Writers

In a moment of modesty that he’s never quite been allowed to forget, Stephen King once declared himself “the literary equivalent of a Big Mac and fries.” This is self-deprecation taken too far. As the author of more than 60 books in a career that has spanned more than half a century, King’s writings have roamed over numerous genres: horror, most famously, but also mystery, suspense, science fiction, fantasy and a surprisingly dour brand of social realism. All are delivered in his trademark muscular prose, dappled with moments of stylistic brilliance. The real purveyor of literary junk food is surely Dan Brown, whose works of fiction mirror far more accurately the salt-rich, nutrition-free offerings of the hamburger giant than anything King has ever produced. If Mr.

To speak of Mark Twain is to speak of the American psyche laid bare: forever restless, with an insatiable appetite for reinvention and biting commentary. Twain was not just a novelist or humorist: he was, in many respects, the nation’s most accurate mirror. He wrote the truth and then laughed at it. He carved his stories out of riverbanks and war zones, courtrooms and campfires. In his storytelling, Twain blurred the lines between truth and falsehoods, rage and laughter, freedom and fate. He gave us some of the greatest figures in American fiction. But Twain (1835-1910) was a creation more vivid, more volatile and more enduring than any character he put on the page. The “father of American literature,” as William Faulkner called him, didn’t hide behind his fiction.

"Literature is mostly about having sex and not about having children.” So said the British novelist, occasional screenwriter and literary critic David Lodge, who died at the beginning of 2025 at the age of eighty-nine. Lodge, who had suffered from encroaching deafness for several decades, had not, in truth, been a major literary figure for a considerable period before his death. This retreat into obscurity had not been helped by a trio of memoirs, beginning with 2015’s Quite a Good Time To Be Born, which perplexed critics — including this one — with their dour, downbeat and decidedly un-humorous tone. Few would have known, from reading them, that their author had once been regarded as one of the late twentieth century’s most accomplished comic novelists.

Many labels leap to mind in association with the prolific and controversial Norman Mailer, who died in 2007, but “biographer” is not typically one of them. He was not considered a serious practitioner of the genre in the same sense as Edmund Morris, Ron Chernow or his friend Doris Kearns Goodwin. And yet, as his own official biographer J. Michael Lennon asserts to me, “Mailer became a major biographer in the last half of his career.” Thirty years ago, two intriguing books by Mailer appeared just a few months apart: Oswald’s Tale: An American Mystery and Portrait of Picasso as a Young Man.

"My God, the suburbs!” John Cheever, the short-story writer who has rejoiced in the nickname “the American Chekhov,” had what can only be described as ambivalent feelings about the twentieth-century housing developments that grew up on the outskirts of major cities. He said of them that “they encircled the city’s boundaries like enemy territory and we thought of them as a loss of privacy, a cesspool of conformity, and a life of indescribable dreariness in some split-level village where the place name appeared in the New York Times only when some bored housewife blew off her head with a shotgun.” Cheever was not wholly consistent himself.

When you are next visiting a bookstore, and find your way to the children’s section, you might be forgiven for thinking that there is no longer such a thing as a children’s author. Instead, you will be ambushed by piles of books blazoned with the names of actors, singers, comedians, DJs and people who generously exhibit themselves on social media. “Writing” a children’s book has become another string to the celebrity bow. Imagine the scene. You’ve married a prince, and opened a shop that sells vaginal eggs. What more is there to do? A-ha, thinks the celebrity, perhaps while she is sitting on a bench. All those untutored minds, eager for moi! My personal brand will bring them such joy, such self-worth! They will all feel seen!

George Gissing died just over 120 years ago, marooned in the French Atlantic resort of Saint-Jean-Pied-de-Port and in circumstances that might have been plundered wholesale from one of his notoriously ground-down novels. H.G. Wells, present at the scene, was so affected by his friend’s deathbed ravings that he transferred them word for word into the mouth of Uncle Ponderevo as he lies dying in Tono-Bungay (1909). There are Orwellian shadings: like Gissing, Orwell died at forty-six of lung disease, and was profoundly influenced by his Victorian forebear. It was Anthony Powell who remarked of Orwell’s third novel, Keep the Aspidistra Flying (1936) that “the Gissing had to stop.

In the spring and summer of 1667, London began to see some odd goings-on. Seven years after the restoration of King Charles II to the throne — after England’s republican experiment under Oliver Cromwell ended in 1660 — and one year after the Great Fire had laid waste to the city, things were rather tense: the second Anglo-Dutch war was under way and, by the end of June, there would even be the fear of a Dutch invasion making its way up the Thames. But oddly, it wasn’t wars, invasion threats or geopolitical goings-on that caused the great and the good of London society to exchange frantic missives. At the beginning of April, a young man-about town wrote a rollickingly bizarre letter to his father.

In the summer of 1955, an unusual meeting took place. Billy Graham visited the writer and academic C.S. Lewis in Lewis’s rooms at Magdalene College, Cambridge. It was unusual because leading British academics typically avoided Southern Baptist revivalists. But rather than encountering a fussy, prim don, Graham found a kind, intelligent scholar who was very happy to spend the afternoon with him. Later, Graham admitted he was intimidated by Lewis, but the English professor quickly dispelled any anxiety, probably by offering Graham a cup of tea. Graham’s impact on American religious culture, for good or ill, is unquestioned, but it is difficult to imagine what that same culture would look like without the works of C.S. Lewis.

In Elsewhere, a coruscating memoir published in 2012, Richard Russo described his formative years as “an American childhood, as lived in the late Fifties, by a lower-middle class that barely seems to exist any more.” The setting for this slice of lost Eisenhower-era Americana was Gloversville in upstate New York, an East Coast leather town where the money had long since moved out and taken the locale’s animating spirit with it, to the point where the eighteen-year-old high-school graduate reckoned that “you could have strafed Main Street with an automatic weapon without endangering a soul.” The “Main Street” reference carries its own freight of associative cargo.

Outside Broadcasting House, the BBC’s main center in London, is an imposing, eight-foot-high statue of a man. He leans over slightly, as if to accost passersby, and holds a cigarette. A sign behind him declares, “If liberty means anything at all, it means the right to tell people what they do not want to hear.” The man is the author and critic George Orwell and the statue was intended as a permanent commemoration of his writings and values, as well as his short-lived stint at the BBC during World War Two.