Armistead Maupin

Armistead Maupin is the author of the nine-volume Tales of the City series that includes Tales of the City, More Tales of the City, Further Tales of the City, Babycakes, Significant Others, Sure of You, Michael Tolliver Lives, Mary Ann in Autumn, and now The Days of Anna Madrigal. The first three books were made into three television miniseries starring Olympia Dukakis and Laura Linney. Maupin’s other books include Maybe the Moon and The Night Listener. Maupin was the 2012 recipient of the Lambda Literary Foundation’s Pioneer Award. He lives in Santa Fe with his husband, the photographer Christopher Turner.
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By turns hilarious and heartbreaking, Armistead Maupin's bestselling Tales of the City novels—the fourth, fifth and sixth of which are collected in this second omnibus volume—stand as an incomparable blend of great storytelling and incisive social commentary on American culture from the seventies through the first two decades of the new millennium.

“Tearing through [the tales] one after the other, as I did, allows instant gratification; it also lets you appreciate how masterfully they're constructed. No matter what Maupin writes next, he can look back on the rare achievement of having built a little world and made it run.”—Walter Kendrick, Village Voice Literary Supplement

Armistead Maupin's uproarious and moving Tales of the City novels have earned a unique niche in American literature and are considered indelible documents of cultural change from the seventies through the first two decades of the new millennium.  The nine classic comedies, some of which originally appeared as serials in San Francisco newspapers, have won Maupin critical acclaim around the world and enthralled legions of devoted fans.

Back to Barbary Lane comprises the second omnibus of the series—Babycakes (1984), Significant Others (1987), and Sure of You (1989)—continuing the saga of the tenants, past and present, of Mrs. Madrigal's beloved apartment house on Russian Hill. While the first trilogy celebrated the carefree excesses of the seventies, this volume tracks its hapless, all-too-human cast across the eighties—a decade troubled by plague, deceit, and overweening ambition.

Like its companion volumes, 28 Barbary Lane and Goodbye, Barbary Lane, Back to Barbary Lane is distinguished by what The Guardian of London has called "some of the sharpest and most speakable dialogue you are ever likely to read."

 

By turns hilarious and heartbreaking, Armistead Maupin's bestselling Tales of the City novels—the final three of which are collected in this third omnibus volume—stand as an incomparable blend of great storytelling and incisive social commentary on American culture from the seventies through the first two decades of the new millennium.

“These final days of his San Francisco friends and lovers, gay and straight, are seriously moving…. Maupin deftly illustrates how far America and the pioneering Anna have come, and nearly forty years into the series, his writing remains wildly addictive but is deeper and richer.”—People

The last three novels of Armistead Maupin’s bestselling, critically-acclaimed Tales of the City are now available for the first time as an omnibus edition. The epic series, published between 1978 and 2014, spans the decade before the AIDS crisis through the era of marriage equality following an unforgettable set of characters, whose diverse sexual identities helped set the social stage for the ongoing sexual revolution.

Goodbye Barbary Lane—comprised of Michael Tolliver Lives (2007), Mary Ann in Autumn (2010), and The Days of Anna Madrigal (2014)—brings closure to the lives and legacies of the characters through which generations have found connection to America’s larger cultural struggles over the past four decades.

Joining two companion omnibus volumes, 28 Barbary Lane and Back to Barbary Lane, Goodbye Barbary Lane presents all of “Mr. Maupin’s adeptness at fluid dialogue, his flair for shaping characters who thread the needle between pop archetypes and singular human beings, and his great gift for intricate if occasionally preposterous plotting”(New York Times).

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