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.

    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.

    Along with the four novels for which he is famous, this authoritative collection gathers his work in other genres, including stories, poetry, essays and plays, film scripts and treatments, and letters.When West died in a California highway accident in 1940 at the age of thirty-seven, his originality and brilliance were little known outside an intensely admiring circle of fellow writers: William Carlos Williams, Edmund Wilson, S. J. Perelman, and others. Not until West’s four novels were reissued in the late 1950s was he acknowledged as one of the most gifted writers of his generation. His masterpieces Miss Lonelyhearts and The Day of the Locust, with their blending of manic farce and despairing compassion, and their vision of an America awash in its own mass-produced fantasies, read like a prophecy of much that was to come in American literature and life.Each of West’s novels is distinct in style and theme. In the Dada-inspired The Dream Life of Balso Snell (1931), he freely mixes high-flown literary and religious allusions with erotic and scatological humor. Miss Lonelyhearts (1933) presents, in a series of grotesque, starkly etched episodes, the spiritual breakdown of a newspaper columnist overwhelmed by his readers’ suffering. By contrast, A Cool Million (1934) reduces the eternal optimism of Horatio Alger’s novels to a brutal, cartoonish farce. In his last work, The Day of the Locust (1939), West renders with hallucinatory precision the reverse side of the Hollywood dream, as he choreographs a cast of failures, has-beens, and deluded glamour-seekers in what becomes an apocalyptic dance of death.Also included is a generous sampling of West’s other surviving work, ranging from freewheeling improvisations and grotesque comic tales to more mainstream work written with Hollywood or Broadway in mind, and including his anti-war satire Good Hunting and his adaptation of Francis Ile’s famous crime novel Before the Fact. The uncollected West shows him as a writer who embodied the contradictions and crazy-quilt exuberance of American culture—and raises the question of how he might have developed had his career not been cut short. Selected correspondence with William Carlos Williams, F. Scott Fitzgerald, Malcolm Cowley, Bennett Cerf, and others rounds out the volume and sets West’s literary life in fuller context.

    As companion to its volume of Wilder?s collected plays, The Library of America?s edition of his early novels and stories brings together five novels that highlight his wit, erudition, innovative formal structures, and philosophical wisdom. Drawing on the post-collegiate year he spent in Rome, Wilder fashioned in The Cabala a tale of youthful enchantment with the Eternal City in the form of a fictitious memoir of an American student and the enigmatic coterie of noble Romans who draw him into their midst. He followed this debut novel two years later with The Bridge of San Luis Rey, which catapulted him to literary prominence and earned him the first of his three Pulitzer prizes. ?The Bridge,? Wilder later wrote, ?asked the question whether the intention that lies behind love was sufficient to justify the desperation of living.? Set in 18th-century Peru, the book is a kind of theological detective story concerning a friar?s investigations into the lives of five individuals before they were killed in a bridge collapse. An elegantly told parable, with credible historical ambience and psychologically rounded characters, The Bridge of San Luis Rey is primarily a probing inquiry into the nature of destiny and divine intention: Why did God allow these particular people to die?The Woman of Andros, based on the Andria of Roman writer Terence, is a meditation on the ancient world filtered through the sensibility of a meditative courtesan; Heaven?s My Destination, a departure from Wilder?s historical themes, is a picaresque romp through Depression-era America; and The Ides of March takes up the story of Julius Caesar?s assassination by imagining the exchange of letters among such prominent ancient figures as Catullus, Cleopatra, Cicero, and Caesar himself, ?groping in the open seas of his unlimited power for the first principles which should guide him.? The volume concludes with a selection of early short stories?among them ?Précautions Inutiles,? published here for the first time?and a selection of essays that offers Wilder?s insights into the works of Stein and Joyce, as well as a lecture on letter writers that bears on both The Bridge of San Luis Rey and The Ides of March.

    By the time of his death in 1999 he had become a unique and legendary figure in modern literary culture. From his base in Tangier he produced novels, stories, and travel writings in which exquisite surfaces and violent undercurrents mingle.This Library of America volume, containing his first three novels, with its companion Collected Stories and Later Writings, is the first annotated edition of Bowles’s work, offering the full range of his literary achievement: the portrait of an outsider who was one of the essential American writers of the last half century.The Sheltering Sky (1949), which remains Bowles’s most celebrated work, describes the unraveling of a young, sophisticated, and adventuresome married couple as they make their way into the Sahara. In a prose style of meticulous calm and stunning visual precision, Bowles tracks Port and Kit Moresby on a journey through the desert that culminates in death and madness.In Let It Come Down (1952), Bowles plots the doomed trajectory of Nelson Dyar, a New York bank teller who comes to Tangier in search of a different life and ends up giving in to his darkest impulses. Rich in descriptions of the corruption and decadence of the International Zone in the last days before Moroccan independence, Bowles’s second novel is an alternately comic and horrific account of a descent into nihilism.The Spider’s House (1955), the longest and most complex of Bowles’s novels, is set against the end of French rule in Morocco. Its characters—ranging from a Moroccan boy gifted with spiritual healing power to an American writer who regrets the passing of traditional ways—are caught up in the clash between colonial and nationalist factions, and are forced to confront cultural gulfs widened by political violence.Bowles—who once told an interviewer, “I’ve always wanted to get as far as possible from the place where I was born”—charts the collisions between “civilized” exiles and unfamiliar societies that they can never really grasp. In fiction of slowly gathering menace, he achieves effects of horror and dislocation with an elegantly spare style and understated wit.

    Studies in the exercise of power that marks relations between sexes, classes, and cultures, they show James’s special solicitude for the young heroines who occupy the center of his fictional world.Washington Square (1880) examines the life of Catherine Sloper, a plain, sweet, young woman who lives imprisoned by the selfishness of those close to her: her lover, who cares only for her fortune; her aunt, who meddles for the sake of romantic intrigue; and her protective father, who repays her adoration with irony and wit. Set in the New York of the 1840s, Washington Square evokes the still-intimate city of James’s childhood while presenting a frightening moral lesson in the human consequences of manipulation and indifference.The Portrait of a Lady (1881) is the story of Isabel Archer, a beautiful, idealistic, and inexperienced American woman who is made wealthy by her uncle at the instigation of her dying cousin. Surrounded by the seductive pleasures of nineteenth-century Europe, she preserves her idealism despite involvement with some who would divert her life to uses of their own—Caspar Goodwood, virile American captain of industry; Lord Warburton, scion of British aristocracy; Gilbert Osmond, connoisseur and collector of beautiful objects; Madame Merle, subtle and charming expatriate of unknown connections, and indomitable Henrietta Stackpole, roving journalist and steadfast friend. James’s many-layered masterpiece concerns the perilous American pursuit of individual freedom.The Bostonians (1886) presents an unusual contest for the affections of Verena Tarrant, the lovely, naïve, and pliant daughter of a mesmerist lecturer. She is courted by two cousins: Basil Ransom, an impractical Mississippi landowner now pursuing a meager New York legal practice, and Olive Chancellor, a rich young Boston feminist. Against the richly textured backdrop of Boston and New York society, they enact a drama of confused identity and willful calculation that demonstrates the power and the perils engendered by the refusal of self-knowledge.

    His prose, always brisk and vigorous, rises in The People of the Abyss to italicized horror over the human degradations he saw in the slums of East London. It also accommodates the dazzling oratory of the hero of The Iron Heel, an American revolutionary named Ernest Everhard, whose speeches have the accents of some of London’s own political essays, like the piece (reprinted in this volume) entitled “Revolution.” London’s prophetic political vision was recalled by Leon Trotsky, who observed that when The Iron Heel first appeared, in 1907, not one of the revolutionary Marxists had yet fully imagined “the ominous perspective of the alliance between finance capitalism and labor aristocracy.”Whether he is recollecting, in The Road, the exhilarating camaraderie of hobo gangs, or dramatizing, in Martin Eden, a life like his own, even to the foreshadowing of his own death at age forty, or confessing his struggles with alcoholism in the memoir John Barleycorn, London displays a genius for giving marginal life the aura of romance. Violence and brutality flash into life everywhere in his work, both as a condition of modern urban existence and as the inevitable reaction to it.Though he is outraged in The People of the Abyss by the condition of the poor in capitalist societies, London is even more appalled by their submission, and in the novel he wrote immediately afterward, The Call of the Wild (in the companion volume, Novels and Stories), he constructed an animal fable about the necessary reversion to savagery. The Iron Heel, with its panoramic scenes of urban warfare in Chicago, envisions the United States taken over by fascists who perpetuate their regime for three hundred years. It constitutes London’s warning to his fellow socialists that mere persuasion is insufficient to combat a system that ultimately relies on force.

    During the Seven Years War, just after the events narrated in The Last of the Mohicans, Natty brings the daughter of a British sergeant to her father’s station on the Great Lakes, where the French and their Indian allies are plotting a treacherous ambush. Here, for the first time, he falls in love with a woman, before Cooper manages bring off Leatherstocking’s most poignant, and perhaps his most revealing, escape.The Deerslayer (1842) brings the saga full circle and follows the young Natty on his first warpath. Instinctively gifted in the arts of the forest, pious in his respect for the unspoiled wilderness on which he loves to gaze, honorable to friend and foe alike, stoic under torture, and cool under fire, the young Leatherstocking emerges as Cooper’s noblest figure of the American frontier. Enacting a rite of passage both for its hero and for the culture he comes to represent, this last book in the series glows with a timelessness that readers everywhere will find enchanting.

    The five novels that Hammett published between 1929 and 1934, collected here in one volume, have become part of modern American culture, creating archetypal characters and establishing the ground rules and characteristic tone for a whole tradition of hardboiled writing. Drawing on his own experiences as a Pinkerton detective, Hammett gave a harshly realistic edge to novels that were at the same time infused with a spirit of romantic adventure. Each novel is distinct in mood and structure. Red Harvest (1929) epitomizes the violence and momentum of his Black Mask stories about the anonymous detective the Continental Op, in a raucous and nightmarish evocation of political corruption and gang warfare in a western mining town. In The Dain Curse (1929) the Op returns in a more melodramatic tale involving jewel theft, drugs, and a religious cult. With The Maltese Falcon (1930) and its protagonist Sam Spade, Hammett achieved his most enduring popular success, a tightly constructed quest story shot through with a sense of disillusionment and the arbitrariness of personal destiny. The Glass Key (1931) is a further exploration of city politics at their most scurrilous. His last novel was The Thin Man (1934), a ruefully comic tale paying homage to the traditional mystery form and featuring Nick and Nora Charles, the sophisticated inebriates who would enjoy a long afterlife in the movies.

    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.

    Ten years in the writing (it was the book he retired to Walden to work on) and incorporating essays, passages from his journal, and some of his best poems, it is a superbly crafted achievement, its texture enriched by the idealism of the Transcendentalists, the delighted wordplay of an imaginative linguist, the individualism of a young America, and the earthiness of a lover of nature.Walden is a personal declaration of independence, a social experiment, and a voyage of spiritual discovery, set within the seasonal cycle of a year’s “Life in the Woods.” “Simplify, simplify” is the beat of its “more distant drummer”—to abandon waste and illusion, to get to the bottom of life’s essential needs, and to practice a new economy for humane living. Its witty and pointed rhetoric brings together language and nature, the human and nonhuman in unusual conjunctions that resonate with symbolic meanings. A manual of self-reliance as well as a masterpiece of style, it is one of the most fervently loved classics of American literature.The Maine Woods is an account of three trips taken by boat and canoe in 1846, 1853, and 1857 through an unexplored interior bypassed by westward expansion. It describes the virgin rivers and forests of Maine, the customs of woodsmen and Indian guides, the hunting of moose, and the effects of the timber industry and encroaching settlement. An early and eloquent plea for conservation by a far-sighted naturalist, its close observation of the American wild becomes an examination of “the motives which carry men into the wilderness.”Cape Cod is the bleakest of Thoreau’s works, resembling Melville’s prose in its vision of the titanic indifference of nature. Cape Cod appears as both ocean and desert, a vast expanse of shipwrecks and barren soil, peopled by hardy, weathered inhabitants who seem survivors from the age of the first Pilgrims. Based upon his own visits and upon accounts from the earliest times, it is an unsentimental study of human endurance in the face of hostile elements, historical change, and natural decay.

    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.

    The adventurous and sometimes shocking later works of playwright Tennessee Williams, from 1957 to 1980, are collected in this volume, which includes "Orpheus Descending, Suddenly Last Summer", and "The Night of the Iguana".

    In the process, he transformed both crime writing and the American language.Written during the war, The Lady in the Lake (1943) takes Philip Marlowe out of the seamy L.A. streets to the deceptive tranquility of the surrounding mountains, as the search for a businessman’s missing wife expands into an elegy of loneliness and loss. The darker tone typical of Chandler’s later fiction is evident in The Little Sister (1949), in which an ambitious starlet, a blackmailer, and a seemingly naïve young woman from Manhattan, Kansas, are the key players in a plot that provides fuel for a bitter indictment of Hollywood and Chandler’s most savage portrayal of his adopted city.The Long Goodbye (1953), his most ambitious and self-revealing novel, uncovers a more anguished resonance in the Marlowe character, in a plot that hinges on the betrayal of friendship and the compromises of middle age. Playback (1958), written originally as a screenplay, is Chandler’s seventh and last novel.A special feature of this volume is Chandler’s long-unavailable screenplay for the film noir classic, Double Indemnity (1944), adapted from James M. Cain’s novel. Written with director Billy Wilder, it is one of the best screenplays in American cinema, masterful in construction and dialogue. Supplementing the volume, and providing a more personal glimpse of Chandler’s personality, is a selection of letters and essays—including “The Simple Art of Murder,” in which Chandler muses on his pulp roots and on the special qualities of his hero and style.