Thomas Wolfe – författare

The first novel by the great American novelist, now the subject of a major new film, Genius, starring Jude Law, Colin Firth, Dominic West and Nicole Kidman.Eugene Gant, born in 1900 to hard-drinking stone-cutter Oliver and entrepreneurial Eliza, grows up in small-town America. Both lonely outsider and passionate chronicler of American life, Eugene experiences upheaval and family tragedy before coming to realise that he must leave his home behind if he is to forge his own path in the world. This is the dazzlingly rich first novel from one of the most brilliant and mercurial voices of early twentieth-century, who was a major influence on writers including Hunter S. Thompson, Ray Bradbury, Philip Roth and the Beats.This new edition includes an introduction by Elizabeth Kostova, author of The Historian. Wolfe's second novel, Of Time and the River, continuing the story of Eugene Gant, is also now available in Penguin Classics.

The second novel by the great American novelist, now the subject of a major new film, Genius, starring Jude Law, Colin Firth, Dominic West and Nicole Kidman.It is 1920 and Eugene Gant leaves the American South for Harvard, New York and Europe, determined to make his way as a writer. On the boat home, he meets Esther Jack, the woman who is to dominate his life. Autobiographical, vital and passionate, Wolfe's second novel blazes with energy and life.Wolfe's first novel, Look Homeward, Angel, is also now available in Penguin Classics. Together, the two novels tell the story of Eugene Gant, Wolfe's fictional alter-ego, as he grows up in a dysfunctional family in the American South and discovers his true vocation as a writer.This new edition includes an introduction by Elizabeth Kostova, author of The Historian.

One of the most enduring characters in Thomas Wolfe's fiction is Francis Starwick, the Midwestern aesthete who befriends Eugene Grant at Harvard in Wolfe's second autobiographical novel, Of Time and the River. Wolfe created Starwick in order to provide a foil for the artistic development of Eugene: Starwick was the pretentious, narrow-minded dilettante whose response to the arts is all talk and pose, as compared with Eugene, who hopes to express in writing his intensity of feeling about all aspects of life.While writing the novel, however, Wolfe found his manuscript proliferating beyond his control, and he turned to his editor at Scribner's Maxwell Perkins, for help in shaping the final version of the book. In the process of organizing the massive manuscript for publication, Perkins deleted some of the analyses of Starwick's behavior and several of the episodes involving Eugene and Starwick. The result was that the relationship between the two young men was not as fully developed as Wolfe had originally planned.Richard S. Kennedy discovered these excised passages among the Wolfe papers at Harvard University's Houghton Library. In The Starwick Episodes has arranged them sequentially and indicated their position in the original manuscript. In one of them Starwick introduces Eugene to Joyce's Ulysses, and in another he takes him to view the paintings in Boston' Museum of Fine Arts. Additional scenes find the two exploring the lower depths of Paris until at length their true sexual natures are revealed in a visit to a Parisian brothel.Kennedy's research also uncovered the story of the life of Kenneth Raisbeck, the young man whom Wolfe used as the starting point for his fictional creation of Starwick. In his Introduction, Kennedy describes Raisbeck's career, both its brilliant promise and its tragic end, and his similarity to the character in the novel.The presence of Starwick in Of Time and the River is unforgettable despite the omission of some important scenes that Wolfe wrote for him. With the publication now of the deleted episodes, readers may gain an enriched sense of Wolfe's fascinating creation and a fuller understanding of what he was trying to convey.

In 1920 Thomas Wolfe left the South with the strong desire to become a dramatist. To pursue his chosen craft, he enrolled in the Harvard 47 Workshop, at that time the most renowned in the nation. At first he wrote plays about Appalachian society and the Civil War. But it was not until Wolfe turned to the modern South, inspired by a disturbing return to his hometown of Asheville, North Carolina, that his genius awoke. There he found the material he would work into the best of his three full-length plays written at Harvard, the material that in the next decade would be recast into the novels that would make him famous. This is the first book publication of Welcome to Our City, Thomas Wolfe's play in ten scenes of a modern South ruled by liars and real estate agents, overrun with boosterism, and dedicated to greed. This sprawling, fiery work has lain dormant among Wolfe's papers for over fifty years, abandoned by its author after an unsuccessful attempt to revise and shorten it for a New York Theatre Guild production. For this edition, Richard S. Kennedy has reassembled a full performance text of the workshop version presented at Harvard in 1923, a production that involved forty-five cast members, including over thirty speaking parts, required seven stage changes, and lasted over three and a half hours in performance.The action of Welcome to Our City centers on a scheme of the town fathers and real estate promoters of Altamont, a small southern city, to snatch up all the property in a centrally located black district, evict the tenants, tear down their houses and shops, and build a new white residential section in its place. When the blacks, under the angry leadership of a strong-willed doctor, resist eviction, a race riot breaks out, shattering both the precarious social balance of the city and the ""progressive"" dreams of Altamont's boosters. Building on this plot, Wolfe guides his audience through the back rooms, stately homes, ans shanty towns of Altamont, contrasting tradition-bound southern characters with a new breed of life drawn from the vast menagerie of 1920s Main Street America: fact-spouting yes-men, hypocritical religious leaders, anti-intellectual professors, provincial country club matrons, and politicians inauthentic from their heads to their feet.Welcome to Our City is not merely an exhibit in the artistic development of a future novelist. Wolfe used the dramatic form inventively and with considerable inspiration to expose the culture of greed that he saw spreading around him and to caricature the men who, he feared, would usher in an age of mediocrity across America. Emotionally gripping and mockingly satiric, Welcome to Our City captures the festering social climate of the 1920s in a vision of life that is uncomfortably relevant to our own times.

The third and last book culled from the mountain of manuscript Thomas Wolfe left behind, The Hills Beyond ""contains some of his best, and certainly his most mature, work"" - New York Times Book Review. The unfinished novel from which this collection of sketches, stories, and novellas takes its title was Wolfe's final effort. It tells the story of the Joyner family, George Webber's maternal ancestors, in pre-Civil War North Carolina and illustrates Wolfe's fine sense of family traits rooted in a traceable past. ""Chickamauga"" is the superb Civil War tale that Wolfe received from his great-uncle; ""The Lost Boy"" renders a second, more tender, treatment of the death of young Grover Gant; and ""The Return of the Prodigal"" describes Eugene Gant's imagined and then actual revisit to Altamont when he is a famous author. Together the eleven pieces of The Hills Beyond confirm the passion, energy, and sensitivity that made Wolfe the most promising American writer of his generation.

For the last eight years of his life, Thomas Wolfe worked periodically on a series of chapters that were part of a huge work-in-progress. The work was based loosely on the early life of New York stage and costume designer Aline Bernstein, with whom Wolfe was engaged in a tempestuous love affair for eleven years. In her introduction, Suzanne Stutman points out that publication of this novel should finally lay to rest the myth that Wolfe could write only about himself. Although some sections of this work were heavily edited and published after Wolfe's death, The Good Child's River , as Wolfe wrote it, was not published until 1991 and is now available in paperback for the first time.

Thomas Wolfe's The Lost Boy is a captivating and poignant retelling of an episode from Wolfe's childhood. The story of Wolfe's brother Grover and his trip to the 1904 St. Louis World's Fair is told from four perspectives, each articulating the sentiments of a different family member. The Lost Boy also captures beautifully the experiences of growing up at the turn of the century and the exhilaration and loss of childhood. For this illustrated edition, James Clark unearthed Wolfe's original manuscript, which was first published in the 1930s in a heavily abridged form.

In the summer of 1937, Thomas Wolfe was in the North Carolina mountains revising a piece about a party and subsequent fire at the Park Avenue penthouse apartment of the fictional Esther and Frederick Jack. He wrote to his agent, Elizabeth Nowell, 'I think it is now a single thing, as much a single thing as anything I've ever written.' Abridged and edited versions of the story were published twice, as a novella in Scribner's Monthly (May 1939) and as part of You Can't Go Home Again (1940). Now Suzanne Stutman and John Idol have worked from manuscript sources at Harvard University to reconstruct The Party at Jack's as outlined by Wolfe before his death. Here, in its untruncated state, Wolfe's novella affords a significant glimpse of a Depression-era New York inhabited by Wall Street wheelers and dealers and the theatrical and artistic elite. Wolfe describes the Jacks and their social circle with lavish attention to mannerisms and to clothing, furnishings, and other trappings of wealth and privilege. The sharply drawn contrast between the decadence of the party-goers and the struggles of the working classes in the streets below reveals Wolfe's gifts as both a writer and a sharp social critic.

Letters--mostly of the nuts-and-bolts, practical variety--between Thomas Wolfe and his literary agent, Elizabeth Nowell. Nowell served as Wolfe's editor for many of his short stories, paring them down to make them acceptable to magazines. Oddly enough, his attitude toward her was grateful rather than adversarial, and their deep mutual respect is clearly evident in these letters.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

This is a collection of Wolfe's earliest publications from his college years.The ""Magical Campus"" collects for the first time Thomas Wolfe's earliest published works - including poems, plays, short fiction, news articles, speeches, and essays - both signed and unsigned, assembled in chronological order. The collegiate career of Wolfe began at UNC Chapel Hill in 1916, at the age of fifteen, with a freshman year marked by obscurity and loneliness. By his junior year, he had emerged as a recognized and popular figure in campus life, a central participant in numerous organizations and fraternities, and the editor of several student publications. Wolfe began in these apprenticeship years his ascendancy to iconic literary status.Included in ""The Magical Campus"" is Wolfe's first published work, the poem ""A Field in Flanders"" from the November 1917 issue of the University of North Carolina Magazine. Here too is the poem ""The Challenge,"" Wolfe's first piece to be subsequently reprinted off campus in his hometown newspaper. ""A Cullenden of Virginia"" marked his inaugural foray into the realm of published fiction and his folk plays, such as ""The Return of Buck Gavin"" and ""Deferred Payment,"" are illustrative of his unrealized ambitions to be a playwright. Though they lack the sophistication and scale of the grand fictions that now define Wolfe's place in literature, his student publications speak to the potential he had tapped into.