Ralph Waldo Emerson - American Writers 41 was first published in 1964. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Randolph Bourne - American Writers 60 was first published in 1966. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
At the height of his powers as a poetic prose stylist, Bradbury shifted his creative attention to film and television, where new successes gave him an enduring platform as a compelling cultural commentator. His passionate advocacy validated the U.S. space program's mission, extending his pivotal role as a chronicler of human values in an age of technological wonders.
Informed by many years of interviews with Bradbury as well as an unprecedented access to personal papers and private collections, Ray Bradbury Unbound provides the definitive portrait of how a legendary American author helped shape his times.
Raymond Carver has become a literary icon for our time. When he died in 1988 at the age of fifty, he was acclaimed as the greatest influence on the American short story since Hemingway. Carver's friends were the stuff of legend as well. In this rich collection—greatly expanded from the earlier When We Talk about Raymond Carver—of interviews with close companions, acquaintances, and family, Sam Halpert has chronologically arranged the reminiscences of Carver's adult life, recalling his difficult “Bad Raymond” days through his second life as a recovering alcoholic and triumphantly successful writer. The result is a spirited Irish wake—toasts, anecdotes, lies, songs, confessions, laments—all beautifully orchestrated by Halpert into a very readable and moving narrative.
These funny, poignant, intensely remembered interviews juxtapose personal anecdotes and enlightening criticism. Memory mixes with analysis, and a lively picture of Carver emerges as we hear different stories about him—of the same story told from different viewpoints. He is here presented as hero, victim, and even villain—Carver's readers will recognize the woof and warp of his stories in these affectionate narratives.
Frances Goodrich and Albert Hackett wrote the screenplays for some of America’s most treasured movies, including It’s a Wonderful Life, The Thin Man, Easter Parade, Father of the Bride, Naughty Marietta, and Seven Brides for Seven Brothers. Legendary films, indeed, but writing both the play and screenplay for The Diary of Anne Frank was their crowning achievement.
Controlled chaos best describes their writing method. They discussed a scene at length, sometimes acting it out. Afterwards, they each wrote a draft, which they exchanged. “Then,” Frances said, “began ‘free criticism’—which sometimes erupted into screaming matches.” Noisy and contentious, the method worked splendidly.
Enormously successful and remarkably prolific, Goodrich and Hackett began their thirty-four-year collaboration in 1928. Married after the first of their five plays became a hit, they were in many ways an unlikely pair. Frances, the privileged daughter of well-to-do parents, graduated from Vassar, then played minor parts on Broadway. Albert’s mother put him on stage at age five, when his father died, to help pay the bills, and he became a highly paid comedian.
The Hacketts were known for their wit and high spirits and the pleasure of their Bel Air dinner parties. They waged memorable battles with their powerful bosses and were key activists in the stressful creation of the Screen Writers Guild. Once they had created Nick and Nora Charles, The Thin Man’s bright, charming, sophisticated lead couple, played memorably by William Powell and Myrna Loy, many people saw a strong resemblance, and the Hacketts acknowledged that they “put themselves into” Nick and Nora.
The Real Nick and Nora is a dazzling assemblage of anecdotes featuring some of the most talented writers and the brightest lights of American stage and screen. The work was arduous, the parties luminous. On any given night the guests singing and acting out scripts at a party might include F. Scott Fitzgerald and Sheilah Graham, S. J. Perelman, Oscar Levant, Ogden Nash, Judy Garland, Abe Burrows, Hoagy Carmichael, Johnny Mercer, Ira Gershwin, George Burns and Gracie Allen, Pat O’Brien, Dick Powell and June Allyson, Dashiell Hammett, Lillian Hellman, James Cagney, and Dorothy Parker.
2018 Choice Outstanding Academic Title
Recent American Novelists - American Writers 22 was first published in 1962. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Recent American Poetry - American Writers 16 was first published in 1962. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
A passionate advocate for preserving wilderness and fighting the bureaucratic and business forces that would destroy it, Edward Abbey (1927–1989) wrote fierce, polemical books such as Desert Solitaire and The Monkey Wrench Gang that continue to inspire environmental activists. In this eloquent memoir, his friend and fellow desert rat Charles Bowden reflects on Abbey the man and the writer, offering up thought-provoking, contrarian views of the writing life, literary reputations, and the perverse need of critics to sum up “what he really meant and whether any of it was truly up to snuff.”
The Red Caddy is the first literary biography of Abbey in a generation. Refusing to turn him into a desert guru, Bowden instead recalls the wild man in a red Cadillac convertible for whom liberty was life. He describes how Desert Solitaire paradoxically “launched thousands of maniacs into the empty ground” that Abbey wanted to protect, while sealing his literary reputation and overshadowing the novels that Abbey considered his best books. Bowden also skewers the cottage industry that has grown up around Abbey’s writing, smoothing off its rougher (racist, sexist) edges while seeking “anecdotes, little intimacies . . . pieces of the True Beer Can or True Old Pickup Truck.” Asserting that the real essence of Abbey will always remain unknown and unknowable, The Red Caddy still catches gleams of “the fire that from time to time causes a life to become a conflagration.”
Reinhold Niebuhr - American Writers 31 was first published in 1963. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
A rare and remarkable example of Indo-Persian autobiography by the poet Mir Taqi Mir.
Mir Muhammad Taqi Mir (1723–1810) is the author of six collections of Urdu poetry and widely regarded as the finest ghazal poet in that language. However, he also wrote one volume of verse and three prose works in Persian, including Zikr-e Mir, or Remembrances, a rare and remarkable example of Indo-Persian autobiography.
Remembrances recounts Mir’s ancestry, his father’s spiritual quest, and his own struggles to find education and patronage both in his native Agra and in Delhi. While the work may offer few glimpses into the author’s private life or professional literary activity, it presents a vivid picture of political events and intrigues between 1760 and 1789, when north India witnessed extensive warfare.
The Persian text, presented here in the Naskh script, includes all the author’s additions and alterations properly identified and chronologically arranged, along with a newly revised English translation. Mir concludes his autobiography with a series of jokes and witty anecdotes, some of them quite risqué, that are printed here for the first time.
2022 Atlantean Award, Robert E. Howard Foundation
You may not know the name Robert E. Howard, but you probably know his work. His most famous creation, Conan the Barbarian, is an icon of popular culture. In hundreds of tales detailing the exploits of Conan, King Kull, and others, Howard helped to invent the sword and sorcery genre.
Todd B. Vick delves into newly available archives and probes Howard’s relationships, particularly with schoolteacher Novalyne Price, to bring a fresh, objective perspective to Howard's life. Like his many characters, Howard was an enigma and an outsider. He spent his formative years visiting the four corners of Texas, experiences that left a mark on his stories. He was intensely devoted to his mother, whom he nursed in her final days, and whose impending death contributed to his suicide in 1936 when he was just thirty years old.
Renegades and Rogues is an unequivocal journalistic account that situates Howard within the broader context of pulp literature. More than a realistic fantasist, he wrote westerns and horror stories as well, and engaged in avid correspondence with H. P. Lovecraft and other pulp writers of his day. Vick investigates Howard’s twelve-year writing career, analyzes the influences that underlay his celebrated characters, and assesses the afterlife of Conan, the figure in whom Howard's fervent imagination achieved its most durable expression.
Leila Abouzeid, whose novel Year of the Elephant has gone through six reprintings, has now translated her childhood memoir into English. Published in Rabat in 1993 to critical acclaim, the work brings to life the interlocking dramas of family ties and political conflict.
Against a background of Morocco's struggle for independence from French colonial rule, Abouzeid charts the development of personal relationships, between generations as well as between husbands and wives. Abouzeid's father is a central figure; as a strong advocate of Moroccan nationalism, he was frequently imprisoned by the French and his family forced to flee the capital. Si Hmed was a public hero, but the young daughter's memories of her famous father and of the family's plight because of his political activities are not so idyllic.
The memoir utilizes multiple voices, especially those of women, in a manner reminiscent of the narrative strategies of the oral tradition in Moroccan culture. Return to Childhood may also be classified as an autobiography, a form only now gaining respect as a valid literary genre in the Middle East. Abouzeid's own introduction and Elizabeth Fernea's foreword discuss this new development in Arabic literature.
What made the classical scholar Richard Bentley deserve to be so viciously skewered by two of the literary giants of his day—Jonathan Swift in the Battle of the Books and Alexander Pope in the Dunciad? The answer: he had the temerity to bring classical study out of the scholar's closet and into the drawing rooms of polite society. Kristine Haugen’s highly engaging biography of a man whom Rhodri Lewis characterized as “perhaps the most notable—and notorious—scholar ever to have English as a mother tongue” affords a fascinating portrait of Bentley and the intellectual turmoil he set in motion.
Aiming at a convergence between scholarship and literary culture, the brilliant, caustic, and imperious Bentley revealed to polite readers the doings of professional scholars and induced them to pay attention to classical study. At the same time, Europe's most famous classical scholar adapted his own publications to the deficiencies of non-expert readers. Abandoning the church-oriented historical study of his peers, he worked on texts that interested a wider public, with spectacular and—in the case of his interventionist edition of Paradise Lost—sometimes lamentable results.
If the union of worlds Bentley craved was not to be achieved in his lifetime, his provocations show that professional humanism left a deep imprint on the literary world of England's Enlightenment.
Richard Eberhart - American Writers 55 was first published in 1966. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Richard Wright - American Writers 74 was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Riding on Comets is the true story of an only child growing up in a working-class family during the 1950s and ‘60s.
As the family storyteller, Cat Pleska whispers and shouts about her life growing up around savvy, strong women and hard-working, hard-drinking men. Unlike many family stories set within Appalachia, this story provides an uncommon glimpse into this region: not coal, but an aluminum plant; not hollers, but small-town America; not hillbillies, but a hard-working family with traditional values.
From the dinner table, to the back porch, to the sprawling countryside, Cat Pleska reveals the sometimes tender, sometimes frightening education of a child who listens at the knees of these giants. She mimics and learns every nuance, every rhythm—how they laugh, smoke, cuss, fight, love, and tell stories—as she unwittingly prepares to carry their tales forward, their words and actions forever etched in her mind. And finally, she discovers a life story of her own.
Ring Lardner - American Writers 49 was first published in 1965. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
From the antiquity of Homer to yesterday's Naked Lunch, writers have found inspiration, and readers have lost themselves, in a world of the imagination tinged and oftentimes transformed by drugs. The age-old association of literature and drugs receives its first comprehensive treatment in this far-reaching work. Drawing on history, science, biography, literary analysis, and ethnography, Marcus Boon shows that the concept of drugs is fundamentally interdisciplinary, and reveals how different sets of connections between disciplines configure each drug's unique history.
In chapters on opiates, anesthetics, cannabis, stimulants, and psychedelics, Boon traces the history of the relationship between writers and specific drugs, and between these drugs and literary and philosophical traditions. With reference to the usual suspects from De Quincey to Freud to Irvine Welsh and with revelations about others such as Milton, Voltaire, Thoreau, and Sartre, The Road of Excess provides a novel and persuasive characterization of the "effects" of each class of drug--linking narcotic addiction to Gnostic spirituality, stimulant use to writing machines, anesthesia to transcendental philosophy, and psychedelics to the problem of the imaginary itself. Creating a vast network of texts, personalities, and chemicals, the book reveals the ways in which minute shifts among these elements have resulted in "drugs" and "literature" as we conceive of them today.
Robert Frost - American Writers 2 was first published in 1959. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Robert Louis Stevenson: Writer of Boundaries reinstates Stevenson at the center of critical debate and demonstrates the sophistication of his writings and the present relevance of his kaleidoscopic achievements. While most young readers know Robert Louis Stevenson (1850–1894) as the author of Treasure Island, few people outside of academia are aware of the breadth of his literary output. The contributors to Robert Louis Stevenson: Writer of Boundaries look, with varied critical approaches, at the whole range of his literary production and unite to confer scholarly legitimacy on this enormously influential writer who has been neglected by critics.
As the editors point out in their Introduction, Stevenson reinvented the “personal essay” and the “walking tour essay,” in texts of ironic stylistic brilliance that broke completely with Victorian moralism. His first full-length work of fiction, Treasure Island, provocatively combined a popular genre (subverting its imperialist ideology) with a self-conscious literary approach.
Stevenson, one of Scotland’s most prolific writers, was very effectively excluded from the canon by his twentieth-century successors and rejected by Anglo-American Modernist writers and critics for his play with popular genres and for his non-serious metaliterary brilliance. While Stevenson’s critical recognition has been slowly increasing, there have been far fewer published single-volume studies of his works than those of his contemporaries, Henry James and Joseph Conrad.
Robert Lowell - American Writers 92 was first published in 1970. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Robert Penn Warren - American Writers 44 was first published in 1964. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Toward the end of his career, Robert Penn Warren wrote, “It may be said that our lives are our own supreme fiction.” Although lauded for his writing in multiple genres, Warren never wrote an autobiography. Instead, he created his own “shadowy autobiography” in his poetry and prose, as well as his fiction and nonfiction. As one of the most thoughtful scholars on Robert Penn Warren and the literature of the South, Joseph Millichap builds on the accepted idea that Warren’s poetry and fiction became more autobiographical in his later years by demonstrating that that same progression is replicated in Warren’s literary criticism. This meticulously researched study reexamines in particular Warren’s later nonfiction in which autobiographical concerns come into play—that is, in those fraught with psychological crisis such as Democracy and Poetry.
Millichap reveals the interrelated literary genres of autobiography, criticism, and poetry as psychological modes encompassing the interplay of Warren’s life and work in his later nonfiction. He also shows how Warren’s critical engagement with major American authors often centered on the ways their creative work intersected with their lives, thus generating both autobiographical criticism and the working out of Warren’s own autobiography under these influences. Millichap’s latest book focuses on Warren’s critical responses to William Faulkner, John Crowe Ransom, Herman Melville, Nathaniel Hawthorne, John Greenleaf Whittier, and Theodore Dreiser. In addition, the author carefully considers the black and female writers Warren assessed more briefly in American Literature: The Makers and the Making.
Robert Penn Warren, Shadowy Autobiography, and Other Makers of American Literature presents the breadth of Millichap’s scholarship, the depth of his insight, and the maturity of his judgment, by giving us to understand that in his writing, Robert Penn Warren came to know his own vocation as a poet and critic—and as an American.
Robinson Jeffers’ name has been so inseparably linked with California that it is difficult to think of his origins being elsewhere. Jeffers was both in 1887 in Pittsburgh, Pennsylvania. His father was a professor at Western Theological Seminary and a scholar of ancient languages who taught his son to read Greek before he started school. In 1902, Jeffers enrolled in the University of Western Pennsylvania, now the University of Pittsburgh, but his family moved to California soon thereafter, and he graduated from Occidental College at the age of eighteen.
Inhumanism was the label Jeffers first used in the preface to The Double Axe and Other Poems to explain the doctrine that permeates all of his poetry. Defining humanism as “a system of thinking in which man, his interests, and development, are made dominant, his addition of the negative prefix was his attempt to subdue human interests and development to something greater, contrasting them against the magnificent beauty and immense worth of the natural world.
In addition to discussing Jeffers’ life and philosophy, Monjian analyzes the form and style of his poetry, calling it “a singular style, slashing its way across the page with violence of image and a free, crashing rhythm.” She ends the book: “Whatever the future holds for this poet, our own age is still awed by the magnificent talent and effort of a burdened mind struggling to free humanity from the shackles of an impoverished self-love, and the myths to which he believes it gave birth.”
New York Times bestselling author, humorist, and newspaper columnist Michael Perry returns with a new collection of bite-sized essays from his Sunday Wisconsin State Journal column, “Roughneck Grace.” Perry’s perspectives on everything from cleaning the chicken coop to sharing a New York City elevator with supermodels will have you snorting with laughter on one page, blinking back tears on the next, and--no matter your zip code--nodding in recognition throughout.
One of the most gifted of America’s writers, James Rufus Agee (1909–1955), spent a third of his short life in Tennessee, yet no biographical treatment until this one has so fully explored his roots in the state. In Rufus, Paul F. Brown draws deeply on a trove of journals, letters, interviews, and contemporaneous newspaper accounts, to produce a captivating portrait of Agee’s boyhood.
Brown meticulously delineates Agee’s family history, his earliest years as a sensitive child growing up in Knoxville’s Fort Sanders neighborhood, and the traumatic event that marked his sixth year: his father’s death in an automobile accident. Young Rufus—as his family always called him—revered his father and would use his memories of the tragedy to create his most enduring work of fiction, the Pulitzer Prize–winning A Death in the Family. Just a few years after his father was killed, Agee’s mother placed him in the St. Andrew’s School for Mountain Boys near Sewanee, Tennessee, where he would meet his mentor and lifelong friend, Father James Flye; these experiences would inspire Agee’s poignant novella, The Morning Watch. Another year in Knoxville followed, and then his mother, newly remarried, whisked him away to New England, where he would complete his education at Phillips Exeter Academy and Harvard.
Brown’s account deftly reconstructs various settings the young Agee encountered—including not only turn-of-the-century Knoxville and St. Andrew’s but also the mountain hamlet of LaFollette, his father’s hometown—and the complex family relationships that swirled around the young writer-to-be. Brown also explores Knoxville’s belated discovery of its famous son, initiated when Hollywood came to town in 1962 to film All the Way Home, an adaptation of A Death in the Family. Notable commemorations—including academic seminars, a public park, and a street named in Agee’s honor—would come later as the writer’s posthumous reputation bloomed. And now, with Rufus, we have the definitive account of how it all began.
Poet, anthropologist, feminist—Ruth Fulton Benedict was all of these and much more. Born into the last years of the Victorian era, she came of age during the Progressive years and participated in inaugurating the modern era of American life. Ruth Benedict: Stranger in This Land provides an intellectual and cultural history of the first half of the twentieth century through the life of an important and remarkable woman.
As a Lyricist poet, Ruth Benedict helped define Modernism. As an anthropologist, she wrote the classic Patterns of Culture and at one point was considered the foremost anthropologist in the United States—the first woman ever to attain such status. She was an intellectual and an artist living in a time when women were not encouraged to be either. In this fascinating study, Margaret Caffrey attempts to place Benedict in the cultural matrix of her time and successfully shows the way in which Benedict was a product of and reacted to the era in which she lived.
Caffrey goes far beyond providing simple biographical material in this well-written interdisciplinary study. Based on exhaustive research, including access for the first time to the papers of Margaret Mead, Benedict's student and friend, Caffrey is able to put Benedict's life clearly in perspective. By identifying the family and educational influences that so sharply influenced Benedict's psychological makeup, the author also closely analyzes the currents of thought that were strong when Victorianism paralleled the Modernism that figured in Benedict's life work. The result is a richly detailed study of a gifted woman.
This important work will be of interest to students of Modernism, poetry, and women's studies, as well as to anthropologists.
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