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

In this entertaining and enlightening collection David Lodge considers the art of fiction under a wide range of headings, drawing on writers as diverse as Henry James, Martin Amis, Jane Austen and James Joyce. Looking at ideas such as the Intrusive Author, Suspense, the Epistolary Novel, Magic Realism and Symbolism, and illustrating each topic with a passage taken from a classic or modern novel, David Lodge makes the richness and variety of British and American fiction accessible to the general reader. He provides essential reading for students, aspiring writers and anyone who wants to understand how fiction works.

In the Beauty of the Lilies begins in 1910 and traces God’s relation to four generations of American seekers, beginning with Clarence Wilmot, a clergyman in Paterson, New Jersey. He loses his faith but finds solace at the movies, respite from “the bleak facts of life, his life, gutted by God’s withdrawal.” His son, Teddy, becomes a mailman who retreats from American exceptionalism, religious and otherwise, into a life of studied ordinariness. Teddy has a daughter, Esther, who becomes a movie star, an object of worship, an All-American goddess. Her neglected son, Clark, is possessed of a native Christian fervor that brings the story full circle: in the late 1980s he joins a Colorado sect called the Temple, a handful of “God’s elect” hastening the day of reckoning. In following the Wilmots’ collective search for transcendence, John Updike pulls one wandering thread from the tapestry of the American Century and writes perhaps the greatest of his later novels.

“Trapped in their cozy catacombs, the couples have made sex by turns their toy, their glue, their trauma, their therapy, their hope, their frustration, their revenge, their narcotic, their main line of communication and their sole and pitiable shield against the awareness of death.”—Time One of the signature novels of the American 1960s, Couples is a book that, when it debuted, scandalized the public with prose pictures of the way people live, and that today provides an engrossing epitaph to the short, happy life of the “post-Pill paradise.” It chronicles the interactions of ten young married couples in a seaside New England community who make a cult of sex and of themselves. The group of acquaintances form a magical circle, complete with ritualistic games, religious substitutions, a priest (Freddy Thorne), and a scapegoat (Piet Hanema). As with most American utopias, this one’s existence is brief and unsustainable, but the “imaginative quest” that inspires its creation is eternal. Praise for Couples “Couples [is] John Updike’s tour de force of extramarital wanderlust.”—The New York Times Book Review “Ingenious . . . If this is a dirty book, I don’t see how sex can be written about at all.”—Wilfrid Sheed, The New York Times Book Review

A riveting novel that takes place in one day about an elderly painter and the New Yorker interviewing her—from one of the most gifted American writers of the twentieth century and the author of the acclaimed Rabbit series. “A brief novel of deep feeling.”—Time On a day that contains much conversation and some rain, the seventy-eight-year-old painter Hope Chafetz, who in the course of her eventful life has been Hope Ouderkirk, Hope McCoy, and Hope Holloway, answers questions put to her by a New York interviewer named Kathryn, and recapitulates, through the story of her own career, the triumphant, poignant saga of postwar American art. In the evolving relation between the two women, the interviewer and interviewee move in and out of the roles of daughter and mother, therapist and patient, predator and prey, supplicant and idol. The scene is central Vermont; the time is the early spring of 2001.

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.

“Brilliant . . . Here is the conflict of real ideas; of real personalities; here is a work of intellectual imagination and great charity. The Poorhouse Fair is a work of art.”—The New York Times Book Review The hero of John Updike’s first novel, published when the author was twenty-six, is ninety-four-year-old John Hook, a dying man who yet refuses to be dominated. His world is a poorhouse—a county home for the aged and infirm—overseen by Stephen Conner, a righteous young man who considers it his duty to know what is best for others. The action of the novel unfolds over a single summer’s day, the day of the poorhouse’s annual fair, a day of escalating tensions between Conner and the rebellious Hook. Its climax is a contest between progress and tradition, benevolence and pride, reason and faith. Praise for The Poorhouse Fair “A first novel of rare precision and real merit . . . a rich poorhouse indeed.”—Newsweek “Turning on a narrow plot of ground, it achieves the rarity of bounded, native truth, and comes forth as microcosm.”—Commonweal