Updike’s early unpublished novel may soon lose the ‘un’

Posted on February 1, 2026 by johnupdikesociety

Trevor Meek, of The Local News (Ipswich, Mass.), published a Jan. 31, 2026 piece on the Selected Letters of John Updike that began,

“Living in Ipswich in the 1960s and ’70s with John Updike as a neighbor meant playing a high-stakes game of literary roulette. “On any given day, you might crack open his newest novel or short story to discover you’d been immortalized — or perhaps skewered — on a page destined to be read by millions around the world. “That uneasy thrill returned for some folks late last year with the release of Selected Letters of John Updike.

“’Even with this book, various people are looking through it to see if they’re mentioned,’ said Updike’s son, Michael, a sculptor. “’And then when they realize they are mentioned, they’re insulted,’ he added with a laugh.”

Michael Updike, heavily quoted in the article, defended his father against one of the most common charges. “He seems to be an author who is judged as a misogynist because some of his characters are selfish. . . . We don’t say Nabokov is a pedophile because his character Humbert Humbert is one in Lolita.”

Michael Updike told The Local News that he’s working on the release of his father’s unpublished novel, Home. “We’re still figuring out how to get that rolling,” he said.

We asked Michael (pictured) for more details, and here’s what he had to say:

“Chris Carduff [who edited several of Updike’s Library of America volumes] gave us the idea, saying it was a completed novel albeit rejected by a publishing house. Jim Schiff [editor of the Selected Letters] has read it and says it’s not a perfect novel but does have a lot of new material about my grandmother in it. Andrew Wylie has been sent a copy and he thinks it should be published. So much of it is hand written, and our first step is to find a good typist who will type it up in Word. Then an editor to comb out any redundant or rough spots, and Wiley will shop it around. No timeline, but hopefully soon, by publishing terms—two or three years.”

Updike didn’t talk much about Home with interviewers, but he did tell Eric Rhode in 1969, ” I had written, prior to [The Poorhouse Fair], while living in New York City, a 600-page novel, called, I think, Home, and more or less about myself and my family up to the age of 16 or so. It had been a good exercise to write it and I later used some of the material in short stories, but it really felt like a very heavy bundle of yellow paper, and I realized that this was not going to be my first novel—it had too many traits of a first novel. I did not publish it, but I thought it was time for me to write a novel.”

If Home is as heavily autobiographical as Updike suggests, perhaps it will be read and appreciated as a companion to his Self-Consciousness: Memoirs (1989).

Book reviewer references Updike and Roth

Posted on January 26, 2026 by johnupdikesociety

Andrew Gelman, in reviewing The Ten Year Affair by Erin Somers for The Future of Statistical Modeling (Substack), relies on John Updike and Philip Roth for a core comparison:

“Going back a bit in literary time, The Ten Year Affair is a lot like the novels of John Updike: various suburban married couples having affairs. The writing style is different–Updike is famously lyrical, whereas Somers uses a Millennial flat writing style: This happens, then This happens, then That happens, etc. Kind of like Ernest Hemingway or Raymond Carver if they had a sense of humor.

“I think Somers does a much better job than Updike in conveying what it feels like to be a parent. To me, Updike, like Philip Roth, was to the end of his life always a son, never a father. Updike did have four kids, but I guess his wife did most of the parenting. Updike’s characters often have children but always seem to be thinking only about themselves. Not so much that his adult characters are self-centered–I mean, yeah, they are, but that’s kind of the point–but more that their children don’t seem to exist at all, except to the extent that they sometimes have to be dealt with as obstacles when they get in the way of the parents. In contrast, the adults in The Ten Year Affair are very aware of their kids. In some ways this is similar to Little Children by Tom Perotta, a book whose entire theme is that these adults are thinking only of themselves and are not shouldering the responsibilities of parenthood.”

Read the whole article

Is reading Updike, even ‘Golf Dreams,’ an ‘act of rebellion’?

Posted on January 17, 2026 by johnupdikesociety

From The Falling Knife by Harvey Sawikin (Substack):

“The critic Ted Gioia recently posted a Substack called Is Mid-20th Century American Culture Getting Erased? He noted that among those being forgotten are literary giants like John Cheever and Saul Bellow; musicians like Duke Ellington and Charlie Parker; and movies like Citizen Kane. John Updike not long ago was one of America’s most prominent living writers, yet reading him today would be, in Gioia’s words, ‘an act of rebellion.’

“Call me a wild-eyed revolutionary, because I’ve just finished a book of Updike’s essays, Golf Dreams. I’ve been reading his novels since I was a teenager, starting with The Centaur, moving on to Rabbit, Run (which I was too young to understand), and over the decades getting to most of the others (Rabbit Is Rich is my favorite). Updike could write anything — novels, stories, poetry, essays — and bring to it his gift for the exquisite image and the revealing metaphor, as well as his insight into human psychology.”

Read the entire article

Blogger shares favorite Updike story

Posted on January 8, 2026 by johnupdikesociety

OnJan. 3, 2026, Patrick Kurp posted comments on his favorite Updike story on Anecdotal Evidence: A blog about the intersection of books and life: “The Happiest I’ve Been.”

“Of all Updike’s stories, this is my favorite, the most emotionally powerful, mingling memory, comedy, sadness and his peerless eye for American detail. It’s the best rendering I know of the retrospective character of happiness, our dawning awareness of it after it passes. For most of us, happiness is a momentary state, not perpetual.”

Kurp added, “Of “The Happiest I’ve Been,” Nabokov writes:

“‘The important thing, rather than the subject, was the conversation itself, the quick agreements, the slow nods, the weave of different memories; it was like one of these Panama baskets shaped underwater around a worthless stone.’ I like so many of Updike’s stories that it was difficult to choose one for demonstration and even more difficult to settle upon its most inspired bit.”

Read the whole post

Ipswich columnist asks if Updike would be published today

Posted on December 22, 2025 by johnupdikesociety

Bob Waite, whose father was Updike’s dentist back when the author lived and worked in Ipswich, has been a columnist for North Shore media for decades. Recently he wrote an opinion piece that was published by The Local News, “Lite Waite: Could John Updike, a Straight White Male, Find a Home in Today’s Literary Scene?”

It’s a fair question, but readers probably already know the answer. In fact, John Updike Society board member Sylvie Mathé was watching the new BBC miniseries Down Cemetery Road when she saw this allusion to Updike that perfectly captures the current situation (and provided these screenshots):

After Updike published his scandalous wife-swapping novel Couples in 1968, the attention the book brought elevated him to the role of spokesperson for America’s changing morality that deviated sharply from the staid 1950s. It’s no surprise then, that Updike would also become a lightning rod for criticism of male novelists during the era of “#Me Too.”

“There is no shortage of millennial white males who believe themselves shut out of a contemporary literary scene that seems curated by, and targeted at, women,” Waite wrote. “By implication, Updike would suffer a similar fate. To elaborate, Waite cites Ross Barkan (“From Misogyny to No Man’s Land”): “If men still sit at the top of publishing houses, it’s college-educated women writing, editing, and agenting most of the novels of note.” Barkan argues that straight white males have all but disappeared as authors and literary characters. Waite wrote, “He tells us that ‘between 2001 and 2011, six white men won the New York Public Library Young Lions prize for debut fiction. Since 2020, not a single white man has even been nominated (of 25 total nominations).'” Continue reading →

Writer David Klion recommends Updike’s Bech chronicles

Posted on September 5, 2025 by johnupdikesociety

“‘[Henry Bech’s] marriage was like the Zionist state they were in: a mistake long deferred, a miscarriage of passé fervor and antiquated tribal righteousness, an attempt to be safe on an earth where there was no safety,’ Updike writes, sizing up Israel better than Bellow ever did through the eyes of a Jew who is accustomed to living in a permanent state of alienation. Reviewing the first Bech volume in Commentary in 1970, Cynthia Ozick accused Updike of dreaming up a false and essentially parodic Jew—but this Jew, for one, found Bech welcome and familiar company.”

So wrote David Klion, who is working on a book about the legacy of neoconservatism and is a columnist for The Nation, a contributing editor at Jewish Currents, and a “writer for many lefty mags.” His review/reading recommendation on The Complete Henry Bech appeared in the Sept. 5, 2025 issue of Jewish Currents under the heading, “Shabbat Reading List.” For those planning on attending the Roth-Updike Conference in New York City October 19-22—a joint conference of the Philip Roth and John Updike Societies—the timing couldn’t be more perfect.

“If the Bech stories were merely affectionate sendups of Roth or experiments in whether a goy can channel a Jew persuasively in fiction,” Klion wrote, “they might just be amusing—and for my purposes, dayeinu. But I became fully invested in Bech as a cranky, horny, self-absorbed, self-effacing, skeptical, and occasionally wise antihero, rendered through Updike’s always lyrical prose. Taken together, the stories constitute an extended comic meditation on bookish fame (or semi-fame), inspiration (or lack thereof), and frustration, complete with a fake bibliography and fake reviews from the likes of Alfred Kazin and Ellen Willis.”

Read the whole review.

Updike is referenced in a book of Mark Twain poems

Posted on July 15, 2025 by johnupdikesociety

John Updike Society president James Plath spent two weeks as a fall 2023 Quarry Farm Fellow working on an essay detailing how Twain modeled being a celebrity writer for both Hemingway and Updike. Plath conducted that research, but also felt compelled to write poems about the house and its inhabitants. Not surprisingly, Updike found his way into one of the poems:

Carved Stone Troughs

John Updike saw himself in a dogwood tree
his parents planted the year he turned one.
Parents do such things. Twain’s jeu d’esprit
led him to place four troughs in part-sun

along the Farm on East Hill road, so spaced
to revive tired horses, and with their carvings mark
the birth of four Clemens—who may have raced
later to see whose was used, while dogs would bark.

But when three of four children die before the father,
those troughs become hollowed-out markers that bear
the burden of emptiness, not crosses to inspire prayer
or reflection. It’s a wonder that Twain continued to care,

funneling stone-cold grief into sage
satire, instead of yielding to alcohol and rage.

At Quarry Farm was published in June 2025 by Kelsay Books and is available from the publisher and Amazon. Society members wanting a copy and who also plan on attending the Roth-Updike Conference in NYC in October can email Plath (jplath@iwu.edu) to bring a copy there to save postage.

Psychology professor offers unique take on Vidal, Updike, and masculinity

Posted on July 12, 2025 by johnupdikesociety

Sometimes the most interesting takes on an author come from great thinkers outside the field of literature. Such is the case with an article by Kali DuBois that was published in Medium: “What If Gore Vidal and John Updike Had a Lovechild? Why Chop Dog-Eared These Pages Like a Hungry Man on a Cheeseburger Vagina.”

“Gore Vidal and John Updike reshaped what it meant to be a man in America—and they did it from opposite ends of the battlefield,” wrote DuBois, who holds a Master’s degree in human sexuality and certifications in biological psychology, biofeedback, kinesiology, neuro-semantics, tantra, yoga, mind codes, and martial arts.

“Gore Vidal taught men that the personal was political, and that sex was never just about pleasure but about power. He forced men to see hypocrisy in the mirror, questioning the structures they benefitted from while often feeling trapped within them. He mocked American masculinity — its obsession with conquest, its fear of vulnerability, its addiction to empire — and invited men to see themselves not as rulers of the world but as products of it,” DuBois wrote.

“Vidal’s men were sharp, politically aware, often bisexual or morally fluid, understanding that identity was both a performance and a prison. He planted in men’s minds the belief that if you weren’t willing to challenge the system, you were part of it — and if you wanted freedom, you had to face uncomfortable truths about who you were, what you desired, and what you were complicit in.

“John Updike, meanwhile, told men it was okay to feel.

“His men were confused, lustful, terrified of aging, perpetually restless in their marriages, and looking for transcendence in the bodies of women they often did not deserve. Updike gave men permission to see their boredom, their longing, their sexual frustrations, not as shameful failings, but as a fundamental part of being alive.

“But he also left men with the belief that their inner turmoil was something the world should revolve around, that their dissatisfaction was profound, and that the search for pleasure and meaning in the domestic was a noble, if doomed, quest.

“Between them, these two men planted conflicting beliefs into American men:

That sex is power (Vidal) and sex is salvation (Updike).
That politics is personal (Vidal) and personal suffering is political enough (Updike).
That masculinity is a performance to be deconstructed (Vidal) and masculinity is a tragic inheritance to be endured (Updike).

Men who read Vidal learned to distrust the system. Men who read Updike learned to distrust themselves. Together, they created a generation of men who wanted to be both aware and desired, critical and romantic, cynical and yearning.

Read the whole article.

Writer-musician thinks Updike ‘underpraised’

Posted on July 5, 2025 by johnupdikesociety

We just discovered a blog entry by music journalist, musician, and street photographer Ted Burke: “John Updike’s Underpraised Genius” (posted May 10, 2024), in which Burke argued that “what the departed Updike leaves behind is one of the most impressive bodies of work a contemporary writer, American or otherwise, would want for a legacy.

“His Rabbit quartet of novels . . . is among the peerless accomplishments of 20th century fiction in its chronicle of living through the confusion of the Viet Nam war, feminism, civil rights and the sexual revolution in the person of the series’ titular character, Rabbit Angstrom. Not deep of thought but rich in resentment, Angstrom was an analog of American culture itself, a congested vein of self-seeking that never recovered from the raw sensation of youthful vigor; Angstrom, like the country itself, resentfully fumbled about for years ruing the loss of vitality and trying to replace it with new things, the crabby possessiveness of the middle class.”

Burke concluded, “If a writer’s task is, among others, to help us understand the actions that cause us to fall down and act badly despite our best intentions, Updike has performed a patriotic service. There should be some prize for that.”

Actually, there was. For his contributions to American culture, in two separate White House ceremonies Updike received the National Medal of Arts from Pres. George H.W. Bush in 1989 and the National Humanities Medal from Pres. George W. Bush in 2003.

Read Burke’s full post.

British writer uses Updike to intro a piece on booksigning

Posted on July 4, 2025 by johnupdikesociety

British novelist and short story writer William Boyd wrote a piece for The Spectator on a curious consequence of literary fame—mass booksignings—that began with an anecdote about John Updike:

“The late John Updike once wrote an amusing article about signing books. This wasn’t at some literary event with a few dozen fans queueing – no, it was vastly more daunting. An American book club had taken one of Updike’s novels for its Book of the Month and asked him to sign 25,000 copies – guaranteed sales, of course, hard to refuse. They sweetened the pill by flying him to a Caribbean island for a couple of weeks and putting him up in a beachside bungalow. There, a team of assistants brought him 100 books at a time and he would sign away, three hours in the morning and three hours in the afternoon. Updike was very droll about the discombobulating effects of signing your own name thousands upon thousands of times. It became an almost existential crisis. His signature became illegible; he began to wonder who this person ‘John Updike’ was and what relation he had to the automaton signing his name day after day.

“I feel I know something of what he went through. My publishers asked me to sign 6,000 so-called tip-in pages for the hardback of my new novel, The Predicament, that would be inserted into the book for an exclusive signed edition. No Caribbean island, alas.”