The Writer as Illusionist
Uncollected & Unpublished Work
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- $19.99
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- $19.99
Publisher Description
“Illuminating . . . Handling strong emotions—shame, love, grief—without fuss, Maxwell gives the bald facts of life a poignant shimmer.”—Wall Street Journal
As a fiction editor at The New Yorker from 1936 to 1975, William Maxwell helped shaped several generations’ sense of the literary short story. At the same time, Maxwell himself was also an exceptional novelist, short story writer, essayist, children’s author, and memoirist.
Given unique, unfettered access to Maxwell’s private papers, Alec Wilkson—whose memoir My Mentor explores his twenty-five-year friendship with Maxwell—has gathered a stunning and revealing collection of some of Maxwell’s lesser-known and previously unpublished works of nonfiction and fiction.
The Writer as Illusionist includes biographical sketches; remembrances of fellow authors, such as the poet Louise Bogan and short story writer Maeve Brennan; a 1941 nonfiction piece about Bermuda that was the only piece of long reporting Maxwell ever published in The New Yorker; and Maxwell’s thoughts on the craft of writing, many of them made privately.
While Maxwell often said he never kept a journal because anything worth writing about was something a writer would remember, The Writer as Illusionist proves otherwise: included are many notes from his private journals, including some that became parts of his revered novels, such as The Folded Leaf.
Re-reading Maxwell’s work leads Wilkinson to think “I am still often amazed—at the subtlety of the art, the depth of what he saw, at his capacity for dramatizing situations that require a rare hand and eye.”
Maxwell passed away in 2000 at the age of ninety-one. The Writer as Illusionist celebrates his legacy in American letters and is part of Godine’s Nonpareil series.
PUBLISHERS WEEKLY
New Yorker writer Wilkinson (A Divine Language) brings together a rich blend of published and unpublished work on writing and family by the late New Yorker fiction editor William Maxwell (1908–2000). The opening section combines excerpts from Maxwell's journals and articles to present a portrait of his youth; an unpublished autobiographical sketch reflects on the culture shock Maxwell felt after moving from Lincoln, Ill., to Chicago when he was 15, and a preface to his collected stories describes how when Maxwell was 25, he unsuccessfully attempted to get a job on J.P. Morgan's schooner so he would have something to write about. "The writer has everything in common with the vaudeville magician except this: The writer must be taken in by his own tricks," Maxwell contends in the standout title piece, which examines how the opening lines of such classics as Moby-Dick and Pride and Prejudice draw readers in. The selections offer an enlightening peek into the tight-lipped author's personal life, and the lucid prose elevates his astute literary insights. ("Don't hold back on the first or in fact on any novel. The material, the themes, will many of them be used again, but not in the same way, because you will not be the same person.") The result is a fitting testament to Maxwell's considerable talents.
