Lester Goran’s first book of short stories, Tales from the Irish Club, was chosen by the New York Times Book Review as a “Notable Book of the Year 1996.” This second collection also centers around a group of men and women in an Irish-American enclave in Pittsburgh, primarily during the years surrounding World War II, but extending at times into the eighties. With evocative settings and narratives ranging from the supernatural to the humorous, from bawdy hilarity to richly detailed realism, Goran creates once more his world of poignant and magical times and places within the mundane affairs of ordinary men and women. With his mastery of language and images he shows again what Paul West has termed “the lunatic sadness of things.”

Tales from the Irish Club contains 11 wry accounts of an enclave of Irish Americans in Pittsburgh during and after World War II. In this first collection of short stories by Lester Goran are the often comic, sometimes tragic tales of Jack Lanahan, the transcendental artist who carves nothing but wooden roosters; Long Conall O’Brien, haunted by the ghosts of prostitutes he has known world-wide; Mrs. Pauline Conlon, famous as the woman who outlives three husbands—until she meets Sailor Kiernan; and the night an image of the Madonna appears on the wall of Local No. 9 of the Ancient Order of Hibernians.

The Bright Streets of Surfside chronicles 10 years in the life of Isaac Bashevis Singer, as witnessed and shared by a fellow writer close to him at the time. In 1978, with a mixture of hero worship and academic responsibility as director of creative writing at the University of Miami, Lester Goran brought Singer to teach at the Coral Gables campus. The eminent Polish-American author was then 74 years old and five months away from receiving the Nobel Prize. Goran became Singer’s closest friend and translator as they taught advanced courses in creative writing together until Singer retired in 1988. With a sometimes painful authenticity, Goran recounts the course of their extraordinary friendship. It was a fascinating time, writes Goran, recalling his frustration at Singer’s intractable desire not to teach (he mistrusted the faculty and was bewildered by the students) and his pleasure in Singer’s company.

This important study challenges the standard interpretation that Lewis, Tolkien, Charles Williams, Owen Barfield, and the other Inklings had little influence on one another’s work, drawing on the latest research in composition studies and the sociology of the creative process. Diana Glyer invites readers into the heart of the group, examining diary entries and personal letters and carefully comparing the rough drafts of their manuscripts with their final, published work.

In Confronting the Horror, James R. Giles examines the evolution of Algren’s major themes—external oppression and internal anxiety. He discusses Algren’s fiction in relation to Maxim Gorky’s explanation of the “lower depths” and the works of two contemporary writers, Hubert Selby, Jr., and John Rechy, who combine naturalistic technique with a largely existential, absurdist vision. Giles conclusion is forcefully argued, that Algren’s novels are thematically richer and more complex than hitherto regarded and represent the work of an American writer of the first order.

Because of the fame The Sun Also Rises brought Ernest Hemingway, when Men Without Women was published just one year later, in 1927, it commanded popular and critical attention. Even reviewers who objected to a masculine emphasis and a sometimes harsh realism identified stories in the collection that could not be ignored. Close commentary, with special attention to allusions, demonstrates that Men Without Women merits a place among the best story collections in American literature.

In Interrupted Music Flieger attempts to illuminate the structure of Tolkien’s work, allowing the reader to appreciate its broad, overarching design and its careful, painstaking construction. She endeavors to “follow the music from its beginning as an idea in Tolkien’s mind through to his final but never-implemented mechanism for realizing that idea, for bringing the voices of his story to the reading public.” In addition, Flieger reviews attempts at mythmaking in the history of English literature by Spenser, Milton, and Blake as well as by Joyce and Yeats. She reflects on the important differences between Tolkien and his predecessors and even more between Tolkien and his contemporaries.

Verlyn Flieger’s expanded and updated edition of Splintered Light, a classic study of Tolkien’s fiction first published in 1983, examines The Silmarillion and The Lord of the Rings in light of Owen Barfield’s linguistic theory of the fragmentation of meaning. Flieger demonstrates Tolkien’s use of Barfield’s concept throughout his fiction, showing how his central image of primary light splintered and refracted acts as a metaphor for the languages, peoples, and history of Middle-earth.

Tolkien’s concern with time—past and present, real and “faerie”—captures the wonder and peril of travel into other worlds, other times, other modes of consciousness. Reading his work, we “fall wide asleep” into a dream more real than ordinary waking experience, and emerge with a new perception of the waking world. Flieger explores Tolkien’s use of dream as time-travel in his unfinished stories The Lost Road and The Notion Club Papers as well as in The Lord of the Rings and his shorter fiction and poetry.

Ray Bradbury: The Life of Fiction is the first comprehensive textual, bibliographical, and cultural study of sixty years of Bradbury’s fiction. Drawing on correspondence with his publishers, agents, and friends, as well as archival manuscripts, The Life of Fiction examines the story of Bradbury’s authorship over more than a half-century, from his earliest writings, which include The Martian Chronicles, to his most recently published novel, Let’s All Kill Constance. It shows in detail the often devious and unsuspected interconnections between his unpublished fiction, his story collections, and his most celebrated novels.