"Funny, profound . . . a seductive book with a payoff on every page."—People A lot of remarkable things have happened in the life of Sam Pulsifer, the hapless hero of this incendiary novel, beginning with the ten years he spent in prison for accidentally burning down Emily Dickinson's house and unwittingly killing two people. emerging at age twenty-eight, he creates a new life and identity as a husband and father. But when the homes of other famous New England writers suddenly go up in smoke, he must prove his innocence by uncovering the identity of this literary-minded arsonist. In the league of such contemporary classics as A Confederacy of Dunces and The World According to Garp, An Arsonist's Guide to Writers' Homes in New England is an utterly original story about truth and honesty, life and the imagination.

A guide to the homes, open to the public, of New Englandís most famous authors, such as Dickinson, Twain, Frost, and Alcott.

From colonial farmhouses in the Rhode Island countryside to shingled beach cottages on Martha's Vineyard, this lush tour of some of New England's most inventive and quintessentially American interiors reveals the unique regional style that has come to define our country's idea of home. Color photos.

There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.

Fifty essays by pre-eminent living authors on the literary masters of Great Britain and Ireland. The texts represent some fascinating match-ups: Margaret Drabble on John Keats; P.D. James on Jane Austen. All the residences featured can be visited by the public today. Includes visiting information. 200 photos. Maps.

Originally published: New York: Holt, Rinehart and Winston, c1974.

Q. What is the most-watched TV format in history, seen by about 100 million people weekly around the world? A. Wheel of Fortune, a game show. Without putdowns or pandering, the author looks at 260 such shows, concluding that culture has triumphed over technology. For despite our capacity to transmit the same content world-wide, McLuhan's global village has not come to pass. Technology has, however, encouraged already-existing "cultural continents" to coalesce. About one-third of the world's game shows have been licensed or adapted from another country, especially from the United States. Conversely, a single program can cross borders unchanged, such as Sabado Gigante, which appeals to Spanish speakers in 18 countries. The first truly global study of TV entertainment, this book includes interviews with producers, contestants, and licensers. With its tables, illustrations and appendices, the text provides details on content and audiences, as well as explanatory overviews.