Search results for ""New Directions Publishing""

The Passion According to G.H., Clarice Lispector’s mystical novel of 1964, concerns a well-to-do Rio sculptress, G.H., who enters her maid’s room, sees a cockroach crawling out of the wardrobe, and, panicking, slams the door—crushing the cockroach—and then watches it die. At the end of the novel, at the height of a spiritual crisis, comes the most famous and most genuinely shocking scene in Brazilian literature… Lispector wrote that of all her works this novel was the one that “best corresponded to her demands as a writer.”

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Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabéa, one of life's unfortunates. Living in the slums of Rio and eking out a poor living as a typist, Macabéa loves movies, Coca-Colas, and her rat of a boyfriend; she would like to be like Marilyn Monroe, but she is ugly, underfed, sickly and unloved. Rodrigo recoils from her wretchedness, and yet he cannot avoid the realization that for all her outward misery, Macabéa is inwardly free/She doesn't seem to know how unhappy she should be. Lispector employs her pathetic heroine against her urbane, empty narrator—edge of despair to edge of despair—and, working them like a pair of scissors, she cuts away the reader's preconceived notions about poverty, identity, love and the art of fiction. In her last book she takes readers close to the true mystery of life and leave us deep in Lispector territory indeed.

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After auditioning for the part as a singing geisha at a dubious bar, Lena and eleven other “lucky” girls are sent to work at a posh underground nightclub reserved exclusively for Russia’s upper-crust elite. They are to be a sideshow attraction to the rest of the club’s entertainment, and are billed as the “famous singing caryatids.” Things only get weirder from there. Secret ointments, praying mantises, sexual escapades, and grotesque murder are quickly ushered into the plot. The Russian literary master Victor Pelevin holds nothing back, and The Hall of the Singing Caryatids, his most recent story to be translated into English, is sure to make you squirm in your seat with utter delight.

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With Nathaniel Mackey’s fifth collection of poems, Nod House, we witness a confluence of music and meaning unprecedented in American poetry. Mackey’s art continues to push the envelope of what is possible to map and remap through words in sounds and sounds in words. Picking up with Nub’s disintegration at the end of his previous collection — the National Book Award–winning Splay Anthem — we follow a traveler and a tribe of travelers ensconced in myth and history as Mackey continues to weave his precisely measured music with two ongoing serial poems, Song of the Andoumboulou and Mu. The collec- tion is divided into two sections, both titled “Quag,” and it is this double-Quag (“Nub’s new colony Quag” or Qraq or Ouab’da or Quaph . . .) that the tribe is exiled in, worlds within alternate worlds where names and places are ever-shifting, and dreamlessness reigns. From the pyramids to the projects, Ivory Coast to Lone Coast, Lagos to Stick City, amidst chorusing horns and star-spar lightning, Nod House (“Nub’s / new / address”) unfolds as gorgeous eulogy, copla-cuts of deep song, the long elegiac march of “day after day of the dead.”

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By now, Yukio Mishima’s (1925-1970) dramatic demise through an act of seppuku after an inflammatory public speech has become the stuff of literary legend. With Patriotism, Mishima was able to give his heartwrenching patriotic idealism an immortal vessel. A lieutenant in the Japanese army comes home to his wife and informs her that his closest friends have become mutineers. He and his beautiful loyal wife decide to end their lives together. In unwavering detail Mishima describes Shinji and Reiko making love for the last time and the couple’s seppuku that follows.

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The tyrant of Horacio Castellanos Moya’s ambitious new novel is the actual pro-Nazi mystic Maximiliano Herna´ndez Marti´nez — known as the Warlock — who came to power in El Salvador in 1932. An attempted coup in April, 1944, failed, but a general strike in May finally forced him out of office. Tyrant Memory takes place during the month between the coup and the strike. Its protagonist, Hayde´e Aragon, is a well-off woman, whose husband is a political prisoner and whose son, Clemente, after prematurely announcing the dictator’s death over national radio during the failed coup, is forced to flee when the very much alive Warlock starts to ruthlessly hunt down his enemies. The novel moves between Hayde´e’s political awakening in diary entries and Clemente’s frantic and often hysterically comic efforts to escape capture. Tyrant Memory — sharp, grotesque, moving, and often hilariously funny — is an unforgettable incarnation of a coun- try’s history in the destiny of one family.

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Part antiphonal rant, part rhythmic whisper, Nathaniel Mackey's new collection of poems, Splay Anthem, takes the reader to uncharted poetic spaces. Divided into three sections—"Braid," "Fray," and "Nub" (one referent Mackey notes in his stellar Introduction: "the imperial, flailing republic of Nub the United States has become, the shrunken place the earth has become, planet Nub")—Splay Anthem weaves together two ongoing serial poems Mackey has been writing for over twenty years, "Song of the Andoumboulou" and "Mu" (though "Mu no more itself / than Andoumboulou"). In the cosmology of the Dogon of West Africa, the Andoumboulou are progenitor spirits, and the song of the Andoumboulou is a song addressed to the spirits, a funeral song, a song of rebirth. "Mu," too, splays with meaning: muni bird, Greek muthos, a Sun Ra tune, a continent once thought to have existed in the Pacific. With the vibrancy of a Mira painting, Mackey's poems trace the lost tribe of "we" through waking and dreamtime, through a multitude of geographies, cultures, histories, and musical traditions, as poetry here serves as the intersection of everything, myth's music, spirit lift.

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In his new collection Torn Awake, Gander continues to blend passion with intelligence, unveiling the forces of physical nature and personhood, the self as a construction of reciprocally reflective relations. Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.

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In kaleidoscopic fragments, Hoffmann refracts Jewish popular lore and folk wisdom through a postmodernist prism, brightening his prose with snatches of verse, songs, diary excerpts, letters, ominous dreams, lush erotic passages and Yiddish sayings. "The Book of Joseph" tells the tragic story of a widowed Jewish tailor and his son in 1930s Berlin. "Katschen" gives an astounding child's-eye view of a boy orphaned in the new state of Israel. The novellas radiate the original poetry of Hoffmann's atomized hypnotic language, which Rosmarie Waldrop has called "utterly enchanting—it's like nothing else."

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For the past twenty years, Eliot Weinberger has been taking the essay far beyond the borders of literary criticism or personal journalism and into the realm of poetry and narrative. Full of stories, yet written in a condensed, imagistic language, his essays are works of the imagination where all the facts are verifiable. As entertaining as fiction and as vivid as poems, making unexpected stops in odd corners of the globe or forgotten moments in human history, erudite, politically engaged, and acerbically witty, there is nothing quite like his work in contemporary writing. In Karmic Traces, his third collection with New Directions, twenty-four essays take the reader along on the author’s personal travels from the Atacama Desert to Iceland to Hong Kong on the verge of the hand-over to China, as well as on imagined voyages on a 17th-century Danish ship bound for India and among strange religious cults or even stranger small animals. One never knows what will appear next: Viking dreams, Aztec rituals, Hindu memory, laughing fish, or prophetic dogs. And in “The Falls,” the long tour-de-force that closes the book, Weinberger recapitulates 3,000 years of history in a cascade of telling facts to uncovering the deep roots of contemporary racism and violence.

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A sequence of one hundred and one poems with recurrent themes, it includes various sections on love, art, music, history, and literature, as well as confrontations with major figures in the avant-garde before the arrival of the Beat generation. This edition now includes eighteen new poems from Ferlinghetti's "Pictures of the Gone World" which he publishes under his City Lights imprint. A self-styled "stand-up tragedian," Ferlinghetti has been called "the foremost chronicler of our times." If A Coney Island of the Mind was a generations vibrant eye-opener, A Far Rockaway of the Heart is a wake-up call for a new age.

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Gathered in The Man with the Heart in the Highlands are sixteen stories from William Saroyan’s most celebrated literary period, culled from several long out-of-print collections from the 1930s and ’40s, While achieving meteoric success with The Human Comedy and The Time of Your Life, the young Saroyan set the pace with characters as fresh and compassionate as himself. His voice here is exhilarating, luminous, and completely distinctive––ready to let go with a lusty brash laugh on every page. These stories amply bear out Elizabeth Bowen’s opinion that “probably since O. Henry nobody has done more to endear and stabilize the short story.”

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The poems in Toby Olson’s We Are the Fire, a selection made by the poet himself of his later work, stand as better than half of what he wishes to save from the years 1970-84. (The collections Home and Aesthetics, published by Membrane Press, Milwaukee, in 1976 and 1978 respectively, complement the present volume.) Olson came into national prominence when his second novel, Seaview, received the PEN/Faulkner Award in 1983, but as a writer he has always given his poetry prime place. Readers of Olson’s novels will recognize familiar themes among these poems that parallel their development in his fiction––”Incest” and “The Father” did in fact appear in his first novel, The Life of Jesus (1976). The landscape of Cape Cod, the setting for much of Seaview, is evoked again and again in “Birdsongs” and “The Florence Poems,” a tender memorial to a close friend whose death from cancer achieves a communion that transcends grief. And in Olson’s ongoing series “Standards,” of which six are included here, his singular lyric eroticism is underscored by his remarkable metaphrasing of American popular songs. “For me,” Olson says, “the making of poetry increasingly becomes an act of celebration. What is celebrated is not the significance of things and events but the things and events themselves. It is not the tales but the details that I am concerned with.” We Are the Fire lights the details.

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Spanning fifty-four years, this collection record the creative growth of one of the twentieth century's most influential and versatile writers.

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In 1958, when Henry Miller was elected to membership in the American Institute of Arts and Letters, the citation described him as: "The veteran author of many books whose originality and richness of technique are matched by the variety and daring of his subject matter. His boldness of approach and intense curiosity concerning man and nature are unequalled in the prose literature of our times." It is most fitting that this anthology of "the best" of Henry Miller should have been assembled by one of the first among Miller’s contemporaries to recognize his genius, the eminent British writer Lawrence Durrell. Drawing material from a dozen different books Durrell has traced the main line and principal themes of the "single, endless autobiography" which is Henry Miller’s life work. "I suspect," writes Durrell in his Introduction, "that Miller’s final place will be among those towering anomalies of authorship like Whitman or Blake who have left us, not simply works of art, but a corpus of ideas which motivate and influence a whole cultural pattern." Earlier, H. L. Mencken had said, "his is one of the most beautiful prose styles today," and the late Sir Herbert Read had written that "what makes Miller distinctive among modern writers is his ability to combine, without confusion, the aesthetic and prophetic functions." Included are stories, "portraits" of persons and places, philosophical essays, and aphorisms. For each selection Miller himself prepared a brief commentary which fits the piece into its place in his life story. This framework is supplemented by a chronology from Miller’s birth in 1891 up to the spring of 1959, a bibliography, and, as an appendix, an open letter to the Supreme Court of Norway written in protest of the ban on Sexus, a part of which appears in this volume.

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The Secret Meaning of Things has all the elements of his earlier poetry: lyrical intensity, wit, social concern, satirical bite, and above all a classical claritas. But it goes much further: there is a deepening of vision and a darker understanding of "our clay condition." The six long poems in The Secret Meaning of Things show a progressive continuity and clarity of perception that apprehends both the hard reality and luminous irreality in everyday phenomena. In "Assassination Raga"––on the death of Robert Kennedy––the glass through which the poet sees darkly is the television screen; the poem was first read on the night of RFK’s funeral at a mass memorial in San Francisco. "Bickford’s Buddha" is a meditation on "Observation Fever" in Harvard Square, while "All Too Clearly" finds a "touch of old surrealism/at a stoplight in La Jolla." "Through the Looking Glass" begins with an actual flight aboard a commercial airliner and moves through a psychedelic vision to a final flash of the Dance of Shiva, which in turn opens out into the worldview of "After the Cries of Birds." "Moscow in the Wilderness, Segovia in the Snow" comes out of Ferlinghetti’s travels to Moscow and across the steppes in the winter of 1967.

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*Winner of The Griffin International Poetry Prize and the Lucien Stryk Asian Translation Award* The title section of Kim Hyesoon’s powerful new book, Autobiography of Death, consists of forty-nine poems, each poem representing a single day during which the spirit roams after death before it enters the cycle of reincarnation. The poems not only give voice to those who met unjust deaths during Korea’s violent contemporary history, but also unveil what Kim calls “the structure of death, that we remain living in.” Autobiography of Death, Kim’s most compelling work to date, at once reenacts trauma and narrates our historical death—how we have died and how we survive within this cyclical structure. In this sea of mirrors, the plural “you” speaks as a body of multitudes that has been beaten, bombed, and buried many times over by history. The volume concludes on the other side of the mirror with “Face of Rhythm,” a poem about individual pain, illness, and meditation.

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The epic novel Beauty Is a Wound combines history, satire, family tragedy, legend, humor, and romance in a sweeping polyphony. The beautiful Indo prostitute Dewi Ayu and her four daughters are beset by incest, murder, bestiality, rape, insanity, monstrosity, and the often vengeful undead. Kurniawan’s gleefully grotesque hyperbole functions as a scathing critique of his young nation’s troubled past:the rapacious offhand greed of colonialism; the chaotic struggle for independence; the 1965 mass murders of perhaps a million “Communists,” followed by three decades of Suharto’s despotic rule. Beauty Is a Wound astonishes from its opening line: One afternoon on a weekend in May, Dewi Ayu rose from her grave after being dead for twenty-one years.... Drawing on local sources—folk tales and the all-night shadow puppet plays, with their bawdy wit and epic scope—and inspired by Melville and Gogol, Kurniawan’s distinctive voice brings something luscious yet astringent to contemporary literature.

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An erotic, sensual, and comic novel that was a generation ahead of its time, Moise and the World of Reason has at its center the need of three people for each other: Lance, the beautiful black figure skater full of love and lust for young men as well as a craving for drugs; the nameless gay young narrator, a runaway writer from Alabama who lives near the piers of New York City’s West Village, c. 1975, frantically filling notebooks with his observations; and Moise, a young woman who speaks in riddles and can never finish her paintings or consummate her affairs. The long unavailable Moise and the World of Reason represents a kind of uncensored Williams, radically frank, fully articulated, and deeply tender: a true gem.

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The difficulty (and necessity) of translation is concisely described in Nineteen Ways of Looking at Wang Wei, a close reading of different translations of a single poem from the Tang Dynasty—from a transliteration to Kenneth Rexroth’s loose interpretation. As Octavio Paz writes in the afterword, “Eliot Weinberger’s commentary on the successive translations of Wang Wei’s little poem illustrates, with succinct clarity, not only the evolution of the art of translation in the modern period but at the same time the changes in poetic sensibility.”

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Vale Ave — Latin for “Farewell, Hail” — is a hymn to Eros that unfolds as a gorgeous palimpsest of eternal recurrence and reincarnation, charting the course of two lovers who each seek the other across cultures, myths, and centuries. Vale Ave is alchemical — “mystery and portent, yes, but at the same time,” as H. D. writes, “there is Resurrection and the hope of Paradise.”

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Over the course of his life, Kenneth Rexroth wrote about the Sierra Nevada better than anyone. Progressive in terms of environmental ethics and comparable to the writings of Emerson, Thoreau, Aldo Leopard, Annie Dillard, and Gary Snyder, Rexroth’s poetry and prose described the way Californians have always experienced and loved the High Sierra. Contained in this marvelous collection are transcendent nature poems, as well as prose selections from his memoir An Autobiographical Novel, newspaper columns, published and unpublished WPA guidebooks, and correspondence. Famed science-fiction writer Kim Stanley Robinson has compiled a gift for lovers of mountains and poetry both. This volume also contains Robinson’s introduction and notes, photographs of Rexroth, a map of Rexroth’s travels, and an amazing astronomical analysis of Rexroth’s poems by the fiction writer Carter Scholz.

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Paul Auster has earned international praise for the imaginative power of his many novels, including The New York Trilogy, Moon Palace, The Music of Chance, Mr. Vertigo, and Timbuktu. He has also published a number of highly original non-fiction works: The Invention of Solitude, Hand to Mouth, and The Art of Hunger. In The Red Notebook, Auster again explores events from the real world large and small, tragic and comic—that reveal the unpredictable, shifting nature of human experience. A burnt onion pie, a wrong number, a young boy struck by lightning, a man falling off a roof, a scrap of paper discovered in a Paris hotel room—all these form the context for a singular kind of ars poetica, a literary manifesto without theory, cast in the irreducible forms of pure story telling.

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Mine has been a life of much shame. I can’t even guess myself what it must be to live the life of a human being. Portraying himself as a failure, the protagonist of Osamu Dazai’s No Longer Human narrates a seemingly normal life even while he feels himself incapable of understanding human beings. His attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a “clown” to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness. Still one of the ten bestselling books in Japan, No Longer Human is an important and unforgettable modern classic: “The struggle of the individual to fit into a normalizing society remains just as relevant today as it was at the time of writing.” (The Japan Times)

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“Beatrix uses words like she uses paint. . .with brush strokes so vivid and rich I feel as if I’m there watching as her story unfolds. I love this book!” –Sissy SpacekBeatrix Ost’s memoir of her artistic awakening and early marriage opens on the heels of Germany’s recovery from the self-imposed disasters of World War II. She is part of the new generation that dances disobediently in the bombed-out villas and underground jazz caverns of Munich. Beatrix rides the dynamic decade up through the world of art, fashion, and cinema into the revolution of politics and consciousness.Marriage to the self-made prodigy and archaeologist, Ferdinand, impresario of the Hot Club, draws her into the mystical realm of the ancient Mexican gods. Soon, two sons are born. They make an odyssey through Mexico where, under the wing of the artistic elite, their homes full of Riveras and Kahlos, the initial impression is intoxicating. But the further they press inland, the more Ferdinand loses himself in his obsession and addictions.Ost draws us into the vortex of human craving to portray the complexities of her early marriage to a man scarred by the war, climbing the magical mountain of his own desires.Accompanied by the author’s artwork and photographs from her private collection, Ost “…shakes free of an impossibly dark life as the wife of an alcoholic…brushes off the stardust of romance and, stepping back in the light, comes into her own.” (Barbara Epler, President, New Directions Publishing)

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A private printed, limited edition facsimile of Aldous Huxley's 1940 essay on the significance and power of words. An argument as timely as it is timeless, Aldous Huxley's Words and Their Meanings argues the significance and power of words. A less well-known work originally published by The Ward Ritchie Press in 1940, Huxley's essay arrived at the end of the Great Depression and coincided with U.S. entry into WWII, a time when global relations were heavily impacted by the craft and manipulation of language. Words and Their Meanings was selected as one ofthe Western Books of 1940, which was a celebration and recognition of fine printing. Huxley wrote that "words are magical in the way they affect the minds of those who use them" while displaying his insight and proficiency with language. He blends accessible elements of linguistic theory, semiotics and philosophy with his erudite style. Alvin Lustig is recognized for introducing principles of modern art to graphic design, with contributions tobook design, interior design, and typography. His abstract style and innovative approach to typeface design became a trademark of titles published by New Directions Publishing. RIT Press presents a privately printed, limited edition facsimile of this title. This fine edition has been produced in partnership with More Vang, Alexandria, Virginia and designed byAlvin Lustig. He is recognized for introducing principles of modern art to graphic design, with contributions to book design, interior design, and typography. ALDOUS HUXLEY was a novelist, poet, and philosopher who relocated from England to the U.S. in 1937. He lived in southern California where he initiallyworked as a Hollywood screenwriter, later achieving success with his short stories, poetry, essays, and novels, especially Brave New World (1932).

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