A military hospital is the setting for this darkly humorous play by the #1 New York Times–bestselling author of Darkness Visible and Sophie’s Choice. In the summer of 1943, a young Marine named Wally Magruder arrives at a Navy hospital in the American South, stricken with what doctors diagnose as a severe case of syphilis. Trapped in the stifling confines of the urology ward, Magruder and his fellow patients rebel against the authoritarian Dr. Glanz, a physician who delights in the power that sickness gives him. But as they seek to reclaim their identities against dehumanization, the ward becomes a hell more real than any of them could have imagined. Inspired by Styron’s own experience, In the Clap Shack is a searing indictment of military brutalization and a brilliant defense of individualism and personal freedom from the National Book Award and Pulitzer Prize–winning author of The Confessions of Nat Turner and other acclaimed works. This ebook features new manuscripts, rare photos, and never-before-seen documents from the William Styron archives at Duke University.

Until now, scholars have portrayed America's antiwar literature as an outgrowth of World War I, manifested in the works of writers such as Ernest Hemingway and John Dos Passos. But in War No More, Cynthia Wachtell corrects the record by tracing the steady and inexorable rise of antiwar writing in American literature from the Civil War to the eve of World War I. Beginning with an examination of three very different renderings of the chaotic Battle of Chickamauga -- a diary entry by a northern infantry officer, a poem romanticizing war authored by a young southerner a few months later, and a gruesome story penned by the veteran Ambrose Bierce -- Wachtell traces the gradual shift in the late nineteenth century away from highly idealized depictions of the Civil War. Even as the war was under way, she shows, certain writers -- including Herman Melville, Walt Whitman, John William De Forest, and Nathaniel Hawthorne -- quietly questioned the meaning and morality of the conflict. As Wachtell demonstrates, antiwar writing made steady gains in public acceptance and popularity in the final years of the nineteenth century and the opening years of the twentieth, especially during the Spanish-American War and the war in the Philippines. While much of the era's war writing continued the long tradition of glorifying battle, works by Bierce, Stephen Crane, Mark Twain, William Dean Howells, William James, and others increasingly presented war as immoral and the modernization and mechanization of combat as something to be deeply feared. Wachtell also explores, through the works of Theodore Roosevelt and others, the resistance that the antiwar impulse met. Drawing upon a wide range of published and unpublished sources, including letters, diaries, essays, poems, short stories, novels, memoirs, speeches, magazine and newspaper articles, and religious tracts, Wachtell makes strikingly clear that pacifism had never been more popular than in the years preceding World War I. War No More concludes by charting the development of antiwar literature from World War I to the present, thus offering the first comprehensive overview of one hundred and fifty years of American antiwar writing.

The publication of Sophie's Choice, one of William Styron's greatest literary achievements, generated a new spark in the critical discussion of the author and is the main emphasis of the interview with Styron and one of the additional essays in this revised edition. The interview was conducted by Robert K. Morris; the essay on Sophie's Choice by Richard Pearce. Other essays include Jane Flanders on Styron's southern myth, Philip W. Leon on Styron's narrative technique, and Ardner R. Cheshire, Jr., and Mary S. Strine on The Confessions of Nat Turner. Originally published in 1975, The Achievement of William Styron was the first collection of critical essays on one of America's most distinguished contemporary fiction writers, and it has become a standard work. Essays from the original edition which are included in this revised edition are those by the editors, and by Louis D. Rubin, Jr., John O. Lyons, Jan B. Gordon, Robert Phillips, and George Core.

NATIONAL BESTSELLER • The book that galvanized the nation, gave voice to the emerging civil rights movementin the 1960s—and still lights the way to understanding race in America today. • "The finest essay I’ve ever read.” —Ta-Nehisi Coates At once a powerful evocation of James Baldwin's early life in Harlem and a disturbing examination of the consequences of racial injustice, the book is an intensely personal and provocative document from the iconic author of If Beale Street Could Talk and Go Tell It on the Mountain. It consists of two "letters," written on the occasion of the centennial of the Emancipation Proclamation, that exhort Americans, both black and white, to attack the terrible legacy of racism. Described by The New York Times Book Review as "sermon, ultimatum, confession, deposition, testament, and chronicle … all presented in searing, brilliant prose," The Fire Next Time stands as a classic of literature.

With the same intellectual incisiveness and supple, stylish prose he brought to his classic novel Invisible Man, Ralph Ellison examines his antecedents and in so doing illuminates the literature, music, and culture of both black and white America. His range is virtuosic, encompassing Mark Twain and Richard Wright, Mahalia Jackson and Charlie Parker, The Birth of a Nation and the Dante-esque landscape of Harlem—“the scene and symbol of the Negro’s perpetual alienation in the land of his birth.” Throughout, he gives us what amounts to an episodic autobiography that traces his formation as a writer as well as the genesis of Invisible Man. On every page, Ellison reveals his idiosyncratic and often contrarian brilliance, his insistence on refuting both black and white stereotypes of what an African American writer should say or be. The result is a book that continues to instruct, delight, and occasionally outrage readers.

William Styron has enjoyed a resurgence of popularity with the publication of Darkness Visible (1990), his account of his struggle with near-suicidal depression. His works are known for discussing psychological conflicts within families, religious doubt, existentialism, racial tension, and the role of history in fiction. Often compared with William Faulkner, Styron has emerged as one of the most important figures in contemporary American literature and is best known for his continuation of the Southern gothic tradition. Through original essays, reprints of previously published criticism, and excerpts from reviews, this volume traces the critical reception of Styron's writings over the last 40 years. All of Styron's novels are covered, but the majority of the selections focus on his three most important works: Lie Down in Darkness, The Confessions of Nat Turner, and Sophie's Choice. The pieces reflect a variety of critical perspectives, and the introduction overviews significant trends and omissions in Styron criticism. A bibliography lists Styron's writings, along with critical studies of his work.

Robert Phillips's conversational yet penetrating approach yields self-assessments that read like new essays by the writers themselves. Conducted over the course of twenty years, many of these pieces were first published in the Paris Review. Taken from a passage Henry James, the title speaks to the" madness" that drives our greatest works of creativity. Phillips's interviews bring out this "madness" in its most important sense: the writers are seers and visionaries, whose works inspire us beyond the limits of reason. The conversations recorded in The Madness of Art attain that same level of inspiration and power. Phillips questions his interviewees about their work methods, daily lives, influences, sources of inspiration, relationship to other literary figures, response to critics, choice of genre, audience, and reasons for writing.