Passionate, insightful, often funny, and exhibiting a linguistic richness few writers have equaled, the novels of Saul Bellow are among the defining achievements of postwar American literature. The Library of America volume Novels 1956–1964 opens with Seize the Day, a tightly wrought novella that, unfolding over the course of a single devastating day, explores the desperate predicament of the failed actor and salesman Tommy Wilhelm. The austere psychological portraiture of Seize the Day is followed by an altogether different book, Henderson the Rain King, the ebullient tale of the irresistible eccentric Eugene Henderson, best characterized by his primal mantra “I want! I want!” Beneath the novel’s comic surface lies an affecting parable of one man’s quest to know himself and come to terms with morality; like Don Quixote, Henderson is, as Bellow later described him, “an absurd seeker of high qualities.” Henderson’s irrepressible vitality is matched by that of Moses Herzog, the eponymous hero of Bellow’s best-selling 1964 novel. His wife having abandoned him for his best friend, Herzog is on the verge of mental collapse and has embarked on a furious letter-writing campaign as an outlet for his all-consuming rage. Bellow’s bravura performance in Herzog launched a new phase of his career, as literary acclaim was now joined by a receptive mass audience in America. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Mickey Sabbath (modeled after American Jewish painter R.B. Kitaj[2]) is an unproductive, out-of-work, former puppeteer with a strong affinity for prostitutes, adultery, and the casual sexual encounter. Sabbath takes great pleasure in his status as the prototypical "dirty old man." He takes an equal pleasure in manipulating the people around him, primarily women—in a sense, they play the same role as his puppets. The loss of a decades-long wingman—the equally depraved Drenka—precipitates a crisis in a life he has long considered an utter failure. Sabbath wonders whether he should simply take his own life, thereby heeding the advice of the ghost of his departed mother, a frequent visitor who urges suicide as the fitting end for his failed life.

A whirling top most of his life, Michael Goldberg's world changes when his dying shrink bequeaths to him the tapes of thirty years of Michael's therapy sessions. The tapes give Michael a second chance in middle age: they unlock his life for him, as a gallery of absurd and touching characters, events and scenes spring out of his past: the shrink who cracks up and reverses roles with Michael when his wife dies; a first love encountered again in desperate, ravaged middle age; a Communist Party leader who "would rather be a lamppost in Moscow than President of the United States"; a "glistening failure" of a father who is a cheerleader of Michael's defeat ("You can fail, Michael, if you try! I did it, why can't you?"); the fetish porn-drenched world of old TImes Square; a Holocaust survivor Michael meets on September 11th who cannot confront his experience; a Hollywood of elderly Jewish moguls, scholarly and bizarre, "who seemed to have been shipped fresh to California from New York like onion bagels or seeded bialies"---- men like Michael's mentor, Julius Birnbach, creator of the cult classic, The Curse of the Evil Midgets. As Michael reclaims his life, The Great Kisser becomes a story of gratitude ---- of many kisses ---- by its climax ...