the heart is a lonely hunter
The Heart Is a Lonely Hunter
With the publication of her first novel, THE HEART IS A LONELY HUNTER, Carson McCullers, all of twenty-three, became a literary sensation. With its profound sense of moral isolation and its compassionate glimpses into its characters' inner lives, the novel is considered McCullers' finest work, an enduring masterpiece first published by Houghton Mifflin in 1940. At its center is the deaf-mute John Singer, who becomes the confidant for various types of misfits in a Georgia mill town during the 1930s. Each one yearns for escape from small town life. When Singer's mute companion goes insane, Singer moves into the Kelly house, where Mick Kelly, the book's heroine (and loosely based on McCullers), finds solace in her music. Wonderfully attuned to the spiritual isolation that underlies the human condition, and with a deft sense for racial tensions in the South, McCullers spins a haunting, unforgettable story that gives voice to the rejected, the forgotten, and the mistreated -- and, through Mick Kelly, gives voice to the quiet, intensely personal search for beauty. Richard Wright praised Carson McCullers for her ability to rise above the pressures of her environment and embrace white and black humanity in one sweep of apprehension and tenderness. She writes with a sweep and certainty that are overwhelming, said the NEW YORK TIMES. McCullers became an overnight literary sensation, but her novel has endured, just as timely and powerful today as when it was first published. THE HEART IS A LONELY HUNTER is Carson McCullers at her most compassionate, endearing best.
The Mere Wife
New York Times bestselling author Maria Dahvana Headley presents a modern retelling of the literary classic Beowulf, set in American suburbia as two mothers—a housewife and a battle-hardened veteran—fight to protect those they love in The Mere Wife. From the perspective of those who live in Herot Hall, the suburb is a paradise. Picket fences divide buildings—high and gabled—and the community is entirely self-sustaining. Each house has its own fireplace, each fireplace is fitted with a container of lighter fluid, and outside—in lawns and on playgrounds—wildflowers seed themselves in neat rows. But for those who live surreptitiously along Herot Hall’s periphery, the subdivision is a fortress guarded by an intense network of gates, surveillance cameras, and motion-activated lights. For Willa, the wife of Roger Herot (heir of Herot Hall), life moves at a charmingly slow pace. She flits between mommy groups, playdates, cocktail hour, and dinner parties, always with her son, Dylan, in tow. Meanwhile, in a cave in the mountains just beyond the limits of Herot Hall lives Gren, short for Grendel, as well as his mother, Dana, a former soldier who gave birth as if by chance. Dana didn’t want Gren, didn’t plan Gren, and doesn’t know how she got Gren, but when she returned from war, there he was. When Gren, unaware of the borders erected to keep him at bay, ventures into Herot Hall and runs off with Dylan, Dana’s and Willa’s worlds collide.
The Lonely Hunter
When can we say we’ll be single forever—and that’s okay? One woman questions our society’s pathologizing of loneliness in this crackling, incisive blend of memoir and cultural reporting. “The Lonely Hunter challenged everything I assumed about the nature of loneliness and what it means to lead an authentic life.”—Doree Shafrir, author of Thanks for Waiting and Startup: A Novel ONE OF THE MOST ANTICIPATED BOOKS OF 2022—Cosmopolitan, She Reads One evening, thirtysomething writer Aimée Lutkin found herself at a dinner party surrounded by couples. When the conversation turned to her love life, Lutkin stated simply, “I don’t really know if I’m going to date anyone ever again. Some people are just alone forever.” Her friends rushed to assure her that love comes when you least expect it and to make recommendations for new dating apps. But Lutkin wondered, Why, when there are more unmarried adults than ever before, is there so much pressure to couple up? Why does everyone treat me as though my real life won’t start until I find a partner? Isn’t this my real life, the one I’m living right now? Is there something wrong with me, or is there something wrong with our culture? Over the course of the next year, Lutkin set out to answer these questions and to see if there really was some trick to escaping loneliness. She went on hundreds of dates; read the sociologists, authors, and relationship experts exploring singlehood and loneliness; dove into the wellness industrial complex; tossed it all aside to binge-watch Netflix and eat nachos; and probed the capitalist structures that make alternative family arrangements nearly impossible. Chock-full of razor-sharp observations and poignant moments of vulnerability, The Lonely Hunter is a stirring account of one woman’s experience of being alone and a revealing exposé of our culture’s deep biases against the uncoupled. Blazingly smart, insightful, and full of heart, this is a book for anyone determined to make, follow, and break their own rules.
My Autobiography of Carson McCullers: A Memoir
Winner of the Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, Phi Beta Kappa Christian Gauss Award, and a Lambda Literary Award Finalist for the National Book Award Longlisted for the Andrew Carnegie Medal for Excellence in Nonfiction How do you tell the real story of someone misremembered—an icon and idol—alongside your own? Jenn Shapland’s celebrated debut is both question and answer: an immersive, surprising exploration of one of America’s most beloved writers, alongside a genre-defying examination of identity, queerness, memory, obsession, and love. Shapland is a graduate student when she first uncovers letters written to Carson McCullers by a woman named Annemarie. Though Shapland recognizes herself in the letters, which are intimate and unabashed in their feelings, she does not see McCullers as history has portrayed her. Her curiosity gives way to fixation, not just with this newly discovered side of McCullers’s life, but with how we tell queer love stories. Why, Shapland asks, are the stories of women paved over by others’ narratives? What happens when constant revision is required of queer women trying to navigate and self-actualize in straight spaces? And what might the tracing of McCullers’s life—her history, her secrets, her legacy—reveal to Shapland about herself? In smart, illuminating prose, Shapland interweaves her own story with McCullers’s to create a vital new portrait of one of our nation’s greatest literary treasures, and shows us how the writers we love and the stories we tell about ourselves make us who we are.
