Search

Though he has authored more than eleven novels including, Cassandra Singing, The Suicide’s Wife, Abducted by Circumstance, and the recent London Bridge in Plague and Fire, David Madden has been publishing short stories for all six decades of his active career. The Last Bizarre Tale consists of works that appeared in journals but that have not appeared together as a collection. Madden used two stories, “The Singer” and “Second Look Presents: the Rape of an Indian Brave,” as chapters in his 1980 novel On the Big Wind. “The Headless Girl’s Mother” was first published as a chapter in a serialized novel entitled Hair of the Dog. Two other stories developed out of longer versions of Madden’s novels. “A Demon in My View” is part of a sequel, not yet published, to Bijou. All of the stories in David Madden’s third collection are distinguished by variety of content and by shifting styles and often innovative techniques. They are to varying degrees and in various ways bizarre in their characters and their relationships, in the kinds of internal and external conflicts, and in locales and themes. The title story, The Last Bizarre Tale, involving a corpse that has hung on a hook in a funeral home garage for decades, is evocative of Poe and, in its dark, grotesque humor, Flannery O’Connor and Carson McCullers. “Process is as important as product to David Madden,” writes editor James Perkins, “and one can learn as much about the process of writing as about the human condition by a careful reading of these stories.”

"This memoir was composed after the author started having memories of events that occurred in his early lifetime, growing up in a gritty neighborhood in Depression-era Knoxville. The memories centered around his mother, Emily Merritt Madden, and her experiences dealing with poverty, a sometimes well-intentioned but never reliable husband, one son who ends up in prison and her other son, who later grows up to become one of Knoxville's greatest authors. The style of the manuscript mimics the way memories came to the author and, in some respects, the ways we recall the significant and insignificant events of our lives. The memoir is at once an intimate retelling of a fundamental relationship and a vivid evocation of an earlier place and time"--

In Abducted by Circumstance, David Madden offers his readers a unique experience simultaneously terrifying and exhilarating. Carol Seaborg makes a risky visit in zero weather to a lighthouse near her house in The Thousand Islands of New York on the Canadian border. A self-confident, attractive woman of about 55 suddenly appears on the observation deck looking out over frozen Lake Ontario. Carol admires the woman as her ideal. Suddenly, the woman disappears, apparently abducted by a serial rapist and killer, stimulating in Carol an immediate empathy that, enhanced by the power of her imagination, is so great as to make her unique. Carol projects her own emotions, imagination, and intellect into Glenda's experience. To render that empathy and imagination, Madden channels everything that the people around her say and do through Carol's perceptions so intimately that he shifts frequently and without transition into her thoughts, which focus mostly on the abducted woman, whose name newscasters reveal is Glenda Hamilton. As Carol imagines Glenda gradually coping with her abductor, she speaks directly, sometimes out loud, to her, encouraging her, advising her, expressing fear for her. If Carol's external experiences are passive almost to paralysis, her memories reveal that her life has been full of more venturesome relationships and events (she once rode across Greece alone on a bicycle) than most wives and mothers in their late thirties have. Carol's emotions and imagination are highly charged and exquisitely presented. The circumstances and relationships of her past and present predispose Carol to empathize with Glenda. Carol's own life among a crude, remote second husband, a somewhat estranged adolescent son, a bright five-year-old daughter, a father who is a rather cold philosophy teacher, and the strong spiritual presence of her mother who committed suicide, is simple and routine. The events involving Glenda's disappearance take place during the week before Carol's second surgery for breast cancer. Gradually, as she takes late night drives with her little girl, visits her ex-boyfriend's father in a nursing home, drives by her ex-lover's house and business, and visits the campus where her father is a prominent teacher, the reader realizes, some pages before Carol herself does, that she has been abducted by the circumstances of her life. Although it is grounded in the realistic detail of everyday life, Abducted by Circumstance is unique in conception, style, and characterization. Madden immerses the reader in an extraordinarily rich and unforgettable psychological experience. Thoroughly absorbing from start to finish--Abducted by Circumstance explores Carol's troubled psyche with the rare precision and insight that have long distinguished David Madden's fiction.

James M. Cain was among the prominent member of the "hard-boiled" school of writing that characterized the 1930s and 1940s, one of the masters of the genre that included Dashiell Hammett and Raymond Chandler. His novels became such popular film noir classics as The Postman always Rings Twice, Double Indemnity, and Mildred Pierce, and his 1937 novel Serenade boldly portrayed its hero as a bisexual. Cain also taught journalism at various colleges in Maryland, wrote editorials for the New York World, and was for a brief time managing editor at The New Yorker. This is the first biography of James M. Cain written with the full cooperation of the late novelist's family.

The pursuit of the American Dream, supposedly shaped by the edenic promises of the American land, has engaged our writers from the beginning, and much of our literature has come out of the national literary experience thus expressed. This collection of nineteen original, unpublished essays written for this book is particularly relevant today, when our col­lective field of vision seems obscured, and when the American Dream seems to have become a cliché, symbolic of the Dream defunct. The nineteen critics here presented include, among others, Leslie Fiedler, Oscar Cargill, Maxwell Geismar, Jules Chametzky, Louis Filler, and Ihab Hassan. Most of them seem to agree with the view expressed by the majority of our best creative writers: that in pursuing the American Dream, America has created a nightmare. Taken together, the nineteen essays provide a comprehensive view of American literature, past and present, as it has dealt with the Dream; but the emphasis is on modern works and present social, cultural, and political problems--poverty, war, and racism. Ten of the essays focus on such key works as Herman Melville's "The Two Temples," F. Scott Fitz­gerald's The Great Gatsby, William Faulkner's "The Bear," Thomas Wolfe's You Can't Go Home Again, Ralph Ellison's Invisible Man, Arthur Miller's Death of a Salesman, and Norman Mailer's Why Are We in Vietnam?

Everyone needs and deserves housing. But today our homes are being transformed into commodities, making the inequalities of the city ever more acute. Profit has become more important than social need. The poor are forced to pay more for worse housing. Communities are faced with the violence of displacement and gentrification. And the benefits of decent housing are only available for those who can afford it. In Defense of Housing is the definitive statement on this crisis from leading urban planner Peter Marcuse and sociologist David Madden. They look at the causes and consequences of the housing problem and detail the need for progressive alternatives. The housing crisis cannot be solved by minor policy shifts, they argue. Rather, the housing crisis has deep political and economic roots-and therefore requires a radical response.

David Madden is one of the South's most notable contemporary writers. His interests are remarkably vast. He has published award-winning fiction, poetry, plays, critical works, and essays on a wide variety of subjects, ranging from history to popular culture. This collection represents Madden's essays on various other southern writers and his own struggle to come to terms with how the works and lives of these writers have influenced his own life and work. By analyzing the charged image of the spider web, as described in chapter four of Robert Penn Warren's All the King's Men, Madden shows that it is a central symbol for his involvement with the interconnected, complex tradition of contemporary southern literature. Touching the Web of Southern Novelists brings together essays on Faulkner, Warren, McCullers, Wolfe, Agee, and a new essay on Evelyn Scott. More than a collection of criticism, the book explores, in overlapping, far-reaching ways, how influence works its way through the southern literary tradition. It also includes an unusually detailed index. Two of the common elements in the essays are the dynamics and consequences of the relationship of an ostensible hero to his or her witnesses and the art of fiction, especially in the technique of using a charged image-a term that Madden invented. Another element is the overwhelming, if sometimes hidden, effect of the Civil War upon southern fiction. Madden provocatively argues that no northerner can write a “true” Civil War novel. All Southern fiction comes out of the Civil War, he argues, and that Absalom, Absalom! is the best Civil War novel because of its complex implications-not because it is overtly about the war. Perhaps most powerful because of its semi-autobiographical nature, Touching the Web of Southern Novelists will appeal to anyone with an interest in literary studies and how art and life in southern novels are entwined with each other-caught in a web.

This unique collection of writings by the celebrated author David Madden provides a multitude of reflections on the Civil War and Reconstruction, from nonfiction to fiction. Included are Madden’s examination of key works by historians James McPherson and Fletcher Pratt, the story of the effort to simultaneously burn nine bridges by nine unionist guerrilla bands in the most complicated and coordinated guerrilla tactic of the war, and rediscoveries of both classic and contemporary works of Civil War fiction from William Faulkner, Joseph Stanley Pennell, and more. Alongside these essays are pieces from Madden’s Civil War novel, Sharpshooter, which illustrate the interconnectedness of fiction and nonfiction. This meshing of iconoclastic and controversial pieces includes varied perspectives on every aspect of the war and reconstruction, from culture and civilian life to an imagining of Abraham Lincoln’s critique of how historians have recorded the war and its aftermath. By exploring this web of perception, we can better understand the war and, in turn, shed greater light on the present and the future.

When the first edition of David Madden's A Primer of the Novel: For Readers and Writers was published more than twenty-five years ago, there were no other books of its kind available. Since then, many authors and editors have produced works that attempt the same comprehensive coverage of the genre. However, these works tend to be either written solely for writers or solely for readers. More often than not, those written for readers tend to be aimed at advanced students or critics of the novel. In this revised edition, David Madden, Charles Bane and Sean Flory have produced an updated work that is intended for a general readership including writers, teachers, and students who are just being introduced to the genre. This unique handbook provides a definition and history of the novel, a description of early narratives, and a discussion of critical approaches to this literary form. A Primer of the Novel also identifies terms, definitions, commentary, and examples in the form of quotations for almost 50 types of novels and 15 artistic techniques. A chronology of narrative in general and of the novel in particular—from 850 B. C. to the present—is also included, along with indexes to authors, titles, novel types and techniques, as well as a selective bibliography of criticism. Although all novel types present in the first edition are still represented, many have become more clearly defined. This revised edition also cites several types of novels that did not appear in the first edition, such as the graphic novel and the novel of Magical Realism. As well as keeping all of the original examples from representative texts, the authors have added new examples of more recent works. While this book was conceived for a general audience, it will be a valuable resource for students, teachers, and libraries. It may be used in any English literature courses at any level, including graduate, and is suited for creative writing courses as well. With its clear and immediately accessible features, this handbo