There are thirty-one stories here in all, including twelve that do not appear in the only two story collections O'Connor put together in her short lifetime - Everything That Rises Must Converge and A Good Man Is Hard to Find. O'Connor published her first story, "The Geranium," in 1946, while she was working on her master's degree at the University of Iowa. Arranged chronologically, this collection shows that her last story, "Judgement Day" - sent to her publisher shortly before her death - is a brilliantly rewritten and transfigured version of "The Geranium." Taken together, these stories reveal a lively, penetrating talent that has given us some of the most powerful and disturbing fiction of the twentieth century. Also included is an introduction by O'Connor's longtime editor and friend, Robert Giroux.Contents:The geranium -- The barber -- Wildcat -- The crop -- The turkey -- The train -- The peeler -- The heart of the park -- A stoke of good fortune -- Enoch and the gorilla -- A good man is hard to find -- A late encounter with the enemy -- The life you save may be your own -- The river -- A circle in the fire -- The displaced person -- A temple of the Holy Ghost -- The artificial nigger -- Good country people -- You can't be any poorer than dead -- Greenleaf -- A view of the woods -- The enduring chill -- The comforts of home -- Everything that rises must converge -- The partridge festival -- The lame shall enter first -- Why do the heathen rage? -- Revelation -- Parker's back -- Judgement Day.

    Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.

    But his research reveals even more about his own life than he's willing to admit. What emerges is an enthralling portrait of four generations in the life of an American family.Wallace Stegner's Pultizer Prize-winning novel is a story of discovery—personal, historical, and geographical.

    Edited by Holly Stevens, it includes some poems not printed in his earlier Collected Works.

    She is one of the most unforgettable heroines in American fiction, a woman whose life has come to symbolize the struggle for freedom, dignity, and justice. Ernest J. Gaines’s now-classic novel—written as an autobiography—spans one hundred years of Miss Jane’s remarkable life, from her childhood as a slave on a Louisiana plantation to the Civil Rights era of the 1960s. It is a story of courage and survival, history, bigotry, and hope—as seen through the eyes of a woman who lived through it all. A historical tour de force, a triumph of fiction, Miss Jane’s eloquent narrative brings to life an important story of race in America—and stands as a landmark work for our time.

    Lash reconstructs the Roosevelt’s four-decade marriage from Eleanor’s personal papers. The result is an intimate look at the vibrant private world of the public persona.

    "The best book on the dope decade." -- "NY Times Book Review"

    Daley, politician and self-promoter extraordinaire, from his inauspicious youth on Chicago's South Side through his rapid climb to the seat of power as mayor and boss of the Democratic Party machine. A bare-all account of Daley's cardinal sins as well as his milestone achievements, this scathing work by Chicago journalist Mike Royko brings to life the most powerful political figure of his time: his laissez-faire policy toward corruption, his unique brand of public relations, and the widespread influence that earned him the epithet of "king maker." The politician, the machine, the city--Royko reveals all with witty insight and unwavering honesty, in this incredible portrait of the last of the backroom Caesars.New edition includes an Introduction in which the author reflects on Daley's death and the future of Chicago.

    It is also the tale of a long weekend road trip that has gone down in the annals of American pop culture as one of the strangest journeys ever undertaken.

    Richard Brautigan is the author of "Willard & His Bowling Trophies", "Trout Fishing in America", "In Watermelon Sugar" & "A Confederate General From Big Sur".Revenge of the lawn --1692 Cotton Mather newsreel --1/3, 1/3, 1/3 --The gathering of a Californian --A short story about contemporary life in California --Pacific Radio fire --Elmira --Coffee --The lost chapters of Trout fishing in America: "Rembrandt Creek" and "Carthage Sink" --The weather in San Francisco --Complicated banking problems --A high building in Singapore --An unlimited supply of 35 millimeter film --The Scarlatti Tilt --The wild birds of heaven --Winter rug --Ernest Hemingway's typist --Homage to the San Francisco YMCA --The pretty office --A need for gardens --The old bus --The ghost children of Tacoma --Talk show --I was trying to describe you to someone --Trick or treating down to the sea in ships --Blackberry motorist --Thoreau rubber band --44:40 --Perfect California day --The post offices of eastern Oregon --Pale marble movie --Partners --Getting to know each other --A short history of Oregon --A long time ago people decided to live in America --A short history of religion in California --April in god-damn --One afternoon in 1939 --Corporal --Lint --A complete history of Germany and Japan --The auction --The armored car --The literary life in California, 1964 --Banners of my own choosing --Fame in California, 1964 --Memory of a girl --September California --A study in California flowers --The betrayed kingdom --Women when they put their clothes on in the morning --Halloween in Denver --Atlantisburg --The view from the dog tower --Greyhound tragedy --Crazy old women are riding the buses of America today --The correct time --Holiday in Germany --Sand Castles --Forgiven --American flag decal --The World War I Los Angeles airplane

    These are pivotal and seminal works, books in which a great writer was charting the course he later would follow, experimenting freely, boldly searching for a new kind of prose style to express "the power of the imagination to hold human beings to life and propel them onward.”The prose-poem improvisations (Kora in Hell) . . . the interweaving of prose and poetry in alternating passages (Spring and All and The Descent of Winter) . . . an antinovel whose subject is the impossibility of writing "The Great American Novel" in America . . . automatic writing (A Novelette) . . . these are the challenges which Williams accepted and brilliantly met in his early work.

    Set in the darkest days of the Great Depression, this is the timeless story of an 11-year-old orphan’s rollicking journey through the Deep South with a con man who just might be her father. Brimming with humor, pathos, and an irresistible narrative energy, this is American storytelling at its finest. Paper Moon is tough, vibrant, and ripe for rediscovery.

    It provides crucial texts for the appreciation of America literature, women's experience in the ninteenth century, and literature in general.

    It tell us, for example, what the sixties were truly all about, not by reporting on the psychedelic decade but by recreating it, from the inside out. In the process, this stunningly original seriocomic thriller is fully capable of simultaneously eating a literary hot dog and eroding the borders of the mind.

    Life's losers, an astonishing number of whom seem to be writers, can bring their manuscripts to the library, where they will be welcomed, registered and shelved. They will not be read, but they will be cherished. In comes Vida, with her manuscript. Her book is about her gorgeous body, in which she feels uncomfortable. The librarian makes her feel comfortable, and together they live in the back of the library until the trip to Tijuana changes them in ways neither of them had ever expected.

    His evocations of small-town Pennsylvania life, and of his own religious, artistic, and sexual awakening, transfixed readers of The New Yorker and of the early collections Pigeon Feathers (1962) and The Music School (1966). In these and the works that followed—the formal experiments and wickedly tart tales of suburban adultery in Museums and Women (1972) and Problems (1979), the portraits of middle-aged couples in love and at war with aging parents and rebellious children in Trust Me (1987) and The Afterlife (1994), and the fugue-like stories of memory, desire, travel, and unquenched thirst for life in Licks of Love (2000) and My Father’s Tears (2009)—Updike displayed the virtuosic command of character, dialogue, and sensual description that was his signature.   Here, in two career-spanning volumes, are 186 unforgettable stories, from "Ace in the Hole” (1953), a sketch of a Rabbit-like ex-basketball player written when Updike was a Harvard senior, to "The Full Glass” (2008), the author’s toast to the visible world, his own impending disappearance from it be damned.” Based on new archival research, each story is presented in its final definitive form and in order of composition, established here for the first time. This unprecedented collection of American masterpieces is not just the publishing event of the season, it is a national literary treasure.

    Author Willie Morris, then editor of Harper's Magazine in New York, wrote GOOD OLD BOY when his son David, age ten, asked, "What was it like to grow up in Mississippi?" Morris's response turned into a timeless story of growing up in Yazoo City, Mississippi, in the early 1950s, roaming the town with his friends and playing practical jokes and having adventures. GOOD OLD BOY is recommended for sixth through ninth grade.

    Postal Service. In a world where his three true, bitter pleasures are women, booze, and racetrack betting, he somehow drags his hangover out of bed every dawn to lug waterlogged mailbags up mud-soaked mountains, outsmart vicious guard dogs, and pray to survive the day-to-day trials of sadistic bosses and certifiable coworkers.This classic 1971 novel--the one that catapulted its author to national fame--is the perfect introduction to the grimly hysterical world of legendary writer, poet, and Dirty Old Man Charles Bukowski and his fictional alter ego, Chinaski.

    

    Among the best of Sorrentino's novels, Imaginative Qualities is also, quite simply, the best American novel ever written about writers and artists.

    Covers the Scottsboro case since its inception as a 1931 freight car incident, accentuating national and international ramifications.

    His new universe is exciting and spirit-cleansing. the light streaming from the hand and heart of this poet-artist illuminates the darkness, the sordid and confused pettiness of our day-to-day existence.

    When one of the aliens unexpectedly shows up in a Los Angeles tavern, bartender Ed Frazer awakes the next morning with the strangest hangover of his life. Ed barely remembers taking the pills offered by the alien; each pill flooding his brain with the knowledge of an alien profession ... spaceship captain ... teleporter .... translator ... but Ed can't remember how many pills he took, or if the confusing overload of information in his head shadows the terrible secret of their mission. Hugo Award Nominee

    A portrait of Gerald and Sara Murphy, members of the circle of famous artists and writers in the Roaring Twenties.

    The transcript of their discussion is a revealing and unique book filled with candor, passion, rage, and brilliance. "Blunt, peppery, and spontaneous. . . ".--The Atlantic.

    . . . A philosophy of life in a nutshell, one that has latched on to the most practical, central, and sensible of all activities, human or cosmic."--Psychology Today

    Poetry was at the center of Jack Kerouac’s sense of mission as a writer. “I’d better be a poet / Or lay down dead,” he wrote in “San Francisco Blues.” The celebrated “spontaneous bop prosody” of his prose was a direct outgrowth of the poetry that filled his notebooks throughout his writing life. This landmark edition gathers for the first time all of Kerouac’s major poetic works—Mexico City Blues, The Scripture of the Golden Eternity, Book of Blues, Pomes All Sizes, Old Angel Midnight, Desolation Pops, Book of Haikus—along with a rich assortment of his uncollected poems, six published here for the first time.Kerouac wrote poetry in forms as diverse as the classical Japanese haiku (and his own American variants of it, which he sometimes called “Pops”), the Buddhist sutra, the prose poetry of Old Angel Midnight (which he described as “the haddal-da-babra of babbling world tongues coming in thru my window at midnight”), doggerel ballads and free-form songs, the psalms preserved in early notebooks, and the poetic “blues” he developed in Mexico City Blues and other serial works, seeing himself as “a jazz poet blowing a long blues in an afternoon jam session on Sunday.”But his sense of form was closely allied to a commitment to spontaneous utterance—to a poetry awake to “All the endless conception of living beings / Gnashing everywhere in Consciousness / Throughout the ten directions of space”—and a longing for transcendent experience that marked his work from the beginning. “My only ambition,” he wrote in 1943, “is to be free in art.” That freedom came at a high personal price. Kerouac’s collected poems immerse us in what editor Marilène Phipps-Kettlewell describes as “the impenetrable complexities, engulfing vulnerabilities, and insoluble demands that life made on his heart and mind.”Many poets have found Kerouac a liberating influence on their work. Robert Creeley called him “a genius at the register of the speaking voice, a human voice talking”; Michael McClure saw him as using “the whole of his life . . . as an instrument of perception”; for Allen Ginsberg he was “a poetic influence over the entire planet”; and Bob Dylan singled out Mexico City Blues as crucial to his own artistic development.

    Striking new photographs illustrate the diversity of life, climate, and geological formation.

    

    The African-American comedian and civil rights activist offers his views on American history and race relations in the United States.

    This highly readable and absorbing collection of significant excerpts from the hearings shows with painful clarity how HUAC grew from a panel that investigated possible subversive activities in a "dignified" manner to a huge, unrelenting accusatory finger from which almost no one was safe. This book serves as a warning for the future and creates living history from the documentary record. "The basic document with which all future studies of the [House Un-American Activities] Committee will have to begin." —Dalton Trumbo "...what he has done is give us HUAC as spectacle, and the perspective is shattering."—Victor Navasky, The New York Times

    Andrew's, an Episcopal boarding school near Sewanee. There, Agee met Father James Harold Flye, who would become his history teacher. Though Agee was just ten, the two struck up an unlikely and enduring friendship, traveling Europe by bicycle and exchanging letters for thirty years, from Agee's admission to Exeter Academy to his death at forty-five. The intimate letters, collected by Father Flye after Agee's death, form the most intimate portrait of Agee available, a starkly revealing account of the internal and external life of a tortured twentieth-century genius. Agee candidly shares his struggles with depression, professional failure, and a tumultuous personal life that included three wives and four children. First published in 1962, "Letters of James Agee to Father Flye" followed the rediscovery of Agee's" Let Us Now Praise Famous Men" and the posthumous publication of "A Death in the Family," which won the 1958 Pulitzer Prize and became a hit Broadway play and film. The collection sold prolifically throughout the 1960s and '70s in mass-market editions as a new generation of readers discovered the deep talents of the writer Dwight Macdonald called "the most broadly gifted writer of our American generation." "From the Trade Paperback edition.

    Renowned author Barthelme presents Mathilda's escapade in a witty and whacky text with collage illustrations made entirely from 19th-century engravings. Full color.

    Its close accounts of friendship since boyhood with two men surely unknown to Dom and certainly to each other is interleaved with the story of Dom himself. This narrative which at first seems beamed from the narrator’s fear that he may have helped cause Dom’s supposed suicide, opens into the violent geography of Dom’s career as late-Sixties activist-ideologue.It is in one of Dom’s ideas — the physicist’s field-state turned into the psychic space of human community — that the narrator imagines a new way of gauging relationships. Experiences ambush him, memorable, measurably ominous yet open — a boy’s deep and almost disappearing dive into a mountain quarry pool; the flight of a boomerang thrown from the Brooklyn Bridge out toward the Statue of Liberty. New sectors swing into the narrator’s account of middle-class life in the Brooklyn Heights of the 1940s and 50s. Delicate anatomies of old girlfriends performed with nostalgic instinct; anxious confidences, painful and building, roused now by the narrator’s thoughts of his daughter, his wife, and the son from her first marriage.All the while, the two friends Al (from the country) and Bob (from the city) grow toward each other on these pages, as Dom, increasingly alive, seems increasingly distant. Yet at last — as if by some strange grace of nature — the narrator is given a sense of his own life very like the field-state into which he has tried to work his way by use of a controlling craft: the craft of an anthropologist ... that of an only child dwelling on friendships ... that of an artist looking for America both in its public stars like Dom and more faithfully in familiar mysteries of private life.

    His stories are masterpieces of psychological suspense and mystery, and they have inspired classic movies like Hitchcock's Rear Window and Truffaut's The Bride wore Black. This collection brings together twelve of his finest, most powerful and disturbing tales.Contains the stories:- Graves for the Living- The Red Tide- The Corpse Next Door- You'll Never See Me Again- Dusk to Dawn- Murder at the Automat- Death in the Air- Mamie 'n' Me- The Screaming Laugh- One and a Half Murders- Dead on Her Feet- One Night in Barcelona- The Penny-a-Worder- The Number's Up- Too Nice a Day to Die- Life is Weird Sometimes(N.B: The last four stories are not included in the Crime Masterworks edition.)

    

    This collection of her inspirational writings reflects faith and wisdom distilled from a lifetime of experience.

    

    Caught between the indifference of her father, the excitement of her social-climbing mother, and her prodigal boyfriend's militancy, Yoruba persuades her sister debutantes to challenge the aging doyennes in one of the most sidesplitting scenes in American literature.Nominated for a Pulitzer in 1972, Killens's uproarious satire captures the conflicts within black society in the 1960s. The Cotillion is the fourth title in Coffee House Press's acclaimed Black Arts Movement series.John Oliver Killens was born in Macon, Georgia in 1916. Co-founder of the Harlem Writers Guild, he taught at Howard and Columbia Universities. His other novels include And Then We Heard the Thunder, and The Great Black Russian.

    "Powell seeks not merely to trace the origins of what he calls Hispanophobia but to analyze its impact on American education, textbooks, religion, and especially foreign policy. . . . The evidence easily demonstrates that English-speaking scholars and diplomats speak with a biased tongue. . . . Too many critics of Spain, to use Powell's central theme, have merely erected a 'Tree of Hate' out of ignorance or to justify their own prejudices and activities. . . . Powell's book deserves careful reading."--Journal of American History

    

    

    troops prepared to assault the airfields and harbors of Kyushu, the southernmost island. Over a million Japanese dug into the beaches, furiously building underground fortifications, gun emplacements, and suicide craft, prepared to die to the last man if need be.THE NAME OF THE PLAN -- DOWNFALL.Lighter than a Feather is the dramatic story of the epic battle for Kyushu, based on the assumption that the atomic bomb was not dropped, and that Downfall actually did place. Written by the author of Von Ryan's Express, it is the most ambitious, brilliant, and generally exciting novel ever to come out of the Pacific war, a monumental feat of unrelenting action and superb characterization.Lighter than a Feather is narrated by the participants of both sides. These are some of the people who make up the cast: Cadet Hiroshi Arai, a seventeen-year-old kamikaze pilot torn between fear of certain death and a warrior's code of honor; war-happy Lester Waddell, expert marksman, who suddenly realizes that for weeks he's been killing the same Japanese over and over again; Miho Naito, a pretty young girl who has the misfortune to surrender to Staff Sergeant "Stud" Simmons; Maurie Stokes, chaplain's assistant, who with patient tolerance discharges what seems to be his primary assignment--looking (vainly) for Japanese Christians; and Jiro Matsuyama, sixty-one, a little deaf and blind in on eye, sitting n the ashes of his home, watching the battle.These are the figures Westheimer understands so well and whom he portrays with such consummate skill. Combining the depth and authenticity of a true historical narrative with the magnificent satisfaction of a first-rate work of fiction, his novel projects with unfaltering ability both the essence of the Japanese and American people at war and the breathtaking excitement of one of the most daring military operations in the history of the Pacific.

    

    Special attention is given to the favorable and unfavorable potential of each aspect to the natal planets. Ebertin also explores the cosmogram, clearly defines transits and their evaluation, and discusses parallels. A chapter is devoted to each planet and Moon's Node, as well as another which focuses on the significance of the Midheaven and Ascendant.

    More than 100,000 copies of this classic sports biography have been sold in cloth and mass-market editions. Includes a special 25th anniversary introduction by Jeannie Morris.

    'The Washington Post' called them "the most significant material in American history" and they remain relevant today as a reminder of the importance of a free press and First Amendment rights. 'THE PENTAGON PAPERS' demonstrated that the government had systemically lied to both the public and to Congress.THIS INCOMPARABLE VOLUME INCLUDES:• The Truman and Eisenhower Years: 1945-1960 by Fox Butterfield• Origins of the insurgency in South Vietnam by Fox Butterfield• The Kennedy Years: 1961-1963 by Hedrick Smith• The Overthrow of Ngo Dinh Diem: May-November, 1963 by Hedrick Smith• The Covert War and Tonkin Gulf: February-August, 1964 by Neil Sheehan• The Consensus to Bomb North Vietnam: August, 1964-February, 1965 by Neil Sheehan• The Launching of the Ground War: March-July, 1965 by Neil Sheehan• The Buildup: July, 1965-September, 1966 by Fox Butterfield• Disenchantment: October, 1966-May, 1967 by Hedrick Smith• The Tet Offensive and the Turnaround by E.W. Kenworthy• Analysis and Comment• Court Records• Biographies of Key FiguresWith a brand-new foreword by James L. Greenfield, this edition of the Pulitzer Prize-winning story is sure to provoke discussion about free press and government deception, and shed some light on issues in the past and the present so that we can better understand and improve the futureRUNNING TIME ⇒ 37hrs.©2018 Neil Sheehan, E.W. Kenworthy, Fox Butterfield, Hendrick Smith (P)2018 Brilliance Audio, Inc., all rights reserved.

    

    The risk is that men on Shore Patrol might bring their humanity to the task. This accounts for the underlying tension in "The Last Detail", which takes place during the height of the Vietnam War. Billy Bad-Ass and Mule Mulhall, two career sailors in transit in Norfolk, awaiting permanent orders, are given a detail: "chaser" duty. Their assignment is to escort and deliver Larry Meadows, an 18-year-old sailor, from Norfolk to Portsmouth, N.H., where he is to serve an eight year sentence in the brig. It's good duty, on the face of it, until the two old salts realize the injustice of the sentence and are oddly affected by the true innocence of their prisoner, even though he is guilty as charged. Failure, or refusal, to carry out their duty is never a question, no matter how much they hate the detail or how wrong it seems, and yet something must be done, some gesture made in order to help their hapless prisoner survive the long ordeal he faces, and to purge their own sense of shame. "The Last Detail" was Darryl Ponicsan's first book and it catapulted him into the front rank of American novelists. It was made into the 1973 film starring Jack Nicholson, and has become a classic of the Golden Age of American cinema. This new edition of "The Last Detail" coincides with the publication of its long-awaited sequel, "Last Flag Flying", also available from The Wright Press.

    

    

    Federman gives each of these pages a shape or structure, most often a diagram or picture. The words move, cluster, jostle, and collide in a tour de force full of puns, parodies, and imitations. Within these startling and playful structures Federman develops two characters and two narratives. These stories are simultaneous and not chronological. The first deals with the narrator and his effort to make the book itself; the second, the story the narrator intends to tell, presents a young man's arrival in America. The narrator obsesses over making his narrative to the point of not making it. All of his choices for the story are made and remade. He tallies his accounts and checks his provisions. His questioning and indecision force the reader into another radical sense of the novel. The young man, whose story is to be told, also emerges from his obsessions.Madly transfixing details—noodles, toilet paper, toothpaste, a first subway ride, a sock full of dollars—become milestones in a discovery of America. These details, combined with Federman's feel for the desperation of his characters, create a book that is simultaneously hilarious and frightening. The concrete play of its language, its use of found materials, give the viewer/reader a sense of constant and strange discovery. To turn these pages is to turn the corners of a world of words as full as any novel of literary discourse ever presented. Double or Nothing challenges the way we read fiction and the way we see words, and in the process, gives us back more of our own world and our real dilemmas than we are used to getting.Picked for American Book Review's 100 Best First Lines from Novels