Best Selling Books by John Updike

John Updike’s fifth collection of poetry faces nature on a number of levels. An opening section of sonnets touches upon death, aging, and, in a sequence of describing a week in Spain, insomnia and dread. The poems that follow consider nature in the form of seasons, of planting trees and being buried, of shadow and rain, of pain and accumulation, and of such human diversions as art and travel. The last poem here, and the longest in the book, undertakes a walking tour of each of Jupiter’s four major moons, a scientific excursion that leads into the extravagant precisions of the “Seven Odes to Seven Natural Processes,” a lyrical yet literal-minded celebration of some of the earthly forces that uphold and surround us. Finally, a dozen examples of light verse toy with such natural phenomena as presbyopia, the energy crunch, food, and sex. Like the best of the metaphysical poets, Mr. Updike embraces the world in all its forms and creates conceits out of the casual as well as the moments.

This second collection of John Updike''s poetry is equally divided between poems that, in their verbal jugglery and humorous bias, seem to qualify as “light” and poems that, one way or other, cross the problematic border into the general realm of poetry. The distinction cannot be clear-cut. The poet is consistently concerned with Man’s cosmic embarrassment, and the same vision illuminates the creatures of “The High Hearts” and “Seagulls.” Science and religion, so frequently and variously invoked, frame a single paradox, the paradox of the mundane; and each poem, whether inspired by an antic headline or a suburban landscape, rejoices in the elusive surface of created things. When The Carpentered Hen, John Updike’s first collection of verse, was published, Phyllis McGinley wrote: “I have been happily reading Mr. Updike in The New Yorker for some time and am happy, now, to own him collected. When he first appeared in that magazine, I was so elated to see a new name in light verse that I felt like crying with the Ancient Mariner ‘A Sail, A Sail!’ His is what poetry of this sort exactly out to be—playful but elegant, sharp-eyed, witty.” In the Saturday Review, David McCord wrote: “Furthermore, he is a graceful border-crosser (light verse to poem) as Auden has been; as Betjeman and McGinley frequently are.”

A stunning collection of poems that Updike wrote during the last seven years of his life and put together only weeks before he died for this, his final book. The opening sequence, "Endpoint, " is made up of a series of connected poems written on the occasions of his recent birthdays and culminates in his confrontation with his final illness ... For Updike, the writing of poetry was always a special joy, and this final collection is an eloquent and moving testament to the life of this extraordinary writer.--From publisher description.

Collects thirty-two interviews with the writer between 1959 and 1993.

PULITZER PRIZE WINNER • The middle-aged hero of Rabbit, Run, returns—from one of the most gifted American writers of the twentieth century. The hero of John Updike’s Rabbit, Run, ten years after the hectic events described in Rabbit Redux, has come to enjoy considerable prosperity as Chief Sales Representative of Springer Motors, a Toyota agency in Brewer, Pennsylvania. The time is 1979: Skylab is falling, gas lines are lengthening, the President collapses while running in a marathon, and double-digit inflation coincides with a deflation of national confidence. Nevertheless, Harry Angstrom feels in good shape, ready to enjoy life at last—until his son, Nelson, returns from the West, and the image of an old love pays a visit to his lot. New characters and old populate these scenes from Rabbit’s middle age, as he continues to pursue, in his erratic fashion, the rainbow of happiness.

John Updike’s memoirs consist of six Emersonian essays that together trace the inner shape of the life, up to the age of fifty-five, of a relatively fortunate American male. The author has attempted, his foreword states, “to treat this life, this massive datum which happens to be mine, as a specimen life, representative in its odd uniqueness of all the oddly unique lives in this world.” In the service of this metaphysical effort, he has been hair-raisingly honest, matchlessly precise, and self-effacingly humorous. He takes the reader beyond self-consciousness, and beyond self-importance, into sheer wonder at the miracle of existence.

"It is, quite simply, Updike''s best novel yet." NEWSWEEKA deftly satirical portrait of life and love in a suburban town as only Updike can paint it.From the Paperback edition.

A sensational collection of stories of the American experience from the Depression to the aftermath of 9/11, by one of the most gifted American writers of the twentieth century and the author of the acclaimed Rabbit series. John Updike mingles narratives of Pennsylvania with stories of New England suburbia and of foreign travel: “Personal Archaeology” considers life as a sequence of half-buried layers, and “The Full Glass” distills a lifetime’s happiness into one brimming moment of an old man’s bedtime routine. High-school class reunions, in “The Walk with Elizanne” and “The Road Home,” restore their hero to youth’s commonwealth where, as the narrator of the title story confides, “the self I value is stored, however infrequently I check on its condition.” Exotic locales encountered in the journeys of adulthood include Morocco, Florida, Spain, Italy, and India. The territory of childhood, with its fundamental, formative mysteries, is explored in “The Guardians,” “The Laughter of the Gods,” and “Kinderszenen.” Love’s fumblings among the bourgeoisie yield the tart comedy of “Free,” “Delicate Wives,” “The Apparition,” and “Outage.”

The Jewish American novelist Henry Bech—procrastinating, libidinous, and tart-tongued, his reputation growing while his powers decline—made his first appearance in 1965, in John Updike’s “The Bulgarian Poetess.” That story won the O. Henry First Prize, and it and the six Bech adventures that followed make up this collection. “Bech is the writer in me,” Updike once said, “creaking but lusty, battered but undiscourageable, fed on the blood of ink and the bread of white paper.” As he trots the globe, promotes himself, and lurches from one woman’s bed to another’s, Bech views life with a blend of wonder and cynicism that will make followers of the lit-biz smile with delight and wince in recognition.

In this midcareer collection of twenty-three short stories, John Updike tackles such problems as separation, divorce, and remarriage, parents and children, guns and prostitution, leprosy, swooning, suffocation, and guilt. His self-seeking heroes tend to be forty; his heroines are asleep, seductive, longing, or reproachful. None of these characters is innocent, and all are looking vainly for the road back to an imagined Paradise. Pain and comedy closely coexist in this mainly domestic world of the 1970s, where life is indistinguishable from a television commercial (but what is it advertising?) and every morning’s paper brings news of lost Atlantises.

The title of John Updike’s first short story collection, published when the author was twenty-seven, alludes to the old superstition that you should enter and leave a house by the same door. Thus John Nordholm, the alternately shy and brash hero of the first story here, is also the narrator of the last. Yet there is a sense in which all sixteen of these stories knock at the same door, a door that in “Dentistry and Doubt” swings open, and in “Toward Evening” remains shut. The characters are polite, nervous, diffident, as if life—or at least youth, for they are all young—were a discomfiting wait in the anteroom of the absolute. The majority of these stories depict encounters between strangers and their unexpected effects, which can be as concrete as a roomful of flowers or a bottle of wine, or as intangible as a miracle or a dream.

After traveling the world to exotic lands, Alexandra, Jane, and Sukie -- now widowed but still witches -- return to the Rhode Island seaside town of Eastwick, "the scene of their primes," site of their enchanted mischief more than three decades ago. Diabolical Darryl Van Horne is gone, and what was once a center of license and liberation is now a "haven of wholesomeness" populated by hockey moms and househusbands acting out against the old ways of their own absent, experimenting parents. With spirits still willing but flesh weaker, the three women must confront a powerful new counterspell of conformity. In this wicked and wonderful novel, John Updike is as his very best - a legendary mster of literary magic up to his old delightful tricks.

From one of the most gifted American writers of the twentieth century—and the author of the acclaimed Rabbit series—the first one-volume hardcover edition of the eleven autobiographical stories closest to his heart. With full-cloth binding and a silk ribbon marker. EVERYMAN''S POCKET CLASSICS. In an interview, Updike once said, "If I had to give anybody one book of me, it would be the Olinger Stories." These stories were originally published in The New Yorker and then in various collections before Vintage first put them together in one volume in 1964, as a paperback original. They follow the life of one character from the age of ten through manhood, in the small Pennsylvania town of Olinger (pronounced, according to Updike, with a long O and a hard G), which was loosely based on Updike''s own hometown. "All the stories draw from the same autobiographical well," Updike explained, "the only child, the small town, the grandparental home, the move in adolescence to a farm." The selection was made and arranged by Updike himself, and was prefaced by a lovely 1,400-word essay by the author that has never been reprinted in full elsewhere until now.

Eighteen-year-old Ahmad, the son of an Irish-American mother and long-gone Egyptian father, is contemptuous of the self-indulgent society surrounding him, and devoted to the teachings of Islam, becomes drawn into an insidious terrorist plot.

13 new poems by John Updike.

Poems and photographs present common objects for each letter of the alphabet.

WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD "Writing criticism is to writing fiction and poetry as hugging the shore is to sailing in the open sea," writes John Updike in his Foreword to this collection of literary considerations. But the sailor doth protest too much: This collection begins somewhere near deep water, with a flotilla of short fiction, humor pieces, and personal essays, and even the least of the reviews here--those that "come about and draw even closer to the land with another nine-point quotation"--are distinguished by a novelist''s style, insight, and accuracy, not just surface sparkle. Indeed, as James Atlas commented, the most substantial critical articles, on Melville, Hawthorne, and Whitman, go out as far as Updike''s fiction: They are "the sort of ambitious scholarly reappraisal not seen in this country since the death of Edmund Wilson." With "Hugging the Shore, " Michiko Kakutani wrote, Updike established himself "as a major and enduring critical voice; indeed, as the pre-eminent critic of his generation."