Henry Miller

Considerada por buena parte de la crítica como la mejor de sus obras, en su primera novela se sitúa Miller en la estela de Walt Whitman y Thoreau para crear un monólogo en el que el autor hace un inolvidable repaso de su estancia en París en los primeros años de la década de 1930, centrada tanto en sus experiencias sexuales como en sus juicios sobre el comportamiento humano. Saludada en su momento como una atrocidad moral por los sectores más conservadores –y como una obra maestra por escritores tan distintos como T.S. Eliot, George Orwell, Gore Vidal, Norman Mailer o Lawrence Durrell–, en la actualidad es considerada una de las novelas más rupturistas, influyentes y perfectas de la literatura en lengua inglesa.

Author explores the sources of his early life in New York and undertakes to define a view of his country.

Books One of the Rosy Crucifixion trilogy

Some writers attempt to conceal the literary influences which have shaped their thinking––but not Henry Miller. In this unique work, he gives an utterly candid and self-revealing account of the reading he did during his formative years. In The Books in My Life he shares the thrills of discovery that many kinds of books have brought to a keenly curious and questioning mind. Some of Miller's favorite writers are the giants whom most of us revere––authors such as Dostoievsky, Boccaccio, Walt Whitman, James Joyce, Thomas Mann, Lao-Tse. To them he brings fresh and penetrating insights. But many are lesser-known figures: Krishnamurti, the prophet-sage; the French contemporaries Blaise Cendrars and Jean Giono; Richard Jeffries, who wrote The Story of My Heart ; the Welshman John Cowper Powys; and scores of others. The Books in My Life contains some fine autobiographical chapters, too. Miller describes his boyhood in Brooklyn, when he devoured the historical stories of G. A. Henty and the romances of Rider Haggard. He tells of the men and women whom he regards as "living books": Lou Jacobs, W. E. B. DuBois, Elizabeth Gurley Flynn, and others. He offers his reminiscences of the New York Theatre in the early 1900's––including plays such as Alias Jimmy Valentine and Nellie, the Beautiful Cloak Model . And finally, in Miller's best vein of humor, he provides a satiric chapter on bathroom reading. In an appendix, Miller lists the hundred books that have influenced him most.

James Laughlin was first introduced to Henry Miller's writing in 1934 when he was studying with Ezra Pound in Rapallo, Italy. As Laughlin remembers it, one day Pound tossed a book at him across the table at which they were sitting, saying, "Waal Jas, here's a dirty book that's really good. You'd better read that if your morals can stand it." Laughlin was so impressed with the book, Tropic of Cancer, that he promptly initiated a correspondence with Miller which soon turned into a publisher/author relationship when Laughlin, at Pound's urging, founded New Directions in 1936. Ever mercurial in temperament, an idealist who struggled financially to meet his material needs, Miller relied on his publisher Laughlin's generosity and expert editorial advice for decades. Although Miller's letters, sometimes quite teasingly, decried the conservatism of American book publishing, Miller nevertheless trusted Laughlin with intimate details about his work and personal life. The resulting correspondence, spanning from 1935 to shortly before Miller's death in 1980, is a remarkable, uncensored record of the ideas and intentions that spawned many of Miller's most provocative and memorable literary endeavors. Henry Miller and James Laughlin: Selected Letters is a powerful, sometimes poignant and often startling documentation of the complex friendship forged through the written word among two of the twentieth century's most influential figures in the world of literature and publishing.

Stories and essays dealing with the author's impressions of the United States.

Short stories, sketches, essays, and an autobiographical note.