Review
"To me the most impressive aspect of THE HEART IS A LONELY HUNTER is the astonishing humanity that enables a white writer, for the first time in Southern fiction, to handle Negro characters with as much ease and justice of those of her own race. This cannot be accounted for stylistically or politically; it seems to stem from an attitude toward life." -- Richard Wright

"When one puts [this book] down, it is with . . . a feeling of having been nourished by the truth." --May Sarton

"Sensitively conceived and expertly told . . . Its quality as writing and the intensity of its theme combine to make it one of the outstanding novels of recent years." --Times-Picayune

"The Heart Is a Lonely Hunter is a miracle of compassion, pity, and irony. Form and matter are perfectly blended in the novel." --Virginia Quarterly Review

Review
"There is not only the delicately sensed need that one might expect youth to know but an even more delicately sensed ironic knowledge."

Book Description
With the publication of her first novel, THE HEART IS A LONELY HUNTER, Carson McCullers, all of twenty-three, became a literary sensation. With its profound sense of moral isolation and its compassionate glimpses into its characters' inner lives, the novel is considered McCullers' finest work, an enduring masterpiece first published by Houghton Mifflin in 1940. At its center is the deaf-mute John Singer, who becomes the confidant for various types of misfits in a Georgia mill town during the 1930s. Each one yearns for escape from small town life. When Singer's mute companion goes insane, Singer moves into the Kelly house, where Mick Kelly, the book's heroine (and loosely based on McCullers), finds solace in her music. Wonderfully attuned to the spiritual isolation that underlies the human condition, and with a deft sense for racial tensions in the South, McCullers spins a haunting, unforgettable story that gives voice to the rejected, the forgotten, and the mistreated -- and, through Mick Kelly, gives voice to the quiet, intensely personal search for beauty. Richard Wright praised Carson McCullers for her ability "to rise above the pressures of her environment and embrace white and black humanity in one sweep of apprehension and tenderness." She writes "with a sweep and certainty that are overwhelming," said the NEW YORK TIMES. McCullers became an overnight literary sensation, but her novel has endured, just as timely and powerful today as when it was first published. THE HEART IS A LONELY HUNTER is Carson McCullers at her most compassionate, endearing best.

Inside Flap Copy
When she was only twenty-three, Carson  McCullers's first novel created a literary sensation. She  was very special, one of America's superlative  writers who conjures up a vision of existence as  terrible as it is real, who takes us on shattering  voyages into the depths of the spiritual isolation  that underlies the human condition. This novel is  the work of a supreme artist, Carson McCullers's  enduring masterpiece. The heroine is the strange  young girl, Mick Kelly. The setting is a small  Southern town, the cosmos universal and eternal.  The characters are the damned, the voiceless, the  rejected. Some fight their loneliness with  violence and depravity, Some with sex or drink, and some  -- like Mick -- with a quiet, intensely personal  search for beauty.

Excerpt. © Reprinted by permission. All rights reserved.
1In the town there were two mutes, and they were always together. Early every morning they would come out from the house where they lived and walk arm in arm down the street to work. The two friends were very different. The one who always steered the way was an obese and dreamy Greek. In the summer he would come out wearing a yellow or green polo shirt stuffed sloppily into his trousers in front and hanging loose behind. When it was colder he wore over this a shapeless gray sweater. His face was round and oily, with half-closed eyelids and lips that curved in a gentle, stupid smile. The other mute was tall. His eyes had a quick, intelligent expression. He was always immaculate and very soberly dressed. Every morning the two friends walked silently together until they reached the main street of the town. Then when they came to a certain fruit and candy store they paused for a moment on the sidewalk outside. The Greek, Spiros Antonapoulos, worked for his cousin, who owned this fruit store. His job was to make candies and sweets, uncrate the fruits, and to keep the place clean. The thin mute, John Singer, nearly always put his hand on his friend"s arm and looked for a second into his face before leaving him. Then after this good-bye Singer crossed the street and walked on alone to the jewelry store where he worked as a silverware engraver. In the late afternoon the friends would meet again. Singer came back to the fruit store and waited until Antonapoulos was ready to go home. The Greek would be lazily unpacking a case of peaches or melons, or perhaps looking at the funny paper in the kitchen behind the store where he cooked. Before their departure Antonapoulos always opened a paper sack he kept hidden during the day on one of the kitchen shelves. Inside were stored various bits of food he had collected—a piece of fruit, samples of candy, or the butt-end of a liverwurst. Usually before leaving Antonapoulos waddled gently to the glassed case in the front of the store where some meats and cheeses were kept. He glided open the back of the case and his fat hand groped lovingly for some particular dainty inside which he had wanted. Sometimes his cousin who owned the place did not see him. But if he noticed he stared at his cousin with a warning in his tight, pale face. Sadly Antonapoulos would shuffle the morsel from one corner of the case to the other. During these times Singer stood very straight with his hands in his pockets and looked in another direction. He did not like to watch this little scene between the two Greeks. For, excepting drinking and a certain solitary secret pleasure, Antonapoulos loved to eat more than anything else in the world. In the dusk the two mutes walked slowly home together. At home Singer was always talking to Antonapoulos. His hands shaped the words in a swift series of designs. His face was eager and his gray-green eyes sparkled brightly. With his thin, strong hands he told Antonapoulos all that had happened during the day. Antonapoulos sat back lazily and looked at Singer. It was seldom that he ever moved his hands to speak at all—and then it was to say that he wanted to eat or to sleep or to drink. These three things he always said with the same vague, fumbling signs. At night, if he were not too drunk, he would kneel down before his bed and pray awhile. Then his plump hands shaped the words "Holy Jesus," or "God," or "Darling Mary." These were the only words Antonapoulos ever said. Singer never knew just how much his friend understood of all the things he told him. But it did not matter. They shared the upstairs of a small house near the business section of the town. There were two rooms. On the oil stove in the kitchen Antonapoulos cooked all of their meals. There were straight, plain kitchen chairs for Singer and an overstuffed sofa for Antonapoulos. The bedroom was furnished mainly with a large double bed covered with an eiderdown comforter for the big Greek and a narrow iron cot for Singer. Dinner always took a long time, because Antonapoulos loved food and he was very slow. After they had eaten, the big Greek would lie back on his sofa and slowly lick over each one of his teeth with his tongue, either from a certain delicacy or because he did not wish to lose the savor of the meal—while Singer washed the dishes. Sometimes in the evening the mutes would play chess. Singer had always greatly enjoyed this game, and years before he had tried to teach it to Antonapoulos. At first his friend could not be interested in the reasons for moving the various pieces about on the board. Then Singer began to keep a bottle of something good under the table to be taken out after each lesson. The Greek never got on to the erratic movements of the knights and the sweeping mobility of the queens, but he learned to make a few set, opening moves. He preferred the white pieces and would not play if the black men were given him. After the first moves Singer worked out the game by himself while his friend looked on drowsily. If Singer made brilliant attacks on his own men so that in the end the black king was killed, Antonapoulos was always very proud and pleased. The two mutes had no other friends, and except when they worked they were alone together. Each day was very much like any other day, because they were alone so much that nothing ever disturbed them. Once a week they would go to the library for Singer to withdraw a mystery book and on Friday night they attended a movie. Then on payday they always went to the ten-cent photograph shop above the Army and Navy Store so that Antonapoulos could have his picture taken. These were the only places where they made customary visits. There were many parts in the town that they had never even seen. The town was in the middle of the deep South. The summers were long and the months of winter cold were very few. Nearly always the sky was a glassy, brilliant azure and the sun burned down riotously bright. Then the light, chill rains of November would come, and perhaps later there would be frost and some short months of cold. The winters were changeable, but the summers always were burning hot. The town was a fairly large one. On the main street there were several blocks of two- and three-story shops and business offices. But the largest buildings in the town were the factories, which employed a large percentage of the population. These cotton mills were big and flourishing and most of the workers in the town were poor. Often in the faces along the streets there was the desperate look of hunger and of loneliness. But the two mutes were not lonely at all. At home they were content to eat and drink, and Singer would talk with his hands eagerly to his friend about all that was in his mind. So the years passed in this quiet way until Singer reached the age of thirty-two and had been in the town with Antonapoulos for ten years. Then one day the Greek became ill. He sat up in bed with his hands on his fat stomach and big, oily tears rolled down his cheeks. Singer went to see his friend"s cousin who owned the fruit store, and also he arranged for leave from his own work. The doctor made out a diet for Antonapoulos and said that he could drink no more wine. Singer rigidly enforced the doctor"s orders. All day he sat by his friend"s bed and did what he could to make the time pass quickly, but Antonapoulos only looked at him angrily from the corners of his eyes and would not be amused. The Greek was very fretful, and kept finding fault with the fruit drinks and food that Singer prepared for him. Constantly he made his friend help him out of bed so that he could pray. His huge buttocks would sag down over his plump little feet when he kneeled. He fumbled with his hands to say "Darling Mary" and then held to the small brass cross tied to his neck with a dirty string. His big eyes would wall up to the ceiling with a look of fear in them, and afterward he was very sulky and would not let his friend speak to him. Singer was patient and did all that he could. He drew little pictures, and once he made a sketch of his friend to amuse him. This picture hurt the big Greek"s feelings, and he refused to be reconciled until Singer had made his face very young and handsome and colored his hair bright yellow and his eyes china blue. And then he tried not to show his pleasure. Singer nursed his friend so carefully that after a week Antonapoulos was able to return to his work. But from that time on there was a difference in their way of life. Trouble came to the two friends. Antonapoulos was not ill any more, but a change had come in him. He was irritable and no longer content to spend the evenings quietly in their home. When he would wish to go out Singer followed along close behind him. Antonapoulos would go into a restaurant, and while they sat at the table he slyly put lumps of sugar, or a peppershaker, or pieces of silverware in his pocket. Singer always paid for what he took and there was no disturbance. At home he scolded Antonapoulos, but the big Greek only looked at him with a bland smile. The months went on and these habits of Antonapoulos grew worse. One day at noon he walked calmly out of the fruit store of his cousin and urinated in public against the wall of the First National Bank Building across the street. At times he would meet people on the sidewalk whose faces did not please him, and he would bump into these persons and push at them with his elbows and stomach. He walked into a store one day and hauled out a floor lamp without paying for it, and another time he tried to take an electric train he had seen in a showcase. For Singer this was a time of great distress. He was continually marching Antonapoulos down to the courthouse during lunch hour to settle these infringements of the law. Singer became very familiar with the procedure of the courts and he was in a constant state of agitation. The money he had saved in the bank was spent for bail and fines. All of his efforts and money were used to keep his friend out of jail because of such charges as theft, committing public indecencies, and assault and battery. The Greek cousin for whom Antonapoulos worked did not enter into these troubles at all. Charles Parker (for that was the name this cousin had taken) let Antonapoulos stay on at the store, but he watched him always with his pale, tight face and he made no effort to help him. Singer had a strange feeling about Charles Parker. He began to dislike him. Singer lived in continual turmoil and worry. But Antonapoulos was always bland, and no matter what happened the gentle, flaccid smile was still on his face. In all the years before it had seemed to Singer that there was something very subtle and wise in this smile of his friend. He had never known just how much Antonapoulos understood and what he was thinking. Now in the big Greek"s expression Singer thought that he could detect something sly and joking. He would shake his friend by the shoulders until he was very tired and explain things over and over with his hands. But nothing did any good. All of Singer"s money was gone and he had to borrow from the jeweler for whom he worked. On one occasion he was un- able to pay bail for his friend and Antonapoulos spent the night in jail. When Singer came to get him out the next day he was very sulky. He did not want to leave. He had enjoyed his dinner of sowbelly and cornbread with syrup poured over it. And the new sleeping arrangements and his cellmates pleased him. They had lived so much alone that Singer had no one to help him in his distress. Antonapoulos let nothing disturb him or cure him of his habits. At home he sometimes cooked the new dish he had eaten in the jail, and on the streets there was never any knowing just what he would do. And then the final trouble came to Singer. One afternoon he had come to meet Antonapoulos at the fruit store when Charles Parker handed him a letter. The letter explained that Charles Parker had made arrangements for his cousin to be taken to the state insane asylum two hundred miles away. Charles Parker had used his influence in the town and the details were already settled. Antonapoulos was to leave and to be admitted into the asylum the next week. Singer read the letter several times, and for a while he could not think. Charles Parker was talking to him across the counter, but he did not even try to read his lips and understand. At last Singer wrote on the little pad he always carried in his pocket: You cannot do this. Antonapoulos must stay with me. Charles Parker shook his head excitedly. He did not know much American. "None of your business," he kept saying over and over. Singer knew that everything was finished. The Greek was afraid that some day he might be responsible for his cousin. Charles Parker did not know much about the American language —but he understood the American dollar very well, and he had used his money and influence to admit his cousin to the asylum without delay. There was nothing Singer could do. The next week was full of feverish activity. He talked and talked. And although his hands never paused to rest he could not tell all that he had to say. He wanted to talk to Antonapoulos of all the thoughts that had ever been in his mind and heart, but there was not time. His gray eyes glittered and his quick, intelligent face expressed great strain. Antonapoulos watched him drowsily, and his friend did not know just what he really understood. Then came the day when Antonapoulos must leave. Singer brought out his own suitcase and very carefully packed the best of their joint possessions. Antonapoulos made himself a lunch to eat during the journey. In the late afternoon they walked arm in arm down the street for the last time together. It was a chilly afternoon in late November, and little huffs of breath showed in the air before them. Charles Parker was to travel with his cousin, but he stood apart from them at the station. Antonapoulos crowded into the bus and settled himself with elaborate preparations on one of the front seats. Singer watched him from the window and his hands began desperately to talk for the last time with his friend. But Antonapoulos was so busy checking over the various items in his lunch box that for a while he paid no attention. Just before the bus pulled away from the curb he turned to Singer and his smile was very bland and remote—as though already they were many miles apart. The weeks that followed didn"t seem real at all. All day Singer worked over his bench in the back of the jewelry store, and then at night he returned to the house alone. More than anything he wanted to sleep. As soon as he came home from work he would lie on his cot and try to doze awhile. Dreams came to him when he lay there half-asleep. And in all of them Antonapoulos was there. His hands would jerk nervously, for in his dreams he was talking to his friend and Antonapoulos was watching him. Singer tried to think of the time before he had ever known his friend. He tried to recount to himself certain things that had happened when he was young. But none of these things he tried to remember seemed real. There was one particular fact that he remembered, but it was not at all important to him. Singer recalled that, although he had been deaf since he was an infant, he had not always been a real mute. He was left an orphan very young and placed in an institution for the deaf. He had learned to talk with his hands and to read. Before he was nine years old he could talk with one hand in the American way—and also could employ both of his hands after the method of Europeans. He had learned to follow the movements of people"s lips and to understand what they said. Then finally he had been taught to speak. At the school he was thought very intelligent. He learned the lessons before the rest of the pupils. But he could never become used to speaking with his lips. It was not natural to him, and his tongue felt like a whale in his mouth. From the blank expression on people"s faces to whom he talked in this way he felt that his voice must be like the sound of some animal or that there was something disgusting in his speech. It was painful for him to try to talk with his mouth, but his hands were always ready to shape the words he wished to say. When he was twenty-two he had come south to this town from Chicago and he met Antonapoulos immediately. Since that time he had never spoken with his mouth again, because with his friend there was no need for this. Nothing seemed real except the ten years with Antonapoulos. In his half-dreams he saw his friend very vividly, and when he awakened a great aching loneliness would be in him. Occasionally he would pack up a box for Antonapoulos, but he never received any reply. And so the months passed in this empty, dreaming way. In the spring a change came over Singer. He could not sleep and his body was very restless. At evening he would walk monotonously around the room, unable to work off a new feeling of energy. If he rested at all it was only during a few hours before dawn—then he would drop bluntly into a sleep that lasted until the morning light struck suddenly beneath his opening eyelids like a scimitar. He began spending his evenings walking around the town. He could no longer stand the rooms where Antonapoulos had lived, and he rented a place in a shambling boardinghouse not far from the center of the town. He ate his meals at a restaurant only two blocks away. This restaurant was at the very end of the long main street and the name of the place was the New York Café. The first day he glanced over the menu quickly and wrote a short note and handed it to the proprietor.Each morning for breakfast I want an egg, toast, and coffee— $0.15For lunch I want soup (any kind), a meat sandwich, and milk— $0.25Please bring me at dinner three vegetables (any kind but cabbage), fish or meat, and a glass of beer— $0.35Thank you. The proprietor read the note and gave him an alert, tactful glance. He was a hard man of middle height, with a beard so dark and heavy that the lower part of his face looked as though it were molded of iron. He usually stood in the corner by the cash register, his arms folded over his chest, quietly observing all that went on around him. Singer came to know this man"s face very well, for he ate at one of his tables three times a day. Each evening the mute walked alone for hours in the street. Sometimes the nights were cold with the sharp, wet winds of March and it would be raining heavily. But to him this did not matter. His gait was agitated and he always kept his hands stuffed tight into the pockets of his trousers. Then as the weeks passed the days grew warm and languorous. His agitation gave way gradually to exhaustion and there was a look about him of deep calm. In his face there came to be a brooding peace that is seen most often in the faces of the very sorrowful or the very wise. But still he wandered through the streets of the town, always silent and alone.Copyright 1940 by Carson Smith McCullers. Copyright renewed © 1967 by Carson McCullers. Reprinted by permission of Houghton Mifflin Company.

FROM THE PUBLISHER

With the publication of her first novel, THE HEART IS A LONELY HUNTER, Carson McCullers, all of twenty-three, became a literary sensation. With its profound sense of moral isolation and its compassionate glimpses into its characters' inner lives, the novel is considered McCullers' finest work, an enduring masterpiece first published by Houghton Mifflin in 1940.

At its center is the deaf-mute John Singer, who becomes the confidant for various types of misfits in a Georgia mill town during the 1930s. Each one yearns for escape from small town life. When Singer's mute companion goes insane, Singer moves into the Kelly house, where Mick Kelly, the book'sheroine (and loosely based on McCullers), finds solace in her music.

Wonderfully attuned to the spiritual isolation that underlies the human condition, and with a deft sense for racial tensions in the South, McCullers spins a haunting, unforgettable story that gives voice to the rejected, the forgotten, and the mistreated-and, through Mick Kelly, gives voice to the quiet, intensely personal search for beauty. Richard Wright praised Carson McCullers for her ability "to rise above the pressures of her environment and embrace white and black humanity in one sweep of apprehension and tenderness." She writes "with a sweep and certainty that are overwhelming," said the NEW YORK TIMES. McCullers became an overnight literary sensation, but her novel has endured, just as timely and powerful today as when it was first published. THE HEART IS A LONELY HUNTER is Carson McCullers at her most compassionate, endearing best.

SYNOPSIS

Published in 1940, The Heart Is a Lonely Hunter is considered McCullers' finest work. The focus of the work is on John Singer, a deaf-mute in a Georgia mill town during the 1930s, and on his effect on the people who confide in him. When Singer's mute Greek companion of 10 years goes insane, Singer is left alone and isolated. He takes a room with the Kelly family, where he is visited by the town's misfits, who turn to him for understanding but have no knowledge of his inner life. The book's emphasis on individuals who are considered outcasts because of race, politics, disability, or sensibility placed it squarely within the Southern gothic tradition of American literature.

FROM THE CRITICS

The New York Times

A remarkable book . . . [McCullers] writes with a sweep and certainty that are overwhelming.

The Nation

Quite remarkable . . . McCullers leaves her characters hauntingly engraved in the reader's memory.

The New Republic - Richard Wright

To me the most impressive aspect of 'The Heart Is a Lonely Hunter' is the astonishing humanity that enables a white writer, for the first time in Southern fiction, to handle Negro characters with as much ease and justice as those of her own race.

The Boston Globe

[McCullers] writes with a calm and factual realism, and with a deep and abiding insight into human psychology. She does so without an iota of vulgarity and bawdiness, in a manner which many a present day novelist would do well to study.

The Philadelphia Inquirer

Besides telling a good story, the author has peopled it with a small group of characters so powerfully drawn as to linger long in memory.Read all 10 "From The Critics" >

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