In 1928, just after he published his first novel, Morley Callaghan asked his editor, "Do you think The New Yorker would be a good magazine for my stories? They have never printed fiction before, but are going to start with that story of mine called 'An Escapade.'" Through these short stories from Callaghan--whom Ernest Hemingway compared to James Joyce--readers will realize just how good a fit is was.

Here is the complete collection of the author's stories previously published in "The New Yorker" between the years 1974-2006.

One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity. Including these twenty-eight profiles: “Mr. Hunter’s Grave” by Joseph Mitchell “Secrets of the Magus” by Mark Singer “Isadora” by Janet Flanner “The Soloist” by Joan Acocella “Time . . . Fortune . . . Life . . . Luce” by Walcott Gibbs “Nobody Better, Better Than Nobody” by Ian Frazier “The Mountains of Pi” by Richard Preston “Covering the Cops” by Calvin Trillin “Travels in Georgia” by John McPhee “The Man Who Walks on Air” by Calvin Tomkins “A House on Gramercy Park” by Geoffrey Hellman “How Do You Like It Now, Gentlemen?” by Lillian Ross “The Education of a Prince” by Alva Johnston “White Like Me” by Henry Louis Gates, Jr. “Wunderkind” by A. J. Liebling “Fifteen Years of The Salto Mortale” by Kenneth Tynan “The Duke in His Domain” by Truman Capote “A Pryor Love” by Hilton Als “Gone for Good” by Roger Angell “Lady with a Pencil” by Nancy Franklin “Dealing with Roseanne” by John Lahr “The Coolhunt” by Malcolm Gladwell “Man Goes to See a Doctor” by Adam Gopnik “Show Dog” by Susan Orlean “Forty-One False Starts” by Janet Malcolm “The Redemption” by Nicholas Lemann “Gore Without a Script” by Nicholas Lemann “Delta Nights” by Bill Buford

"New Yorker Stories" offers a colourful description of O.Henry’s favourite city, together with the emotional states of New Yorkers at the turn of the twentieth century. Some of O.Henry’s best stories are gathered here, excelling in the author’s preference for witty language, ironic situations, and unexpected, surprise endings. William Sidney Porter (1862-1919), known simply as O. Henry, was a prolific American author of humorous literary pieces. His fame came exceptionally quickly and he became a bestselling author of short story collections, among the most famous being "Cabbages and Kings", "The Voice of the City", and "Strictly Business." As a result of the outstanding literature legacy that O. Henry left behind, there is an American annual award after his name, given to exceptional short stories.

The cultural and political history of the watershed decade of the 20th century, as told by the New Yorker. The 1940s were a decade of upheaval and innovation: they saw the Nuremberg Trials and Israeli statehood, Casablanca and Duke Ellington, smallpox and skyscrapers, FDR and Le Corbusier, zoot suits and Christian Dior. It was also the decade the New Yorker came of age. The same magazine offered its readers the first reporting from Hiroshima and introduced the world to Holden Caulfield, while counting John Hersey, Rebecca West, E.B. White, and Joseph Mitchell among its regular writers. In this volume, pieces by the pantheon of journalists, novelists and poets that graced the New Yorker's pages in the 1940s are complemented by all new contributions, as the magazine's present star lineup looks back at that tumultuous decade. Here is a book that will enthrall, inform and entertain any history fan in your life.

Original critical essays on an iconic American periodical, providing new insights into twentieth-century literary cultureThis collection of newly commissioned critical essays reads across and between New Yorker departments, from sports writing to short stories, cartoons to reporters at large, poetry to annals of business. Attending to the relations between these kinds of writing and the magazine's visual and material constituents, the collection examines the distinctive ways in which imaginative writing has inhabited the 'prime real estate' of this enormously influential periodical. In bringing together a range of sharply angled analyses of particular authors, styles, columns, and pages, this book offers multiple perspectives on American writing and periodical culture at specific moments in twentieth-century history.Key Features: Eleven new perspectives on major American writers, including Roth, Cheever, Plath, and Updike, in relation to their first publication contextsReconsiders modern and contemporary American writing and periodical culture, focusing critical attention on commercially successful 'smart' magazinesDraws on new research in The New Yorker's manuscript and digital archivesA distinctive combination of close critical reading and cultural analysis

The next instalment in the acclaimed New Yorker 'decades' series featuring an all-star line-up of historical pieces from the 1960s alongside new pieces by current New Yorker staffers. The 1960s, the most tumultuous decade of the twentieth century, were a time of tectonic shifts in all aspects of society – from the March on Washington and the Second Vatican Council to the Summer of Love and Woodstock. No magazine chronicled the immense changes of the period better than The New Yorker. This capacious volume includes historic pieces from the magazine’s pages that brilliantly capture the sixties, set alongside new assessments by some of today’s finest writers. Here are real-time accounts of these years of turmoil: Calvin Trillin reports on the integration of Southern universities, E. B. White and John Updike wrestle with the enormity of the Kennedy assassination and Jonathan Schell travels with American troops into the jungles of Vietnam. The murder of Martin Luther King, Jr., the fallout of the 1968 Democratic Convention, the Soviet invasion of Czechoslovakia, the Six-Day War: all are brought to immediate and profound life in these pages. The New Yorker of the 1960s was also the wellspring of some of the truly timeless works of American journalism. Truman Capote’s In Cold Blood, Rachel Carson’s Silent Spring, Hannah Arendt’s Eichmann in Jerusalem and James Baldwin’s The Fire Next Time all first appeared in The New Yorker and are featured here. The magazine also published such indelible short story masterpieces as John Cheever’s ‘The Swimmer’ and John Updike’s ‘A & P’, alongside poems by Sylvia Plath and Anne Sexton. The arts underwent an extraordinary transformation during the decade, one mirrored by the emergence in The New Yorker of critical voices as arresting as Pauline Kael and Kenneth Tynan. Among the crucial cultural figures profiled here are Simon & Garfunkel, Tom Stoppard, Bob Dylan, Allen Ginsberg, Cassius Clay (before he was Muhammad Ali), and Mike Nichols and Elaine May. The assembled pieces are given fascinating contemporary context by current New Yorker writers, including Jill Lepore, Malcolm Gladwell and David Remnick. The result is an incomparable collective portrait of a truly galvanising era. With contributions from: Truman Capote, John Updike, E.B. White, Rachel Carson, James Baldwin, Jonathan Schell, Dwight Macdonald, Renata Adler, Hannah Arendt, Pauline Kael, AJ Liebling, Nat Hentoff, Calvin Trillin, Xavuer Rynne, John McPhee, Anthony Hiss and more.

The 1950s are enshrined in the popular imagination as the decade of poodle skirts and “I Like Ike.” But this was also a complex time, in which the afterglow of Total Victory firmly gave way to Cold War paranoia. A sense of trepidation grew with the Suez Crisis and the H-bomb tests. At the same time, the fifties marked the cultural emergence of extraordinary new energies, like those of Thelonious Monk, Sylvia Plath and Tennessee Williams. The New Yorker was there in real time, chronicling the tensions and innovations that lay beneath the era’s placid surface. In this thrilling volume, classic works of reportage, criticism, and fiction are complemented by new contributions from the magazine’s present all-star line-up of writers, including Jonathan Franzen, Malcolm Gladwell, and Jill Lepore. Here are indelible accounts of the decade’s most exciting players: Truman Capote on Marlon Brando as a pampered young star; Berton Roueché on Jackson Pollock in his first flush of fame. Ernest Hemingway, Emily Post, Bobby Fischer, and Leonard Bernstein are also brought to vivid life in these pages. Among the audacious young writers who began publishing in the fifties was one who would become a stalwart for the magazine for fifty-five years: John Updike. Also featured here are great early works from Philip Roth and Nadine Gordimer, as well as startling poems by Theodore Roethke and Anne Sexton. Completing the panoply are insightful and entertaining new pieces by present day New Yorker contributors examining the 1950s through contemporary eyes.

Book 9 in Ved Mehta's Continents of Exile series. Nearly 50 years in the making, Continents of Exile is one of the great works of twentieth-century autobiography: the epic chronicle of an Indian family in the twentieth century. From 1930s India to 1950s Oxford and literary New York in the 1960s-80s, this is the story of the post-colonial twentieth century, as uniquely experienced and vividly recounted by Ved Mehta. In Remembering Mr. Shawn's New Yorker, Ved Mehta provides an unparalleled glimpse into the inner workings of the one of world's most famous magazines. He portrays in detail the strange, nurturing atmosphere at the New Yorker, and he recounts the earthquakes that shook the magazine as it moved into the hands of more commercial ownership. At once a tribute to William Shawn - one of the longest serving editors in the New Yorker's history - Mehta's memoir is also a joyful tribute to the intricately linked arts of editing, writing, and reading.