masterful first novel by the author of The Tunnel, Middle C, On Being Blue, and Eyes: Novellas and Stories. Greeted as a masterpiece when it was first published in 1966, Omensetter's Luck is the quirky, impressionistic, and breathtakingly original story of an ordinary community galvanized by the presence of an extraordinary man. Set in a small Ohio town in the 1890s, it chronicles - through the voices of various participants and observers - the confrontation between Brackett Omensetter, a man of preternatural goodness, and the Reverend Jethro Furber, a preacher crazed with a propensity for violent thoughts. Omensetter's Luck meticulously brings to life a specific time and place as it illuminates timeless questions about life, love, good, and evil. This edition includes an afterword written by William Gass in 1997. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Essays by William H. Gass.
Tests of Time brings us fourteen witty and elegant essays by novelist and literary critic William H. Gass, "the finest prose stylist in America" (Steven Moore, Washington Post). Whether he's exploring the nature of narrative, the extent and cost of political influences on writers, or the relationships between the stories we tell and the moral judgments we make, Gass is always erudite, entertaining, and enlightening.
A dazzling new collection—two novellas and four short stories from one of the most revered writers of our time, author of seven books of fiction, among them The Tunnel (“An extraordinary achievement”—Michael Dirda, The Washington Post); Middle C (“Exhilaratingly ingenious”—Cynthia Ozick, The New York Times Book Review, cover); and Cartesian Sonata (“The finest prose stylist in America”—The Washington Post). It begins with "In Camera," the first of the two novellas, and tells the story, which grows darker and dustier by the speck, of a Mr. Gab (who doesn’t have the gift) and his photography shop (in a part of town so drab even robbers wouldn’t visit), a shop stuffed with gray-white, gray-bleach photographs, each in its own cellophane sheet, loosely side-filed in cardboard boxes, tag attached . . . an inner sanctum where little happens beyond the fulsome, deep reverence for Mr. Gab’s images and vast collection, a homemade museum in the midst of the outer maelstrom . . . until a Mr. Stu (as in u-stew-pid) enters the shop, inspecting the extraordinary collection, and Mr. Gab’s treasure-filled, dust-laden, meticulously contained universe begins to implode . . . In the story “Don’t Even Try, Sam,” the upright piano from the 1942 Warner Bros. classic Casablanca is interviewed (“I know why you want to talk to me,” the piano says. “It’s because everybody else is dead. Stars go out. Directors die. Companies fold. But some of the props get preserved. I’ve seen my friend the Vichy water bottle in the storeroom as wrapped up as the Maltese Falcon. We’d fetch a price now”) . . . In another story, “Charity,” a young lawyer, whose business it is to keep hospital equipment honestly produced, offers a simple gift and is brought to the ambiguous heart of charity itself. In “Soliloquy for a Chair,” a folding chair does just that—talks in a barbershop that is ultimately bombed . . . and in “The Toy Chest,” Disneylike creatures take on human roles and concerns and live in an atmosphere of a child’s imagination. An enchanting Gassian journey; a glorious fantasia; a virtuoso delight.
Brings together the author's reflections on literature, philosophy and the theory of language in pieces that examine a diversity of ideas and writers, including Emerson, Joyce, Dickens, and Pound
Joseph Skizzen's family fled from Austria in 1938 to London where his father disappeared, he and his family then relocated to small town Ohio and Joseph grows up to be a decent piano player with a deeply fractured sense of identity.
A dazzling new collection of essays—on reading, writing, form, and thought—from one of America’s master writers. It begins with the personal, both past and present. It emphasizes Gass’s lifelong attachment to books and moves on to the more analytical, as he ponders the work of some of his favorite writers (among them Kafka, Nietzsche, Henry James, Gertrude Stein, Proust). He writes about a few topics equally burning but less loved (the Nobel Prize–winner and Nazi sympathizer Knut Hamsun; the Holocaust). Finally, Gass ponders theoretical matters connected with literature: form and metaphor, and specifically, one of its genetic parts—the sentence. Gass embraces the avant-garde but applies a classic standard of writing to all literature, which is clear in these essays, or, as he describes them, literary judgments and accounts. Life Sentences is William Gass at his Gassian best.
"Gass has produced a book that burrows inside us then wails like a beast, a book that mainlines a century's terror direct to the brain."--Voice Literary Supplement
A hidden note. A lost love. A second chance... From the #1 bestselling author of The Letter, Kathryn Hughes, comes The Key, an unforgettable story of a heartbreaking secret that will stay with you for ever. 'A wonderful, enthralling story; one that I didn't want to end' LESLEY PEARSE 'Un-put-downable with a twisting plot' My Weekly 'A heartbreakingly powerful read' Sun 'Shocking, stirring' Woman 1956 It's Ellen Crosby's first day as a student nurse at Ambergate Hospital. When she meets a young woman admitted by her father, little does Ellen know that a choice she will make is to change both their lives for ever... 2006 Sarah is drawn to the now abandoned Ambergate. Whilst exploring the old corridors she discovers a suitcase belonging to a female patient who entered Ambergate fifty years earlier. The shocking contents, untouched for half a century, will lead Sarah to unravel a forgotten story of tragedy and lost love, and the chance to make an old wrong right . . . It's time to discover what a million readers already know. No one grips your heart like Kathryn Hughes . . . 'Oh wow! This story broke my heart then filled it with joy then broke it all over again! I adored The Letter and The Secret but this I have to say was my favourite. Heartfelt and poignant an absolute joy ⭐ ⭐ ⭐ ⭐ ⭐' REAL READER 'A sheer joy to read . . . Wonderfully romantic with beautiful characters ⭐ ⭐ ⭐ ⭐ ⭐' REAL READER 'I have finished this book with tears in my eyes but a smile on my face ⭐ ⭐ ⭐ ⭐ ⭐' REAL READER 'A beautifully told, tragic tale . . . restoring your faith in the kindness of strangers ⭐ ⭐ ⭐ ⭐ ⭐' REAL READER
From one of the most admired essayists and novelists at work today: a new collection of essays—his first since Tests of Time, winner of the National Book Critics Circle Award for Criticism. These twenty-five essays speak to the nature and value of writing and to the books that result from a deep commitment to the word. Here is Gass on Rilke and Gertrude Stein; on friends such as Stanley Elkin, Robert Coover, and William Gaddis; and on a company of “healthy dissidents,” among them Rabelais, Elias Canetti, John Hawkes, and Gabriel García Márquez. In the title essay, Gass offers an annotated list of the fifty books that have most influenced his thinking and his work and writes about his first reaction to reading each. Among the books: Ludwig Wittgenstein’s Tractatus Logico-Philosophicus (“A lightning bolt,” Gass writes. “Philosophy was not dead after all. Philosophical ambitions were not extinguished. Philosophical beauty had not fled prose.”) . . . Ben Jonson’s The Alchemist (“A man after my own heart. He is capable of the simplest lyrical stroke, as bold and direct as a line by Matisse, but he can be complex in a manner that could cast Nabokov in the shade . . . Shakespeare may have been smarter, but he did not know as much.”) . . . Gustave Flaubert’s letters (“Here I learned—and learned—and learned.”) And after reading Malory’s Le Morte d’Arthur, Gass writes “I began to eat books like an alien worm.” In the concluding essay, “Evil,” Gass enlarges upon the themes of artistic quality and cultural values that are central to the books he has considered, many of which seek to reveal the worst in people while admiring what they do best. As Gass writes, “The true alchemists do not change lead into gold, they change the world into words.” A Temple of Texts is Gass at his most alchemical.