White, Edmund

Belchamber (New York Review Books Classics)

Charles Edwin William Augustus Chambers—Marquis and Earl of Belchamber, Viscount Charmington, and Baron St. Edmunds and Chambers—known familiarly as Sainty, is the scion of an ancient English aristocratic family. Behind him stretches a rogues’ gallery of picturesque upper-crust scoundrels. But he is uninterested in riding to hounds or drinking or whoring in the great tradition of his forebears, and though he admires his tough-minded puritanical Scottish mother, he lacks her unrelenting moral self-assurance. Sainty is instead a sensitive soul, physically delicate, sexually timid, intellectually inclined, utterly honest, and thoroughly decent, but constitutionally incapable of asserting himself. When it comes to assuming the responsibilities of his inheritance, to managing his feckless younger brother Albert or fathoming his sly cousin Clyde, and, above all, to the essential business of marrying and continuing the family line, Sainty hasn’t a prayer.

The memory of his birthday remained with him as a shifting phantasmagoria of painful images that partook of the nature of a nightmare. To be the principal figure in any pageant must always have a charm for the imagination of youth, if combined with the ability to play the part becomingly; but it is a very different matter for one conscious in every nerve of his own.

Hotel de Dream: A New York Novel

In a damp, old sussex castle, American literary phenomenon Stephen Crane lies on his deathbed, wasting away from tuberculosis at the age of twenty-eight. The world-famous author of The Red Badge of Courage has retreated to England with his wife, Cora, in part to avoid gossip about her ignominious past as the proprietress of a Florida bordello, the Hotel de Dream.

Though Crane's days are numbered, he and Cora live riotously, running up bills they'll never be able to pay, receiving visitors like Henry James and Joseph Conrad, and even planning a mad dash to Germany's Black Forest, where Cora hopes a leading TB specialist will provide a miracle cure.

Then, in the midst of the confusion and gathering tragedy of their lives, Crane begins dictating a strange novel. The Painted Boy draws from Crane's erstwhile journalist days in New York in the 1890s, a poignant story about a boy prostitute and the married man who ruins his own life to win the boy's love. Crane originally planned the book as a companion piece to Maggie, Girl of the Streets, but abandoned it when literary friends convinced him that such scandalous subject matter would destroy his career. Now, with his last breath, Crane devotes himself to refashioning this powerful novel, into which he pours his fascination with the underworld, his sympathy for the poor, his experiences as a reporter among New York's lowlife—and his complex feelings for his own devoted wife.

Seamlessly flowing between the vibrant, seedy atmosphere of turn-of-the-century Manhattan and the quiet Sussex countryside, Hotel de Dream tenderly presents the double love stories of Cora and Crane, and the painted boy and his banker lover. The brilliant novel-within-a-novel combines the youthful simplicity of Crane's own prose with White's elegant sense of form, offering an unforgettable portrait of passion in all its guises.

A Boy's Own Story

An instant classic upon its original publication, A Boy's Own Story is the first of Edmund White's highly acclaimed trilogy of autobiographical novels that brilliantly evoke a young man's coming of age and document American gay life through the last forty years.

The nameless narrator in this deeply affecting work reminisces about growing up in the 1950s with emotionally aloof, divorced parents, an unrelenting sister, and the schoolmates who taunt him. He finds consolation in literature and his fantastic imagination. Eager to cultivate intimate, enduring friendships, he becomes aware of his yearning to be loved by men, and struggles with the guilt and shame of accepting who he is. Written with lyrical delicacy and extraordinary power, A Boy's Own Story is a triumph.

My Lives: An Autobiography

No one has been more frank, lucid, rueful and entertaining about growing up gay in Middle America than Edmund White. Best known for his autobiographical novels, starting with A Boy's Own Story, White here takes fiction out of his story and delivers the facts of his life in all their shocking and absorbing verity.

From an adolescence in the 1950s, an era that tried to "cure his homosexuality" but found him "unsalvageable," he emerged into a 1960s society that redesignated his orientation as "acceptable (nearly)." He describes a life touched by psychotherapy in every decade, starting with his flamboyant and demanding therapist mother, who considered him her own personal test case -- and personal escort to cocktail lounges after her divorce. His father thought that even wearing a wristwatch was effeminate, though custodial visits to Dad in Cincinnati inadvertently initiated White into the culture of "hustlers and johns" that changed his life.

In My Lives, White shares his enthusiasms and his passions -- for Paris, for London, for Jean Genet -- and introduces us to his lovers and predilections, past and present. "Now that I'm sixty-five," writes White, "I think this is a good moment to write a memoir. . . . Sixty-five is the right time for casting a backward glance, while one is still fully engaged in one's life."

The Farewell Symphony

Edmund White has long been praised as one of America's most accomplished novelists. The Farewell Symphony is the final volume in the autobiographical trilogy that began with A Boy's Own Story and The Beautiful Room Is Empty. It details the narrator's life in New York in the 1970s and his flight to Paris as the AIDS epidemic begins. White's prose, at once lucid and magical, is the essence of great writing. Its plainspoken cadences and language resonate with the tragedy of youthful passion giving way to hard-earned knowledge. Like Sherwood Anderson or Theodore Dreiser, White has captured the soul of the American experience--in this case a gay male experience--and made it into art.

Following A Boy's Own Story (now a classic of American fiction) and his richly acclaimed The Beautiful Room Is Empty, here is the eagerly awaited final volume of Edmund White's groundbreaking autobiographical trilogy.

Named for the work by Haydn in which the instrumentalists leave the stage one after another until only a single violin remains playing, this is the story of a man who has outlived most of his friends. Having reached the six-month anniversary of his lover's death, he embarks on a journey of remembrance that will recount his struggle to become a writer and his discovery of what it means to be a gay man. His witty, conversational narrative transports us from the 1960s to the near present, from starkly erotic scenes in the back rooms of New York clubs to episodes of rarefied hilarity in the salons of Paris to moments of family truth in the American Midwest. Along the way, a breathtaking variety of personal connections--and near misses--slowly builds an awareness of the transformative power of genuine friendship, of love and loss, culminating in an indelible experience with a dying man. And as the flow of memory carries us across time, space and society, one man's magnificently realized story grows to encompass an entire generation.

Sublimely funny yet elegiac, full of unsparingly trenchant social observation yet infused with wisdom and a deeply felt compassion, The Farewell Symphony is a triumph of reflection and expressive elegance. It is also a stunning and wholly original panorama of gay life over the past thirty years--the crowning achievement of one of our finest writers.

My Lives: A Memoir (P.S.)

No one has been more frank, lucid, and entertaining about growing up gay in Middle America than Edmund White. Best known for his autobiographical novels, starting with A Boy's Own Story, White here takes fiction out of his story and delivers the facts of his life in all their shocking and absorbing verity. In My Lives, White shares his enthusiasms and his passions, and he introduces us to his lovers and predilections.

Chaos: A Novella and Stories

The Beautiful Room Is Empty: A Novel

When the narrator of White's poised yet scalding autobiographical novel first embarks on his sexual odyssey, it is the 1950s, and America is "a big gray country of families on drowsy holiday." That country has no room for a scholarly teenager with guilty but insatiable stirrings toward other men. Moving from a Midwestern college to the Stonewall Tavern on the night of the first gay uprising--and populated by eloquent queens, butch poseurs, and a fearfully incompetent shrink--The Beautiful Room is Empty conflates the acts of coming out and coming of age.

"With intelligence, candor, humor--and anger--White explores the most insidious aspects of oppression.... An impressive novel."--Washington Post book World

Marcel Proust (Penguin Lives)

Marcel Proust documented his existence so lavishly--albeit in fictional form--that many of his biographers have functioned as little more than code-breakers, doggedly translating art back into life. It's a great pleasure, then, to welcome Edmund White's slender, superbly artful account. A novelist himself (as well as a biographer of Jean Genet), White beautifully evokes "the France of heavy, tasteless furniture, of engraved portraits of Prince Eugene, of clocks kept under a glass bell on the mantelpiece, of overstuffed chairs covered with antimacassars and of brass beds warmed by hot-water bottles." And he's no less canny at summoning up Proust's personality, in all its neurotic, contradictory glory.

Of course, Proust's life can't truly be separated from his art. Every biography of him is bound to operate in the shadow of Remembrance of Things Past, and White has some shrewd things to say about that mammoth work, whose style he describes as "an ether in which all the characters revolve like well-regulated heavenly bodies." Yet the focus remains on Proust and on his unlikely transformation from momma's boy to social climber to world-class genius. Like his subject, White often proceeds by anecdote. His book is packed with telling, hilarious little nuggets, which find Proust being snubbed by that "powdered, perfumed, puffy Irish giant" Oscar Wilde or luring back his lover Alfred Agostinelli by buying him an airplane.

At the same time, White conveys the considerable pain that Proust endured as an invalid, an artist, and (more to the point) a closeted homosexual. No doubt these factors shaped his rather hopeless take on human affections, which impoverished his life even as they enriched his writing. "Proust may be telling us that love is a chimera," White writes, "a projection of rich fantasies onto an indifferent, certainly mysterious surface, but nevertheless these fantasies are undeniably beautiful, intimations of paradise--the artificial paradise of art." In White's view, this recognition makes his subject not only a supreme poet of impermanence but the greatest novelist of the century. Here, of course, it's possible to quibble. But the world would be an emptier place indeed without Proust's mighty masterpiece--and readers curious about its brilliant, bedridden creator should start with White's witty and exquisite portrait. --James Marcus

Marcel Proust, now enjoying a major renaissance, has at last found a biographer who himself once produced the "finest French novel written in English" (The Nation). For Edmund White--author of an award-winning biography of Jean Genet and of the classic gay novel A Boy's Own Story, and known for his own haunting evocation of times past--this portrait is the exquisite expression of a lifetime spent contemplating Proust. Proust teaches us to truly savor the master's delicate perfection of style and his strange, charismatic personality--not just the recluse obsessively rewriting his one massive work through the night, but the yearning, lonely boy; the dazzling wit and darling of Parisian salons; the seeker of fame; and the unhappy closeted homosexual whom this book is the first to explore openly. From the frothiest gossip to the deepest angst, here is a gem to be treasured not only by literati and students, but by anyone looking for an introduction to an enduring genius.

In White's superb biography, Proust is shown in all his fascinating eccentricity--as the yearning, lonely boy, the dazzling wit, darling of Parisian salons, the seeker of fame, and the unhappy homosexual grappling with his sexual identity.

The Flaneur: A Stroll Through the Paradoxes of Paris

If a place is best known by its particulars, then Edmund White is an expert on Paris. Fortunately, he's generous with his secrets: he reveals a Paris not found in any other guide in this first book in the Writer and the City series. White's Paris is seen on foot, as a flâneur, a stroller who aimlessly loses himself in a crowd, going wherever curiosity leads him and collecting impressions along the way. Paris is the perfect city for the flâneur, as every quartier is beautiful and full of rich and surprising delights. But this is no typical tour of monuments and museums; it is much more intimate and surprising. As a flâneur of Paris for 16 years, White knows where to find the very best of everything--silver, sheets, plum slivovitz. He can tell you where to get Tex-Mex surrounded by a dance rehearsal hall, where to rent an entire castle for a party, or even where to get Skippy peanut butter. He eschews the pearl-gray city built by Napoleon and roams the places where the real vitality lives, the teaming quartiers inhabited by Arabs and Asians and Africans, the strange corners, the markets where you can find absolutely anything in this city that accommodates all tastes. White's Paris is a place rich in history with a passion for novelty and distractions. So a walk through the Jewish ghetto leads to the history of the little-known Musée Nissim de Camondo, with its impressive collection of Louis XV and Louis XVI furniture, created by a family of Jewish bankers ultimately killed in the Holocaust. White shares other favorite and obscure museums, such as the Hôtel du Lauzun, where writers like Balzac and Charles Baudelaire and the painter Edouard Manet met for long evenings of music and hashish-induced hallucinations. Reminiscences in Montmartre reach back to the thriving jazz culture created by African Americans in the years between the world wars and include stories about Josephine Baker, Richard Wright, and James Baldwin. While White may ignore Notre Dame, he has fascinating tidbits to share about kings and queens and their heirs who still fight for the throne. The variety of Paris, White remarks, is matched by the voraciousness and passion of its people. With his own remarkable flair, he reveals a thriving and alluring city where tourists rarely tread. --Lesley Reed