Collected Letters

“Dave Moore's work on this collection is simply awesome.... It should become and remain the definitive reference book for Beat scholars forever.” —Carolyn Cassady Neal Cassady is best remembered today as Jack Kerouac’s muse and the basis for the character “Dean Moriarty” in Kerouac’s classic On The Road, and as one of Ken Kesey’s merriest of Merry Pranksters, the driver of the psychedelic bus “Further,” immortalized in Tom Wolfe’s The Electric Kool-Aid Acid Test. This collection brings together more than two hundred letters to Kerouac, Allen Ginsberg, John Clellon Holmes, and other Beat generation luminaries, as well as correspondence between Neal and his wife, Carolyn. These amazing letters cover Cassady’s life between the ages of 18 and 41 and finish just months before his death in February 1968. Brilliantly edited by Dave Moore, this unique collection presents the “Soul of the Beat Generation” in his own words—sometimes touching and tender, sometimes bawdy and hilarious. Here is the real Neal Cassady—raw and uncut.

Philosopher, author, and lecturer Alan Watts (1915–1973) popularized Zen Buddhism and other Eastern philosophies for the counterculture of the 1960s. Today, new generations are finding his writings and lectures online, while faithful followers worldwide continue to be enlightened by his teachings. The Collected Letters of Alan Watts reveals the remarkable arc of Watts’s colorful and controversial life, from his school days in England to his priesthood in the Anglican Church as chaplain of Northwestern University to his alternative lifestyle and experimentation with LSD in the heyday of the late sixties. His engaging letters cover a vast range of subject matter, with recipients ranging from High Church clergy to high priests of psychedelics, government officials, publishers, critics, family, and fans. They include C. G. Jung, Henry Miller, Gary Snyder, Aldous Huxley, Reinhold Niebuhr, Timothy Leary, Joseph Campbell, and James Hillman. Watts’s letters were curated by two of his daughters, Joan Watts and Anne Watts, who have added rich, behind-the-scenes biographical commentary. Edited by Joan Watts & Anne Watts

This volume of correspondence, the last in a three-volume edition, spans a pivotal moment in American history: the mid-twentieth century, from the beginning of World War II, through the years of rebuilding and uneasy peace that followed, to the election of President John F. Kennedy. Robinson Jeffers published four important books during this period—Be Angry at the Sun (1941), Medea (1946), The Double Axe (1948), and Hungerfield (1954). He also faced changes to his hometown village of Carmel, experienced the rewards of being a successful dramatist in the United States and abroad, and endured the loss of his wife Una. Jeffers' letters, and those of Una written in the decade prior to her death, offer a vivid chronicle of the life and times of a singular and visionary poet.

Renaissance writer Laura Cereta (1469–1499) presents feminist issues in a predominantly male venue—the humanist autobiography in the form of personal letters. Cereta's works circulated widely in Italy during the early modern era, but her complete letters have never before been published in English. In her public lectures and essays, Cereta explores the history of women's contributions to the intellectual and political life of Europe. She argues against the slavery of women in marriage and for the rights of women to higher education, the same issues that have occupied feminist thinkers of later centuries. Yet these letters also furnish a detailed portrait of an early modern woman’s private experience, for Cereta addressed many letters to a close circle of family and friends, discussing highly personal concerns such as her difficult relationships with her mother and her husband. Taken together, these letters are a testament both to an individual woman and to enduring feminist concerns.

This book presents the poetry and letters of the American writer Adelaide Crapsey (1878–1914). Her best poetry deserves to be enjoyed by a larger audience, and her letters and newly discovered biographical materials reveal new charm and meaning in an intriguingly elusive character. Crapsey did not live to see any of her mature poetry published: she received notice that her first poem had been accepted for publication only a week before she died. Posthumous editions of her Verse (in 1915, 1922, and 1934), however, brought her recognition and respect. Carl Sandburg paid her a poetic tribute. American critic Yvor Winters praised her as "a minor poet of great distinction" and felt that her poems remained "in their way honest and acutely perceptive." Her best work is compressed, terse, related in this respect to the work of another American poet who won posthumous recognition, Emily Dickinson. Crapsey is best known as the inventor of the cinquain, a poem of five short lines of unequal length: one-stress, two-stress, three-stress, four-stress, and one-stress. The cinquain is one of the few modern verse forms developed in English, and its brevity and characteristic thought pattern seem to have been influenced by Japanese forms. Crapsey's indebtedness to Japanese poetry and her relation to Imagism have long been subjects for debate. As Winters notes, the work of Crapsey "achieves more effectively than did almost any of the Imagists the aims of Imagism." The critical introduction by Professor Susan Sutton Smith examines these problems. Much of Crapsey's poetry is reticent, withdrawn, and private, and she believed strongly in the individual's right to privacy. Whatever new biographical materials reveal of her and of her relations with family and friends, however, shows a charming and courageous woman. Her courage and humor show especially well in her correspondence with her friend Esther Lowenthal and in the letters with her friend Jean Webster McKinney, author of Daddy Long-Legs, who died soon after Crapsey.

This is the only single-volume edition containing all Wollstonecraft's known correspondence.

The life and mind of C. S. Lewis have fascinated those who have read his works. This collection of his personal letters reveals a unique intellectual journey. The first of a three-volume collection, this volume contains letters from Lewis's boyhood, his army days in World War I, and his early academic life at Oxford. Here we encounter the creative, imaginative seeds that gave birth to some of his most famous works. At age sixteen, Lewis begins writing to Arthur Greeves, a boy his age in Belfast who later becomes one of his most treasured friends. Their correspondence would continue over the next fifty years. In his letters to Arthur, Lewis admits that he has abandoned the Christian faith. "I believe in no religion," he says. "There is absolutely no proof for any of them." Shortly after arriving at Oxford, Lewis is called away to war. Quickly wounded, he returns to Oxford, writing home to describe his thoughts and feelings about the horrors of war as well as the early joys of publication and academic success. In 1929 Lewis writes to Arthur of a friend ship that was to greatly influence his life and writing. "I was up till 2:30 on Monday talking to the Anglo-Saxon professor Tolkien who came back with me to College ... and sat discoursing of the gods and giants & Asgard for three hours ..." Gradually, as Lewis spends time with Tolkien and other friends, he admits in his letters to a change of view on religion. In 1930 he writes, "Whereas once I would have said, 'Shall I adopt Christianity', I now wait to see whether it will adopt me ..." The Collected Letters of C. S. Lewis, Volume I offers an inside perspective to Lewis's thinking during his formative years. Walter Hooper's insightful notes and biographical appendix of all the correspondents make this an irreplaceable reference for those curious about the life and work of one of the most creative minds of the modern era.