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The series anthologizes the most important criticism on a wide variety of topics and writers in American literature. This comprehensive collection of essays on modern writer O'Hara (1905-1970) contains both early reviews and more modern scholarship. Among the authors of reprinted articles and reviews are R.P. Blackmur, Dorothy Canfield Fisher, Malcolm Cowley, Mark Schorer, Leslie Fiedler, and John Cheever. In addition to a substantial introduction, there are also two original essays commissioned specifically for publication in this volume. Distributed by Macmillan. Annotation copyright by Book News, Inc., Portland, OR
Collected for the first time, the New York stories of John O'Hara, "among the greatest short story writers in English, or in any other language" (Brendan Gill, Here at The New Yorker) Collected for the first time, here are the New York stories of one of the twentieth century’s definitive chroniclers of the city—the speakeasies and highballs, social climbers and cinema stars, mistresses and powerbrokers, unsparingly observed by a popular American master of realism. Spanning his four-decade career, these more than thirty refreshingly frank, sparely written stories are among John O’Hara’s finest work, exploring the materialist aspirations and sexual exploits of flawed, prodigally human characters and showcasing the snappy dialogue, telling details and ironic narrative twists that made him the most-published short story writer in the history of the New Yorker. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
"John O'Hara's fiction," wrote Lionel Trilling, "is preeminent for its social verisimilitude." Made famous by his bestselling novels, including BUtterfield 8 and Appointment in Samarra, O'Hara (1905-1970) also wrote some of the finest short fiction of the twentieth century. First published by the Modern Library in 1956, Selected Short Stories of John O'Hara displays the author's skills as a keen social observer, a refreshingly frank storyteller, and a writer with a brilliant ear for dialogue. "The stories in this volume," writes Louis Begley in his new Introduction, "show the wide range of [O'Hara's] interests and an ability to treat with a virtuoso's ease characters and situations from any place on America's geographic and social spectrum."
Providing a synthesis of New York's artistic and literary worlds, this book uses social and philosophical problems involved in reading a coterie to propose a language for understanding the poet, art critic, and Museum of Modern Art curator, Frank O'Hara.
Writing with equal insight about New York City, Hollywood, and the small-town Pennsylvania world where he grew up, John O’Hara cultivated an unsentimental and often unsparing realism, aiming, he said, “to record the way people talked and thought and felt . . . with complete honesty.” Praised by contemporaries including Ernest Hemingway and Dorothy Parker, he wrote about sex, drinking, and social class with a frankness ahead of its time. The fiction he published in The New Yorker (more than any other writer to this day) came to epitomize the kind of short story featured in that magazine, and his impeccable ear and skillful dialogue have influenced later writers such as Raymond Carver. Bringing together sixty stories written over four decades—the largest, most comprehensive collection of O’Hara’s stories ever published—former New York Times Book Review editor Charles McGrath presents a fresh and arresting new perspective on one of American literature’s master storytellers. 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.
'O'Hara is the only American writer to whom America presents itself as a social scene in the way it once presented itself to Henry James, or France to Proust' The New York Times When the beautiful, imperious and moneyed Grace Caldwell Tate wants something she goes after it, men included. Her affair scandalises Pennsylvania's elite and she must face the costs to her marriage and the man she really loves. A bestseller on publication in 1949, A Rage to Live is a candid tale of idealists and libertines, tradesmen and crusaders, men of violence and goodwill, and women of fierce strength and tenderness.
Celebrate the 50th Anniversary of Frank O'Hara's Lunch Poems Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry. Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including "The Day Lady Died," "Ave Maria" and "Poem" Lana Turner has collapsed ]. This new limited 50th anniversary edition contains a preface by John Ashbery and an editor's note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch. "Frank O'Hara's Lunch Poems, the little black dress of American poetry books, redolent of cocktails and cigarettes and theater tickets and phonograph records, turns 50 this year. It seems barely to have aged . . . This is a book worth imbibing again, especially if you live in Manhattan, but really if you're awake and curious anywhere. O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age."--Dwight Garner, The New York Times "City Lights' new reissue of the slim volume includes a clutch of correspondence between O'Hara and Lawrence Ferlinghetti . . . in which the two poets hash out the details of the book's publication: which poems to consider, their order, the dedication, and even the title. 'Do you still like the title Lunch Poems?' O'Hara asks Ferlinghetti. 'I wonder if it doesn't sound too much like an echo of Reality Sandwiches or Meat Science Essays.' 'What the hell, ' Ferlinghetti replies, 'so we'll have to change the name of City Lights to Lunch Counter Press.'"--Nicole Rudick, The Paris Review "Frank O'Hara's famed collection was first published in 1964, and, to mark the fiftieth anniversary, City Lights is printing a special edition."--The New Yorker "The volume has never gone out of print, in part because O'Hara expresses himself in the same way modern Americans do: Like many of us, he tries to overcome the absurdity and loneliness of modern life by addressing an audience of anonymous others."--Micah Mattix, The Atlantic "I hope that everyone will delight in the new edition of Frank's Lunch Poems. The correspondence between Lawrence and Frank is great. Frank was just 33 when he wrote to Lawrence in 1959 and 38 when LUNCH POEMS was published The fact that City Lights kept Frank's LUNCH POEMS in print all these years has been extraordinary, wonderful and a constant comfort. Hurray for independent publishers and independent bookstores. Many thanks always to Lawrence Ferlinghetti and everyone at City Lights."--Maureen O'Hara, sister of Frank O'Hara "Frank O'Hara's Lunch Poems--which has just been reissued in a 50th anniversary hardcover edition--recalls a world of pop art, political and cultural upheaval and (in its own way) a surprising innocence."--David Ulin, Los Angeles Times