It is Wolfe's first novel, and is considered a highly autobiographical American Bildungsroman. The character of Eugene Gant is generally believed to be a depiction of Wolfe himself. The novel covers the span of time from Gant's birth to the age of 19. The setting is the fictional town and state of Altamont, Catawba, a fictionalization of his home town, Asheville, North Carolina. Playwright Ketti Frings wrote a theatrical adaptation of Wolfe's work in a 1957 play of the same title.

    It is a story of Hazel Motes, a twenty-two-year-old caught in an unending struggle against his innate, desperate faith. He falls under the spell of a "blind" street preacher named Asa Hawks and his degenerate fifteen-year-old daughter, Lily Sabbath. In an ironic, malicious gesture of his own non-faith, and to prove himself a greater cynic than Hawkes, Hazel Motes founds The Church of God Without Christ, but is still thwarted in his efforts to lose God. He meets Enoch Emery, a young man with "wise blood," who leads him to a mummified holy child, and whose crazy maneuvers are a manifestation of Hazel's existential struggles. This tale of redemption, retribution, false prophets, blindness, blindings, and wisdoms gives us one of the most riveting characters in twentieth-century American fiction.

    The controversy provoked by Babbitt was influential in the decision to award the Nobel Prize in Literature to Lewis in 1930.

    Rather, it is an attempt to capture the feeling and people of a place, the cannery district of Monterey, California, which is populated by a mix of those down on their luck and those who choose for other reasons not to live "up the hill" in the more respectable area of town. The flow of the main plot is frequently interrupted by short vignettes that introduce us to various denizens of the Row, most of whom are not directly connected with the central story. These vignettes are often characterized by direct or indirect reference to extreme violence: suicides, corpses, and the cruelty of the natural world.The "story" of Cannery Row follows the adventures of Mack and the boys, a group of unemployed yet resourceful men who inhabit a converted fish-meal shack on the edge of a vacant lot down on the Row.Sweet Thursday is the sequel to Cannery Row.

    A poignant look at the disillusionment and angst of the post-World War I generation, the novel introduces two of Hemingway's most unforgettable characters: Jake Barnes and Lady Brett Ashley. The story follows the flamboyant Brett and the hapless Jake as they journey from the wild nightlife of 1920s Paris to the brutal bullfighting rings of Spain with a motley group of expatriates. It is an age of moral bankruptcy, spiritual dissolution, unrealized love, and vanishing illusions. First published in 1926, The Sun Also Rises helped to establish Hemingway as one of the greatest writers of the twentieth century.

    Set in a small town in the middle of the deep South, it is the story of John Singer, a lonely deaf-mute, and a disparate group of people who are drawn towards his kind, sympathetic nature. The owner of the café where Singer eats every day, a young girl desperate to grow up, an angry drunkard, a frustrated black doctor: each pours their heart out to Singer, their silent confidant, and he in turn changes their disenchanted lives in ways they could never imagine.

    Three years later he completed the greatest novel to emerge from "the good fight," For Whom the Bell Tolls. The story of Robert Jordan, a young American in the International Brigades attached to an antifascist guerilla unit in the mountains of Spain, it tells of loyalty and courage, love and defeat, and the tragic death of an ideal. In his portrayal of Jordan's love for the beautiful Maria and his superb account of El Sordo's last stand, in his brilliant travesty of La Pasionaria and his unwillingness to believe in blind faith, Hemingway surpasses his achievement in The Sun Also Rises and A Farewell to Arms to create a work at once rare and beautiful, strong and brutal, compassionate, moving and wise. "If the function of a writer is to reveal reality," Maxwell Perkins wrote to Hemingway after reading the manuscript, "no one ever so completely performed it." Greater in power, broader in scope, and more intensely emotional than any of the author's previous works, it stands as one of the best war novels of all time.

    In "Hands," Wing Biddlebaum tries to hide the tale of his banishment from a Pennsylvania town, a tale represented by his hands. In "Adventure," lonely Alice Hindman impulsively walks naked into the night rain. Threaded through the stories is the viewpoint of George Willard, the young newspaper reporter who, like his creator, stands witness to the dark and despairing dealings of a community of isolated people.

    He stays at the edge of an outcast community inhabited by eccentrics, criminals and the poverty-stricken. Rising above the physical and human squalor around him, his detachment and wry humour enable him to survive dereliction and destitution with dignity.

    Its hero is Harry “Rabbit” Angstrom, a onetime high-school basketball star who on an impulse deserts his wife and son. He is twenty-six years old, a man-child caught in a struggle between instinct and thought, self and society, sexual gratification and family duty—even, in a sense, human hard-heartedness and divine Grace. Though his flight from home traces a zigzag of evasion, he holds to the faith that he is on the right path, an invisible line toward his own salvation as straight as a ruler’s edge.

    Written shortly after The Scarlet Letter, The House of the Seven Gables re-addresses the theme of human guilt in a style remarkable in both its descriptive virtuosity and its truly modern mix of fantasy and realism.

    In this semiautobiographical coming-of-age novel, thirteen-year-old Joel Knox, after losing his mother, is sent from New Orleans to live with the father who abandoned him at birth. But when Joel arrives at Skully’s Landing, the decaying mansion in rural Alabama, his father is nowhere to be found. Instead, Joel meets his morose stepmother, Amy, eccentric cousin Randolph, and a defiant little girl named Idabel, who soon offers Joel the love and approval he seeks.Fueled by a world-weariness that belied Capote’s tender age, this novel tempers its themes of waylaid hopes and lost innocence with an appreciation for small pleasures and the colorful language of its time and place.This new edition, featuring an enlightening Introduction by John Berendt, offers readers a fresh look at Capote’s emerging brilliance as a writer of protean power and effortless grace.From the Hardcover edition.

    Forster marvelled at it, but F.R. Leavis considered it to be 'not only not one of his great books, but to be a bad one.' As for the author, he held The Ambassadors as the favorite among all his novels.Sent from Massachusetts by the formidable Mrs. Newsome to recall her son, Chad, from what she assumes to be a corrupt life in Paris, Strether finds his intentions subtly and profoundly transformed as he falls under the spell of the city and of his charge. He is quick to perceive that Chad has been not so much corrupted as refined, and over the course of the hot summer months in Paris he gradually realizes that this discovery and acceptance of Chad's unconventional new lifestyle alter his own ideals and ambitions.One of Henry James's three final novels, all of which have sharply divided modern critics, The Ambassadors is the finely drawn portrait of a man's late awakening to the importance of morality that is founded not on the dictates of convention but on its value per se.

    But her regime is disrupted by the arrival of McMurphy – the swaggering, fun-loving trickster with a devilish grin who resolves to oppose her rules on behalf of his fellow inmates. His struggle is seen through the eyes of Chief Bromden, a seemingly mute half-Indian patient who understands McMurphy's heroic attempt to do battle with the powers that keep them imprisoned. Ken Kesey's extraordinary first novel is an exuberant, ribald and devastatingly honest portrayal of the boundaries between sanity and madness.

    The sketches, poems, and stories of black rural and urban life that make up Cane are rich in imagery. Visions of smoke, sugarcane, dusk, and flame permeate the Southern landscape: the Northern world is pictured as a harsher reality of asphalt streets. Impressionistic, sometimes surrealistic, the pieces are redolent of nature and Africa, with sensuous appeals to eye and ear.