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The first-ever collection of essays from across Elizabeth Hardwick's illustrious writing career, including works not seen in print for decades. A New York Times Notable Book of 2017 Elizabeth Hardwick wrote during the golden age of the American literary essay. For Hardwick, the essay was an imaginative endeavor, a serious form, criticism worthy of the literature in question. In the essays collected here she covers civil rights demonstrations in the 1960s, describes places where she lived and locations she visited, and writes about the foundations of American literature—Melville, James, Wharton—and the changes in American fiction, though her reading is wide and international. She contemplates writers’ lives—women writers, rebels, Americans abroad—and the literary afterlife of biographies, letters, and diaries. Selected and with an introduction by Darryl Pinckney, the Collected Essays gathers more than fifty essays for a fifty-year retrospective of Hardwick’s work from 1953 to 2003. “For Hardwick,” writes Pinckney, “the poetry and novels of America hold the nation’s history.” Here is an exhilarating chronicle of that history.
Elizabeth Hardwick was one of America’s great postwar women of letters, celebrated as a novelist and as an essayist. Until now, however, her slim but remarkable achievement as a writer of short stories has remained largely hidden, with her work tucked away in the pages of the periodicals—such asPartisan Review, The New Yorker, and The New York Review of Books—in which it originally appeared. This first collection of Hardwick’s short fiction reveals her brilliance as a stylist and as an observer of contemporary life. A young woman returns from New York to her childhood Kentucky home and discovers the world of difference within her. A girl’s boyfriend is not quite good enough, his “silvery eyes, light and cool, revealing nothing except pure possibility, like a coin in hand.” A magazine editor’s life falls strangely to pieces after she loses both her husband and her job. Individual lives and the life of New York, the setting or backdrop for most of these stories, are strikingly and memorably depicted in Hardwick’s beautiful and razor-sharp prose.
Essays on music, art, pop culture, literature, and politics by the renowned essayist and observer of contemporary life, now collected together for the first time. The Uncollected Essays of Elizabeth Hardwick is a companion collection to The Collected Essays, a book that proved a revelation of what, for many, had been an open secret: that Elizabeth Hardwick was one of the great American literary critics, and an extraordinary stylist in her own right. The thirty-five pieces that Alex Andriesse has gathered here—none previously featured in volumes of Hardwick’s work—make it clear that her powers extended far beyond literary criticism, encompassing a vast range of subjects, from New York City to Faye Dunaway, from Wagner’s Parsifal to Leonardo da Vinci’s inventions, and from the pleasures of summertime to grits soufflé. In these often surprising, always well-wrought essays, we see Hardwick’s passion for people and places, her politics, her thoughts on feminism, and her ability, especially from the 1970s on, to write well about seemingly anything.
A vivid and provocative literary criticism of famous women writers from Virginia Woolf to Zelda Fitzgerald by a “gifted miniaturist biographer” (Joyce Carol Oates) The novelist and essayist Elizabeth Hardwick is one of contemporary America’s most brilliant writers, and Seduction and Betrayal, in which she considers the careers of women writers as well as the larger question of the presence of women in literature, is her most passionate and concentrated work of criticism. A gallery of unforgettable portraits—of Virginia Woolf and Zelda Fitzgerald, Dorothy Wordsworth and Jane Carlyle—as well as a provocative reading of such works as Wuthering Heights, Hedda Gabler, and the poems of Sylvia Plath, Seduction and Betrayal is a virtuoso performance, a major writer’s reckoning with the relations between men and women, women and writing, writing and life.
In Sleepless Nights a woman looks back on her life—the parade of people, the shifting background of place—and assembles a scrapbook of memories, reflections, portraits, letters, wishes, and dreams. An inspired fusion of fact and invention, this beautifully realized, hard-bitten, lyrical book is not only Elizabeth Hardwick’s finest fiction but one of the outstanding contributions to American literature of the last fifty years.
The first biography of the extraordinary essayist, critic, and short story writer Elizabeth Hardwick, author of the semiautobiographical novel Sleepless Nights. Born in Kentucky, Elizabeth Hardwick left for New York City on a Greyhound bus in 1939 and quickly made a name for herself as a formidable member of the intellectual elite. Her eventful life included stretches of dire poverty, romantic escapades, and dustups with authors she eviscerated in The New York Review of Books, of which she was a cofounder. She formed lasting friendships with literary notables—including Mary McCarthy, Adrienne Rich, and Susan Sontag—who appreciated her sharp wit and relish for gossip, progressive politics, and great literature. Hardwick’s life and writing were shaped by a turbulent marriage to the poet Robert Lowell, whom she adored, standing by faithfully through his episodes of bipolar illness. Lowell’s decision to publish excerpts from her private letters in The Dolphin greatly distressed Hardwick and ignited a major literary controversy. Hardwick emerged from the scandal with the clarity and wisdom that illuminate her brilliant work—most notably Sleepless Nights, a daring, lyrical, and keenly perceptive collage of reflections and glimpses of people encountered as they stumble through lives of deprivation or privilege. A Splendid Intelligence finally gives Hardwick her due as one of the great postwar cultural critics. Ranging over a broad territory—from the depiction of women in classic novels to the civil rights movement, from theater in New York to life in Brazil, Kentucky, and Maine—Hardwick’s essays remain strikingly original, fiercely opinionated, and exquisitely wrought. In this lively and illuminating biography, Cathy Curtis offers an intimate portrait of an exceptional woman who vigorously forged her own identity on and off the page.
The first-ever collection of 50+ writings from the 20th-century critic who “redefined the possibilities of the literary essay”—including works not seen in print for decades (The New Yorker) Elizabeth Hardwick wrote during the golden age of the American literary essay. For Hardwick, the essay was an imaginative endeavor, a serious form, criticism worthy of the literature in question. In the essays collected here, she covers civil rights demonstrations in the 1960s, describes places where she lived and locations she visited, and writes about the foundations of American literature—Melville, James, Wharton—and the changes in American fiction. She contemplates writers’ lives—women writers, rebels, Americans abroad—and the literary afterlife of biographies, letters, and diaries. Selected and with an introduction by Darryl Pinckney, the Collected Essays gathers more than 50 essays for a 50-year retrospective of Hardwick’s work from 1953 to 2003. “For Hardwick,” writes Pinckney, “the poetry and novels of America hold the nation’s history.” Here is an exhilarating chronicle of that history. “An authoritative immersion in American writing . . . Here are Dylan Thomas’s last days in New York . . . Truman Capote’s ‘unique crocodilian celebrity’; WH Auden, Isherwood, Henry James, Nabokov, Mailer, Frost, Elizabeth Bishop, to name but a few . . . ” —Financial Times
The Dolphin Letters offers an unprecedented portrait of Robert Lowell and Elizabeth Hardwick during the last seven years of Lowell's life (1970 to 1977), a time of personal crisis and creative innovation for both writers. Centred on the letters they exchanged with each other and with other members of their circle - writers, intellectuals, friends, and publishers, including Elizabeth Bishop, Caroline Blackwood, Mary McCarthy, and Adrienne Rich - the book has the narrative sweep of a novel, telling the story of the dramatic breakup of their twenty-one-year marriage and their extraordinary, but late, reconciliation. Lowell's controversial sonnet-sequence The Dolphin (for which he used Hardwick's letters as a source) and his last book, Day by Day, were written during this period, as were Hardwick's influential books Seduction and Betrayal: Essays on Women in Literature and Sleepless Nights: A Novel. Lowell and Hardwick are acutely intelligent observers of marriages, children, and friends, and of the feelings that their personal crises gave rise to. The Dolphin Letters, masterfully edited by Saskia Hamilton, is a debate about the limits of art - what occasions a work of art, what moral and artistic license artists have to make use of their lives as material, what formal innovations such debates give rise to. The crisis of Lowell's The Dolphin was profoundly affecting to everyone surrounding him, and Bishop's warning to Lowell - 'art just isn't worth that much' - haunts.
A New York Times Book Review Editors' Choice "A radiant first novel. . . . [Neon in Daylight] has antecedents in the great novels of the 1970s: Renata Adler’s Speedboat, Elizabeth Hardwick’s Sleepless Nights, Joan Didion’s Play It as It Lays. . . . Precision—of observation, of language—is Hoby’s gift. Her sentences are sleek and tailored. Language molds snugly to thought." —Parul Sehgal, The New York Times "What do you get when a writer of extreme intelligence, insight, style and beauty chronicles the lives of self–absorbed hedonists—The Great Gatsby, Bright Lights, Big City, and now Neon in Daylight. Hermione Hoby paints a garish world that drew me in and held me spellbound. She is a marvel."" —Ann Patchett, author of Commonwealth New York City in 2012, the sweltering summer before Hurricane Sandy hits. Kate, a young woman newly arrived from England, is staying in a Manhattan apartment while she tries to figure out her future. She has two unfortunate responsibilities during her time in America: to make regular Skype calls to her miserable boyfriend back home, and to cat–sit an indifferent feline named Joni Mitchell. The city has other plans for her. In New York's parks and bodegas, its galleries and performance spaces, its bars and clubs crowded with bodies, Kate encounters two strangers who will transform her stay: Bill, a charismatic but embittered writer made famous by the movie version of his only novel; and Inez, his daughter, a recent high school graduate who supplements her Bushwick cafe salary by enacting the fantasies of men she meets on Craigslist. Unmoored from her old life, Kate falls into an infatuation with both of them. Set in a heatwave that feels like it will never break, Neon In Daylight marries deep intelligence with captivating characters to offer us a joyful, unflinching exploration of desire, solitude, and the thin line between life and art.