William H. Gass

Throughout his career, William Gass relentlessly pushed at the boundaries of language, celebrating the music of the sentence and the aesthetics of the written word. Now, the best and most important of his work is collected in one volume. There are essays on Plato, Hobbes, James, Joyce, Beckett, Stein, Gaddis, Sterne, Ford Madox Ford, Thomas Mann. There are pieces that examine the inner workings of writing. There is his masterful short fiction, from the perfectly crafted novella "In Camera" to the mythical "In the Heart of the Heart of the Country." And there are excerpts from his novels, including his magnum opus, The Tunnel. Taken together, this collection is a peerless, essential celebration of literature--and an invaluable guide for anyone who wants to understand how great writing works.

In a series of brilliant variations, William Gass presents a man's life--futile, comic, anarchic--arranged in an array of vocabularies, altered rhythms, forms, and tones, with music as both theme and structure. It begins in Graz, Austria, in 1938, when Joseph Skizzen's father pretends to be Jewish and emigrates to avoid the Nazis. In London with his wife and children for the duration of the war, he mysteriously disappears and the rest of the family relocates to a small town in Ohio. Here Joseph Skizzen grows up and leads a resolutely ordinary life, but one that is built on a scaffold of forgery and deceit. Outwardly he is a professor of music at a mediocre college; secretly he is the earnestly obsessive curator of a private Inhumanity Museum, meant to contain the guilt of centuries of atrocities. Middle C tells the story of his journey--a story that is also an investigation into the nature of identity and the ways in which each of us is several selves.

This volume provides a descriptive and informative guide to more than 100 sites of literary significance in the greater St Louis area, featuring historical and biographical information, maps, anecdotes, and photographs.

The point where an underground spring suddenly bursts to the surface is known as an eye. It is a place of mystery, where dry ground becomes soaked with life-giving water, and nature gives us a glimpse of all that happens out of the realm of human vision. So begins William Gass's latest collection, with these evocative lines from Jan DeBlieu. What follows are six extraordinary works of fiction: stories and novellas that capture these moments of mystery and explore the hidden philosophical depths of everyday life as only Gass can. "Charity" examines the roles of asking, giving, and receiving through the prism of a young lawyer who offers a simple gift. "In Camera" takes us into a photography shop owner's incomparable collection of images. "Don't Even Try, Sam" gives us the voice of the prop piano from Casablanca, and "Soliloquy for a Chair" is narrated by a folding chair in a barbershop that is ultimately fated for destruction. Incisive, darkly funny, formally innovative and linguistically stunning, Eyes is a tour de force of modern fiction.

First published in 1968, In the Heart of the Heart of the Country established William Gass as one of America's finest and boldest writers of fiction, and nearly fifty years later, the book still stands as a landmark of contemporary fiction. The two novellas and three short stories it contains are all set in the Midwest, and together they offer a mythical reimagining of America's heartland, with its punishing extremes of heat and cold, its endless spaces and claustrophobic households, its hidden and baffled desires, its lurking threat of violence. Exploring and expanding the limits of the short story, Gass works magic with words, words that are as squirming, regal, and unexpected as the roaches, boys, icicles, neighbors, and neuroses that fill these pages, words that shock, dazzle, illumine, and delight.

On Being Blue is a book about everything blue--sex and sleaze and sadness, among other things--and about everything else. It brings us the world in a word as only William H. Gass, among contemporary American writers, can do. Gass writes: Of the colors, blue and green have the greatest emotional range. Sad reds and melancholy yellows are difficult to turn up. Among the ancient elements, blue occurs everywhere: in ice and water, in the flame as purely as in the flower, overhead and inside caves, covering fruit and oozing out of clay. Although green enlivens the earth and mixes in the ocean, and we find it, copperish, in fire; green air, green skies, are rare. Gray and brown are widely distributed, but there are no joyful swatches of either, or any of exuberant black, sullen pink, or acquiescent orange. Blue is therefore most suitable as the color of interior life. Whether slick light sharp high bright thin quick sour new and cool or low deep sweet dark soft slow smooth heavy old and warm: blue moves easily among them all, and all profoundly qualify our states of feeling.

William Gass writes about literary language, about history, about the avant-garde, about minimalism's brief vogue, about the use of the present tense in fiction (Is it due to the lack of both a sense of history and a belief in the future?), about biography as a form, about exile - spiritual and geographical - and he examines the relationship of the writer's life to the writer's work. With dazzling intelligence and wit, Gass sifts through cultural issues of our time and contemplates how written language, whether a sentence or an entire book, is a container of consciousness, the gateway to another's mind that we enter for a while and make our own.

"The most important work of fiction by an American in this literary generation." -The New RepublicNow celebrating the 50th anniversary of its publication, Omensetter's Luck is the masterful first novel by the author of The Tunnel, Middle C, On Being Blue, and Eyes: Novellas and Stories.Greeted as a masterpiece when it was first published in 1966, Omensetter's Luck is the quirky, impressionistic, and breathtakingly original story of an ordinary community galvanized by the presence of an extraordinary man. Set in a small Ohio town in the 1890s, it chronicles - through the voices of various participants and observers - the confrontation between Brackett Omensetter, a man of preternatural goodness, and the Reverend Jethro Furber, a preacher crazed with a propensity for violent thoughts. Omensetter's Luck meticulously brings to life a specific time and place as it illuminates timeless questions about life, love, good, and evil. This edition includes an afterword written by William Gass in 1997.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.

In this paean to the pleasures of language, Gass equates his text with the body of Babs Masters, the lonesome wife of the title, to advance the conceit that a parallel should exist between a woman and her lover and a book and its reader. Disappointed by her inattentive husband/reader, Babs engages in an exuberant display of the physical charms of language to entice an illicit new lover: a man named Gelvin in one sense, but more importantly, the reader of this “essay-novella” which, in the years since its first appearance in 1968 as a supplement to TriQuarterly, has attained the status of a postmodernist classic. Like Laurence Sterne and Lewis Carroll before him, Gass uses a variety of visual devices: photographs, comic-strip balloons, different typefaces, parallel story lines (sometimes three or four to the page), even coffee stains. As Larry McCaffery has pointed out, “the lonesome lady of the book’s title, who is gradually revealed to be lady language herself, creates an elaborate series of devices which she hopes will draw attention to her slighted charms [and] force the reader to confront what she literally is: a physically exciting literary text.”