John Updike

The Library of America presents the second of two volumes in its definitive Updike collection. Here are 84 classic stories that display the virtuosic command of character, dialogue, and sensual description that was Updike’s signature.. 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. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

From his first collection, The Same Door, released in 1959, to his last, My Father’s Tears, published fifty years later, John Updike was America’s reigning master of the short story, “our second Hawthorne,” as Philip Roth described him. 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. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Higher Gossip presents John Updike's last collection of essays, poems and short stories.'Gossip of a higher sort' was how the incomparable John Updike described the art of the review. Here then is the last collection of his best, most dazzling gossip. Influential reviews of Toni Morrison, John le Carré and Ann Patchett and expert critique on exhibitions of El Greco, Van Gogh and Schiele are included alongside previously uncollected short stories, poems and essays on his 'pet topics'. Following earlier prose collections More Matter and Due Considerations, Updike began compiling Higher Gossip shortly before his death in 2009. Displaying his characteristic humour and insight on subjects as varied as ageing, golf, dinosaurs, make-up and his own fiction, the delightful Higher Gossip bookends a legacy of over fifty celebrated titles. Praise for Higher Gossip:'All illuminating cross-section of his whole career. It will be required reading for Updike's many fans, but it also serves as an excellent pick'n'mix introduction to his omnivorous intellectual range' Daily Telegraph'Measured, erudite, and humorous writings' Boston Globe'Updike was that rare creature: an all-around man of letters, a literary decathlete who brought to his criticism an insider's understanding of craft and technique; a first-class appreciator of talent . . . an ebullient observer [with] a contagious, boyish sense of wonder' Michiko Kakutani, New York TimesJohn Updike was born in 1932 in Shillington, Pennsylvania. He graduated from Harvard College in 1954, and spent a year in Oxford, at the Ruskin School of Drawing and Fine Art. His novels, stories, and nonfiction collections have won numerous awards, including the Pulitzer Prize, the National Book Award, the National Book Critics Circle Award, the PEN/Faulkner Award and the Howells Medal of the American Academy of Arts and Letters. He died in January 2009. Christopher Carduff, the editor of this volume, is a member of the staff of The Library of America.

"In the vast literature of love, The Seducer's Diary is an intricate curiosity--a feverishly intellectual attempt to reconstruct an erotic failure as a pedagogic success, a wound masked as a boast," observes John Updike in his foreword to Soren Kierkegaard's narrative. This work, a chapter from Kierkegaard's first major volume, Either/Or, springs from his relationship with his fiancee, Regine Olsen. Kierkegaard fell in love with the young woman, ten years his junior, proposed to her, but then broke off their engagement a year later. This event affected Kierkegaard profoundly. Olsen became a muse for him, and a flood of volumes resulted. His attempt to set right, in writing, what he feels was a mistake in his relationship with Olsen taught him the secret of "indirect communication." The Seducer's Diary, then, becomes Kierkegaard's attempt to portray himself as a scoundrel and thus make their break easier for her. Matters of marriage, the ethical versus the aesthetic, dread, and, increasingly, the severities of Christianity are pondered by Kierkegaard in this intense work.

To the list of John Updike's well-intentioned protagonists--Rabbit Angstrom, Richard Maple, Henry Bech--add James Buchanan, the harried fifteenth president of the United States (1857-1861). In what the author calls "a kind of novel, conceived in the form of a play," Buchanan's political and private lives are represented as aspects of his spiritual life, whose crowning, condensing act is the act of dying. This definitive edition includes a Foreword by Updike, discussing early productions of the work, the historical context in which it was written, and its kinship to his later novel "Memories of the Ford Administration." A wide-ranging Afterword fleshes out this dramatic portrait of one of America's lesser known, and least appreciated, leaders.

In John Updike's second collection of assorted prose he comes into his own as a book reviewer; most of the pieces picked up here were first published in The New Yorker in the 1960s and early '70s. If one word could sum up the young critic's approach to books and their authors it would be "generosity" "Better to praise and share," he says in his Foreword, "than to blame and ban." And so he follows his enthusiasms, which prove both deserving and infectious: Kierkegaard, Proust, Joyce, Dostoevsky, and Hamsun among the classics; Borges, Nabokov, Grass, Bellow, Cheever, and Jong among the contemporaries. Here too are meditations on Satan and cemeteries, travel essays on London and Anguilla, three very early "golf dreams," and one big interview. Picked-Up Pieces is a glittering treasury for every reader who likes life, books, wit--and John Updike.

John Updike's first collection of nonfiction pieces, published in 1965 when the author was thirty-three, is a diverting and illuminating gambol through midcentury America and the writer's youth. It opens with a choice selection of parodies, casuals, and "Talk of the Town" reports, the fruits of Updike's boyish ambition to follow in the footsteps of Thurber and White. These jeux d'esprit are followed by "Hub Fans Bid Kid Adieu," an immortal account of Ted Williams's last at-bat in Fenway Park; "The Dogwood Tree," a Wordsworthian evocation of one Pennsylvania childhood; and five autobiographical essays and stories. Rounding out the volume are classic considerations of Nabokov, Salinger, Spark, Beckett, and others, the earliest efforts of the book reviewer who would go on to become, in The New York Times's estimation, "the pre-eminent critic of his generation." Updike called this collection "motley but not unshapely." Some would call it a classic of its kind.

A novel that charts the violent events in an imaginary African nation, as told by the colonel and leader of the country--from one of the most gifted American writers of the twentieth century and the author of the acclaimed Rabbit series. "What a rich, surprising, and often funny novel."--The New York Times Book Review "A leader," writes Colonel Hakim F lix Ellello , "is one who, out of madness or goodness, takes upon himself the woe of a people. There are few men so foolish." Colonel Ellello has four wives, a silver Mercedes, and a fanatic aversion--cultural, ideological, and personal--to the United States. But the U. S. keeps creeping into the nation of Kush, and the repercussions of this incursion constitute the events of the novel. Colonel Ellello tells his own story--always elegantly, and often in the third person--from an undisclosed location in the South of France.

The inhabitants of a central New Jersey poorhouse argue about the decline of patriotism, tradition, and religion while participating in the activities of their annual fair. Reprint.

John Updike's memoirs consist of six Emersonian essays that together trace the inner shape of the life, up to the age of fifty-five, of a relatively fortunate American male. The author has attempted, his foreword states, "to treat this life, this massive datum which happens to be mine, as a specimen life, representative in its odd uniqueness of all the oddly unique lives in this world." In the service of this metaphysical effort, he has been hair-raisingly honest, matchlessly precise, and self-effacingly humorous. He takes the reader beyond self-consciousness, and beyond self-importance, into sheer wonder at the miracle of existence.

John Updike was a master storyteller, and this collection, from his final years, reveals that up to the end he remained the finest short-story writer of his generation.'Magnificent, exhilarating, crisply evocative, rippling with irony. Updike's genius can be seen on peak form. With this book, a talent that burnt brightly goes out in a blaze of brilliance' Sunday Times'A haunting valedictory alive with characteristic preoccupations: small-town life; "domestic duplicity"; travel; aging rituals; and the transience of existence. This is a collection filled with nuanced observations, descriptive flair and sentences that stop you in your tracks' Metro

John Updike was always as much a poet as a storyteller and the poems in this, his final collection, celebrate the everyday, even as they address his own imminent mortality. It is in the connected series of poems, Endpoint, written on his last few birthdays and culminating with the illness that killed him, that Updike's work is at its most touching and poignant.

A sensational collection of stories of the American experience from the Depression to the aftermath of 9/11, by one of the most gifted American writers of the twentieth century and the author of the acclaimed Rabbit series. John Updike mingles narratives of Pennsylvania with stories of New England suburbia and of foreign travel: "Personal Archaeology" considers life as a sequence of half-buried layers, and "The Full Glass" distills a lifetime's happiness into one brimming moment of an old man's bedtime routine. High-school class reunions, in "The Walk with Elizanne" and "The Road Home," restore their hero to youth's commonwealth where, as the narrator of the title story confides, "the self I value is stored, however infrequently I check on its condition." Exotic locales encountered in the journeys of adulthood include Morocco, Florida, Spain, Italy, and India. The territory of childhood, with its fundamental, formative mysteries, is explored in "The Guardians," "The Laughter of the Gods," and "Kinderszenen." Love's fumblings among the bourgeoisie yield the tart comedy of "Free," "Delicate Wives," "The Apparition," and "Outage."

On September 28, 1960—a day that will live forever in the hearts of fans—Red Sox slugger Ted Williams stepped up to the plate for his last at-bat in Fenway Park. Seizing the occasion, he belted a solo home run—a storybook ending to a storied career. In the stands that afternoon was twenty-eight-year-old John Updike, inspired by the moment to make his lone venture into the field of sports reporting. More than just a matchless account of that fabled final game, Hub Fans Bid Kid Adieu is a brilliant evocation of Williams’ entire tumultuous life in baseball. Now, on the fiftieth anniversary of the dramatic exit of baseball’s greatest hitter, The Library of America presents a commemorative edition of Hub Fans, prepared by the author just months before his death. To the classic final version of the essay, long out-of-print, Updike added an autobiographical preface and a substantial new afterword.

Eighteen classic short stories that form a luminous chronicle of the life and times of one marriage in all its rich emotional complexity--from one of the most gifted American writers of the twentieth century and the author of the acclaimed Rabbit series. In 1956, Updike published a story, "Snowing in Greenwich Village," about a young couple, Joan and Richard Maple, at the beginning of their marriage. Over the next two decades, he returned to these characters again and again, tracing their years together raising children, finding moments of intermittent happiness, and facing the heartbreak of infidelity and estrangement. Seventeen Maples stories were collected in 1979 in a paperback edition titled Too Far to Go, prompted by a television adaptation. Now those stories appear in hardcover for the first time, with the addition of a later story, "Grandparenting," which returns us to the Maples's lives long after their wrenching divorce.

When the three witches - now old, remarried and widowed - decide to go back to Eastwick to spend a summer together, many things have changed. Darryl Van Horne is gone. Their husbands and lovers have gone. The lithe and supple bodies with which they wrecked marriages and wreaked havoc many years before have gone - and have been replaced with the quiet aches and encumbrances of age. But a chemistry still crackles between the three and magic still lingers in the Eastwick air, and soon it becomes clear that there are those around them who remember them, and wish them ill. The Widows of Eastwick takes the mischief and enchantment of The Witches of Eastwick and reshapes it in a new emotional landscape, resulting in a sensitive study of the passing of youth and a darkly funny novel that shines with luminous sexual reminiscences and satirical observations about modern America.

In 1956 John Updike wrote a short story about newly-weds Joan and Richard Maple. Over the next two decades he returned to this couple again and again, tracking their years together as they raise children and deal with the heartbreak of infidelity and estrangement. Gathered here for the first time in hardcover - and with the addition of a later story, 'Grandparenting', that shows us the Maples after their divorce - THE MAPLES STORIES offers a nuanced portrait of two deeply flawed but moving characters and their entwined lives.'Though the Maples stories trace the decline and fall of a marriage, they also illumine a history in many ways happy, of growing children and a million mundane moments shared. That a marriage ends is less than ideal; but all things end under heaven, and if temporality is held to be invalidating, then nothing really succeeds. The moral of these stories is that all blessings are mixed.'- From the Foreword by John Updike

A master of American letters and the author of the acclaimed Rabbit series returns with a sequel to The Witches of Eastwick about the three much-loved divorc es--three decades later. More than three decades have passed since the events described in John Updike's The Witches of Eastwick. The three divorc es--Alexandra, Jane, and Sukie--have left town, remarried, and become widows. They cope with their grief and solitude as widows do: they travel the world, to such foreign lands as Canada, Egypt, and China, and renew old acquaintance. Why not, Sukie and Jane ask Alexandra, go back to Eastwick for the summer? The old Rhode Island seaside town, where they indulged in wicked mischief under the influence of the diabolical Darryl Van Horne, is still magical for them. Now Darryl is gone, and their lovers of the time have aged or died, but enchantment remains in the familiar streets and scenery of the village, where they enjoyed their lusty primes as free and empowered women. And, among the local citizenry, there are still those who remember them, and wish them ill. How they cope with the lingering traces of their evil deeds, the shocks of a mysterious counterspell, and the advancing inroads of old age, form the burden on Updike's delightful, ominous sequel.

? Ein boshaftes und dennoch liebevolles Porträt einer trügerischen Kleinstadtidylle.? (Der Spiegel)
 
 In dem kleinen Ort Eastwick in Rhode Island leben drei Frauen, die unterschiedlicher nicht sein könnten. Doch zwei Dinge haben sie gemeinsam: Sie sind geschieden. Und sie können hexen. Zunächst setzen die Drei ihre magischen Kräfte nur für kleinere, charmante Zaubereien ein. Bis eines Tages ein reicher Kunstsammler aus New York in dem langweiligen Nest auftaucht ? und der Hexensabbat beginnt ... 
 
 ? Ich zähle John Updike zu den bedeutendsten Erzählern unserer Tage.? (Marcel Reich-Ranicki)