Winesburg, Ohio (Golden Deer Classics)

By Sherwood Anderson and Golden Deer Classics

Winesburg, Ohio was inspired by Sherwood Anderson's early life experiences growing up in Ohio. This frank realistic portrayal of small town life brought the novel into the twentieth century. The influence of this book cannot be overstated. Writer's as diverse as Ray Bradbury, Amos Oz, and Henry Miller, and F. Scott Fitzgerald were deeply influenced by this American classic.

• Language: English
• Publisher: Oregan Publishing
• Release date: Aug 20, 2017
• ISBN: 9782377931958

Sherwood Anderson

Sherwood Anderson was born in Camden, Ohio. Following a brief stint in the Spanish American War, he started a family and founded a business -- both of which he abruptly abandoned at the age of 36 to pursue his life-long dream of writing. His simple and direct writing style, with which he portrayed important moments in the lives of his characters, influenced both Ernest Hemingway and William Faulkner. His other notable works include Triumph of the Egg; Horses and Men; and A Story Teller's Story.

Book preview

Table of Contents

Winesburg, Ohio

INTRODUCTION

THE TALES AND THE PERSONS

THE BOOK OF THE GROTESQUE

HANDS

MOTHER

THE PHILOSOPHER

NOBODY KNOWS

GODLINESS

I

II

III

IV

A MAN OF IDEAS

ADVENTURE

RESPECTABILITY

THE THINKER

TANDY

THE STRENGTH OF GOD

THE TEACHER

LONELINESS

AN AWAKENING

QUEER

THE UNTOLD LIE

DEATH

SOPHISTICATION

DEPARTURE

                        Winesburg, Ohio

                                                           SHERWOOD ANDERSON

INTRODUCTION

by Irving Howe

I must have been no more than fifteen or sixteen years old when I first chanced upon Winesburg, Ohio. Gripped by these stories and sketches of Sherwood Anderson's small-town grotesques, I felt that he was opening for me new depths of experience, touching upon half-buried truths which nothing in my young life had prepared me for. A New York City boy who never saw the crops grow or spent time in the small towns that lay sprinkled across America, I found myself overwhelmed by the scenes of wasted life, wasted love—was this the real America?—that Anderson sketched in Winesburg. In those days only one other book seemed to offer so powerful a revelation, and that was Thomas Hardy's Jude the Obscure.

Several years later, as I was about to go overseas as a soldier, I spent my last week-end pass on a somewhat quixotic journey to Clyde, Ohio, the town upon which Winesburg was partly modeled. Clyde looked, I suppose, not very different from most other American towns, and the few of its residents I tried to engage in talk about Anderson seemed quite uninterested. This indifference would not have surprised him; it certainly should not surprise anyone who reads his book.

Once freed from the army, I started to write literary criticism, and in 1951 I published a critical biography of Anderson. It came shortly after Lionel Trilling's influential essay attacking Anderson, an attack from which Anderson's reputation would never quite recover. Trilling charged Anderson with indulging a vaporous sentimentalism, a kind of vague emotional meandering in stories that lacked social or spiritual solidity. There was a certain cogency in Trilling's attack, at least with regard to Anderson's inferior work, most of which he wrote after Winesburg, Ohio. In my book I tried, somewhat awkwardly, to bring together the kinds of judgment Trilling had made with my still keen affection for the best of Anderson's writings. By then, I had read writers more complex, perhaps more distinguished than Anderson, but his muted stories kept a firm place in my memories, and the book I wrote might be seen as a gesture of thanks for the light—a glow of darkness, you might say—that he had brought to me.

Decades passed. I no longer read Anderson, perhaps fearing I might have to surrender an admiration of youth. (There are some writers one should never return to.) But now, in the fullness of age, when asked to say a few introductory words about Anderson and his work, I have again fallen under the spell of Winesburg, Ohio, again responded to the half-spoken desires, the flickers of longing that spot its pages. Naturally, I now have some changes of response: a few of the stories no longer haunt me as once they did, but the long story Godliness, which years ago I considered a failure, I now see as a quaintly effective account of the way religious fanaticism and material acquisitiveness can become intertwined in American experience.

* * *

Sherwood Anderson was born in Ohio in 1876. His childhood and youth in Clyde, a town with perhaps three thousand souls, were scarred by bouts of poverty, but he also knew some of the pleasures of pre-industrial American society. The country was then experiencing what he would later call a sudden and almost universal turning of men from the old handicrafts towards our modern life of machines. There were still people in Clyde who remembered the frontier, and like America itself, the town lived by a mixture of diluted Calvinism and a strong belief in progress, Young Sherwood, known as Jobby—the boy always ready to work—showed the kind of entrepreneurial spirit that Clyde respected: folks expected him to become a go-getter, And for a time he did. Moving to Chicago in his early twenties, he worked in an advertising agency where he proved adept at turning out copy. I create nothing, I boost, I boost, he said about himself, even as, on the side, he was trying to write short stories.

In 1904 Anderson married and three years later moved to Elyria, a town forty miles west of Cleveland, where he established a firm that sold paint. I was going to be a rich man…. Next year a bigger house; and after that, presumably, a country estate. Later he would say about his years in Elyria, I was a good deal of a Babbitt, but never completely one. Something drove him to write, perhaps one of those shapeless hungers—a need for self-expression? a wish to find a more authentic kind of experience?—that would become a recurrent motif in his fiction.

And then, in 1912, occurred the great turning point in Anderson's life. Plainly put, he suffered a nervous breakdown, though in his memoirs he would elevate this into a moment of liberation in which he abandoned the sterility of commerce and turned to the rewards of literature. Nor was this, I believe, merely a deception on Anderson's part, since the breakdown painful as it surely was, did help precipitate a basic change in his life. At the age of 36, he left behind his business and moved to Chicago, becoming one of the rebellious writers and cultural bohemians in the group that has since come to be called the Chicago Renaissance. Anderson soon adopted the posture of a free, liberated spirit, and like many writers of the time, he presented himself as a sardonic critic of American provincialism and materialism. It was in the freedom of the city, in its readiness to put up with deviant styles of life, that Anderson found the strength to settle accounts with—but also to release his affection for—the world of small-town America. The dream of an unconditional personal freedom, that hazy American version of utopia, would remain central throughout Anderson's life and work. It was an inspiration; it was a delusion.

In 1916 and 1917 Anderson published two novels mostly written in Elyria, Windy McPherson's Son and Marching Men, both by now largely forgotten. They show patches of talent but also a crudity of thought and unsteadiness of language. No one reading these novels was likely to suppose that its author could soon produce anything as remarkable as Winesburg, Ohio. Occasionally there occurs in a writer's career a sudden, almost mysterious leap of talent, beyond explanation, perhaps beyond any need for explanation.

In 1915-16 Anderson had begun to write and in 1919 he published the stories that comprise Winesburg, Ohio, stories that form, in sum, a sort of loosely-strung episodic novel. The book was an immediate critical success, and soon Anderson was being ranked as a significant literary figure. In 1921 the distinguished literary magazine The Dial awarded him its first annual literary prize of $2,000, the significance of which is perhaps best understood if one also knows that the second recipient was T. S. Eliot. But Anderson's moment of glory was brief, no more than a decade, and sadly, the remaining years until his death in 1940 were marked by a sharp decline in his literary standing. Somehow, except for an occasional story like the haunting Death in the Woods, he was unable to repeat or surpass his early success. Still, about Winesburg, Ohio and a small number of stories like The Egg and The Man Who Became a Woman there has rarely been any critical doubt.

* * *

No sooner did Winesburg, Ohio make its appearance than a number of critical labels were fixed on it: the revolt against the village, the espousal of sexual freedom, the deepening of American realism. Such tags may once have had their point, but by now they seem dated and stale. The revolt against the village (about which Anderson was always ambivalent) has faded into history. The espousal of sexual freedom would soon be exceeded in boldness by other writers. And as for the effort to place Winesburg, Ohio in a tradition of American realism, that now seems dubious. Only rarely is the object of Anderson's stories social verisimilitude, or the photographing of familiar appearances, in the sense, say, that one might use to describe a novel by Theodore Dreiser or Sinclair Lewis. Only occasionally, and then with a very light touch, does Anderson try to fill out the social arrangements of his imaginary town—although the fact that his stories are set in a mid-American place like Winesburg does constitute an important formative condition. You might even say, with only slight overstatement, that what Anderson is doing in Winesburg, Ohio could be described as antirealistic, fictions notable less for precise locale and social detail than for a highly personal, even strange vision of American life. Narrow, intense, almost claustrophobic, the result is a book about extreme states of being, the collapse of men and women who have lost their psychic bearings and now hover, at best tolerated, at the edge of the little community in which they live. It would be a gross mistake, though not one likely to occur by now, if we were to take Winesburg, Ohio as a social photograph of the typical small town (whatever that might be.) Anderson evokes a depressed landscape in which lost souls wander about; they make their flitting appearances mostly in the darkness of night, these stumps and shades of humanity. This vision has its truth, and at its best it is a terrible if narrow truth—but it is itself also grotesque, with the tone of the authorial voice and the mode of composition forming muted signals of the book's content. Figures like Dr. Parcival, Kate Swift, and Wash Williams are not, nor are they meant to be, fully-rounded characters such as we can expect in realistic fiction; they are the shards of life, glimpsed for a moment, the debris of suffering and defeat. In each story one of them emerges, shyly or with a false assertiveness, trying to reach out to companionship and love, driven almost mad by the search for human connection. In the economy of Winesburg these grotesques matter less in their own right than as agents or symptoms of that indefinable hunger for meaning which is Anderson's preoccupation.

Brushing against one another, passing one another in the streets or the fields, they see bodies and hear voices, but it does not really matter—they are disconnected, psychically lost. Is this due to the particular circumstances of small-town America as Anderson saw it at the turn of the century? Or does he feel that he is sketching an inescapable human condition which makes all of us bear the burden of loneliness? Alice Hindman in the story Adventure turns her face to the wall and tries to force herself to face the fact that many people must live and die alone, even in Winesburg. Or especially in Winesburg? Such impressions have been put in more general terms in Anderson's only successful novel, Poor White:

All men lead their lives behind a wall of misunderstanding they have themselves built, and most men die in silence and unnoticed behind the walls. Now and then a man, cut off from his fellows by the peculiarities of his nature, becomes absorbed in doing something that is personal, useful and beautiful. Word of his activities is carried over the walls.

These walls of misunderstanding are only seldom due to physical deformities (Wing Biddlebaum in Hands) or oppressive social arrangements (Kate Swift in The Teacher.) Misunderstanding, loneliness, the inability to articulate, are all seen by Anderson as virtually a root condition, something deeply set in our natures. Nor are these people, the grotesques, simply to be pitied and dismissed; at some point in their lives they have known desire, have dreamt of ambition, have hoped for friendship. In all of them there was once something sweet, like the twisted little apples that grow in the orchards in Winesburg. Now, broken and adrift, they clutch at some rigid notion or idea, a truth which turns out to bear the stamp of monomania, leaving them helplessly sputtering, desperate to speak out but unable to. Winesburg, Ohio registers the losses inescapable to life, and it does so with a deep fraternal sadness, a sympathy casting a mild glow over the entire book. Words, as the American writer Paula Fox has said, are nets through which all truth escapes. Yet what do we have but words?

They want, these Winesburg grotesques, to unpack their hearts, to release emotions buried and festering. Wash Williams tries to explain his eccentricity but hardly can; Louise Bentley tried to talk but could say nothing; Enoch Robinson retreats to a fantasy world, inventing his own people to whom he could really talk and to whom he explained the things he had been unable to explain to living people.

In his own somber way, Anderson has here touched upon one of the great themes of American literature, especially Midwestern literature, in the late nineteenth and early twentieth centuries: the struggle for speech as it entails a search for the self. Perhaps the central Winesburg story, tracing the basic movements of the book, is Paper Pills, in which the old Doctor Reefy sits in his empty office close by a window that was covered with cobwebs, writes down some thoughts on slips of paper (pyramids of truth, he calls them) and then stuffs them into his pockets where they become round hard balls soon to be discarded. What Dr. Reefy's truths may be we never know; Anderson simply persuades us that to this lonely old man they are utterly precious and thereby incommunicable, forming a kind of blurred moral signature.

After a time the attentive reader will notice in these stories a recurrent pattern of theme and incident: the grotesques, gathering up a little courage, venture out into the streets of Winesburg, often in the dark, there to establish some initiatory relationship with George Willard, the young reporter who hasn't yet lived long enough to become a grotesque. Hesitantly, fearfully, or with a sputtering incoherent rage, they approach him, pleading that he listen to their stories in the hope that perhaps they can find some sort of renewal in his youthful voice. Upon this sensitive and fragile boy they pour out their desires and frustrations. Dr. Parcival hopes that George Willard will write the book I may never get written, and for Enoch Robinson, the boy represents the youthful sadness, young man's sadness, the sadness of a growing boy in a village at the year's end [which may open] the lips of the old man.

What the grotesques really need is each other, but their estrangement is so extreme they cannot establish direct ties—they can only hope for connection through George Willard. The burden this places on the boy is more than he can bear. He listens to them attentively, he is sympathetic to their complaints, but finally he is too absorbed in his own dreams. The grotesques turn to him because he seems different—younger, more open, not yet hardened—but it is precisely this difference that keeps him from responding as warmly as they want. It is hardly the boy's fault; it is simply in the nature of things. For George Willard, the grotesques form a moment in his education; for the grotesques, their encounters with George Willard come to seem like a stamp of hopelessness.

The prose Anderson employs in telling these stories may seem at first glance to be simple: short sentences, a sparse vocabulary, uncomplicated syntax. In actuality, Anderson developed an artful style in which, following Mark Twain and preceding Ernest Hemingway, he tried to use American speech as the base of a tensed rhythmic prose that has an economy and a shapeliness seldom found in ordinary speech or even oral narration. What Anderson employs here is a stylized version of the American language, sometimes rising to quite formal rhetorical patterns and sometimes sinking to a self-conscious mannerism. But at its best, Anderson's prose style in Winesburg, Ohio is a supple instrument, yielding that low fine music which he admired so much in the stories of Turgenev.

One of the worst fates that can befall a writer is that of self-imitation: the effort later in life, often desperate, to recapture the tones and themes of youthful beginnings. Something of the sort happened with Anderson's later writings. Most critics and readers grew impatient with the work he did after, say, 1927 or 1928; they felt he was constantly repeating his gestures of emotional groping—what he had called in Winesburg, Ohio the indefinable hunger that prods and torments people. It became the critical fashion to see Anderson's gropings as a sign of delayed adolescence, a failure to develop as a writer. Once he wrote a chilling reply to those who dismissed him in this way: I don't think it matters much, all this calling a man a muddler, a groper, etc…. The very man who throws such words as these knows in his heart that he is also facing a wall. This remark seems to me both dignified and strong, yet it must be admitted that there was some justice in the negative responses to his later work. For what characterized it was not so much groping as the imitation of groping, the self-caricature of a writer who feels driven back upon an earlier self that is, alas, no longer available.

But Winesburg, Ohio remains a vital work, fresh and authentic. Most of its stories are composed in a minor key, a tone of subdued pathos—pathos marking both the nature and limit of Anderson's talent. (He spoke of himself as a minor writer.) In a few stories, however, he was able to reach beyond pathos and to strike a tragic note. The single best story in Winesburg, Ohio is, I think, The Untold Lie, in which the urgency of choice becomes an outer sign of a tragic element in the human condition. And in Anderson's single greatest story, The Egg, which appeared a few years after Winesburg, Ohio, he succeeded in bringing together a surface of farce with an undertone of tragedy. The Egg is an American masterpiece.

Anderson's influence upon later American writers, especially those who wrote short stories, has been enormous. Ernest Hemingway and William Faulkner both praised him as a writer who brought a new tremor of feeling, a new sense of introspectiveness to the American short story. As Faulkner put it, Anderson's was the fumbling for exactitude, the exact word and phrase within the limited scope of a vocabulary controlled and even repressed by what was in him almost a fetish of simplicity … to seek always to penetrate to thought's uttermost end. And in many younger writers who may not even be aware of the Anderson influence, you can see touches of his approach, echoes of his voice.

Writing about the Elizabethan playwright John Ford, the poet Algernon Swinburne once said: If he touches you once he takes you, and what he takes he keeps hold of; his work becomes part of your thought and parcel of your spiritual furniture forever. So it is, for me and many others, with Sherwood Anderson.

To the memory of my mother,

EMMA SMITH ANDERSON,

whose keen observations on the life about her first awoke in me the hunger to see beneath the surface of lives, this book is dedicated.

THE TALES AND THE PERSONS

THE BOOK OF THE GROTESQUE

The writer, an old man with a white mustache, had some difficulty in getting into bed. The windows of the house in which he lived were high and he wanted to look at the trees when he awoke in the morning. A carpenter came to fix the bed so that it would be on a level with the window.

Quite a fuss was made about the matter. The carpenter, who had been a soldier in the Civil War, came into the writer's room and sat down to talk of building a platform for the purpose of raising the bed. The writer had cigars lying about and the carpenter smoked.

For a time the two men talked of the raising of the bed and then they talked of other things. The soldier got on the subject of the war. The writer, in fact, led him to that subject. The carpenter had once been a prisoner in Andersonville prison and had lost a brother. The brother had died of starvation, and whenever the carpenter got upon that subject he cried. He, like the old writer, had a white mustache, and when he cried he puckered up his lips and the mustache bobbed up and down. The weeping old man with the cigar in his mouth was ludicrous. The plan the writer had for the raising of his bed was forgotten and later the carpenter did it in his own way and the writer, who was past sixty, had to help himself with a chair when he went to bed at night.

In his bed the writer rolled over on his side and lay quite still. For years he had been beset with notions concerning his heart. He was a hard smoker and his heart fluttered. The idea had got into his mind that he would some time die unexpectedly and always when he got into bed he thought of that. It did not alarm him. The effect in fact was quite a special thing and not easily explained. It made him more alive, there in bed, than at any other time. Perfectly still he lay and his body was old and not of much use any more, but something inside him was altogether young. He

Reviews for Winesburg, Ohio (Golden Deer Classics)

[etxgardener · Rating: 3 out of 5 stars]

Somehow I had never read this book, so im glad it got picked for one of my book clubs. Sherwood Anderson describes life in a small Ohio town that is ostensibly based on his own hometown. It is not a pleasant portrait. The action in the book takes place almost entirely at night, sand the darkness reflects the lives of most of the book's characters. There is lying, cheating, illicit sex and just about every other vice you can think of. No wonder the people in Anderson's home town were appalled when this book came out. A very depressing, yet accurate look at the venial life in a small town.

[addunn3 · Rating: 4 out of 5 stars]

Short stories wrapped around a town in Ohio.

[asxz-2 · Rating: 3 out of 5 stars]

I can see why this would have been scandalous back in 1919. There's an awful lot of earthy sexuality in Winesburg.

Men and women are instantly struck by each other's attractiveness and they fall in and out of lust at the drop of a hat. There a depth to such human shallowness that even reminded me of War and Peace and the way Tolstoy was so sharp on the tiny things that trigger feelings of love.

It's a great companion piece to the Spoon River Anthology which I read last year delving into overlapping lives with overlapping vignettes.

The short story "The Untold Lie" is worth the price of admission all by itself.

[eilonwy_anne · Rating: 4 out of 5 stars]

An excellent model for shnovel or collage, written with a delicate touch. I like the way the focus on the main character grows over time, as the child grows and differentiates himself and his personality from his community. I also appreciate the willingness to show the protagonist's folly and foibles. From a modern perspective, the clumsy attempts at female characterization are rather cringeworthy, and I also found the 'grotesque' angle somewhat overplayed.

[usnmm2 · Rating: 4 out of 5 stars]

Every town has its secrets. This one is better than "Paytan Place". A series of stories told by a young newspaper reporter, who observes the towns peaple, and gains more knowage than he wants to know about his friends and neighbors.

[soylentgreen23 · Rating: 4 out of 5 stars]

I often judge books by their covers, and well too I should: so much effort goes into their fabrication that it would be a shame not to at least factor their effect into a buying decision. I loved the cover of the Penguin edition immediately.The book itself I found surprisingly refreshing. A short collection of stories, the main character is really Winesburg itself, little town America personified. The book looks at each of the principal actors in the town's life in one particular generation, producing a story for each. They are tied neatly together into a beautiful little package; it's no wonder that this is such a popular piece of American fiction.

[victrola_1 · Rating: 4 out of 5 stars]

I thought that many of these stories were very powerful, and true in a stark way that I am not sure I have ever encountered.I sometimes found the stiff writing style a little difficult to plow through, but I'm not sure it would have been the same book if it had been written more smoothly.

[sgerbic · Rating: 5 out of 5 stars]

Reviewed April 1999 Difficult to begin as I had no idea other than it has something to do with a small town in Ohio, what it would be about. Anderson’s portraits of the secret lives of regular people is extremely interesting. Are most people’s secret wishes as gloomy as he portrays? Each chapter introduces a new person and their secrets, only the main character, George Willard is repeated throughout the book. I wanted to know more, to find out if these people finally found peace in their lives. But alas, like life, peace is an evolving thing. Only reason I heard of this book was it appeared in the top 100 of English language Novels of the 29th century. According to the editorial board of the Modern Library. It is listed as number 24

[shaggydog_1 · Rating: 5 out of 5 stars]

What an unbelievably beautiful book! It's the kind of book that makes you want to be a writer.

[jvioland_1 · Rating: 4 out of 5 stars]

This book has much of Elyria, Ohio in it. At least that seems to be the case. I was raised in Elyria and Anderson writes of a typical turn-of-the-century (last century, that is) American Midwest city with its prejudices and glories. If one wishes to understand the evolution of the American being, read this book.

[jthierer_1 · Rating: 4 out of 5 stars]

Lovely. Find a copy of this book and read it immediately.

[deebee1_1 · Rating: 4 out of 5 stars]

Considered to be the first American "modern" novel and a masterpiece of 20th century American literature, the book consists of a collection of loosely related short stories of inhabitants of a rural town in the Midwest in the 1900s. Here, Anderson breaks away from two traditions: the use of plot as the focal point and themes about the gentility and romantic and ideal views of rural life. The stories are told to George Willard, a young newspaperman aspiring to be a writer, who seem to draw others into him perhaps because of his sensitivity or being a writer, simply somebody who could understand. From their stories, we see a depiction of alienation, of loneliness, of inner struggles, of unexpressed desires, of unfulfilled sex lives, of frustrated ambitions. We see that each strives for happiness but never quite reaches it, and immediately we sense even from the first stories that their being inarticulate is a common trait that prevents this from happening. Beneath a seeming quiet life is a passionate, tormented soul. The failure to connect is a recurring theme. In attempting to relate their narratives to George, we feel that the characters are trying to inject some meaning into their empty lives. Among others, there is a tale of the old writer who wants to write "a book of grotesques", and a four-part narrative of religious fervor that parodies the biblical tales of Abraham's sacrificing of Isaac, and David and Goliath. The variations of stories of inner fervor but repressed wills are bleak and can be depressing at times. And it almost seems improbable that a town could be peopled at once with so many odd characters, bizarre and angst-ridden individuals. But the book does leave much for thought, and even if we perhaps don't care to admit it, the themes of alienation and frustration are something we recognize, to varying degrees, in our own individual, modern lives.

[bookczuk · Rating: 3 out of 5 stars]

It's hard to find those kind of books where the action slowly meanders through the streets and fields, and doesn't come blasting out of weapons, or splash through in a rapid pace, firing wit at a whiplash pace. Winesburg, Ohio shapes the character of a small town through its characters, told slowly and gently through short story glimpses. I love a quiet paced book, with good writing, and even though this was really vignettes/short stories, it still had the gentle quality I long for in today's action packed world.Almost embarrassed to admit, I might not have picked this up were it not for the Stanford Book Salon. I read in someone's review that the author died from peritonitis after his intestine was perforated by a piece of a toothpick left in a martini olive. I just want to reassure everyone that knows about the czuk "Martini Night" ritual on (most) Fridays, that we do not toothpick our Castlevietro olives.

[smiley_13 · Rating: 4 out of 5 stars]

The first chain of linked short stories I ever read. Seminal American literature about living and leaving small town life in the early years of the last century. Keen and knowing observations on life spent and the promise of life.

[pickwick817 · Rating: 3 out of 5 stars]

This book was not at all what I was expecting, but was still interesting and entertaining. Its almost a collection of short stories with a small link in each one centered around a small town in Ohio.

[tracyjayhawk · Rating: 4 out of 5 stars]

A very enjoyable story on the first level, a masterful piece of literature on many others. My favorite story by far is "Godliness." The Biblical symbolism is rife with meaning in this story, as is the theme of running away (like many of the stories. It is especially interesting to examine the stories for the author's own story.

[icolford · Rating: 4 out of 5 stars]

Winesburg, Ohio is truly a landmark in American literature as well as in the short story genre. Anderson mercilessly scrutinizes his characters, laying their fears, lusts, and shameful passions out on the page for all to see. Anderson's modern approach to storytelling must have seemed wildly out of place in 1919, but it heralded in a new era, bridging the gap between 19th-century realism and 20th-century modernism.

[rabbitrun_1 · Rating: 4 out of 5 stars]

Interesting psychological analysis of why people behave the way they do.

[richardderus · Rating: 4 out of 5 stars]

Anderson's influence on both Faulkner and Hemingway is very clear. He's got a deft hand with characterization, but he's not quite the craftsman that Faulkner would prove to be...his jumps in time feel like boo-boos, not choices. And he's not quite the storyteller Hemingway would prove to be, miring himself in the quotidian and missing the many opportunities to universalize his characters' angst the way ol' Ernie did.I long to see an "American Masterpiece Theatre" created, and the stories here dramatized for it. Would win Golden Globes and Peabodys and such-like prestige awards, done well.

[lgaikwad_4 · Rating: 5 out of 5 stars]

Some favorite quotes:"All men lead their lives behind a wall of misunderstanding they have themselves built, and most men die in silence and unnoticed behind the walls." "...the moment one of the people took one of the truths to himself, he called it his truth, and tried to live by it, he became a grotesque and the truth he embraced became a falsehood.""Only the few knew the sweetness of the twisted apples.""Be Tandy, little one," he pleaded. "Dare to be strong and courageous. That is the road. Venture anything. Be brave enough to dare to be loved. Be something more than man or woman. Be Tandy.""I was furious. I couldn't stand it. I wanted her to understand but, don't you see, I couldn't let her understand. I felt that then she would know everything, that I would be submerged, drowned out, you see. That's how it is. I don't know why.""Things went to smash," he said quietly and sadly. "Out she went through the door and all the life there had been in the room followed her out.""...and Hall had suddently become alive when they stood in the corn field stating into each other's eyes.""Love is like a wind stirring the grass beneath trees on a black night," he had said. "You must not try to make love definite. It is the divine accident of life. If you try to be definite and sure about it and to live beneath the trees, where soft night winds blow, the long hot day of disappointment comes swiftly...""I have come to this lonely place and here is this other," was the substance of the thing felt."...the town of Winesburg had disappeared and his there had become but a background on which to paint the dreams of his manhood."

[jscape2000 · Rating: 4 out of 5 stars]

Much better than I expected. This book of short stories both showed its age and defied it. It was packed with more sex, more honestly confused people, and more ambiguous moments than I expected. At the same time, that sex, confusion, and ambiguity was more obviously privileged, white, and male than I was comfortable with.In the penultimate story, the narrator observes of a young woman, "it seemed to her that the world was full of meaningless people saying words." Perhaps this applies to all the characters in the novel, or perhaps we're encouraged to believe that young newspaper reporter who is nearly the main character and seems to be the chronicler of the town's adventures is a different sort of man.Such moments of keen insight were too often surrounded by passages that feel more subtly sinister in the winter of 2017: "The young man took Mary Hardy into his arms and kissed her. When she struggled and laughed, he but held her the more tightly. For an hour the contest between them went on..." Over and over, women are waiting for men to deliver them from their lives. Maybe that is merely an accurate reflection of a time when women couldn't vote, unmarried women could rarely own property or conduct business, and rarely attended college. But at several moments in the story, it all felt more sinister to me.I wish I'd read these stories a decade ago. I suspect I would have loved them without the complicated mixed emotions I have now.

[shulera1 · Rating: 4 out of 5 stars]

Anderson shows a deep understanding of people and what drives them. Each character is unique and filled out so completely that I feel as though I understand every one on a level much deeper than the length of their presence in the book would suggest. Their is also an attention to language in the prose that is lovely to read. It's not always poetic, but it is always beautiful, and it cuts through to the heart of whatever is being said in that moment.

My favorite quote from the books comes from the chapter titled "Death, concerning Doctor Reefy and Elizabeth Willard":
"Their bodies were different, as were also the color of their eyes, the length of their noses, and the circumstances of their existence, but something inside them meant the same thing, wanted the same release, would have left the same impression on the memory of an onlooker.

I would suggest this to anyone looking to feel less alone in the world, anyone who is confused and feels lost, or anyone who just needs something they can't explain.

[reneerobinson-2 · Rating: 5 out of 5 stars]

WINESBURG, OHIO-by Sherwood Anderson 479 -12706019I was skeptical of this book because I thought the title sounded dull and the generic title even more dull-dom. However, I decided to read it only because I am from a small town in Ohio. It turns out, I am happy I live in Ohio. The stories are detailed with realistic, well-rounded characters. Typically I steer away from short stories as many times it seems the endings are simple cutoff. This author delivers. His stories, though short, are well formed and entertaining. I was taken back to a different time of life, perhaps better in some ways as I read through.

[marti.booker · Rating: 2 out of 5 stars]

I trudged through this. I'm sure it was quite realistic and risque in 1919, but the repeated hand imagery annoyed me, as did the whole premise of trying to describe the inner emotional lives of interconnected people in vignettes. Give me PLOT, please! And don't tell me it was a coming of age story, George was an idiot.

[tloeffler_3 · Rating: 4 out of 5 stars]

A collection of interconnected short stories, set in the post-WWI years in a small town in Ohio. Some of the stories are a little bit dated, but still a good read--a slice of time and place.

[birdbrian-1 · Rating: 4 out of 5 stars]

I loved Infinite Jest, so naturally I loved Winesburg, Ohio. Sherwood Anderson is clearly David Foster Wallace’s doppelganger, displaced eighty years in the past, and two states away, but possessing a very similar melancholy sense of humanity, and even a kindred narrative style. The more I reflect on these two novels, the more parallels I find. One’s about drugs, entertainment, and sexual deviance in fast-paced urban Boston of the near future. The other’s about isolation, disappointment and sexual repression in the leisurely and pastoral Winesburg, Ohio of circa 1915. Their window dressings may differ, but their hearts are both pervaded with a deep sense of loneliness and disconnection. Unconvinced? Let me see if I can persuade you. While both novels tend to bounce around between multiple story threads, some of which connect up in unexpected ways, each has a frontrunner candidate for the title of protagonist. Hal Incandenza and George Willard are both intelligent young men, raised by distant mothers and successful yet frustrated fathers. Each stands on the doorstep of adulthood, raked with uncertainty about how to go forward, and scarred by upbringings which have left them poorly-equipped emotionally to form healthy adult relationships. Both books contain naïve young women betrayed by their lovers. Alice Hindman lies on her bed, staring nightly at the wall, waiting in despair for years, abandoned and forgotten by Ned Currie, who really only ever wanted to bed her and move on. Joelle Van Dyne struggles alone with addiction and the bittersweet memories of Orin Incandenza, who bedded her, disfigured her, and has definitely moved on. Infinite Jest has Don Gately- the perpetually despondent rehab counselor, whose past secrets (drug addiction and manslaughter) impede him from forming close interpersonal bonds. Winesburg, Ohio has Wing Biddlebaum, a perpetually introverted and fidgety recluse, whose past secrets (untrue accusations that he molested students as a teacher) impede him from forming close interpersonal bonds.Are these parallels too much of a stretch? Too reductive? Maybe these two novels aren’t as similar as all that.. but they do have common themes, and more than anything else, they both leave me with a sense that Nature and History have ganged up to play a cruel joke on many of us: making us on one hand genetically and socially conditioned to congregate in packs, but on the other hand shaping our society to be so rigidly hierarchical, so full of oppressive demands and expectations, and governed by such complex unspoken nuances of manner and custom that the whole process of socializing and getting along in large groups hardly feels achievable to many, and hardly seems worthwhile to many others. Most of us ultimately find a livable balance between inputs and outputs: a tolerable equilibrium between the mental and physical energy we must expend, and the social and material life that they buy for us. We don’t quite live out our wildest dreams, but we get enough of what we need to soldier on. Frequently this involves either accepting that we can’t "have it all", or redefining our idea of what "having it all" means.That’s great for those who make it, but society and economics are hard, and not everybody ends up with the "happy-enough" ending. Some people give up on the standard prizes… the proverbial 2.3 kids and the house in the suburbs with the white picket fence. They follow some other dream, God bless ‘em, and some find their own happiness. Hermits, starving artists, nuns, and other eccentrics essentially say "fuck it". They haven’t found conventional happiness, and they’re done trying. I’m not sure whether this represents victory or defeat. Regardless, this book isn’t about those people; this book is about the people who can’t seem to attain the orthodox version of happiness, but don’t have a better dream to replace it with. It’s people who can’t quite master the rules of social success, but can’t or won't reject mainstream civilization and its prizes either.They keep following society’s rules, knowing on some level that the game is rigged against them, but following nonetheless, because they lack either the courage or imagination to take another path. Consider Ray Pearson: miserably married for decades to the girl he got pregnant, in a fleeting moment of passion. Consider Elmer Cowly: painfully awkward and overly-self conscious, who leaves his family and a secure job to head off into the night, dreaming of a distant city, where he might "… get work in some shop and become friends with the other workmen and would be indistinguishable. Then he could talk and laugh. He would no longer be queer and would make friends. Life would begin to have warmth and meaning for him as it had others." God damn; is that the saddest thing you’ve ever heard? It’s not so different from the kids at the Enfield Tennis Academy in Infinite Jest, is it? Those kids leave their families to attend the prestigious academy, placing all their hopes for deferred happiness in the dream of a career in professional tennis,"…this game the players are all at E.T.A. to learn, this infinite system of decisions and angles and lines Mario’s brothers worked so brutishly hard to master: junior athletics is but one facet of the real gem: life’s endless war against the self you cannot live without." Fuck. Kill me now, if that’s what it’s all about.This isn’t a philosophy book, but it’s written by an observant and philosophical author. I don’t directly identify with any of the characters; I’m generally satisfied with my life, even if the review suggests otherwise. So why did these assorted vignettes about sad, disenfranchised characters touch me so? Probably because I think our social systems deserve to have their warts pointed out. They’ve evolved as a successful way to maintain order over time, which has some benefits for the community at large, but is frequently cruel and stifling to the individual, who may pay a high price for overrated things like acceptance and a sense of belonging. Sherwood Anderson seems to be telling the great abstract System that it’s not as fucking awesome as it thinks it is; and even though I’ve bought into it (or sold out to it) in many ways, there’s a part of me which still holds out against it, and which thinks the System deserves this tongue lashing, and probably a lot worse. -Thanks, David!

[muddyboy · Rating: 4 out of 5 stars]

Every chapter in this book is a separate story that can stand on its own but they are linked together through a few central characters. The book takes place in the early 20th century and is a blazing indictment of small town life. This is a town where those who stay find their dreams crushed. The only chance you have is to move away. Even then we are not sure what happens to those who leave. Yes it is depressing, but it is just so well written that is worth the "downers".

[jwhenderson_1 · Rating: 5 out of 5 stars]

I first read this book when I was in high school and have read it again since. From the beginning it struck me as a serious work of literature but only upon rereading it and reading more extensively authors who were influenced by Anderson have I come to some appreciation for his true greatness. Winesburg, Ohio depicts the strange, secret lives of the inhabitants of a small town. In "Hands," Wing Biddlebaum tries to hide the tale of his banishment from a Pennsylvania town, a tale represented by his hands. In "Adventure," lonely Alice Hindman impulsively walks naked into the night rain. Threaded through the stories is the viewpoint of George Willard, the young newspaper reporter who, like his creator, stands witness to the dark and despairing dealings of a community of isolated people. Each of the tales shines a clear light on the character of an inhabitant and you come to know Winesburg almost as well as your own home town. Growing up in a small midwestern town I never forgot the feeling this book gave me.

[dukefan86 · Rating: 4 out of 5 stars]

I really enjoyed this collection of short stories about the fictional town of Winesburg, Ohio. The way the story lines interconnected fascinated me. The descriptions of the townspeople's actions emotions were so intriguing that sometimes I felt like a voyeur.

[mabroms-1 · Rating: 3 out of 5 stars]

Oddly compelling set of very short stories set in rural America at the dawn of agricultural industrialization. Themes center on love, family religion, values and lack thereof. Also a kind of one hit wonder for Anderson.