The twenty-first-century revival of James Purdy continues with his classic novel of innocence and corruption. Introduced simply as "the boy on the bench", the titular character of Malcolm is a Candide-like figure who is picked up by the "most famous astrologer of his period" and introduced to a series of increasingly absurd characters and bizarre situations.

No Purdy work has dazzled contemporary writers more than this haunting tale of unrequited love in an indifferent world. A seedy Depression-era boardinghouse in Chicago plays host to "a game of emotional chairs" (Guardian) in a novel initially condemned for its frank depiction of abortion, homosexuality, and life on the margins of American society.

The publication of The Complete Short Stories of James Purdy is a literary event that marks the first time all of James Purdy s short stories fifty-six in number, including seven drawn from his unpublished archives have been collected in a single volume. As prolific as he was unclassifiable, James Purdy was considered one of the greatest and most underappreciated writers in America in the latter half of the twentieth century. Championed by writers as diverse as Dame Edith Sitwell, Gore Vidal, Paul Bowles, Tennessee Williams, Carl Van Vechten, John Cowper Powys, and Dorothy Parker, Purdy s vast body of work has heretofore been relegated to the avant-garde fringes of the American literary mainstream.

His unique form and variety of style made the Ohio-born Purdy impossible to categorize in standard terms, though his unique, mercurial talent garnered him a following of loyal readers and made him in the words of Susan Sontag one of the half dozen or so living American writers worth taking seriously." Purdy s journey to recognition came with as much outrage and condemnation as it did lavish praise and lasting admiration. Some early assessments even dismissed his work as that of a disturbed mind, while others acclaimed the very same work as healing and transformative. Purdy's fiction was considered so uniquely unsettling that his first book, Don't Call Me by My Right Name, a collection of short stories all reprinted in this edition, had to be printed privately in the United States in 1956, after first being published in England.

Best known for his novels Malcolm, Cabot Wright Begins, Jeremy's Version, and Eustace Chisholm and the Works, Purdy captured an America that was at once highly realistic and deeply symbolic, a landscape filled with social outcasts living in crisis and longing for love, characterized by his dark sense of humor and unflinching eye. Love, disillusionment, the collapse of the family, ecstatic longing, sharp inner pain, and shocking eruptions of violence pervade the lives of his characters in stories that anticipate both "David Lynch and Desperate Housewives" (Guardian). In "Color of Darkness," for example, a lonely child attempts to swallow his father's wedding ring; in "Eventide," the anguish of two sisters over the loss of their sons is deeply felt in the summer heat; and in the gothic horror of "Mr. Evening," a young man is hypnotized and imprisoned by a predatory old woman. These stories and many others, both haunting and hilarious, form a canvas of deep desperation and immanent sympathy, as Purdy narrates "the inexorable progress toward disaster in such a way that it's as satisfying and somehow life-affirming as progress toward a happy ending" (Jonathan Franzen).

It may have taken over fifty years, but American culture is finally in sync with James Purdy. As John Waters writes in his introduction, Purdy, far from the fringe, has "been dead center in the black little hearts of provocateur-hungry readers like myself right from the beginning.""

Hailed as a creative genius (TLS) and a singular American visionary (New York Times), James Purdy may be best known for his remarkable novels, but he is also an astonishing playwright who has written nine full-length and twenty short plays. Purdy is one of the few contemporary American writers capable of writing tragedy-Tennessee Williams called him a uniquely gifted man of the theater. This collection presents four riveting and beautifully crafted works: Brice, The Paradise Circus, Where Quentin Goes, and Ruthanna Elder. Each explores a range of emotional and familial tangles, as fathers betray their sons and squander their inheritances, siblings compete for parental affection, and husbands and wives try to salvage meaning from their broken marriages. The plays are written in Purdy's authentic idiom, which Paul Bowles called the closest [we have] to a classical American colloquial.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Cabot Wright is a handsome, Yale-educated stockbroker and scion of a good family. He also happens to be the convicted rapist of nearly three hundred women. Bernie Gladhart is a naive used-car salesman from Chicago, who spurred on by his ambitious wife decides to travel to Brooklyn and write the Great American Novel about the recently paroled Cabot Wright. As Bernie tries to track down Wright in Brooklyn, he encounters a series of bizarre and Dickensian characters and sets in motion an extraordinary chain of events. In this merciless and outrageous satire of American culture, cult writer James Purdy is unsparing and prophetic in his portrayal of television, publishing, Wall Street, race, urban poverty, sex, and the false values of American culture in a work compared to Candide by Susan Sontag. Considered too scabrous for the stifling culture mores of the early 1960s, Purdy's comic fiction evokes "an American psychic landscape of deluded innocence, sexual obsession, violence and isolation" (New York Times)."