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An authoritative collection of Thomas Paine’s essential writings on American politics and governance—including the landmark Revolutionary War pamphlet, Common Sense After a life of obscurity and failure in England, Thomas Paine came to America in 1774 at age 37. Within fourteen months he published Common Sense, the most influential pamphlet of the American Revolution, and began a career that would see him hailed and reviled in the American nation he helped create. Collected in this volume are Paine's most influential texts. In Common Sense, he sets forth an inspiring vision of an independent America as an asylum for freedom and an example of popular self-government in a world oppressed by despotism and hereditary privilege. The American Crisis, begun during “the times that try men’s souls” in 1776, is a masterpiece of popular pamphleteering in which Paine vividly reports current developments, taunts and ridicules British adversaries, and enjoins his readers to remember the immense stakes of their struggle. They are joined in this invaluable reader by a selection of Paine’s other American pamphlets and his letters to George Washington, Thomas Jefferson, and others.

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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.

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One of the most gifted American journalists of the twentieth century, A. J. Liebling learned his craft as a newspaper reporter before joining The New Yorker in 1935. This volume collects five books that demonstrate his extraordinary vitality and versatility as a writer.Named the best sports book of all time by Sports Illustrated in 2002, The Sweet Science (1956) offers a lively and idiosyncratic portrait of boxing in the early 1950s that encompasses boastful managers, veteran trainers, wily cornermen, and the fighters themselves: Joe Louis, Rocky Marciano, Sugar Ray Robinson, and Archie Moore, “a virtuoso of anachronistic perfection.” No one has captured the fierce artistry of the ring like Liebling. “A boxer,” he observed, “like a writer, must stand alone.” A classic of reporting, The Earl of Louisiana (1961) is a vivid account of Governor Earl Long’s bid for reelection after his release from a mental asylum in 1959—and an insightful look at Southern politics during the civil rights era.The Jollity Building (1962) collects hilarious stories about Manhattan cigar-store owners, night-club promoters, and the scheming “Telephone Booth Indians” of Broadway, as well as a profile of “The Honest Rainmaker,” the racing columnist and confidence man extraordinaire Colonel John R. Stingo. An unabashed celebration of the pleasures of unrestrained eating, Between Meals: An Appetite for Paris (1962) is a richly evocative memoir of Liebling’s lifelong love for Paris and French food and wine. The Press (1964) brings together the best of Liebling’s influential “Wayward Press” pieces, in which he perceptively examined the flaws of American journalism and presciently warned of the dangers of consolidated media ownership. “Freedom of the press,” he wrote, “is guaranteed only to those who own one.”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.

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When The Heart Is a Lonely Hunter was published in 1940, Carson McCullers was instantly recognized as one of the most promising writers of her generation. The novels that followed established her as a master of Southern Gothic. This Library of America volume collects McCullers’s complete novels for the first time in a single-volume edition that reveals the power and breadth of her haunting vision.“McCullers’s gift,” writes Joyce Carol Oates, “was to evoke, through an accumulation of images and musically repeated phrases, the singularity of experience, not to pass judgment on it.” McCullers effortlessly conveyed the raw anguish of her characters and the weird beauty of their perceptions. Set in small Georgia towns that are at once precisely observed and mythically resonant, McCullers’s novels explore the strange, sometimes grotesque inner lives of characters who are often marginal and misunderstood. Above all, McCullers possessed an unmatched ability to capture the bewilderment and fragile wonder of adolescence.In The Heart Is a Lonely Hunter (1940), one of the most extraordinary debuts in modern American literature, an enigmatic deaf-mute draws out the haunted confessions of an itinerant worker, a young girl, a doctor, and a widowed owner of a small-town café. The disfiguring violence of desire is explored with shocking intensity in two shorter works, Reflections in a Golden Eye (1941) and The Ballad of the Sad Café (1943).The Member of the Wedding (1946), thought by many to be McCullers’s masterpiece, hauntingly depicts a young girl’s fascination with her brother’s wedding. In 13-year-old Frankie Addams, confused, easily wounded, yet determined to survive, McCullers created her most indelible protagonist. Clock Without Hands (1960), her final novel, was completed against great odds in the midst of tremendous physical suffering. Set against the background of court-ordered school integration, it contains some of McCullers’s most forceful social criticism.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.

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The sermon is the first and most enduring genre of American literature. At the center of the Puritan experience, it continued in succeeding centuries to play a vital role—as public ritual, occasion for passion and reflection, and, not least, popular entertainment. The fifty-eight sermons collected in this volume display the form’s eloquence, intellectual rigor, and spiritual fervor. Ranging from the first New England settlements to mass-media evangelism and the civil rights movement in the 1960s, these texts reclaim a neglected American tradition.The Puritan sermons with which the volume opens are extraordinary in their richness of imagery, force of argument, and probing psychological insight. From John Winthrop’s visionary injunction that “wee must consider that wee shall be as a citty upon a Hill,” to Samuel Danforth’s admonition not to deviate from the divine “errand into the wilderness,” these seventeenth-century works first explored what it means to be an American.Jonathan Edwards’s remarkable “Sinners in the Hands of an Angry God,” which stirred its eighteenth-century audiences to frenzy, shows the intensity to which the sermon could rise, while Jonathan Mayhew’s “Discourse Concerning Unlimited Submission” heralds the political thinking that led to the American Revolution.The ferment of the nineteenth century—the Mexican War, the struggle against slavery, the Civil War—inevitably affected the sermon. Orthodoxies were challenged, and a new diversity emerged in the Unitarianism of William Ellery Channing, the Transcendentalism of Ralph Waldo Emerson, the new Church of Latter Day Saints, and the gathering strength of the African-American sermon tradition.The twentieth-century sermons collected here continue to wrestle with fundamental spiritual and civic concerns. They range from a homily on charity by the popular evangelist Billy Sunday to a discourse on interfaith cooperation by Abraham Joshua Heschel, and from Harry Emerson Fosdick’s controversial “Shall the Fundamentalists Win?” to John Gresham Machen’s uncompromising riposte. The achievement of the African-American sermon attains a new breadth of influence in the inspiring oratory of Martin Luther King Jr.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.

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In the years between the beginning of the twentieth century and the end of World War II, American poetry was transformed, producing a body of work whose influence was felt throughout the world. Now for the first time the landmark two-volume Library of America anthology of twentieth-century poetry through the post-War years restores that era in all its astonishing beauty and explosive energy.This first volume of the set, organized chronologically by the poets’ birthdates, takes the reader from Henry Adams (1838–1918) to Dorothy Parker (1893–1967), and in the process reveals the unfolding of a true poetic renaissance. Included are generous selections from some of the century’s greatest poets: Edwin Arlington Robinson, Robert Frost, Wallace Stevens, William Carlos Williams, Marianne Moore, H.D., Ezra Pound, T. S. Eliot. Here they are seen as part of an age that proposed new and often contentious definitions of what American poetry could be and fresh perceptions of a society undergoing rapid and often tumultuous change.The multifarious aesthetic influences brought to bear—Chinese and Japanese poetry, the African-American sermon, the artistic revolutions of Cubism and Dada, the cadences of jazz, the brash urgencies of vernacular speech—resulted in a poetic culture of dynamic energy and startling contrasts.The poets of this era transformed not only style but traditional subject matter: there are poems here on a silent movie actress, a lynching, the tenements of New York, the trench warfare of World War I, the Russian Revolution, and the landscape of Mars. Here too are folk ballads on events like the assassination of McKinley and the sinking of the Titanic; popular and humorous verse by Don Marquis and Franklin P. Adams; the famous “Spectra” hoax; song lyrics by Ma Rainey, Joe Hill, and Irving Berlin; and poems by writers as unexpected as Djuna Barnes, Sherwood Anderson, John Reed, and H. P. Lovecraft. Included are some of the century’s most important poems, presented in full: Pound’s Hugh Selwyn Mauberley, Eliot’s The Waste Land, Steven’s Notes Toward a Supreme Fiction.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.

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John Steinbeck was never content to repeat himself, and his restless search for new forms and fresh subject matter is fully evident in the books of his later years. This volume collects four novels that exhibit the full range of his gift, along with a travel book that has become one of his most enduringly popular works.In The Wayward Bus (1947), Steinbeck leads a group of ill-matched passengers representing a spectrum of social types and classes, stranded by a washed-out bridge, on a circuitous journey that exposes cruelties, self-deceptions, and unsuspected moral strengths. The tone ranges from boisterous comedy to trenchant satirical observation of postwar America. Burning Bright (1950), an allegory set against shifting backgrounds (circus, sea, farm) and revolving around the fear of sterility and the desire for self-perpetuation, marks Steinbeck’s involvement with the drama in its fusion of the forms of novel and play.Sweet Thursday (1954) marks Steinbeck’s return, in a mood of sometimes frothy comedy, to the characters and milieu of his earlier Cannery Row. A love story set against the background of the local brothel, the Bear Flag, Sweet Thursday is for all its intimations of melancholy one of the most lighthearted of Steinbeck’s books. It was subsequently adapted by Rodgers and Hammerstein into their musical Pipe Dream. Steinbeck’s final novel, The Winter of Our Discontent (1961) is set in an old Long Island whaling town modeled on Sag Harbor, where he had been spending time since 1953. The book breaks new ground in its depiction of the crass commercialism of contemporary America, and its impact on a protagonist with traditionalist values who is appalled but finally tempted by the encroaching sleaziness.Travels with Charley in Search of America (1962) was Steinbeck’s last published book. A record of his experiences and observations as he drove around America in a pickup truck, accompanied by his standard poodle Charley, it is filled with engaging, often humorous description and comes to a powerful climax in an encounter with racist demonstrators in New Orleans.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.

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For the 250th anniversary of the start of the American Revolution, acclaimed historian Gordon S. Wood presents a landmark collection of British and American pamphlets from the political debate that divided an empire and created a nation: In 1764, in the wake of its triumph in the Seven Years War, Great Britain possessed the largest and most powerful empire the world had seen since the fall of Rome and its North American colonists were justly proud of their vital place within this global colossus. Just twelve short years later the empire was in tatters, and the thirteen colonies proclaimed themselves the free and independent United States of America. Now, for the 250th anniversary of the Stamp Act Crisis, the momentous upheaval that marked the beginning of the American Revolution, Pulitzer Prize–winning historian Gordon S. Wood presents a landmark two-volume edition of the political debate that led to the Declaration of Independence. This unprecedented collection gathers in two authoritative Library of America volumes the complete texts of thirty-nine of the most fascinating and influential British and American pamphlets of the period: inexpensive, widely circulated works that were the instant media of their day, ideal for the rapid exchange of ideas. In the first volume a controversy about the origin and function of colonies quickly becomes a deeper dispute over the nature of political liberty itself, in which Massachusetts lawyer James Otis boldly asserts the colonists’ natural rights; Benjamin Franklin gives dramatic testimony against the Stamp Act before the House of Commons; John Dickinson calls for collective action in the famous Letters from a Farmer in Pennsylvania; and the so-called “Boston Pamphlet,” written by Samuel Adams and others, turns the focus of debate to the question of sovereignty, setting the stage for the final crisis to come. In the second volume Thomas Jefferson advances a vision of a radically new kind of empire in the work that first made him famous; Joseph Galloway presents an ingenious but ill-fated plan for preserving union with Great Britain; Samuel Johnson gives vent to his deep animus for the Americans and their pretensions to liberty; Edmund Burke makes an eloquent case for reconciliation before it’s too late; and Thomas Paine, in the truly revolutionary Common Sense, proclaims that the “birthday of a new world is at hand.” Prepared by the nation’s leading historian of the American Revolution, each volume includes an introduction, headnotes, biographical notes about the writers, a chronology charting the rise and fall of the first British empire, a textual essay describing the production, reception, and influence of each work, and detailed explanatory notes. As a special feature, the set also features typographic reproductions of the pamphlets’ original title pages. 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.

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Go beyond Lin-Manuel Miranda’s Hamilton and get to know the real Alexander Hamilton in this Library of America collection of the Founding Father’s own public and private writings. A brash immigrant who rose to become George Washington’s right-hand man. A fierce partisan whose nationalist vision made him Thomas Jefferson’s bitter rival. An unfaithful husband whose commitment to personal honor brought his life to a tragic early end. The amazing success of Lin-Manuel Miranda’s musical Hamilton has stoked an extraordinary resurgence of interest in Alexander Hamilton, the brilliant and divisive founder who profoundly shaped the American republic. Now, Library of America presents an unrivaled portrait of Hamilton in his own words, charting his meteoric rise, his controversial tenure as treasury secretary, and his scandalous final years—all culminating in his infamous duel with Aaron Burr. Selected and introduced by acclaimed historian Joanne B. Freeman, The Essential Hamilton is a reader’s edition of the Founding Father's public writings and private letters, plus the correspondence between Burr and Hamilton that led to their duel and two conflicting eyewitness accounts of their fatal encounter.

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Discover the works of Joe Brainard, whose quirky style earned him a reputation as a “recognizable American phenomenon” and “oddball classicist”—with a foreword by 4321 author Paul Auster (John Ashbery) An artist associated with the New York School of poets, Joe Brainard (1942-1994) was a wonderful writer whose one-of-a-kind autobiographical work I Remember has had a wide and growing influence. It is joined in this major new retrospective with many other pieces that for the first time present the full range of Brainard's writing in all its deadpan wit, madcap inventiveness, self-revealing frankness, and generosity of spirit. The Collected Writings of Joe Brainard gathers intimate journals, jottings, stories, one-liners, comic strips, mini-essays, and short plays, many of them available until now only as expensive rarities, if at all. “Brainard disarms us with the seemingly tossed-off, spontaneous nature of his writing and his stubborn refusal to accede to the pieties of self-importance,” writes Paul Auster in the introduction to this collection. “These little works . . . are not really about anything so much as what it means to be young, that hopeful, anarchic time when all horizons are open to us and the future appears to be without limits.” Assembled by the author’s longtime friend and biographer Ron Padgett and including fourteen previously unpublished works, here is a fresh and affordable way to rediscover a unique American artist.

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Featuring hundreds of first-hand writings from the American Civil War, this final installment of the highly acclaimed four-volume series traces events from March 1864 to June 1865 After 150 years the Civil War still holds a central place in American history and self-understanding. It is our greatest national drama, at once heroic, tragic, and epic—our Iliad, but also our Bible, a story of sin and judgment, suffering and despair, death and resurrection in a “new birth of freedom.” The Civil War: The Final Year brings together letters, diary entries, speeches, articles, messages, and poems to provide an incomparable literary portrait of a nation at war with itself, while illuminating the military and political events that brought the Union to final victory and slavery and secession to their ultimate destruction. The final volume of this highly acclaimed four-volume series begins with the controversial Kilpatrick-Dahlgren raid on Richmond in March 1864 and ends with the proclamation of emancipation in Texas in June 1865. It collects 160 pieces by more than one hundred participants and observers, among them Abraham Lincoln, William T. Sherman, Ulysses S. Grant, Jefferson Davis, Robert E. Lee, Frederick Douglass, Harriet Ann Jacobs, Walt Whitman, Henry Adams, and Herman Melville, as well as Union officers Charles Harvey Brewster, James A. Connolly, and Stephen Minot Weld; Confederate diarists Catherine Edmondston, Kate Stone, and Judith W. McGuire; freed slaves Spottswood Rice, Garrison Frazier, and Frances Johnson; and Confederate soldiers J.F.J. Caldwell, Samuel T. Foster, and William Pegram. The selections include vivid and haunting firsthand accounts of battles and campaigns—the Wilderness, Spotsylvania, Cold Harbor, Atlanta, the Crater, Franklin, and Sherman’s march through Georgia and the Carolinas—as well as of the Fort Pillow massacre; the struggle to survive inside Andersonville prison; the burning of Columbia and Richmond; the passage of the Thirteenth Amendment; the surrender at Appomattox; and Lincoln’s assassination. The Civil War: The Final Year includes an introduction, headnotes, a chronology of events, biographical and explanatory endnotes, full-color endpaper maps, and an index.

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