Bøker av Sherwood Anderson

There was a man named Webster who lived in a town of twenty-five thousand people in the state of Wisconsin. He had a wife named Mary and a daughter named Jane and he was himself a fairly prosperous manufacturer of washing machines. He was a rather quiet man inclined to have dreams which he tried to crush out of himself in order that he function as a washing machine manufacturer. And so there was this Webster, drawing near to his fortieth year, and his daughter had just graduated from the town high school. It was early fall and he seemed to be going along and living his life about as usual and then this thing happened to him. Down within his body something began to affect him like an illness. It is a little hard to describe the feeling he had. It was as though something were being born. Had he been a woman he might have suspected he had suddenly become pregnant.

Praised by F. Scott Fitzgerald as Sherwood Anderson's finest work, this psychological novel recounts a middle-aged industrialist's rejection of his humdrum life and embrace of sex as a medium for self-realization.

Chosen by Eleanor Copenhaver Anderson before her death in 1985 to publish her husband's secret love letters, Anderson scholar Ray Lewis White has prepared a fascinating edition of these unique letters for the enjoyment of students and scholars of literature as well as for all readers who savour compelling and inspiring stories of loss and love.

"Winesburg, Ohio", Sherwood Anderson's masterpiece, is a set of interconnected short stories set in a small Ohio town. This edition also contains "The Triumph of the Egg: A Book of Impressions from American Life in Tales and Poems". Anderson has influenced generations of American writers from Ernest Hemingway, William Faulkner and John Steinbeck to John Updike and Joyce Carol Oates.

Sherwood Anderson's short stories, beautifully crafted and evocative of time and place, were hugely influential in their day. The title story in this collection, 'Death in the Woods', is widely regarded as a masterpiece - the narrator looks back at an incident in his childhood where an old woman dies in the cold - in life she was destined to feed those around her, after her death, he feeds from her too.

No sooner did Winesburg, Ohio make its appearance than a number of critical labels were fixed on it: the revolt against the village, the espousal of sexual freedom, the deepening of American realism. Such tags may once have had their point, but by now they seem dated and stale. The revolt against the village (about which Anderson was always ambivalent) has faded into history. The espousal of sexual freedom would soon be exceeded in boldness by other writers. And as for the effort to place Winesburg, Ohio in a tradition of American realism, that now seems dubious. Only rarely is the object of Anderson's stories social verisimilitude, or the "photographing" of familiar appearances, in the sense, say, that one might use to describe a novel by Theodore Dreiser or Sinclair Lewis. Only occasionally, and then with a very light touch, does Anderson try to fill out the social arrangements of his imaginary town -- although the fact that his stories are set in a mid-American place like Winesburg does constitute an important formative condition.Set in the fictional town of Winesburg, Ohio, not to be confused with the actual Winesburg, which is based loosely on the author's childhood memories of Clyde, Ohio.

The book is set in the fictional town of Winesburg, Ohio (not to be confused with the actual Winesburg), which is based loosely on the author's childhood memories of Clyde, Ohio. No sooner did _Winesburg, Ohio_ make its appearance than a number of critical labels were fixed on it: the revolt against the village, the espousal of sexual freedom, the deepening of American realism. Such tags may once have had their point, but by now they seem dated and stale. The revolt against the village (about which Anderson was always ambivalent) has faded into history. The espousal of sexual freedom would soon be exceeded in boldness by other writers. And as for the effort to place _Winesburg, Ohio_ in a tradition of American realism, that now seems dubious. Only rarely is the object of Anderson's stories social verisimilitude, or the "photographing" of familiar appearances, in the sense, say, that one might use to describe a novel by Theodore Dreiser or Sinclair Lewis. Only occasionally, and then with a very light touch, does Anderson try to fill out the social arrangements of his imaginary town -- although the fact that his stories are set in a mid-American place like Winesburg does constitute an important formative condition.

Famous for his modernist fiction, Ohio native Sherwood Anderson has long been recognized exclusively as a prose writer despite his prolific published output of poetry between 1915 and 1939. This work underscores Anderson's place in American literature - prose and poetry. It is suitable for modernist scholars, Anderson specialists, and poets.

WITH A NEW INTRODUCTION BY SARA WHEELER'He was the father of my generation of American writers and the tradition of American writing' William FaulknerThis timeless cycle of short stories lays bare the life of a small town in the American Midwest.

A landmark work of American naturalism and a priceless chronicle of rural life, Winesburg, Ohio has been compared to the writings of Turgenev, Chekhov, Dreiser and Twain, and hugely influenced authors such as Steinbeck, Hemingway and Faulkner.

Sherwood Anderson's first and most autobiographical novel and the only one set in Illinois, Windy McPherson's Son received uniformly high praise from literary critics when it was first published. It tells the story of an Iowa newsboy who fights his way to fortune in Chicago, then questions the meaning of his success. It was republished in 1922 with a different ending, which appears as an appendix in this edition.

"Death in the Woods is a signal junction in Anderson's career and is to my mind one of the finest stories in our language." -Jim Harrison

Collects stories that capture the emotional undercurrents hidden beneath ordinary events.