William Keepers Maxwell Jr. Was an American novelist, and fiction editor at the New Yorker.
He studied at the University of Illinois and Harvard University. Maxwell wrote six highly acclaimed novels, a number of short stories and essays, children's stories, and a memoir, Ancestors (1972). His award-winning fiction, which is increasingly seen as some of the most important of the 20th Century, has recurring themes of childhood, family, loss and lives changed quietly and irreparably. Much of his work is autobiographical, particularly concerning the loss of his mother when he was 10 years old growing up in the rural Midwest of America and the house where he lived at the time, which he referred to as the 'Wunderkammer' or 'Chamber of Wonders'. William Keepers Maxwell Jr.
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Was an American novelist, and fiction editor at the New Yorker. He studied at the University of Illinois and Harvard University. Maxwell wrote six highly acclaimed novels, a number of short stories and essays, children's stories, and a memoir, Ancestors (1972).
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His award-winning fiction, which is increasingly seen as some of the most important of the 20th Century, has recurring themes of childhood, family, loss and lives changed quietly and irreparably. Much of his work is autobiographical, particularly concerning the loss of his mother when he was 10 years old growing up in the rural Midwest of America and the house where he lived at the time, which he referred to as the 'Wunderkammer' or 'Chamber of Wonders'. He wrote of his loss 'It happened too suddenly, with no warning, and we none of us could believe it or bear it. The beautiful, imaginative, protected world of my childhood swept away.' Since his death in 2000 several works of biography have appeared, including A William Maxwell Portrait: Memories and Appreciations (W.
Norton & Co., 2004), My Mentor: A Young Man's Friendship with William Maxwell by Alec Wilkinson (Houghton-Mifflin, 2002), and William Maxwell: A Literary Life by Barbara Burkhardt (University of Illinois Press, 2005). In 2008 the Library of America published the first of two collections of William Maxwell, Early Novels and Stories, Christopher Carduff editor. His collected edition of William Maxwell's fiction, published to mark the writer's centenary, was completed by a second volume, Later Novels and Stories in the fall of 2008.'
“What we, or at any rate what I, refer to confidently as memory-meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion-is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.”―William Maxwell.
You may say there is no such thing as a perfect book. You’re probably right. But the one book that comes closest to it, in my mind, is SO LONG, SEE YOU TOMORROW by William Maxwell. If you’ve not read it, you should. Immediately.Now, like all intimations of paradise, it came upon me unawares. I was in a bookstore and there on a table, among all the tomes and gaudy bestsellers, was an incredibly thin book. I’ve always liked thin books.
You’re in, you’re out, you’re on to something else. But this book also had a beautiful and portentous black-and-white cover—a cloud-filled sky dwarfing a lonely farmstead.So of course I picked it up, scanned the first page, deemed it readable, plunked down my few dollars, took it home, and was forever changed.SO LONG, SEE YOU TOMORROW is the reminiscence of an old man coming to terms with a single, violent event that took place in his youth.
On a winter morning in the 1920s on a farm in rural Illinois, a man was killed. 2000 dancehall riddim. Now, 50 years later, he is trying to reconstruct the events that led up to that loss. But his memories of this event and its repercussions lead him on a journey of recollection and imagination that reveals not only the lives of Maxwell’s characters, but the very essence of what it means to be human.
At the same time, it is a meta-commentary on the act of writing itself, on the limits of memory and history, and on the question of meaning,It is a story about family, love, betrayal, and murder told in multiple voices, including the family dog’s.The writing is what they call “spare,” if by spare you mean getting to the very heart of something with the minimal number of keystrokes. It is, without a doubt, the most poetic book I’ve ever read without one word of poetry.I imagine you will be as awestruck by the artistry as I am, but more importantly, you will enjoy every moment of this book.There is a personal addendum. William Maxwell was a famous editor at The New Yorker from 1936 to 1975, where SO LONG, SEE YOU TOMORROW first appeared, but I had not heard of him until I stumbled upon his book. Some years later I was staying at my agent’s house where I found another little William Maxwell volume called THEY CAME LIKE SWALLOWS.
On the cover was a vintage photo of a boy in a sailor suit, taken, as it happens, by my agent’s great grandfather. And the boy in the picture is my agent’s grandfather.And so the connections to the past, imagined and real, that fascinated Maxwell also connect me to him and set me off on my own journey of imagination.