Slick, upbeat and funny, these stories inspired the popular musical and film Guys and Dolls. 'Of all the high players this country ever sees, there is no doubt but that the guy they call the Sky is the highest. He will bet all he has, and nobody can bet any more than this'.

This is the exuberant biography of the best known and most colorful newspapercolumnist of the 1920s and '30s by one of the best-known and most colorful newspaper columnists of today, Jimmy Breslin.

This compilation of the American newspaperman and short story writer Damon Runyon's works is sure to leave you in stitches. Runyon was best known for his short tales celebrating the world of Broadway in New York City, a world that grew out of the Prohibition era of the early twentieth century. To New Yorkers of his generation, a "Damon Runyon character" evoked a distinctive social type from Brooklyn or Midtown Manhattan. He spun humorous and sentimental tales of gamblers, hustlers, actors, and gangsters, few of whom go by "square" names, preferring instead colorful monikers such as "Nathan Detroit", "Benny Southstreet", "Big Jule", "Harry the Horse", "Good Time Charley", "Dave the Dude", or "The Seldom Seen Kid".

Guys, Dolls, and Curveballs is a delightful collection of ballpark dispatches from one of the game's most unique chroniclers—Damon Runyon, the legendary reporter and creator of such mythic gangster icons as Nathan Detroit and the Lemon Drop Kid. Best known as the bard of Broadway for turning two-bit hustlers and deadbeat horseplayers of Jazz Age New York City into literary legend, Runyon was first and foremost a newspaperman. After arriving in New York from Colorado in 1911, Runyon went to work for Hearst News Service as a baseball beat writer. It was at the ballpark that he honed his legendary skills for finding the story where no one else bothered to look. A master wordsmith, Runyon covered giants of the era such as Ty Cobb, and a Boston Red Sox pitcher named Babe Ruth. In addition, he brought an influential style to observing the rituals and rhythms of the ballpark, wryly commenting on everything from the gamblers and bookies doing business to the particular style of hat worn by a woman in the crowd. Editor Jim Reisler collects Runyon's writings on every facet of the game, making this a unique and indispensable look at our beloved pastime.

Burned out by working the baseball beat for years, in the summer of 1922 Damon Runyon was looking for a new sport to cover for The New York American as a change of pace. Having pilloried golf just a few years before, he went to Saratoga that August to sample horse racing and found that “There, right in front of him, were so many of the characters he so loved from his time covering the comings and goings of the Manhattan night crowd.” This was just the tonic Runyon needed to emerge from his malaise. Runyon didn’t just cover the great races and which horse won: he would get to the track days before and roam along the backstretch, speaking with the trainers, the gamblers, the rich owners, and the wise guys, many of which became model characters in his fiction and in the musical Guys and Dolls. This book collects the best of Runyon’s horse racing columns to 1936, when he moved on to other beats.

While analyzing Damon Runyon's high spirited work in terms of historical contexts, popular culture, and of the changing function of the media, Schwarz argues that in his columns and stories Runyon was an indispensable figure in creating our public images of New York City culture, including our interest in the demi-monde and underworld that explains in part the success of The Godfather films and The Sopranos . In his lively and exuberant chapters that include a panoramic view of New York City between the World Wars - with a focus on its colourful nightlife - Schwarz examines virtually every facet of Runyon's career from sports writer, daily columnist, trial reporter, and Hollywood figure to the author of the still widely-read short stories that were the source of the Broadway hit Guys and Dolls . As part of his discussion of Runyon's art and the artistry of Runyon's fiction, Schwarz skilfully examines the special language of the Broadway stories known as 'Runyonese', and explains how 'Runyonese' has become an adjective for describing flamboyant behaviour.