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WHY did my brilliant father, Ross Lockridge, Jr., execute himself at 33, March 6, 1948, while his first novel, RAINTREE COUNTY, was the Number-One Bestseller in America? Critics were hailing it as the sole recent contender for the ultimate American title, "The Great American Novel." Even as my father was murdering himself, he was experiencing critical and financial success beyond the greatest of great expectations. He died with full knowledge that his life, viewed from the street, had exceeded all but the most extravagant of human dreams. My book holds the SKELETON KEY that unlocks the Riddle of Raintree County. I offer this painful story less from choice than from an obligation to history and to truth, in order that the truth will not die with me. Squeamishness and mendacity, blood brothers, go hand in hand. Miss Manners plays no part this tragedy. Truth is not subject to etiquette or taste, and it is precisely because the truth about my father's brief, terrible life and his forlorn death is unspeakable that the truth demands to be told.
In 1948, Ross Lockridge's novel Raintree County was a number one bestseller and acclaimed literary work. Yet, at the height of his fame at age 33, Lockridge killed himself. In a brilliant biography, his son Larry seeks understanding. Simultaneous release with the re-publication by Penguin of the long unavailable Raintree County. Photos.
Ross Lockridge, Jr.'s novel, Raintree County, was the publishing event of 1948. Excerpted in Life magazine, the novel was the Book-of-the-Month Club Main Selection, winner of the enormous MGM Novel Award, and first on the nation's bestseller lists. Many years later, Larry Swindell, the syndicated critic, would write that "no myth is more imposing than the Great American Novel; but if it is truly unattainable, I believe that Ross Lockridge made closer approach than any other writer has, before or since". It was Lockridge's first novel and his last. Two months after its publication, the thirty-three-year-old author from Indiana took his own life, leaving a wife and four children. His son Larry...
This true story of literary stardom and sudden tragedy is “a riveting book, shattering and shot through with the powerful poignancy of a life undone” (Detroit News). Raintree County, the first novel by Ross Lockridge, Jr., was the publishing event of 1948. Excerpted in Life magazine, it was a Book-of-the-Month Club Main Selection, won MGM’s Novel Award and a movie deal, and stood at the top of the nation’s bestseller lists. Unfortunately, Lockridge’s first novel was also his last. Two months after its publication the thirty-three-year-old author from Bloomington, Indiana, took his own life. His son Larry was five years old at the time. Shade of the Raintree is Larry’s search for ...
This true story of literary stardom and sudden tragedy is “a riveting book, shattering and shot through with the powerful poignancy of a life undone” (Detroit News). Raintree County, the first novel by Ross Lockridge, Jr., was the publishing event of 1948. Excerpted in Life magazine, it was a Book-of-the-Month Club Main Selection, won MGM’s Novel Award and a movie deal, and stood at the top of the nation’s bestseller lists. Unfortunately, Lockridge’s first novel was also his last. Two months after its publication the thirty-three-year-old author from Bloomington, Indiana, took his own life. His son Larry was five years old at the time. Shade of the Raintree is Larry’s search for ...
The idea of "the great American novel" continues to thrive almost as vigorously as in its nineteenth-century heyday, defying 150 years of attempts to dismiss it as amateurish or obsolete. In this landmark book, the first in many years to take in the whole sweep of national fiction, Lawrence Buell reanimates this supposedly antiquated idea, demonstrating that its history is a key to the dynamics of national literature and national identity itself. The dream of the G.A.N., as Henry James nicknamed it, crystallized soon after the Civil War. In fresh, in-depth readings of selected contenders from the 1850s onward in conversation with hundreds of other novels, Buell delineates four "scripts" for ...
The Cardiff Giant, set in Cooperstown, New York, has up its novelistic sleeve Puck's profound declaration, "Lord, what fools these mortals be!" Jess Freeman, investigative reporter, arrives on the scene to look into the weird disappearance from the Farmers' Museum of a huge human figure. He had been unearthed in the late nineteenth century near Cardiff, New York. Jess confronts locals and outsiders who all have a theory, including that the giant has been reanimated and is lurching throughout the community. They are enmeshed in self-punishing belief systems such as alien abduction, astrology, kabbalistic numerology, New Age rebirthing, and religious dogmas reduced to literal absurdities. The fast-paced action centers around episodes where they pay a sorry price for their beliefs. But skeptics don't fare much better, susceptible as they are to mental disorders that show the faculty of reason is fragile indeed. These characters group and regroup, with romance always on their minds, and finally come to recognitions at once surprising and moving.
This omnibus collects Monte Schulz’s Jazz Age Trilogy of historical fiction novels, which follows various family members on the eve of the Great Depression to the circus, through bank robberies, underneath front porches and big city skyscrapers, and much more. Crossing Eden is the story of an American family in the summer of 1929, when a failed businessman divides himself from his wife and children, and a troubled farm boy runs away from home in the company of a gangster. It’s also the tale of a nation in the last months of the Roaring Twenties, a glittering decade of exuberance and doubt, optimism and fear. Set equally among the states along the Middle Border, in a small East Texas town, and in a great gleaming metropolis, Crossing Eden chronicles the Pendergast family of Farrington, Illinois, cast apart by circumstance into the early 20th century landscape of big business, tent shows, speakeasies, séances, bank robberies, lynchings, murder, romance, circuses, and skyscrapers. It’s a grand tapestry of the American experience in an age of transition from rural to urban, with our nation perched on the precipice of the Great Depression.
Laurel Richardson and Ernest Lockridge-accomplished sociologist and published novelist-explore the fascinating interplay between literary and ethnographic writing. The exciting result is an intriguing experimental text that simultaneously delves into, reveals, simplifies, and complicates methodologies of writing and conveying experience. This boundary-crossing text will provide an ideal platform for students and professors interested in understanding and exploring the absorbing complexities and possibilities of ethnographic writing and creative nonfiction.