Two classic short stories, one about a male reporter who writes an advice column, and the other, about people who have migrated to California in expectation of health and ease.

"A primer for Big Bad City disillusionment, unsparing in its portrayal of New York's debilitating entropy."—The Village Voice. With a new introduction by Jonathan Lethem. First published in 1933, Miss Lonelyhearts remains one of the most shocking works of 20th century American literature, as unnerving as a glob of black bile vomited up at a church social: empty, blasphemous, and horrific. Set in New York during the Depression and probably West's most powerful work, Miss Lonelyhearts concerns a nameless man assigned to produce a newspaper advice column — but as time passes he begins to break under the endless misery of those who write in, begging him for advice. Unable to find answers, and with his shaky Christianity ridiculed to razor-edged shards by his poisonous editor, he tumbles into alcoholism and a madness fueled by his own spiritual emptiness. During his years in Hollywood West wrote The Day of the Locust, a study of the fragility of illusion. Many critics consider it with F. Scott Fitzgerald's unfinished masterpiece The Last Tycoon (1941) among the best novels written about Hollywood. Set in Hollywood during the Depression, the narrator, Tod Hackett, comes to California in the hope of a career as a painter for movie backdrops but soon joins the disenchanted second-rate actors, technicians, laborers and other characters living on the fringes of the movie industry. Tod tries to seduce Faye Greener; she is seventeen. Her protector is an old man named Homer Simpson. Tod finds work on a film called prophetically “The Burning of Los Angeles,” and the dark comic tale ends in an apocalyptic mob riot outside a Hollywood premiere, as the system runs out of control.

Authoritative narrative of the life, work, ambitions, successes, and thought of the prophetic twentieth-century American novelist

'The Dream Life of Balso Snell' (1931), originally published in Paris, is in words of Robert Coates 'a fantasy, about some rather scatological adventures of the hero in the innards of the Trojan Horse.' 'Miss Lonelyhearts' (1933) is considered his [the author's] masterpiece. 'It is one of the books, ' writes Malcolm Cowley, 'that had very few readers for the first edition, but simply refuse to be forgotten.' 'A Cool Million' (1936), with the subtitle, 'The Dismantling of Lemuel Pitkin, ' is a satiric success story in the midst of the depression, written in mock Horatio Alger Style. 'The Day of the Locust' (1939), which is considered the best novel ever written about Hollywood, is a savage indictment.'

" ... A dazzling joint biography of Nathanael West and his wife, set against the world of New York writers and Hollywood screenwriters in the 1930s."--Inside jacket.

DigiCat Publishing presents to you this special edition of "The Day of the Locust" by Nathanael West. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

In many ways this is the most authoritative work on the thousand year reign of Christ ever to appear in English.

A Cool Million subtitled "The Dismantling of Lemuel Pitkin," is a satiric Horatio Alger story set in the midst of the Depression and is written in a bracing, mock-heroic style that has lost none of its wit or power.

Nathanael West has been hailed as “an apocalyptic writer,” “a writer on the left,” and “a precursor to postmodernism.” But until now no critic has succeeded in fully engaging West’s distinctive method of negation. In American Superrealism, Jonathan Veitch examines West’s letters, short stories, screenplays and novels—some of which are discussed here for the first time—as well as West’s collaboration with William Carlos Williams during their tenure as the editors of Contact. Locating West in a lively, American avant-garde tradition that stretches from Marcel Duchamp to Andy Warhol, Veitch explores the possibilities and limitations of dada and surrealism—the use of readymades, scatalogical humor, human machines, “exquisite corpses”—as modes of social criticism. American Superrealism offers what is surely the definitive study of West, as well as a provocative analysis that reveals the issue of representation as the central concern of Depression-era America.