William Styron traces the betrayals and infidelities—the heritage of spite and endlessly disappointed love—that afflict the members of a Southern family and that culminate in the suicide of the beautiful Peyton Loftis.

    Jed is born just at the end of the First World War on a run-down farm near the little town of Dugton, Alabama. When he is nine his drunken father dies in a low-comedy accident that becomes part of the obscene folklore of the region. His semi-literate mother has a caustic wit, an iron character, and the determination that Jed will escape the South. As she puts it: "Git what's to git, then git. Git on."A dedicated Latin teacher and Jed's football prowess combine to get him a scholarship at a jerkwater college, whence he enters the graduate school of the University of Chicago and excels in the field of classical and medieval literature. After fighting with the Italian Partisans behind the Nazi lines, Jed returns to the university and marries a woman who dies soon thereafter. He moves to a new job in Nashville and becomes involved in a torrid and ill-fated love affair, the central event of the novel, coloring all the subsequent action. He flees to Paris and then to Chicago; he marries again, fathers a son, and is soon divorced.Middle-aged, and now a figure of world renown, Jed goes back to Dugton for a long-deferred visit to his mother's grave, and - in what must be one of the most moving passages ever written - is able to make some kind of peace with himself and with his past. (Book jacket)

    But you try all kinds of ways to keep from drowning in it." The men and women in these eight short fictions grasp this truth on an elemental level, and their stories, as told by James Baldwin, detail the ingenious and often desperate ways in which they try to keep their head above water. It may be the heroin that a down-and-out jazz pianist uses to face the terror of pouring his life into an inanimate instrument. It may be the brittle piety of a father who can never forgive his son for his illegitimacy. Or it may be the screen of bigotry that a redneck deputy has raised to blunt the awful childhood memory of the day his parents took him to watch a black man being murdered by a gleeful mob.By turns haunting, heartbreaking, and horrifying--and informed throughout by Baldwin's uncanny knowledge of the wounds racism has left in both its victims and its perpetrators--Going to Meet the Man is a major work by one of our most important writers.

    In these fourteen stories, Hemingway begins to examine the themes that would occupy his later works: the casualties of war, the often uneasy relationship between men and women, sport and sportsmanship. In "Banal Story," Hemingway offers a lasting tribute to the famed matador Maera. "In Another Country" tells of an Italian major recovering from war wounds as he mourns the untimely death of his wife. "The Killers" is the hard-edged story about two Chicago gunmen and their potential victim. Nick Adams makes an appearance in "Ten Indians," in which he is presumably betrayed by his Indian girlfriend, Prudence. And "Hills Like White Elephants" is a young couple's subtle, heartwrenching discussion of abortion. Pared down, gritty, and subtly expressive, these stories show the young Hemingway emerging as America's finest short story writer.

    When Jennifer, a college student, returns to her childhood home of Hoot Owl Holler with a tape recorder, the tales of murder and suicide, incest and blood ties, bring to life a vibrant story of a doomed family that still refuses to give up....

    In collections such as Will You Please Be Quiet, Please? and What We Talk About When We Talk About Love, Carver wrote with unflinching exactness about men and women enduring lives on the knife-edge of poverty and other deprivations. Beneath his pared-down surfaces run disturbing, violent undercurrents. Suggestive rather than explicit, and seeming all the more powerful for what is left unsaid, Carver’s stories were held up as exemplars of a new school in American fiction known as minimalism or “dirty realism,” a movement whose wide influence continues to this day. Carver’s stories were brilliant in their detachment and use of the oblique, ambiguous gesture, yet there were signs of a different sort of sensibility at work. In books such as Cathedral and the later tales included in the collected stories volume Where I’m Calling From, Carver revealed himself to be a more expansive writer than in the earlier published books, displaying Chekhovian sympathies toward his characters and relying less on elliptical effects.In gathering all of Carver’s stories, including early sketches and posthumously discovered works, The Library of America’s Collected Stories provides a comprehensive overview of Carver’s career as we have come to know it: the promise of Will You Please Be Quiet, Please? and the breakthrough of What We Talk About, on through the departures taken in Cathedral and the pathos of the late stories. But it also prompts a fresh consideration of Carver by presenting Beginners, an edition of the manuscript of What We Talk About When We Talk About Love that Carver submitted to Gordon Lish, his editor and a crucial influence on his development. Lish’s editing was so extensive that at one point Carver wrote him an anguished letter asking him not to publish the book; now, for the first time, readers can read both the manuscript and published versions of the collection that established Carver as a major American writer. Offering a fascinating window into the complex, fraught relationship between writer and editor, Beginners expands our sense of Carver and is essential reading for anyone who cares about his achievement.Contents--What We Talk About When We Talk About LoveWhy Don’t You Dance?ViewfinderMr. Coffee and Mr. FixitGazeboI Could See the Smallest ThingsSacksThe BathTell the Women We’re GoingAfter the DenimSo Much Water So Close to HomeThe Third Thing That Killed My Father OffA Serious TalkThe CalmPopular MechanicsEverything Stuck to HimWhat We Talk About When We Talk About LoveOne More ThingStories from FiresThe LieThe CabinHarry’s DeathThe PheasantCathedralFeathersChef’s HousePreservationThe CompartmentA Small, Good ThingVitaminsCarefulWhere I’m Calling FromThe TrainFeverThe BridleCathedralFrom Where I’m Calling FromBoxesWhoever Was Using This BedIntimacyMenudoElephantBlackbird PieErrandOther FictionThe HairThe AficionadosPoseidon and CompanyBright Red ApplesFrom The Augustine NotebooksKindlingWhat Would You Like to See?DreamsVandalsCall If You Need MeSelected EssaysMy Father’s LifeOn WritingFiresAuthor’s Note to Where I’m Calling FromBeginners (The Manuscript Version of What We Talk About When We Talk About Love)Why Don’t You Dance?ViewfinderWhere Is Everyone?GazeboWant to See Something?The FlingA Small, Good ThingTell the Women We’re GoingIf It Please YouSo Much Water So Close to HomeDummyPieThe CalmMineDistanceBeginnersOne More Thing--loa.org

    Written in what DeLillo calls "super-omniscience" the sentences sweep from young Cotter Martin as he jumps the gate to the press box, soars over the radio waves, runs out to the diamond, slides in on a fast ball, pops into the stands where J. Edgar Hoover is sitting with a drunken Jackie Gleason and a splenetic Frank Sinatra, and learns of the Soviet Union's second detonation of a nuclear bomb. It's an absolutely thrilling literary moment. When Bobby Thomson hits Branca's pitch into the outstretched hand of Cotter—the "shot heard around the world"—and Jackie Gleason pukes on Sinatra's shoes, the events of the next few decades are set in motion, all threaded together by the baseball as it passes from hand to hand."It's all falling indelibly into the past," writes DeLillo, a past that he carefully recalls and reconstructs with acute grace. Jump from Giants Stadium to the Nevada desert in 1992, where Nick Shay, who now owns the baseball, reunites with the artist Kara Sax. They had been brief and unlikely lovers 40 years before, and it is largely through the events, spinoffs, and coincidental encounters of their pasts that DeLillo filters the Cold War experience. He believes that "global events may alter how we live in the smallest ways," and as the book steps back in time to 1951, over the following 800-odd pages, we see just how those events alter lives. This reverse narrative allows the author to strip away the detritus of history and pop culture until we get to the story's pure elements: the bomb, the baseball, and the Bronx. In an epilogue as breathless and stunning as the prologue, DeLillo fast-forwards to a near future in which ruthless capitalism, the Internet, and a new, hushed faith have replaced the Cold War's blend of dread and euphoria.Through fragments and interlaced stories—including those of highway killers, artists, celebrities, conspiracists, gangsters, nuns, and sundry others—DeLillo creates a fragile web of connected experience, a communal Zeitgeist that encompasses the messy whole of five decades of American life, wonderfully distilled.

    An almost superhumanly precocious Seymour Glass, age 7, writes home from camp, describing his life and already showing signs of being the sensitive outsider trapped in a world that can have no comprehension of who he is.

    Set in a small, dusty Texas town, it introduces Jacy, Duane and Sonny, teenagers stumbling towards adulthood, discovering the beguiling mysteries of sex and the even more baffling mysteries of love.

    Written during the Great Depression when America was largely oblivious to Hitler's aggression, it juxtaposes sharp political satire with the chillingly realistic rise of a President who becomes a dictator to "save the nation." Now finally back in print, It Can't Happen Here remains uniquely important, a shockingly prescient novel that's as fresh and contemporary as today's news.

    Cloud's, Maine, Homer Wells has become the protege of Dr. Wilbur Larch, its physician and director. There Dr. Larch cares for the troubled mothers who seek his help, either by delivering and taking in their unwanted babies or by performing illegal abortions. Meticulously trained by Dr. Larch, Homer assists in the former, but draws the line at the latter. Then a young man brings his beautiful fiancee to Dr. Larch for an abortion, and everything about the couple beckons Homer to the wide world outside the orphanage ...

    This volume collects many of his most famous short works and is a fitting compendium of his literary achievements for newcomers or longtime Hawthorne fans alike.

    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.

    They have every reason to be happy, but for some reason they are not. Like so many young men of the day, Tom finds himself caught up in the corporate rat race - what he encounters there propels him on a voyage of self-discovery that will turn his world inside out. At once a searing indictment of coporate culture, a story of a young man confronting his past and future with honesty, and a testament to the enduring power of family, The Man in the Gray Flannel Suit is a deeply rewarding novel about the importance of taking responsibility for one's own life.

    It tells of an ordinary American family overtaken by the devastating epidemic of the Spanish influenza of 1918. The book begins on the day before the armistice in a small midwestern town, and the events are seen from the perspective, in turn, of eight-year-old Peter Morison--called Bunny; of his older brother, Robert; and of their father. They are witnesses to a domestic tragedy that is written with beauty and a quite magnificent tenderness. William Maxwell has been described by The Washington Post as "one of America's most distinguished and distinctive stylists." John Updike has said that "Maxwell's voice is one of the wisest in American fiction; it is, as well, one of the kindest." The Times Literary Supplement declares that "Maxwell offers us scrupulously executed, moving landscapes of America's twentieth century, and they do not fade." The Saturday Review said,"They Came Like Swallows is one of those rare tales in which child-hood is reflected in the simplicity and intensity of its own experience."