Graham Greene

Edward Dahlberg

Kathleen Raine

Bonamy Dobrée

Sir Herbert Edward Read

Barbara Hepworth

Lady Margaret Ludwig Read

1) manuscript of Read's novel 'The Green Child' (box 18); 2) manuscript of Read's play 'The Parliament of Women: a drama in three acts', 1960; 3) manuscripts of Read's non-fiction monographs: 'Arp', 1968, 'Art and Alienation: the role of the artist in society', 1967, 'The Beautiful and the Sublime: An Introduction to the Visual Arts' (renamed afterwards?); 'Creative Humanism' (renamed afterwards?); 'The Redemption of the Robot: my encounter with education through art', 1966; 4) typescripts and manuscripts of various essays, articles, speeches, and lectures by Read; 5) manuscripts and typescripts of Read's poetry; 6) Read's correspondence (mainly from 1965 to 1968) with W.H. Auden, Ian Bevan, André Breton, Basil Bunting, Edward Dahlberg, Valentine and Bonamy Dobrée, T.S. Eliot, Ruth Francken, Graham Greene, Michael Hamburger, Jean Hélion, Rayner Heppenstall, Barbara Hepworth, Dom Sylvester Houedard, Carl Jung, G. Wilson Knight, Oskar Kokoschka, Pierre Matisse, Henry Miller, Joan Miró, Henry Moore, Victor Pasmore, Roland Penrose, Kathleen Raine, and thousands of other individuals and institutions (in many cases carbon copies of Read's part of the correspondence also survives); 7) photographs and slides of art work, sometimes accompanied by related correspondence with artists; 8) personal photographs; and 9) miscellaneous material including personal items (domestic and financial records, passports, pocket diaries) and Lady Margaret Read's material including manuscript music, plans and programmes related to the Hovingham Hall Festival.

Papers and Correspondence of Herbert Read

The Leafless American and Other Writings

Alms for Oblivion was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. This volume makes available in book form a collection of seventeen essays by Edward Dahlberg, who has been called one of the great unrecognized writers of our time. Some of the selections have never been published before; others have appeared previously only in magazines of limited circulation. There is a foreword by Sir Herbert Read. The individual essays are on a wide range of subjects: literary, historical, philosophical, personal. The longest is a discussion of Herman Melville's work entitled "Moby-Dick - A Hamitic Dream." The fate of authors at the hands of reviewers is the subject of the essay called "For Sale." In "No Love and No Thanks" the author draws a characterization of our time. He presents a critique of the poet William Carlos Williams in "Word-Sick and Place- Crazy," and a discussion of F. Scott Fitzgerald in "Peopleless Fiction." In "My Friends Stieglitz, Anderson, and Dreiser" he discusses not only Alfred Stieglitz, Sherwood Anderson, and Theodore Dreiser but other personalities as well. He also writes of Sherwood Anderson in "Midwestern Fable." In "Cutpurse Philosopher" the subject is William James. "Florentine Codex" is about the conquistadores. Other essays in the collection are the following: "Randolph Bourne," "Our Vanishing Cooperative Colonies," "Chivers and Poe," "Domestic Manners of Americans," "Robert McAlmon: A Memoir," "The Expatriates: A Memoir," and an essay on Allen Tate.

Alms for Oblivion

The Confessions of Edward Dahlberg

Can These Bones Live

Long out-of-print, Bottom Dogs still stands in the main line of American "proletarian naturalism" and the social novels of the 1930's" -- book cover

Bottom Dogs

With a Foreword by Sir Herbert Read

Alms for Oblivion, Essays

Few books in the history of New Directions have received such praise as came to Edward Dahlberg’s autobiography, Because I Was Flesh, which is now on our paperback list. Alfred Kazin wrote: “A work of extraordinary honesty, eloquence and power, it redeems with one mighty creative act the suffering of a lifetime. It is one of the few important American books published in our day.” And Allen Tate spoke of “the hair-raising honesty, the profound self-knowledge, and the formal elegance of the style,...a combination that has not previously appeared in an autobiography by an American.” Sir Herbert Read called the book, “A great achievement. A masterpiece. The magnificent portrait of the author’s mother is as relentless, as detailed, as loving as a late Rembrandt.” Because I Was Flesh is the story of Edward Dahlberg’s life as a child and young man—in Kansas City, in a Cleveland orphanage, in California and New York—and of the remarkable woman, his mother Lizzie, who shaped it. Seldom has there been so ruthless, and yet so tender a dissection of the mother-son relationship. And from it Lizzie Dahlberg, the lady barber of Kansas City, emerges as one of the unforgettable characters of our literature. This is a book of many dimensions, an authentic record from the inferno of modern city life, and a testament of American experience.

The Autobiography of Edward Dahlberg

Because I Was Flesh

Edward Dahlberg

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