John Hoyer Updike was an American writer. Updike's most famous work is his Rabbit series (Rabbit, Run; Rabbit Redux; Rabbit Is Rich; Rabbit At Rest; and Rabbit Remembered). Rabbit is Rich and Rabbit at Rest both won Pulitzer Prizes for Updike. Describing his subject as "the American small town, Protestant middle class," Updike is well known for his careful craftsmanship and prolific writing, having published 22 novels and more than a dozen short story collections as well as poetry, literary criticism and children's books. Hundreds of his stories, reviews, and poems have appeared in The New Yorker since the 1950s. His works often explore sex, faith, and death, and their inter-relationships.
John Updike’s first collection of essays. Most of these were published in The New Yorker in the 1960s. As with all of Updike’s essays, they are long on erudition and elegance. He’s always been a joy to read.
John Updike’s Assorted Prose is just that: a 1965 collection of more than sixty writings, mostly first published in The New Yorker, ranging from parody and sports reportage to fiction and book reviews. The humor entries and the collection of “The Talk of the Town” pieces, all now around sixty years old, hold up well. “Central Park,” “Cancelled,” and “Confessions of a Wild Bore” are just three of many I like a lot. The autobiographical “The Dogwood Tree: A Boyhood” and the account of Ted Williams’s last game, “Hub Fans Bid Kid Adieu”, are essential Updike. The book criticism, though, can be a slog, with the reviews dealing with theology coming off, in Updike’s own words in his review of a Karl Barth book, “uncommonly tedious and difficult.”
I can't really fault a hodge-podge for being uneven. Assorted Prose has a visible slope, though. The parodies haven't aged very well, as they are—like most parodies—specific to their time, and the originals parodied are no longer as immediately recognizable. Even so, "On the Sidewalk," Updike's spot-on apery of Jack Kerouac, still kicks. The New Yorker pieces are similarly spotty, and for similar reasons, but hit the mark far more often simply because Updikes musings in this form are so much more universal.
The real meat of the collection comes in the middle. "Hub Fans Bid Kid Adieu" is deservedly hailed as perhaps the best baseball writing ever, and it's second only on my list to Malamud's The Natural. The memoir-esque pieces collected under "First Person Singular" approach the best of Updike's short fiction, particularly two reminiscences about a successful, but distant, uncle and "The Dogwood Tree." These three capture some of the elementals of childhood with a casual panache uncommon to a lot of Updike's work.
As you might expect with assorted prose, this was a bit hit and miss. It opened with some dull pieces that read like writing exercises ("How to Drink from a Cup",*yawn*), and there were a fair few bits I skipped through, but the autobiographical childhood bits were splendid, as were the real-time opinion pieces on stuff like the JFK assassination and the like.
I should add also that this was very much an "assorted" prose, and not "collected". Yer man Updike had at this point only written one third of the adult trilogy, and in his photo on the back cover he's clearly still but a young slip of a writer, with his dark hair, eager young nose, and hesitant young chin.
A collection of John Updike non-fiction articles written in the 1950-1960s. This collection provides a glimpse of what the US was like during this period. Updike can be over-the-top intellectually or the down-to-earth guy next door.
It's not so much the content, which seems stronger at first, but the form which becomes annoying. I don't think I've ever read a book of reviews before, but now I've got GR, so I'm all set in that department forevermore.