Sarah Churchwell

Harper Lee’s writing career was brief, but her single novel became one of the most famous in American history. To Kill a Mockingbird (1960) won the Pulitzer Prize, sold tens of millions of copies and remains a fixture of classrooms and popular memory. She published almost nothing else until Go Set a Watchman – an

Harper Lee’s To Kill a Mockingbird remains one of the most beloved American novels of all time. Famously, Lee never completed another book, once declaring she’d ‘said what I wanted to say and I will not say it again’. But a journalist who went to Lee’s home in Monroeville, Alabama in 2015 learned of another

In 1932, the Daily Plainsman of Huron, South Dakota, ran a feature about a local woman convalescing in hospital. Grace Dow had been visited by her sister, Carrie Swanzey, who read a children’s book to her. What made this mundane story newsworthy was that the book was called Little House in the Big Woods, and

What the secretary sawSarah Churchwell Big Bosses: A Working Girl’s Memoir of the Jazz Age by Althea McDowell AltemusUniversity of Chicago Press, £10.50, pp. 220 In 1922, writing a facetious review of her husband’s second novel, The Beautiful and Damned, Zelda Fitzgerald made an ironic reference to the fact that Scott Fitzgerald had used sections

Jonathan Franzen’s latest novel, Purity, comes with great expectations. Its author’s awareness of this fact is signalled by a series of lampoons of writers expected to produce ‘big books’, writers named Jonathan and an assortment of other self-referential gags, but also the fact that its eponymous heroine, Purity Tyler, is nicknamed Pip. This Pip’s expectations

God Help the Child, Toni Morrison’s 11th novel, hearkens back to two of her earliest. Like The Bluest Eye, it is a story of internalised racism and paedophilia; like Tar Baby it is a fable about sexual and racial autonomy in the form of a love story between a beautiful, vain woman and a man

George Bernard Shaw called him a ‘Yankee Shakespeare peopling his isle with Calibans’. He was dubbed ‘a fighting Tolstoy’ and ‘the great American blues man of the theatre’. Before he was 35, Eugene O’Neill had emerged as the first real titan of American theatre, a preeminence he has never lost. When Sinclair Lewis was awarded