Best Selling Books by John Updike

This collection of John Updike�s non-fiction writings includes a delightful preface, �Everything Considered�, in which he tells of his lifelong love affair with words; essays on travel, and on faith; introductions to some of the classics; reviews of lesser known foreign writers and new books by English and American contemporaries; as well as non-fiction topics from the sinking of the Lusitania to Coco Chanel''s �unsinkable career�; tributes to legendary New Yorker figures, and much more. A cruise through the cultural waters of the past decade with as delightful, witty, sensitive and articulate a guide as you could hope for, Due Considerations is a voyage not to be missed.

A born-again computer whiz kid bent on proving the existence of God on his computer meets a middle-aged divinity professor, Roger Lambert, who''d just as soon leave faith a mystery. Soon the computer hacker begins an affair with professor Lambert''s wife -- and Roger finds himself experiencing deep longings for a trashy teenage girl.

Set in the near future of 2020, this disconcerting philosophical fantasy depicts an America devastated by a war with China that has left its populace decimated, its government a shambles, and its natural resources tainted. The hero is Ben Turnbull, a sixty-six-year-old retired investment counselor, who, like Thoreau, sticks close to home and traces the course of one Massachusetts year in his journal. Something of a science buff, he finds that his disrupted personal history has been warped by the disjunctions and vagaries of the “many-worlds” hypothesis derived from the indeterminacy of quantum theory. His identity branches into variants extending back through the past and forward into the evolution of the universe, as both it and his own mortal, nature-haunted existence move toward the end of time.

Stories that trace the decline and fall of a marriage, a history made up of the happiness of growing children and shared life, and the sadness of growing estrangement and the misunderstandings of love.

Collected in one volume for the first time--and featuring a final, series-capping story, "His Oeuvre"--John Updike''s Bech stories have been a fixture of the American literary imagination since they first began appearing in "The New Yorker" more than 30 years ago. Ribbon marker.

From a master of American letters and the author of the acclaimed Rabbit series comes a richly illustrated book of eighteen insightful essays about American art, written while he was the art critic at The New York Review of Books. “Remarkably elegant little essays, dense in thought and perception but offhandedly casual in style. Their brevity makes more acute the sense of regret one feels to see them end.” —Newsday When, in 1989, a collection of John Updike’s writings on art appeared under the title Just Looking, a reviewer in the San Francisco Chronicle commented, “He refreshes for us the sense of prose opportunity that makes art a sustaining subject to people who write about it.” In the sixteen years since Just Looking was published, he continued to serve as an art critic, mostly for The New York Review of Books, and from fifty or so articles has selected, for this book, eighteen that deal with American art. After beginning with early American portraits, landscapes, and the transatlantic career of John Singleton Copley, Still Looking then considers the curious case of Martin Johnson Heade and extols two late-nineteenth-century masters, Winslow Homer and Thomas Eakins. Next, it discusses the eccentric pre-moderns James McNeill Whistler and Albert Pinkham Ryder, the competing American Impressionists and Realists in the early twentieth century, and such now-historic avant-garde figures as Alfred Stieglitz, Marsden Hartley, Arthur Dove, and Elie Nadelman. Two appreciations of Edward Hopper and appraisals of Jackson Pollock and Andy Warhol round out the volume. America speaks through its artists. As Updike states in his introduction, “The dots can be connected from Copley to Pollock: the same tense engagement with materials, the same demand for a morality of representation, can be discerned in both.”

"Four novels trace the life of Harry "Rabbit" Angstrom against the changing American society from the sixties to the eighties."--

Updike''s personal look at art--both classic and contemporary--in a collection of twenty-three brilliant pieces. 200 illustrations, 150 in color.

John Updike''s Rabbit, Run is a classic story of dissatisfaction and restlessness. Harry ''Rabbit'' Angstrom was a star basketball player in high school. Now twenty-six, his life seems full of traps, the biggest being his pregnant wife and two-year-old son. He sets out to escape, but it''s not clear if Rabbit is really following his heart or only chasing his tail. Powerfully written, Rabbit, Run gave American literature one of its most enduring characters.

Set in turn-of-the-century New York, Edith Wharton''s classic novel The Age of Innocence reveals a society governed by the dictates of taste and form, manners and morals, and intricate social ceremonies. With amazing clarity and sensitivity, Edith Wharton re-creates an atmosphere in which subtle gestures and faint implications bespeak desire and emotion, in which beauty and innocence are valued above truth, and in which disturbing the social order disturbs the very foundations of one''s identity. Newland Archer, soon to marry the lovely May Welland, is a man torn between his respect for tradition and family and his attraction to May''s strongly independent cousin, the Countess Ellen Olenska. Plagued by the desire to live in a world where two people can love each other free from condemnation and judgment by the group, Newland views the artful delicacy of the world he lives in as a comforting security one moment, and at another, as an oppressive fiction masking true human nature. The Age of Innocence is at once a richly drawn portrait of the elegant lifestyles, luxurious brownstones, and fascinating culture of bygone New York society and a compelling look at the conflict between human passions and the social tribe that tries to control them.

"...This read-along is a richly sensory experience.... sound effects of chirping birds, tromping feet, lowing cows, whirring insects, exploding fireworks, pounding surf, buzzing bees, barking dogs, honking geese, and tolling bells create their own aural metaphors that echo the poet''s verse and clearly reflect the seasons." -Booklist

John Updike''s first collection of verse since his Collected Poems, 1953-1993 brings together fifty-eight poems, three of them of considerable length. The four sections take up, in order: America, its cities and airplanes; the poet''s life, his childhood, birthdays, and ailments; foreign travel, to Europe and the tropics; and, beginning with the long "Song of Myself," daily life, its furniture and consolations. There is little of the light verse with which Mr. Updike began his writing career nearly fifty years ago, but a light touch can be felt in his nimble manipulation of the ghosts of metric order, in his caressing of the living textures of things, and in his reluctance to wave goodbye to it all.

Museums and Women gathers twenty-nine short stories from the 1960s and early 1970s. It is John Updike’s most various collection, a book as full of departures and surprises as the historical period that produced them. Some stories, such as the title piece, have the tone and personality of essays. Others objectify the chimeras of middle-class life, especially life in a fictional New England enclave called Tarbox. The illustrated jeux d’esprit in the section called “Other Modes” place Updike somewhere between Robert Benchley and Donald Barthelme as a toymaker in prose. Crowning the collection are five scenes from the marriage of Richard and Joan Maple, a story sequence with the narrative interest and cumulative power of a novel.

In John Updike’s second collection of assorted prose he comes into his own as a book reviewer; most of the pieces picked up here were first published in The New Yorker in the 1960s and early ’70s. If one word could sum up the young critic’s approach to books and their authors it would be “generosity”: “Better to praise and share,” he says in his Foreword, “than to blame and ban.” And so he follows his enthusiasms, which prove both deserving and infectious: Kierkegaard, Proust, Joyce, Dostoevsky, and Hamsun among the classics; Borges, Nabokov, Grass, Bellow, Cheever, and Jong among the contemporaries. Here too are meditations on Satan and cemeteries, travel essays on London and Anguilla, three very early “golf dreams,” and one big interview. Picked-Up Pieces is a glittering treasury for every reader who likes life, books, wit—and John Updike.

When historian Alfred “Alf” Clayton is invited by an academic journal to record his impressions of the Gerald R. Ford Administration (1974–77), he recalls not the political events of the time but rather a turbulent period of his own sexual past. Alf’s highly idiosyncratic contribution to Retrospect consists not only of reams of unbuttoned personal history but also of pages from an unpublished project of the time, a chronicle of the presidency of James Buchanan (1857–61). The alternating texts mirror each other and tell a story in counterpoint, a frequently hilarious comedy of manners contrasting the erotic etiquette and social dictions of antebellum Washington with those of late-twentieth-century southern New Hampshire. Alf’s style is Nabokovian. His obsessions are vintage Updike.

Here is trust betrayed--and fulfilled. Here are parents struggling to maintain that fragile claim on their offspring''s childish awe. Here are husbands and wives as only Updike knows them. Here is life as we live it, in 22 stories of uncommon beauty and pathos from a master storyteller at the peak of his brilliant career. Copyright © Libri GmbH. All rights reserved.

An acclaimed collection of poetry from one of the greatest American writers of the twentieth century, the author of the Rabbit series. As a present to John Updike on his fiftieth birthday, and as a treat for his readers, his first book, a collection of light verse originally published twenty-five years ago, was brought back into print, with an author’s foreword and some small revisions. Many of these poems were written when the author was a young art student in England and a “Talk of the Town” reporter for The New Yorker, which published over forty of them. They deal with the quiddities of things, the oddities of science, quirks of American life (especially as reported in Life magazine during those smiling Eisenhower years), and moments of epiphany in literature and nature. A number—“Ex-Basketball Player,” “Superman,” “Mirror,” “Quilt”—have been frequently reprinted in anthologies. All show a sharp ear, a fond eye, and an active though not always light-hearted fancy. Written mainly to amuse, Updike’s early verse was also, as his foreword states, “a way of dealing with the universe, an exercise of the Word.” Admirers who know him mostly through his fiction should be delighted to encounter what he calls “these old evidences of my own high spirits.” The Carpentered Hen, in recent years a hard-to-get collector’s item, now again. unhinges her wings, abandons her nest of splinter, and sings.

John Updike’s first collection of nonfiction pieces, published in 1965 when the author was thirty-three, is a diverting and illuminating gambol through midcentury America and the writer’s youth. It opens with a choice selection of parodies, casuals, and “Talk of the Town” reports, the fruits of Updike’s boyish ambition to follow in the footsteps of Thurber and White. These jeux d’esprit are followed by “Hub Fans Bid Kid Adieu,” an immortal account of Ted Williams’s last at-bat in Fenway Park; “The Dogwood Tree,” a Wordsworthian evocation of one Pennsylvania childhood; and five autobiographical essays and stories. Rounding out the volume are classic considerations of Nabokov, Salinger, Spark, Beckett, and others, the earliest efforts of the book reviewer who would go on to become, in The New York Times’s estimation, “the pre-eminent critic of his generation.” Updike called this collection “motley but not unshapely.” Some would call it a classic of its kind.