"To confront American culture is to feel oneself encircled by a thin but strong presence. I call it Emersonian, an imprecise term but one that directs us to a dominant spirit in the national experience." Thus Irving Howe, America's distinguished social critic and a longtime reader of the Sage of Concord, begins this illuminating discussion of Emerson and his disciples and doubters. What is the Emersonian spirit? What inspired it, what propelled it? And what does it mean to us today?

History gave Emerson his opportunity and then took it away. Coming to manhood during the 1830s and 1840s, the time of "the newness" when Americans beheld the world with unbounded expectations, Emerson became the spokesman for the self-reliant new man he believed had arisen, ready to thrust aside mossy traditions and launch a new revolution of freewheeling thought. But the rapid pace of the American experience overtook the Emersonian vision; in the 1850s, the rising problems of slavery, a boom-and-bust economy, the vulgarity of mass culture overwhelmed the idealist. His satellite spirits wavered and shrouded the Emersonian optimism: Hawthorne, with his stories of moral breakdown; Thoreau, rooted in nature yet inclined to the cranky and fanatical; Melville, his fathomless blackness waiting beneath archetypal fables of innocence and evil also Walt Whitman, Orestes Brownson, Twain--all were influenced by, yet reacted against, the Emersonian "newness."

Howe identifies three kinds of response: the literature of work (Melville and Mark Twain), the literature of Edenic fraternity (James Fenimore Cooper, Whitman, Twain again), and the literature of loss (all the post-Civil War writers). He lays before us the intellectual and personal tragedy of the first great American man of letters, yet also shows that Emerson's belief in the untapped power of free men pervades not only the lives and works of his contemporaries but is also a permanent part of the American psyche.

This book, first published in 1979, is a representative sample of some of the best articles that have appeared in DISSENT, the American democratic socialist quarterly. They provide a two-sided view of political and social action with the democratic society of the USA.

An indispensable collection of one of America's most outspoken and original critics of the second half of the twentieth century Man of letters, political critic, public intellectual, Irving Howe was one of America's most exemplary and embattled writers. Since his death in 1993 at age 72, Howe's work and his personal example of commitment to high principle, both literary and political, have had a vigorous afterlife. This posthumous and capacious collection includes twenty-six essays that originally appeared in such publications as the New York Review of Books, the New Republic, and the Nation. Taken together, they reveal the depth and breadth of Howe's enthusiasms and range over politics, literature, Judaism, and the tumults of American society. A Voice Still Heard is essential to the understanding of the passionate and skeptical spirit of this lucid writer. The book forms a bridge between the two parallel enterprises of culture and politics. It shows how politics justifies itself by culture, and how the latter prompts the former. Howe's voice is ever sharp, relentless, often scathingly funny, revealing Howe as that rarest of critics-a real reader and writer, one whose clarity of style is a result of his disciplined and candid mind.

This book, first published in 1979, is a representative sample of some of the best articles that have appeared in DISSENT, the American democratic socialist quarterly. They provide a two-sided view of political and social action with the democratic society of the USA.

In this fourth edition of his celebrated study of Faulkner, Irving Howe analyzes all of the great author's works, emphasizing the themes that run throughout the novels and stories. "The scheme of my book is simple," Mr. Howe writes. "First, I have tried to say what Faulkner's work is `about,' to report on the social and moral themes in his books; and then I have tried to analyze and evaluate the more important novels." Anyone who has enjoyed the special flavor of Faulkner's writing will appreciate Mr. Howe's careful analysis, and the student of twentieth-century American literature will gain new perspective and insight. Mr.Howe successfully portrays the intimate connection between Faulkner's fiction and the emotional and psychic history of the South without slighting the universality that makes him one of America's greatest writers. "Mr. Howe is a shrewd critic, and he writes of Faulkner's achievements as a practicing novelist with a wary respect. He has a good many observations to make that should help readers in going through the novels."-Alfred Kazin, New York Times.

Now with an exciting new preface by rock musician Lou Reed (Delmore Schwartz s student at Syracuse), In Dreams Begin Responsibilities collects eight of Schwartz s finest delineations of New York s intellectuals in the 1930s and 1940s. As no other writer can, Schwartz captures the speech, the generational conflicts, the mocking self-analysis of educated, ambitious, Depression-stymied young people at odds with their immigrant parents. This is the unique American dilemma Irving Howe described as that interesting point where intellectual children of immigrant Jews are finding their way into the larger world while casting uneasy, rueful glances over their backs. Afterwords by James Atlas and Irving Howe place the stories in their historical and cultural setting."

A new 30th Anniversary paperback edition of an award-winning classic.

Winner of the National Book Award, 1976

World of Our Fathers traces the story of Eastern Europe's Jews to America over four decades. Beginning in the 1880s, it offers a rich portrayal of the East European Jewish experience in New York, and shows how the immigrant generation tried to maintain their Yiddish culture while becoming American. It is essential reading for those interested in understanding why these forebears to many of today's American Jews made the decision to leave their homelands, the challenges these new Jewish Americans faced, and how they experienced every aspect of immigrant life in the early part of the twentieth century.

This invaluable contribution to Jewish literature and culture is now back in print in a new paperback edition, which includes a new foreword by noted author and literary critic Morris Dickstein.

Introduction by Irving Howe; Translation by Willa and Edwin Muir

No sooner did "Winesburg, Ohio" make its appearance than a number of critical labels were fixed on it: the revolt against the village, the espousal of sexual freedom, the deepening of American realism. Such tags may once have had their point, but by now they seem dated and stale. The revolt against the village (about which Anderson was always ambivalent) has faded into history. The espousal of sexual freedom would soon be exceeded in boldness by other writers. And as for the effort to place "Winesburg, Ohio" in a tradition of American realism, that now seems dubious. Only rarely is the object of Anderson's stories social verisimilitude, or the "photographing" of familiar appearances, in the sense, say, that one might use to describe a novel by Theodore Dreiser or Sinclair Lewis. Only occasionally, and then with a very light touch, does Anderson try to fill out the social arrangements of his imaginary town -- although the fact that his stories are set in a mid-American place like Winesburg does constitute an important formative condition.