With the publication of this Library of America volume, the third of three volumes, all Melville's fiction has now been restored to print for the first time.Pierre; or, The Ambiguities, published in 1852 (the year after Moby-Dick), moves between the idyllic Berkshire countryside and the nightmare landscape of early New York City. Its hero, a young American patrician trying to redeem the secret sins of his father, elopes to the city, discovers Bohemian life, attempts a literary epic, and struggles his way through incest, murder, and madness. Long a controversial work, it is Melville's darkest satire of American life and letters and one of his most powerful books.A pivotal work, both for Melville's career and for American literature, Pierre was followed by Israel Potter, the story of a veteran of the Revolution, victim of a thousand mischances, and a long-suffering exile in England. Along the way are memorable episodes of war and intrigue, with personal portraits of Benjamin Franklin, John Paul Jones, and George III. In the exploits of this touchingly optimistic soldier, Melville offers a scathing image of the collapse of revolutionary hopes.The Piazza Tales demonstrates Melville's dazzling mastery of many styles, including "The Encantadas," about nature's two faces--enchanting and horrific; the famous "Bartleby the Scrivener," about a Wall Street copyist who "would prefer not to"; and the enigmatic "Benito Cereno," about a credulous Yankee sea captain who stumbles into an intricately plotted mutiny aboard a disabled slave ship.The Confidence-Man, Melville's last published novel, is in many ways a forerunner of modernist American fiction. An extended meditation on faith, hope, and charity as these are manifested on board a Mississippi riverboat one April Fools' Day, it presents a menagerie of Americans buying and selling, borrowing and lending, believing and mistrusting, as they are carried toward the auction blocks of New Orleans.Many pieces never before collected are also included: the "Authentic Anecdotes of Old Zack" (burlesque sketches of Zachary Taylor's Mexican campaign), "Fragments from a Writing-Desk" (Melville's earliest surviving prose), reviews of Hawthorne, Parkman, and Cooper, and all the tales Melville published in magazines during the 1850s.Finally, there is the posthumously published masterpiece Billy Budd, Sailor, the haunting story of a beautiful, innocent sailor who is pressed into naval service, slandered, provoked to murder, and sacrificed to military justice. While encouraging questions for which there are no answers, it invites us to meditate on the conflicts central to all Melville's work: between freedom and fate, innocence and civilized corruption.

    Between 1939 and 1974 he wrote the autobiography and eight novels now collected by the Library of America in an authoritative three-volume set, earning a place as one of the greatest writers of America, his beloved adopted home.The Real Life of Sebastian Knight, the first novel Nabokov wrote in English, published a year after he settled in the U. S., is a tantalizing literary mystery in which a writer’s half brother searches to unravel the enigma of the life of a famous author. A characteristically cunning play on identity and deception, this novel was published in 1941.Bend Sinister (1947), Nabokov’s most explicitly political novel, is the haunting, dreamlike story of Adam Krug, a quiet philosophy professor caught up in the bureaucratic bungling of a totalitarian police state. “I am neither a didacticist nor an allegorizer,” Nabokov affirms in his introduction to the novel, but goes on to state: “There can be distinguished, no doubt, certain reflections in the glass caused by idiotic and despicable regimes that we all know and that have brushed against me in the course of my life: worlds of tyranny and torture, of Fascists and Bolshevists, of Philistine thinkers and jack-booted baboons.”Speak, Memory: An Autobiography Revisited (1951; revised 1966), Nabokov’s dazzling memoir of his childhood in imperial Russia and exile in Europe, is central to an understanding of his art. With its balance of inner and outer worlds—of family chronicle and private fantasy, revolutions and butterflies, the games of childhood and the disasters of politics—the work that Nabokov called “a systematically correlated assemblage of personal recollections” is a haunting transmutation of life into art. “I have to make a rapid inventory of the universe…I have to have all space and all time participate in my emotion, in my mortal love,” he writes toward the end of the book, “so that the edge of its mortality is taken off, thus helping me to fight the utter degradation, ridicule, and horror of having developed an infinity of sensation and thought within a finite existence.”The texts of this volume incorporate Nabokov’s penciled corrections in his own copies of his works and correct long-standing errors. They are the most authoritative versions available and have been prepared with the assistance of Dmitri Nabokov, the novelist’s son.

    In this Library of America volume are presented the first two novels and a little-known collection of biographical sketches by the man about whom H. L. Mencken said, “American writing, before and after his time, differed almost as much as biology before and after Darwin.”Dreiser grew up poor in a series of small Indiana towns, in a large German Catholic family dominated by his father’s religious fervor. At seventeen he moved to Chicago and eventually became a newspaper reporter there and in St. Louis, Pittsburgh, and New York. Reaction to his first book, Sister Carrie (1900), was not encouraging, and after suffering a nervous breakdown, he went on to a successful career editing magazines. In 1910 he resumed writing, and over the next fifteen years published fourteen volumes of fiction, drama, travel, autobiography, and essays.“Dreiser’s first great novel, Sister Carrie …came to housebound and airless America like a great free Western wind, and to our stuffy domesticity gave us the first fresh air since Mark Twain and Whitman,” Sinclair Lewis declared in his Nobel Prize acceptance speech in 1930. Carrie Meeber, an eighteen-year-old small-town girl drawn to bustling Chicago, becomes the passionless mistress of a good-humored traveling salesman and then of an infatuated saloon manager who leaves his family and elopes with her to New York. Dreiser’s brilliant, panoramic rendering of the two cities’ fashionable theaters and restaurants, luxurious hotels and houses of commerce, alongside their unemployment, labor violence, homelessness, degradation, and despair makes this the first urban novel on a grand scale.In a 1911 review, H. L. Mencken wrote, “Jennie Gerhardt is the best American novel I have ever read, with the lonesome but Himalayan exception of Huckleberry Finn.” Beautiful, vital, generous, but morally naïve and unconscious of social conventions, Jennie is a working-class woman who emerges superior to the succession of men who exploit her. There are no villains in this novel; in Dreiser’s view, everyone is victimized by the desires that the world excites but can never satisfy.Dreiser’s embracing compassion is felt in Twelve Men (1919), a collection of portraits of men he knew and admired. They range from “My Brother Paul” (Paul Dresser, vaudeville musical comedian and composer of “On the Banks of the Wabash” and “My Gal Sal”) to “Culhane, the Solid Man,” a sanatorium owner and former wrestler. Without sentiment but with honest emotion and respect for the bleak and unvarnished truth, Dreiser recalls these anomalous individuals and the twists of fate that shaped their lives.

    London enjoyed phenomenal popularity in his own time (which included the depressions of the 1890s and the beginnings of World War One), and he remains one of the most widely read of all American writers.

    The Library of America presents for the first time in one volume Steinbeck’s early writings, which expressed his abiding concerns for community, social justice, and the elemental connection between nature and human society. In prose that blends the vernacular and the incantatory, the local and the mythic, these five works chart Steinbeck’s evolution into one of the greatest and most enduring popular of American novelists.The Pastures of Heaven (1932), a collection of interrelated stories, delineates the troubled inner lives and sometimes disastrous fates of families living in a seemingly tranquil California valley. The surface realism of Steinbeck’s first mature work is enriched by hints of uncanny forces at work beneath.“Deep down it’s mine, right to the center of the world,” says Salinas Valley farmer Joseph Wayne about his land in John Steinbeck’s To a God Unknown (1933). A sense of primeval magic dominates the novel as the farmer reverts to pagan nature worship and begins a tortuous journey toward catastrophe and ultimate understanding.Steinbeck’s sympathetic depiction of the raffish paisons of Tortilla Flat (1935), a ramshackle district above Monterey, first won him popular attention. The Flat’s tenderhearted, resourceful, mildly corrupt, over-optimistic characters are a triumph of life-affirming humor.In Dubious Battle (1936) plunges into the political struggle of the 1930s and paints a vigorous fresco of a migrant fruit-pickers’ strike. Anticipating the collective portraiture of The Grapes of Wrath, Steinbeck poignantly traces the surges and shifts of group behavior.With Of Mice and Men (1937), Steinbeck secured his status as one of the most influential American writers. Lennie and George, itinerant farmhands held together in the face of deprivation only by the frailest of dreams, have long since passed into American mythology. This novel, which Steinbeck called “such a simple little thing,” is now recognized as a masterpiece of concentrated emotional power.

    Their formal perfection and expansiveness of feeling are an expression of Cather’s dedication both to art and to the open spaces of America.A Lost Lady (1923) exemplifies her principle of conciseness. It concerns a woman of uncommon loveliness and grace who lends an aura of sophistication to a frontier town, and explores the hidden passions and desires that confine those who idealize her. The recurrent conflict in Cather’s work between frontier culture and an encroaching commercialism is nowhere more powerfully articulated.The Professor’s House (1925) encapsulates a story within a story. In the framing narrative, Professor St. Peter, a prizewinning historian of the early Spanish explorers, finds himself disillusioned with family, career, even the house that reflects his success. Within this story is another, of St. Peter’s friend Tom Outland, whose brief but adventurous life still shadows those he loved.Death Comes for the Archbishop (1927) tells the story of the first bishop of New Mexico in a series of tableaux modeled on the medieval lives of the saints. Cather affectionately portrays the refined French Bishop Latour and his more earthy assistant within the harsh and beautiful landscape of the Southwest and among the Mexicans, Indians, and settlers they were sent to serve.Shadows on the Rock (1931), though its setting and subject are unusual for Cather, expresses her fascination with the “curious endurance of a kind of culture, narrow but definite.” It is a re-creation of 17th-century Québec as it appears to the apothecary Auclaire and his daughter Cécile: the town’s narrow streets, the supply ships on its great river, its merchants, profligates, explorers, missionaries, and towering personalities like Frontenac and Laval, all parts of a colony struggling to survive.Lucy Gayheart (1935) returns to the themes of Cather’s earlier writings, in a more somber key. Talented, spontaneous, and eager to explore the possibilities of life, Lucy leaves her prairie home to pursue a career in music. After a happy interval, her life takes an increasingly disastrous turn.Sapphira and the Slave Girl (1940) marks a triumphant conclusion to Cather’s career as a novelist. Set in Virginia five years before the Civil War, the story shows the effects of slaveholding on Sapphira Colbert, a woman of spirit and common sense who is frighteningly capricious in dealing with people she “owns,” and on her husband, who hates slavery even while he conforms to the social order that permits it. When through kindness he refuses to sell a slave, Sapphira’s jealous reaction precipitates a sequence of events that registers a conflict of cultural as well as personal values.

    This lost world of stately pomp and unspeakable cruelty, artistic splendor and abysmal ignorance—the seeming opposite of brashly optimistic, commercial, democratic 19th-century America—engaged Twain’s imagination, inspiring a children’s classic, and astonishing fantasy of comedy and violence, and an unusual fictional biography.Twain drew on his fascination with impersonation and the theme of the double in The Prince and the Pauper (1882), which brilliantly uses the device of identical boys from opposite ends of the social hierarchy to evoke the tumultuous contrasts of Henry VIII’s England. As the pauper Tom Canty is raised to the throne, while the rightful heir is cast out among thieves and beggars, Twain sustains one of his most compelling narratives. A perennial children’s favorite, the novel brings an impassioned American point of view to the injustices of traditional European society.A Connecticut Yankee in King Arthur’s Court (1889) finds Twain in high satiric form. When hard-headed Yankee mechanic Hank Morgan is knocked out in a fight, he wakes up in Camelot in A.D. 528—and finds himself pitted against the medieval rituals and superstitions of King Arthur and his knights. In a hilarious burlesque of the age of chivalry and of its cult in the 19th-century American South, Twain demolishes knighthood's romantic aura to reveal a brutish, violent society beset by ignorance. But the comic mood gives way to a darker questioning of both ancient and modern society, culminating in an astonishing apocalyptic conclusion that questions both American progress and Yankee “ingenuity” as Camelot is undone by the introduction of advanced technology.“Taking into account … her origin, youth, sex, illiteracy, early environment, and the obstructing conditions under which she exploited her high gifts and made her conquest in the field and before the courts that tried her for her life, she is easily and by far the most extraordinary person the human race has ever known.” So Twain wrote of the heroine of Personal Recollections of Joan of Arc (1896), his most elaborate work of historical reconstruction. A respectful and richly detailed chronicle, by turns admiring and indignant, Joan of Arc opens a fascinating window onto the moral imagination of America’s greatest comic writer.

    Now, The Library of America collects On the Road together with four other autobiographical “road books” published during a remarkable four-year period.The Dharma Bums (1958), at once an exploration of Buddhist spirituality and an account of the Bay Area poetry scene, is notable for its thinly veiled portraits of Kerouac’s acquaintances, including Ginsberg, Gary Snyder, and Kenneth Rexroth. The Subterraneans (1958) recounts a love affair set amid the bars and bohemian haunts of San Francisco. Tristessa (1960) is a melancholy novella describing a relationship with a prostitute in Mexico City. Lonesome Traveler (1960) collects travel essays that evoke journeys in Mexico and Europe, and concludes with an elegiac lament for the lost world of the American hobo. Also included in Road Novels are selections from Kerouac’s journal, which provide a fascinating perspective on his early impressions of material eventually incorporated into On the Road.

    This comprehensive collection includes all his most accomplished and best-known works: five novels, short stories, journalism, war correspondence, and his two completed books of poetry.Here are the classic novels he published in a span of five years: The Red Badge of Courage (1895), about a young and confused Union soldier under fire for the first time; Maggie: A Girl of the Streets (1893), a vivid portrait of slum life and a young girl’s fall; George’s Mother (1896), about New York’s Bowery and its effect on a young workingman fresh from the country; The Third Violet (1897), the story of a bohemian artist’s country romance; and The Monster (1899), a novella about sacrifice and rescue, guilt and isolation.Among his short stories are such masterpieces as “The Open Boat,” “The Blue Hotel,” and “The Bride Comes to Yellow Sky.” His prose is at the same time dense and lean, suited to his description of the elusive forces that impinge upon his characters, and suited also to his desire not to circumscribe them with traditional moral and interpretive definition. Included here as well are the Whilomville stories of children and childhood in small-town America and the Sullivan County sketches of turn-of-the-twentieth-century rural life.As a journalist, Crane covered the Spanish-American War and the Greco-Turkish War, traveled through Mexico and the West, and reported on the seamier sides of New York City life; the best of his dispatches are gathered here. Also featured are both of Crane’s collections of epigrammatic free verse—The Black Riders (1895) and War is Kind (1899)—and selections from his uncollected poems. His poetry shows strong affinities to Emily Dickinson, while also anticipating the Imagist movement later in the twentieth century.This is the most substantial gathering of Crane’s work ever made available in one volume; it is an enduring testimony to his heroic achievement.

    The Library of America volume Novels 1956–1964 opens with Seize the Day, a tightly wrought novella that, unfolding over the course of a single devastating day, explores the desperate predicament of the failed actor and salesman Tommy Wilhelm. The austere psychological portraiture of Seize the Day is followed by an altogether different book, Henderson the Rain King, the ebullient tale of the irresistible eccentric Eugene Henderson, best characterized by his primal mantra “I want! I want!” Beneath the novel’s comic surface lies an affecting parable of one man’s quest to know himself and come to terms with morality; like Don Quixote, Henderson is, as Bellow later described him, “an absurd seeker of high qualities.”Henderson’s irrepressible vitality is matched by that of Moses Herzog, the eponymous hero of Bellow’s best-selling 1964 novel. His wife having abandoned him for his best friend, Herzog is on the verge of mental collapse and has embarked on a furious letter-writing campaign as an outlet for his all-consuming rage. Bellow’s bravura performance in Herzog launched a new phase of his career, as literary acclaim was now joined by a receptive mass audience in America.

    A consummate entertainer—few storytellers are as dependably funny—he was also a clear-eyed critic of American life. Among the targets of his ridicule were the exploiters, the despoilers, and the soulless parasitic moneymakers, but he reserved his hottest anger for that tribe of scientists and merchants of war who conjure up genies of mass destruction without a thought to what happens once they’re out of their bottles. Yet his works are remarkably free of villains, being rich instead in dangerous, not-quite-unlovable sinners who may yet be redeemed.This volume, the first in a multi-volume edition of his enduring fiction, captures Vonnegut at the pyrotechnic height of his powers. It opens with Cat’s Cradle (1963), perhaps his most exhilarating performance, in which a would-be historian of the bombing of Hiroshima finds himself a privileged witness to the icy end of the world.God Bless You, Mr. Rosewater (1965) chronicles the alcoholic unraveling and spiritual rebirth of a good-hearted dreamer tormented by the question “What are people for?”Slaughterhouse-Five (1969)—the book that earned Vonnegut worldwide fame, and one of the great antiwar novels in literature—is the jump-cutting saga of Billy Pilgrim, who, having come unstuck in time, is doomed to relive continually both the destruction of Dresden and his abduction by space aliens.In a text enhanced by the author’s spirited line drawings, Breakfast of Champions (1973) describes the fateful meeting of a luckless science-fiction writer and an unhinged Pontiac dealer who disastrously believes that everyone but himself is a robot.Rounding out the volume are three brilliant short stories—including the classic fantasy “Welcome to the Monkey House”—and moving autobiographical accounts of Vonnegut’s experience of war that shed light on events imaginatively treated in Slaughterhouse-Five.

    Scott Fitzgerald wrote the works that brought him instant fame, mastering the glittering aphoristic prose and keen social observation that would distinguish all his writing. Celebrating the riotous energy and naïve optimism of a generation that believed itself liberated from the past, Fitzgerald’s early works, which are collected in this Library of America volume, also sound a plaintive strain beneath the era’s wild cacophony, a lament for the wasted potential of youth. They remain the fullest literary expression of one of the most fascinating eras in American life.This Side of Paradise (1920) gave Fitzgerald the early success that defined and haunted him for the rest of his career. Offering in its Princeton chapters the most enduring portrait of college life in American literature, this lyrical novel records the ardent and often confused longings of its hero’s struggles to find love and to formulate a philosophy of life.Flappers and Philosophers (1920), a collection of accomplished short stories, includes such classics as “Dalyrimple Goes Wrong,” “Bernice Bobs Her Hair,” and “The Ice Palace.”Fitzgerald continues his dissection of a self-destructive era in his second novel, The Beautiful and Damned (1922), as the self-styled aristocrat Anthony Patch and his beautiful wife, Gloria, are cut off from an inheritance and forced to endure the excruciating dwindling of their fortune. Here New York City, playground for the pleasure-loving Patches and brutal mirror of their dissipation, is portrayed more vividly than anywhere else in Fitzgerald’s work.Tales of the Jazz Age (1922), his second collection of stories, includes the novella “May Day,” featuring interlocking tales of debutantes, soldiers, and socialists brought together in the uncertain aftermath of World War I, and “A Diamond as Big as the Ritz,” a fable in which the excesses of the Jazz Age take the hallucinatory form of a palace of unfathomable opulence hidden deep in the Montana Rockies.

    The remarkable novels presented here in this Library of America volume combine brilliant satire with a lingering affection for the men and women, who, as Lewis wrote of Babbitt, "want "to seize something more than motor cars and a house before it's too late.""Main Street (1920), Lewis's first triumph, was a phenomenal event in American publishing and cultural history. Lewis's idealistic, imaginative heroine, Carol Kennicott, longs "to get [her] hands on one of those prairie towns and make it beautiful," but when her doctor husband brings her to Gopher Prairie, she finds that the romance of the American frontier has dwindled to the drab reality of the American Middle West. Carol first struggles against and then flees the social tyrannies and cultural emptiness of Gopher Prairie, only to submit at last to the conventions of village life. The great romantic satire of its decade, Main Street is a wry, sad, funny account of a woman who attempts to challenge the hypocrisy and narrow-mindedness of her community."I know of no American novel that more accurately presents the real America," wrote H.L. Mencken when Babbitt appeared in 1922. "As an old professor of Babbittry I welcome him as an almost perfect specimen. Every American city swarms with his brothers. He is America incarnate, exuberant and exquisite."In the character of George F. Babbitt, the boisterous, vulgar, worried, gadget-loving real estate man from Zenith, Lewis fashioned a new and enduring figure in American literature—the total conformist. Babbitt is a "joiner," who thinks and feels with the crowd. Lewis surrounds him with a gallery of familiar American types—small businessman, Rotarians, Elks, boosters, supporters of evangelical Christianity. In biting satirical scenes of club lunches, after-dinner speeches, trade association conventions, fishing trips and Sunday School committees, Lewis reproduces the noisy restlessness of American commercial culture.In 1930 Sinclair Lewis was the first American to be awarded the Nobel Prize in Literature, largely for his achievement in Babbitt. These early novels not only define a crucial period in American history—from America's "coming of age" just before World War I to the dizzying boom of the twenties—they also continue to astonish us with essential truths about the country we live in today.

    "Complete Novels" gathers all of Welty's longer fiction, from "The Robber Bridegroom" (1942) to her Pulitzer Prize-winning "The Optimist's Daughter" (1972).

    But, despite his success, he was plagued by depression and alcohol and haunted by a sense that he had more to achieve—and a finite amount of time and energy to achieve it.This Library of America volume collects the novels written during this crucial period; defying the odds, Faulkner continued to break new ground in American fiction. He delved deeper into themes of race and religion and furthered his experiments with fictional structure and narrative voice. These newly restored texts, based on Faulkner’s manuscripts, typescripts, and proof sheets, are free of the changes introduced by the original editors and are faithful to the author’s intentions.Go Down, Moses (1942) is a haunting novel made up of seven related stories that explore the intertwined lives of black, white, and Indian inhabitants of Yoknapatawpha County. It includes “The Bear,” one of the most famous works in all American fiction, with its evocation of “the wilderness, the big woods, bigger and older than any recorded document.”Characters from Go Down, Moses reappear in Intruder in the Dust (1948). Part detective novel, part morality tale, it is a compassionate story of a black man on trial and the growing moral awareness of a southern white boy.Requiem for a Nun (1951) is a sequel to Sanctuary. With an unusual structure combining novel and play, it tells the fate of the passionate, haunted Temple Drake and the murder case through which she achieves a tortured redemption. Prose interludes condense millennia of local history into a swirling counterpoint.In A Fable (1954), a recasting of the Christ story set during World War I, Faulkner wanted to “try to tell what I had found in my lifetime of truth in some important way before I had to put the pen down and die.” The novel, which earned a Pulitzer Prize, is both an anguished spiritual parable and a drama of mutiny, betrayal, and violence in the barracks and on the battlefields.