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In the summer of 1937, Thomas Wolfe was in the North Carolina mountains revising a piece about a party and subsequent fire at the Park Avenue penthouse apartment of the fictional Esther and Frederick Jack. He wrote to his agent, Elizabeth Nowell, 'I think it is now a single thing, as much a single thing as anything I've ever written.' Abridged and edited versions of the story were published twice, as a novella in Scribner's Monthly (May 1939) and as part of You Can't Go Home Again (1940). Now Suzanne Stutman and John Idol have worked from manuscript sources at Harvard University to reconstruct The Party at Jack's as outlined by Wolfe before his death. Here, in its untruncated state, Wolfe's novella affords a significant glimpse of a Depression-era New York inhabited by Wall Street wheelers and dealers and the theatrical and artistic elite. Wolfe describes the Jacks and their social circle with lavish attention to mannerisms and to clothing, furnishings, and other trappings of wealth and privilege. The sharply drawn contrast between the decadence of the party-goers and the struggles of the working classes in the streets below reveals Wolfe's gifts as both a writer and a sharp social critic.
- Sales Rank: #4080706 in Books
- Brand: Brand: The University of North Carolina Press
- Published on: 2001-02-01
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .62" w x 5.98" l, .90 pounds
- Binding: Paperback
- 274 pages
- Used Book in Good Condition
From Publishers Weekly
Thomas Wolfe meets Tom Wolfe at last. Remember the Park Avenue penthouse party where the hoity-toity crowd gathered in The Bonfire of the Vanities? Here we're at that same party, without Tom W.'s humor--and without a story. Instead, Thomas W. gives us a cubistic painting of the building itself, from the penthouse to the subway trains beneath that tie the building to the whole U.S. economy, with portraits of the wealthy who inhabit the place, all rendered in prose of a density peculiar to this novella among his works. Those who loved Bonfire are likely to hate Jack's because of its literary daring, with entertainment a secondary consideration. Yet it is of note as the only example in all of Wolfe that shows his mastery of an experimental form he derived from Joyce. Written and revised during 1930-1936, this work first appeared in far shorter form in Scribner's monthly and in You Can't Go Home Again. Comparison with that novel shows that the present editors, both Wolfe scholars, have gone back to the original and presented him at his most expressive.
Copyright 1995 Cahners Business Information, Inc.
From Library Journal
Those familiar with Wolfe's work will recognize this title as a chapter heading in You Can't Go Home Again. In different forms, the work appeared as a novella in Scribner's Monthly and as part of the above-mentioned novel, but the editors have worked with manuscripts and letters to re-create it as they claim Wolfe intended. The central characters are the wealthy immigrant businessman Frederick Jack (note the play on the slang for money) and his Broadway show designer wife, Esther, both voluptuaries in their own way. Various "types" are satirized (the insipid "Piggy" London is a wonderful creation), and the party itself becomes the central character in a type of drawing-room comedy with a sharp edge. The editors offer an academic-style introduction to set the book in the context of Wolfe's life and work, though Wolfe's tale, replete with his especially lovely language, can stand on its own despite a few flaws. Highly recommended, especially for literary collections.?Harold Augenbraum, Mercantile Lib., New York
Copyright 1995 Reed Business Information, Inc.
Review
Aside from Tom Wolfe . . . and Norman Mailer, no stylist today takes as big a bite out of the American landscape.
—"Kirkus Reviews"
I think it is now a single thing, as much a single thing as anything I've ever written.
—Thomas Wolfe, to his agent, Elizabeth Nowell
Wolfe's tale, replete with his especially lovely language, can stand on its own despite a few flaws.
—"Library Journal"
A significant, addition to the Wolfe texts that have been appearing under this publisher's imprint.
—"Choice"
Written in Thomas Wolfe's characteristically rhapsodic style.
—"New York Times Book Review"
Most helpful customer reviews
2 of 2 people found the following review helpful.
Satisfying, though a draft
By Chris C. Hill
Stutman and Idol offer a generous and judicious working draft of an ambitious novel, some of which Wolfe's posthumous editor, Edward C. Aswell, included in his version of You Can't Go Home Again. While the earliest sketches for The Party at Jack's date from 1930, Wolfe worked on it mostly from the summer of 1937 into the winter of 1938, making this one of his last major writings.
Set in Manhattan at the zenith of the Jazz Age, the story concerns a "power couple" who exemplify the ambition, idealism, infatuations, compromise, materialism, and tragedy of a time and place that did much to define American culture. The opening chapters essay a multileveled psychological and behavioral portrait of the husband, Friederick Jack. The meditative pace, reminiscent of Goncharov or Proust, is energized by some of Wolfe's most daring and experimental writing. The main thread of the book, however, begins with Wolfe's parallel portrait of the wife, Esther Jack (the same character who motivates much of Eugene Gant's world wandering in Of Time and the River). The party at Jack's is her party, and Wolfe takes great pains to portray in frank detail the social, sexual, creative, and moral dichotomies revealed by the big event. You can feel Wolfe trying to work through his own conflicting emotions as he develops this narrative. He makes no attempt to hide his discomfort with aesthetics and lifestyles that celebrate ironic detachment or that privilege form over content.
Yet just when he seems to risk a descent into merely reflexive criticism of the jazz decade, Wolfe pushes the story (through convincing plot details) into new places where it pulses with empathy and achieves transcendence. In the end, the novel is a portrait of human caring and blindness, filled with colorful details of its era. Although redundant adjectives and even occasional redundant sentences indicate the state of the draft, I found the book engrossing and hard to put down.
1 of 1 people found the following review helpful.
Wolfe, but not quite Wolfe.
By Psyche
It is entirely possible for a book to be wonderfully-written and poorly-edited. If you don't believe me, read this book.
It took me three days to read this 240-page novella. I had to read some sentences, paragraphs, and even pages over a few times to gain clarity and understanding. Repetition of phrases can be a useful device for emphasis or effect, however, if over-used, the effect became annoying. I think the daughter's name was changed somewhere about a third of the way through the book, and then back again toward the end of the book, only for the daughter to disappear altogether by the close of the book. The first few chapters, told from Mr. Jack's viewpoint, did not really fit with the rest of the book, told from Mrs. Jack's viewpoint. It is fine to switch viewpoints, but I needed a bit of help to get from the fire to the return of Mr. Jack to his childhood home.
I can't fault Thomas Wolfe; first of all, because he IS Thomas Wolfe, but more importantly, he hadn't finished writing this book before he died. So, while I am happy the The Party at Jack's has seen the light of day, I would have preferred that someone with a stronger ear for Thomas Wolfe had edited it.
1 of 1 people found the following review helpful.
It's by Thomas Wolfe. Need I say more?
By Harrison Holmes
I needed this Thomas Wolfe novella simply because I didn't already have it. And if I am to be fully knowledgable of Wolfe... well the answer is obvious. If I were to conduct a class on writing I would have to spent time on the necessity of developing, as Andrew Lytle termed it, a-sense-of-place. There is a-sense-of-place that helps, is critical, to the development of the character of George Webber, Miss Esther Jack and others. Many Wolfe paragraphs read like poetry. Place is not so much a physical place like New York or Lybia Hill or the mountains of North Carolina but the place as defined by the characters’ personalities, their beings. Physical location is not so important except as a vehicle… a-sense-of-place is the domain of the characters. You might consider "The Party at Jack’s" an introduction to some of the characters you'll find in "You Can’t Go Home Again."
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