1944 was a troubled and momentous year for Jack Kerouac. In March, his close friend and literary confidant, Sebastian Sampas, lost his life on the Anzio beachhead while serving as a US Army medic. That spring -- still reeling with grief over Sebastian -- Kerouac solidified his friendships with Lucien Carr, William Burroughs, and Allen Ginsberg, offsetting the loss of Sampas by immersing himself in New York's blossoming mid-century bohemia. That August, however, Carr stabbed his longtime acquaintance and mentor David Kammerer to death in Riverside Park, claiming afterwards that he had been defending his manhood against Kammerer's persistent and unwanted advances. Kerouac was originally charged in Kammerer'a killing as an accessory after the fact as a result of his aiding Carr in disposing of the murder weapon and Kammerer's eyeglasses. Consequently, Kerouac was jailed in August 1944 and married his first wife, Edie Parker, on the twenty-second of that month in order to secure the money he needed for his bail bond. Eventually the authorities accepted Carr's account of the killing, trying him instead for manslaughter and thus nullifying the charges against Kerouac. At some point later in the year -- under circumstances that remain rather mysterious -- the aspiring writer lost a novella-length manuscript titled The Haunted Life, a coming of age story set in Kerouac's hometown of Lowell, Massachusetts. Kerouac set his fictional treatment of Peter Martin against the backdrop of the everyday: the comings and goings of the shopping district, the banter and braggadocio that occurs within the smoky atmospherics of the corner bar, the drowsy sound of a baseball game over the radio. Peter is heading into his sophomore year at Boston College, and while home for the summer in Galloway he struggles with the pressing issues of his day -- the economic crisis of the previous decade and what appears to be the impending entrance of the United States into the Second World War. The other principal characters, Garabed Tourian and Dick Sheffield, are based respectively on Sebastian Sampas and fellow Lowellian Billy Chandler, both of whom had already died in combat by the time of Kerouac's drafting of The Haunted Life (providing some of the impetus for its title). Garabed is a leftist idealist and poet, with a pronounced tinge of the Byronic. Dick is a romantic adventurer whose wanderlust has him poised to leave Galloway for the wider world -- with or without Peter. The Haunted Life also contains a compelling and controversial portrayal of Jack's father, Leo Kerouac, recast as Joe Martin. Opposite of Garabed's progressive, New Deal persepctive, Joe is a right-wing and bigoted populist, and an ardent admirer of radio personality Father Charles Coughlin. The conflicts of the novella are primarily intellectual, then, as Peter finds himself suspended between the differing views of history, politics, and the world embodied by the other three characters, and struggles to define what he believes to be intellectually true and worthy of his life and talents. The Haunted Life, skillfully edited by University of Massachusetts at Lowell Assistant Professor of English Todd F. Tietchen, is rounded out by sketches, notes, and reflections Kerouac kept during the novella's composition, as well as a revealing selection of correspondence with his father, Leo Kerouac.

Published for the first time, this previously lost work by the iconoclastic novelist and poet follows working-class Peter Martin as he tries to find himself as the world hinges on the brink of World War II. 30,000 first printing.

“Enthralling.… Seymour powerfully evokes the world from which Rhys never really escaped, one of prejudice, abuse, and abuse’s shamefaced offspring, complicity.” —James Wood, The New Yorker An intimate, profoundly moving biography of Jean Rhys, acclaimed author of Wide Sargasso Sea. Jean Rhys is one of the most compelling writers of the twentieth century. Memories of her Caribbean girlhood haunt the four short and piercingly brilliant novels that Rhys wrote during her extraordinary years as an exile in 1920s Paris and later in England, a body of fiction—above all, the extraordinary Wide Sargasso Sea—that has a passionate following today. And yet her own colorful life, including her early years on the Caribbean island of Dominica, remains too little explored, until now. In I Used to Live Here Once, Miranda Seymour sheds new light on the artist whose proud and fiercely solitary life profoundly informed her writing. Rhys experienced tragedy and extreme poverty, alcohol and drug dependency, romantic and sexual turmoil, all of which contributed to the “Rhys woman” of her oeuvre. Today, readers still intuitively relate to her unforgettable characters, vulnerable, watchful, and often alarmingly disaster-prone outsiders; women with a different way of moving through the world. And yet, while her works often contain autobiographical material, Rhys herself was never a victim. The figure who emerges for Seymour is cultured, self-mocking, unpredictable—and shockingly contemporary. Based on new research in the Caribbean, a wealth of never-before-seen papers, journals, letters, and photographs, and interviews with those who knew Rhys, I Used to Live Here Once is a luminous and penetrating portrait of a fascinatingly elusive artist.

In Haunted Life, David Marriott examines the complex interplay between racial fears and anxieties and the political-visual cultures of suspicion and state terror. He compels readers to consider how media technologies are "haunted" by the phantom of racial slavery. Through examples from film and television, modernist literature, and philosophy, he shows how the ideological image of a brutal African past is endlessly recycled and how this perpetuation of historical catastrophe stokes our nation's race-conscious paranoia. Drawing on a range of comparative readings by writers, theorists, and filmmakers, including John Edgar Wideman, Frantz Fanon, Richard Wright, Issac Julien, Alain Locke, and Sidney Poitier, Haunted Life is a bold and original exploration of the legacies of black visual culture and the political, deeply sexualized violence that lies buried beneath it.

Reproduction of the original.

THE STORIES: The first play, A WITCH'S BREW, takes place in the darkened basement of a remote farmhouse, where Daed, his sister Jule, and her boyfriend Tucker, nervously explore the macabre secrets of the shallow graves they believe to be there. Pe

The study highlights several writers who have not received much, if any, attention among Gothic scholars. This allows readers exposure to writers they may have never encountered before or may realize dimensions to the authors’ works they have never considered. The study reconsiders scholarship’s understanding of post-war American literature. This gives readers, students, and scholars a new approach to discussing post-war fiction that is not delimited to widely accepted understanding of how Cold War anxieties were manifested in fiction. The study contextualizes the fiction it examines within each work’s respective region. This allows readers a new way of approaching not just post-war Gothic fiction but Gothic fiction in general.