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“Trapped in their cozy catacombs, the couples have made sex by turns their toy, their glue, their trauma, their therapy, their hope, their frustration, their revenge, their narcotic, their main line of communication and their sole and pitiable shield against the awareness of death.”—Time One of the signature novels of the American 1960s, Couples is a book that, when it debuted, scandalized the public with prose pictures of the way people live, and that today provides an engrossing epitaph to the short, happy life of the “post-Pill paradise.” It chronicles the interactions of ten young married couples in a seaside New England community who make a cult of sex and of themselves. The group of acquaintances form a magical circle, complete with ritualistic games, religious substitutions, a priest (Freddy Thorne), and a scapegoat (Piet Hanema). As with most American utopias, this one’s existence is brief and unsustainable, but the “imaginative quest” that inspires its creation is eternal. Praise for Couples “Couples [is] John Updike’s tour de force of extramarital wanderlust.”—The New York Times Book Review “Ingenious . . . If this is a dirty book, I don’t see how sex can be written about at all.”—Wilfrid Sheed, The New York Times Book Review
In John Updike’s second collection of assorted prose he comes into his own as a book reviewer; most of the pieces picked up here were first published in The New Yorker in the 1960s and early ’70s. If one word could sum up the young critic’s approach to books and their authors it would be “generosity”: “Better to praise and share,” he says in his Foreword, “than to blame and ban.” And so he follows his enthusiasms, which prove both deserving and infectious: Kierkegaard, Proust, Joyce, Dostoevsky, and Hamsun among the classics; Borges, Nabokov, Grass, Bellow, Cheever, and Jong among the contemporaries. Here too are meditations on Satan and cemeteries, travel essays on London and Anguilla, three very early “golf dreams,” and one big interview. Picked-Up Pieces is a glittering treasury for every reader who likes life, books, wit—and John Updike.
PULITZER PRIZE WINNER • One of the most gifted American writers of the twentieth century brings back ex-basketball player Harry “Rabbit” Angstrom, the late middle-aged hero of Rabbit, Run, who has acquired heart trouble, a Florida condo, and a second grandchild, and is looking for reasons to live. “Brilliant . . . the best novel about America to come out of America for a very, very long time.”—The Washington Post Book World Rabbit’s son, Nelson, is behaving erratically; his daughter-in-law, Pru, is sending out mixed signals; and his wife, Janice, decides in midlife to become a working girl. As, through the winter, spring, and summer of 1989, Reagan's debt-ridden, AIDS-plagued America yields to that of George Bush, Rabbit explores the bleak terrain of late middle age, looking for reasons to live. The geographical locale is divided between Brewer, in southestern Pennyslvania, and Deleon, in southwestern Florida.
When we first met him in Rabbit, Run (1960), the book that established John Updike as a major novelist, Harry (Rabbit) Angstrom is playing basketball with some boys in an alley in Pennsylvania during the tail end of the Eisenhower era, reliving for a moment his past as a star high school athlete. Athleticism of a different sort is on display throughout these four magnificent novels—the athleticism of an imagination possessed of the ability to lay bare, with a seemingly effortless animal grace, the enchantments and disenchantments of life. Updike revisited his hero toward the end of each of the following decades in the second half of this American century; and in each of the subsequent novels, as Rabbit, his wife, Janice, his son, Nelson, and the people around them grow, these characters take on the lineaments of our common existence. In prose that is one of the glories of contemporary literature, Updike has chronicled the frustrations and ambiguous triumphs, the longuers, the loves and frenzies, the betrayals and reconciliations of our era. He has given us our representative American story. This Rabbit Angstrom volume is composed of the following novels: Rabbit, Run; Rabbit Redux; Rabbit is Rich; and Rabbit at Rest.
Of the Farm recounts Joey Robinson's visit to the farm where he grew up and where his mother now lives alone. Accompanied by his newly acquired second wife, Peggy, and an eleven-year-old stepson, Joey spends three days reassessing and evaluating the course his life has run. But for Joey and Peggy, the delicate balance of love and sex is threatened by a dangerous new awareness.
In this sequel to Rabbit, Run, John Updike resumes the spiritual quest of his anxious Everyman, Harry “Rabbit” Angstrom. Ten years have passed; the impulsive former athlete has become a paunchy thirty-six-year-old conservative, and Eisenhower’s becalmed America has become 1969’s lurid turmoil of technology, fantasy, drugs, and violence. Rabbit is abandoned by his family, his home invaded by a runaway and a radical, his past reduced to a ruined inner landscape; still he clings to semblances of decency and responsibility, and yearns to belong and to believe.
When, in 1989, a collection of John Updike’s writings on art appeared under the title Just Looking, a reviewer in the San Francisco Chronicle commented, “He refreshes for us the sense of prose opportunity that makes art a sustaining subject to people who write about it.” In the sixteen years since Just Looking was published, he has continued to serve as an art critic, mostly for The New York Review of Books, and from fifty or so articles has selected, for this richly illustrated book, eighteen that deal with American art. After beginning with early American portraits, landscapes, and the transatlantic career of John Singleton Copley, Still Looking then considers the curious case of Martin Johnson Heade and extols two late-nineteenth-century masters, Winslow Homer and Thomas Eakins. Next, it discusses the eccentric pre-moderns James McNeill Whistler and Albert Pinkham Ryder, the competing American Impressionists and Realists in the early twentieth century, and such now-historic avant-garde figures as Alfred Stieglitz, Marsden Hartley, Arthur Dove, and Elie Nadelman. Two appreciations of Edward Hopper and appraisals of Jackson Pollock and Andy Warhol round out the volume. America speaks through its artists. As Updike states in his introduction, “The dots can be connected from Copley to Pollock: the same tense engagement with materials, the same demand for a morality of representation, can be discerned in both.” On Just Looking “Some of these essays are marvelous examples of critical explanation, in which the psychological concerns of the novelist drive the eye from work to work in an exhibition until a deep understanding of the art emerges.” —Arthur Danto, The New York Times Book Review “These are remarkably elegant little essays, dense in thought and perception but offhandedly casual in style. Their brevity makes more acute the sense of regret one feels to see them end.” —Jeremy Strick, Newsday
To complement his work as a fiction writer, John Updike accepted any number of odd jobs—book reviews and introductions, speeches and tributes, a “few paragraphs” on baseball or beauty or Borges—and saw each as “an opportunity to learn something, or to extract from within some unsuspected wisdom.” In this, his largest collection of assorted prose, he brings generosity and insight to the works and lives of William Dean Howells, George Bernard Shaw, Philip Roth, Muriel Spark, and dozens more. Novels from outposts of postmodernism like Turkey, Albania, Israel, and Nigeria are reviewed, as are biographies of Cleopatra and Dorothy Parker. The more than a hundred considerations of books are flanked, on one side, by short stories, a playlet, and personal essays, and, on the other, by essays on his own oeuvre. Updike’s odd jobs would be any other writer’s chief work.
A post-humous, autobiographical collection of poetry from John Updike, one of the most celebrated American writers of the twentieth cenury and author of modern classic novel Rabbit, Run Updike had a boundless capacity for curiosity and delight. This collection of poems from across his career displays his extraordinary range in form and subject: from metaphysical epigrams, and lyrical odes to blank-verse sonnets, on topics from Roman busts to Lucian Freud to postage stamps. These poems are nimble and inventive, exploring art, science, popular culture, foreign travel, erotic love, growth, decay and rebirth. Collected in chronological order, from precocious undergraduate efforts to frequently anthologized classics, this is an autobiography in verse for every Updike fan and a celebration of twentieth century American life.
A grand collection of John Updike's inimitable early stories. Gathering together almost all the short fiction that John Updike published between 1953 and 1975, this collection opens with Updike's autobiographical stories about a young boy growing up during the Depression in a small Pennsylvania town. There follows tales of life away from home, student days, early marriage and young families, and finally Updike's experimental stories on 'The Single Life'. Here, then, is a rich and satisfying feast of Updike - his wit, his easy mastery of language, his genius for recalling the subtleties of ordinary life and the excitements, and perils, of the pursuit of happiness.