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Last Exit to Brooklyn remains undiminished in its awesome power and magnitude as the novel that first showed us the fierce, primal rage seething in America’s cities. Selby brings out the dope addicts, hoodlums, prostitutes, workers, and thieves brawling in the back alleys of Brooklyn. This explosive best-seller has come to be regarded as a classic of modern American writing.
- Sales Rank: #30408 in Books
- Published on: 1994-01-13
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x 5.50" w x .75" l, .59 pounds
- Binding: Paperback
- 320 pages
Review
"An extraordinary achievement . . . a vision of hell so stern it cannot be chuckled or raged aside.”—The New York Times Book Review
“As dramatic and immediate as the click of a switchblade knife.”—Los Angeles Times
“The raw strength and concentrated power of Last Exit to Brooklyn make it one of the really great works of fiction about the underground labyrinth of our cities.”—Harry T. Moore
“Last Exit to Brooklynshould explode like a rusty hellish bombshell over America and still be eagerly read in a hundred years.”—Allen Ginsberg
“Drops like a sledgehammer. Emotionally beaten, one leaves it a different person—slightly changed, educated by pain, as Goethe said.”—The Nation
“Selby has an unerring instinct for honing our collapse into novels as glittering and as cutting as pure, block, jagged glass.”—Saturday Review
“Scorching, unrelenting, pulsing.”—Newsweek
“The marriage of brutal street life and gorgeous bebop prose.” —Richard Price, from his “My Five Most Essential Books,” published in Newsweek (April 13, 2009)
From the Inside Flap
The first novel to articulate the rage and pain of life in "the other America," Last Exit to Brooklyn is a classic of postwar American writing. Selby's searing portrait of the powerless, the homeless, the dispossessed, is as fiercely and frighteningly apposite today as it was when it was first published more than thirty-five years ago.
"An extraordinary achievement,...a vision of hell so stern it cannot be chuckled or raged aside."--The New York Times Book Review
"As dramatic and immediate as the click of a switchblade knife."--Los Angeles Times
"The raw strength and concentrated power of Last Exit to Brooklyn make it one of the really great works of fiction about the underground labyrinth of our cities."--Harry T. Moore
"Last Exit to Brooklyn should explode like a rusty hellish bombshell over America and still be eagerly read in a hundred years."--Allen Ginsberg
"Drops like a sledgehammer. Emotionally beaten, one leaves it a different person-slightly changed, educated by pain, as Goethe said."--The Nation
"Selby has an unerring instinct for honing our collapse into novels as glittering and as cutting as pure, black, jagged glass."--Saturday Review
"Scorching, unrelenting, pulsing."--Newsweek
Hubert Selby, Jr. was born in Brooklyn in 1928. Last Exit to Brooklyn, his first novel, was originally published in 1964. He has since written five other novels, The Room, The Demon, Requiem for a Dream, and The Willow Tree, and a collection of short stories, Song of the Silent Snow. Mr. Selby lives in Los Angeles.
About the Author
Hubert Selby Jr. was born in Brooklyn, New York. After leaving school he went to sea until illness forced him to leave the Merchant Marines. He began publishing stories in the 1950s, but it was the appearance of LAST EXIT TO BROOKLYN in the mid-sixties that brought him widespread recognition. On British publication the book was prosecuted for obscenity, but won its protracted court case on appeal. Hubert Selby's other works are THE ROOM (1971), THE DEMON (1973), REQUIEM FOR A DREAM (1978) and SONG OF THE SILENT SNOW (1986). He lives in Los Angeles, California.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Bennies, bums and beatings
By Keith A. Comess
"Last Exit" is now around 60 years old. It's a inter-related group of short stories dealing with the "underclass" of 1950s Brooklyn, New York. It clearly stands the test of time and, to use a hackneyed term, it's a "classic" in the tradition of Burroughs, Bukowski, Ginsberg and other more famous authors of the era.
"Exit" divides into three inter-related parts. Part 1 deals with a group of neighborhood toughs, all unemployed, bored and both by habit and temperment, looking for trouble. They hang out at a local dive, a diner called, "the Greeks" (no punctuation, per the author). They avail themselves of the first opportunity for violence and seriously beat a soldier who, in their perception, slighted a local "floozy". After administering a serious beating and in true sociopathic fashion, Vinnie and friends cavalierly return to the diner and their coffee. During the course of the evening and later on, they consume prodigious quantities of gin, benzedrine (legal at the time) and weed. They berate gays but happily and unabashedly party with transvestites. In Part 2, "Strike" focus shifts to a local machine shop and the union shop steward, Harry, who has some problems of his own. He's a lazy, belligerent and foul-mouthed bum whose "work ethic" leaves something to be desired from the perspective of the union (where his fealty outweighs his shortcomings), from the machinists themselves (where his grating and affected "hail fellow, well met" approach and incessant bragging further compromise his strong-arm techniques) to the company executives who provoke a strike in an effort to rid themselves of an offensive parasite. As the strike progresses, the thugs from Part 1 leach food and alcohol from the shop steward, introduce him to the demi-monde of gay sex and eventually beat him to a bloody pulp after he attempts to seduce a neighborhood boy. Part 3 ("Landsend") is a series of vignettes featuring residents of "the Project". This section is the strongest of the three, as it perfectly captures the mood, language, mores and attitudes of a cross-section of lower-class America, both then and now. It is reminiscent in it's fealty to language and atmosphere of Roth's, "Call it Sleep", an acknowledged masterpiece set in turn-of-the (20th)-century Jewish tenement culture. Marlon Brando in the film, "On the Waterfront" also comes to mind.
It's likely that Hubert Selby, Jr.'s perspectives were well informed by his own lifestyle which blended heroin, alcohol and a singularly avant guarde/bohemian lifestyle, especially for the time. His novels were all successful ("Exit" was filmed). Due to the startlingly explicit depictions of both homosexual and heterosexual sex, parts of which were (and remain) disquieting (e.g., the gang rape concluding Part 1), "Exit" was banned as "obscene". By current standards, it remains graphic and probably (given emerging Victorian sensibilities wrapped in sharp, cool clothes and covered with currently fashionable jargon) would warrant a "trigger warning" at certain American colleges and universities. One wonders if Selby could land a university job in the present era (he served as USC writing faculty).
"Exit" is a strong, compelling, unaffected, authentic and vibrant piece of literature. It's clear depictions of 1950s Brooklyn, coupled with the frenetic writing style (idiosyncratic punctuation, reproduced in this edition, reflecting Selby's rush to convey his typewritten thoughts to paper as rapidly as possible). It's more honest than Kerouac, less contrived than Burroughs and as insightful as Bowles. What more can you ask?
0 of 0 people found the following review helpful.
Gritty view of mid-century Brooklyn
By Amazon Customer
A difficult but somehow hopeful book. The gritty nature of NYC working class (or lower) people in the forties/fifties is uncomfortable at times. But the acceptance of drag queens and others on the fringe is wonderful. Stylistically, sometimes the book felt like a novel, sometimes like a Beatnik rap, and sometimes like poetry. Not a book to read fast, but a book that keeps you thinking.
2 of 2 people found the following review helpful.
One of a kind read
By J. Vaughn
This is the second book of Selby's I've enjoyed, Requiem of a Dream was the first. I will continue to order his works, as I consider him one of the best American writers, The Room more than likely will be next. He is a very talented writer who prefers writing about characters with major character flaws, yet instead of condesending them, he allows us to see what drives them to do the things that ultimately destroy their lives, thus allowing the reader to see the tragedy and feel empathy towards them. He writes in a musical fashion, something of a cross between poetry and a typist's prose with minimal punctuation to get in the way (although that takes some getting used to).
Last Exit concerns itself with the downward spiraling lives of various "lowlifes" in NYC during the 50's. There's a transvestite drug abuser named Georgette who is in love with Vinnie, a street thug who only uses him for drugs and money. Tralala is a vain street hustler and hooker who blows her chance at a decent life, and wastes away in bars searching for the next john that will make her feel like she is as beautiful as she imagines herself again, and Harry is an unhappily married and disturbed union strike leader. During the story he discovers he is a homosexual and finds happiness in various relationships with the drag queens of a local bar. However, after the strike is over and he is broke, he is shunned by the group and destroys himself by doing a terrible thing trying to regain his lost fulfillment. Also there are quite a few short stories at the end, following various characters through their daily routines, personally my favorite part of the novel.
The stories intertwine at times, and are very graphic in language, sex, and violence, not allowing the reader to look away even in the darkest sections of the novel. It was released in 1964, and was banned in Britian for a couple of years, labeled by the government as "obscene". However, if you can look past the subject matter and read this book, I can pretty much guarantee you will grow as a person. And anyone who enjoys classic American literature and/or a good story, albeit not always with a happy ending, will find much to love here.
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