Search results for ""New Directions Publishing""

As civilian war poetry (written under the shattering impact of World War II). Trilogy's three long poems rank with T.S. Eliot's "Four Quartets" and Ezra Pound's "Pisan Cantos." The first book of the Trilogy, "The Walls Do Not Fall," published in the midst of the "fifty thousand incidents" of the London blitz, maintains the hope that though "we have no map; / possibly we will reach haven,/ heaven." "Tribute to Angels" describes new life springing from the ruins, and finally, in "The Flowering of the Rod"—with its epigram "...pause to give/ thanks that we rise again from death and live."—faith in love and resurrection is realized in lyric and strongly Biblical imagery.

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A timeless selection of brilliant short stories that won William Saroyan a position among the foremost, most widely popular writers of America when it first appeared in 1934.With the greatest of ease William Saroyan flew across the literary skies in 1934 with the publication of The Daring Young Man on the Flying Trapeze and Other Stories. One of the first American writers to describe the immigrant experience in the U.S., Saroyan created characters who were Armenians, Jews, Chinese, Poles, Africans, and the Irish. The title story touchingly portrays the thoughts of a very young writer, dying of starvation. All of the tales were written during the great depression and reflect, through pathos and humor, the mood of the nation in one of its greatest times of want.

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Bread in the Wilderness sets forth Merton's belief that "the Psalms acquire, for those who know how to enter into them, a surprising depth, a marvelous and inexhaustible actuality. They are bread, miraculously provided by Christ, to feed those who have followed Him into the wilderness." Merton's goal in this moving book is to help the reader enter into the Psalms: "The secret is placed in the hands of each Christian. It only needs to be discovered and fulfilled in our own lives." The new ND Classic edition of Bread in the Wilderness faithfully reproduces the beautiful, large-format original 1953 New Directions books, created by the celebrated designer Alvin Lustig and lavishly illustrated throughout with photographs of a remarkable medieval crucifix at Perpignan, France.

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Delmore Schwartz said about The Cantos: "They are one of the touchstones of modern poetry." William Carlos WIlliams said "[Pound] discloses history by its odor, by the feel of it—in the words; fuses it with the words, present and past, to MAKE his Cantos. Make them." Since the 1969 revised edition, the Italian Cantos LXXII and LXXIII (as well as a 1966 fragment concluding the work) have been added. Now appearing for the first time is Pound's recently found Eglish translation of Italian Canto LXXII.

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The Nonconformist's Memorial is a gathering of four long sequences that underscores Susan Howe's reputation as one of the leading experimentalists writing today. How is a poet of language in history whose work resonates back through Melville, Dickinson, and Shelley to the seventeenth-century Metaphysicals and Puritans (the nonconformism of the title), and forward again to T. S. Eliot and the abstract expressionists. The sequences fall into two sections, "Turning" and "Conversion," in half-ironic nonconforming counterpart to Eliot's Four Quartets. Her collaging and mirror-imaging of words are concretions of verbal static, visual meditations on what can and cannot be said. For Howe, "Melville's Marginalia" is the essential poem in the collection, an approach to an elusive and allusive mind through Melville's own reading and the notations in his library books. This, says Howe, is "Language a wood for thought."

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The Theatre of Tennessee Williams presents, in matching format, the plays of one of America’s most consistently influential and innovative dramatists. The first five volumes of this ongoing series contain Williams’s full-length plays through 1975 and, in addition to the texts themselves, include original cast listings and production notes. Volumes 6 and 7 contain Williams’s collected shorter plays. Now available as a paperback, Volume 8 adds to the series four full-length plays written and produced during the last decade of Williams’s life.

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Futility is an astounding, funny, and enchanting novel which mixes eccentric Russian sensibilities with eccentric British brains, both richly possessed by its author William Gerhardie (1895-1977). The novel’s narrator, Andrei Andreiech, an Englishman of Russian upbringing, recounts his entanglements with the Bursanov family and his love for Nina, the second of three beautiful sisters. The Revolution destroys the family fortunes, but Nina’s father still pins his hopes on his Northern goldmines, gathering dependents who trail him even to Siberia. Andrei also waits, hoping his love for Nina will bring happiness. It is Gerhardie’s vivacity and lightness of tone in conducting these meaningful yet ludicrous tragedies of disappointment that marks Futility as one of the great neglected novels of the twentieth century.

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The Theatre of Tennessee Williams brings together in a matching format the plays of one of the America’s most influential and innovative dramatists. Arranged in chronological order, this ongoing series includes the original cast listings and production notes.

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A delightful period piece of Paris in the late 1880’s, We’ll to the Woods No More (Les lauriers sont coupés) retains its importance as the first use of the monologue intérieur and the inspiration for the stream-of-consciousness technique perfected by James Joyce. Dujardin’s charming tale, told with insight and irony, recounts what goes on in the mind of a young man-about-town in love with a Parisian actress. Mallarmé described the poetry of the telling as "the instant seized by the throat." Originally published in France in 1887, the first English translation (by Joyce scholar Stuart Gilbert) was published by New Directions in 1938. In 1957 Leon Edel’s perceptive historical essay reintroduced the book as "the rare and beautiful case of a minor work which launched a major movement."

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The friendship of Ezra Pound and Wyndham Lewis began in London in 1909, survived two European wars and the rise and fall of the totalitarian governments both men misguidedly supported, and lasted through Pound's years of confinement at St. Elizabeths, to Lewis's death in 1957. In Pound/Lewis, their correspondence of five decades is gathered for the first time; it proves a revealing reflection of their intense, always professional, mutual regard.

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Seasons of Sacred Lust is Kazuko Shiraishi’s challenge to the conventions of Japanese erotic poetry. Born in Vancouver, Canada, Shiraishi was taken to Japan by her family just prior to World War II, and her first poetry (written at age seventeen, published at twenty) emerged from the violence and ugliness of postwar Tokyo. Her earliest work, associated with the avant-garde magazine Vou, shows her talent for vivid, bizarre, almost surrealistic imagery. Her later writing, coming out of her deepening involvement in the world of modern jazz and her increasing emphasis on the performance of her poetry, dramatizes a society of estrangement and alienation where music and poetry provide the only values, and sex the only solace, in a disintegrating world. This selection is translated by a group of Japanese and American poets: Iluko Atsumi, John Solt, Carol Tinker, Yasuyo Morita, and Kenneth Rexroth who provided an informative, perceptive introduction.

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The eighty-four poems included in this small volume will serve as a sound and inviting introduction to Rilke's strategies in the pursuit of "being." And just as the unicorn in "This Is the Creature" has an eternal "possibility of being" but only becomes visible in the mirror held by a virgin, so can our own possibilities become manifest in the mirror held by the sensitive artist. The poems are chosen from The Book of Hours (1899-1903), The Book of Images (1902 and 1906), New Poems (1907 and 1908), Requiem (1909), Duino Elegies (1923), Sonnets to Orpheus (1923), and the posthumous Poems 1906-26. This selection was made by Professor Theodore Ziolkowski of Princeton University, who drew from the various New Directions volumes of Rilke's work translated by J. B. Leishman.

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First published in 1959, this touching fable tells of Auguste, a famous clown who could make people laugh but who sought to impart to his audiences a lasting joy. Originally inspired by a series of circus and clown drawings by the cubist painter Femand Léger, Miller eventually used his own decorations to accompany the text in their stead. “Undoubtedly," he says in his explanatory epilogue, °‘it is the strangest story I have yet written. . . . No, more even than all the stories which I based on fact and experience is this one the truth. My whole aim in writing has been to tell the truth, as I know it. Heretofore all my characters have been real, taken from life, my own life. Auguste is unique in that he came from the blue. But what is this blue which surrounds and envelopes us if not reality itself? . . . We have only to open our eyes and hearts, to become one with that which is."

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Hard Candy contains Tennessee Williams’s short stories written after the publication of his first collection of short fiction, One Arm, and before the stories appearing in The Knightly Quest. These volumes have established him as an original, compelling, and honest master of the short story. The stories in Hard Candy display Mr. Williams’s mastery of several very different styles. “Three Players of a Summer Game,” for instance, is as powerful and moving a study of the disintegration of an individual as A Streetcar Named Desire. The delicate and luminous nostalgia of “The Resemblance Between a Violin Case and a Coffin” will remind readers of The Glass Menagerie. Other stories, like “Two on a Party,” are more colloquial and brittle; and one––”The Coming of Something to the Widow Holly”––is an excursion into ironical fantasy. Yet each of the stories demonstrates, in its different way, the characteristic blend of psychological penetration with compassion and understanding that has marked Tennessee Williams’s successes in the theater.

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One of the great fiction writers of Japan, Ihara Saikaku (1623-93) wrote of the lowest class in the Tokugawa world—the townsmen who were rising in wealth and power but not in official status. The title story in this collection of 12 works, told by an again beauty whose highly erotic nature is her constant undoing, ranges over all of 17th century Japanese life. The narrator is successively wife, court lady, courtesan, priest’s concubine, mistress of a feudal lord and streetwalker. Ivan Morris, chairman of the Department of East Asian Languages and Cultures of Columbia University has done a brilliant translation, an introduction, extensive notes, bibliography and two essays on social customs of the period.

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The poems are drawn chiefly from the traditional Manyoshu, Kokinshu and Hyakunin Isshu collections, but there are also examplaes of haiku and other later forms. The sound of the Japanese texts i reproduced in Romaji script and the names of the poets in the calligraphy of Ukai Uchiyama. The translator's introduction gives us basic background on the history and nature of Japanese poetry, which is supplemented by notes on the individual poets and an extensive bibliography.

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Some of the most rewarding pages in Henry Miller's books concern his self-education as a writer. He tells, as few great writers ever have, how he set his goals, how he discovered the excitement of using words, how the books he read influenced him, and how he learned to draw on his own experience.

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Death on the Installment Plan is a companion volume to Louis-Ferdinand Céline’s earlier novel, Journey to the End of the Night. Published in rapid succession in the middle 1930s, these two books shocked European literature and world consciousness. Nominally fiction but more rightly called “creative confessions,” they told of the author’s childhood in excoriating Paris slums, of service in the mud wastes of World War I and African jungles. Mixing unmitigated despair with Gargantuan comedy, they also created a new style, in which invective and obscenity were laced with phrases of unforgettable poetry. Céline’s influence revolutionized the contemporary approach to fiction. Under a cloud for a period, his work is now acknowledged as the forerunner of today’s “black humor.”

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Written in a French style that long defied successful translation—Cocteau was always a poet no matter what we was writing—the book came into its own for English-language readers in 1955 when this translation was completed by Rosamund Lehmann. It is a masterpiece of the art of translation of which the Times Literary Supplement said: "It has the rare merit of reading as though it were an English original." Lehrmann was able to capture the essence of Cocteau's strange, necromantic imagination and to bring fully to life in English his story of a brother and sister, orphaned in adolescence, who build themselves a private world out of one shared room and their own unbridled fantasies. What started in games and laughter because for Paul and Elisabeth a drug too magical to resist. The crime which finally destroys them has the inevitability of Greek tragedy. Illustrated with twenty of Cocteau's own drawings.

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Because I Was Flesh is an authentic record from the inferno of modern city life, and a testament of American experience. Lizzie Dahlberg, separated from a worthless husband, works as a lady barber to keep herself and her son in shabby respectability amid the vice and brutality of Kansas City in the early 1900’s. Her constant objective: to acquire a new husband who can give her security and help educate the child. She is attractive to men, but fate never brings her a good one. One suitor makes her put the boy in an orphanage––years of torment that are brilliantly described––and then betrays her. Another does marry her––and disappears with her savings. Lizzie is in despair, but soon begins to laugh at life again and arches her bosom for the next prospect. As he grows through a sensitive, painful adolescence, Edward is both fascinated and appalled by his mother. He adores her but is ashamed of her. He tries to escape, bumming his way to Los Angeles and later going to college in Berkeley, but is always drawn back. Even her death, with which the book ends, cannot release him. Seldom has there been so ruthless, and yes so tender a dissection of the mother-son relationship. And from it Lizzie Dahlberg emerges as one of the unforgettable characters of modern literature.

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World—Ana Luísa Amaral’s second collection with New Directions—offers a new exhilarating set of poems that convey wonder, bemusement and an ever-deepening appreciation of life. Weaving the thread that connects the poem to life, World speaks of our immense human perplexity in the face of everything around us and our oneness with it all. As Amaral notes, all of us, “humans and non-humans, are on the same ontological level, the differences being only a matter of perspective. We are all made of the same stuff as dreams—and stars.” Asked about her thoughts on World, Amaral’s peerless translator Margaret Jull Costa replied: “What I take from this collection of poems is a sense of joy in the ordinary—seeing an ant going about its business, or a bee or a fish, or the feeling of sharing a whole history with a particular table, or watching a very ordinary woman sitting on a train playing with the handle of her handbag. World also brings us meditations on colonisation, slavery and whaling. Like the world, it is full of surprises and full of joy and sadness.” These vibrant, exultant poems invite you to share this marvellous world: Yes, all you need (how easy!) is to say yes.

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When My Search for Warren Harding, Robert Plunket’s glittering story of literary sleuthing and deceit, first appeared in 1983, it garnered immediate and far-reaching acclaim. Frank Conroy at The Washington Post exclaimed, “The author pulled me in so deftly, moved me up an escalating scale of sly hyperbole so cunningly, that after a hundred pages, I seemed to have turned over the keys, so to speak, of my nervous system”; Florence King at , “The most exciting event in American letters for a very long time: a momentous book.” More recently, though long out of print, it was canonised in The Guardian’s “1000 Novels Everyone Must Read,” ranked by the Washington Post as one of the top five books of “great American comic fiction,” and praised by Michael Leone in The Los Angeles Review of Books as “a classic picaresque novel in the tradition of Cervantes.” Set against the fading light of early-1980s Hollywood, our deeply flawed, bigoted, closeted antihero Elliot Weiner is a historian—Harvard BA, Columbia PhD—with a passion for Morris dancing and Warren Harding, “the shallowest President in history.” After Weiner receives a research grant to write a book on the tumultuous life of Harding, he gets wind of a trunkful of the 29th president’s bawdy billets-doux that is rumoured to be fiercely guarded by his ancient mistress Rebekah Kinney on her declining Hollywood Hills estate. Nothing and no one can stand in the way of Weiner getting his paws on the treasure, and along the way, as the words dance across the page, a hysterical, guffaw-inducing punchline around every corner, Weiner reaches new lows of humiliation and self-delusion.

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Why do the only men I know carry wet umbrellas and say “Umm?” I’m being starved alive. Quick: the first bookshop for a copy of the Kama-Sutra. Min works at the BBC as a sound engineer, and in theory she’s married, but her husband George is so invisible that she accidentally turns the lights off even when he’s still in the room. Luckily, she has her friends and lovers to distract her: in Min’s self-lacerating, bracingly opinionated voice, life boils down to sex appeal—and of late she’s being courted by an internationally renowned opera singer whom she refers to as The Bloater (a swelled, salted herring). Disgusted by and attracted to him in equal measure, her dilemma—which reaches a hysterical, hilarious pitch—is whether to sleep with him or not. Rosemary Tonks—the salt and pepper of the earth—is a writer who gets her claws into the reader with all the joy of a cat and a mouse. Vain and materialistic, tender and savage, narrated in brilliant, sparkling prose, The Bloater is the perfect snapshot of London in the 1960s.

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This powerful novel of a nation in social and moral crisis was first published by New Directions in 1956. Set in the early postwar years, The Setting Sun probes the destructive effects of war and the transition from a feudal Japan to an industrial society. The influence of Osamu Dazai’s novel has made “people of the setting sun” a permanent part of the Japanese language, and his heroine, Kazuko, a young aristocrat who deliberately abandons her class, a symbol of the anomie which pervades so much of the modern world.

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Self-Portrait in the Zone of Silence, by the renowned Mexican writer Homero Aridjis, is a brilliant collection of poems written in and for the new century. Aridjis seeks spiritual transformation through encounters with mythical animals, family ghosts, migrant workers, Mexico’s oppressed, female saints, other writers (such as Jorge Luis Borges and Philip Lamantia), and naked angels in the metro. We find tributes to Goya and Heraclitus, denunciations of drug traffickers and political figureheads, and unforgettable imaginary landscapes. As Aridjis himself writes: “a poem is like a door / we’ve never passed through...” And now past eighty, Aridjis reflects on the past and ponders the future. “Surrounded by light and the warbling of birds,” he writes, “I live in a state of poetry, because for me, being and making poetry are the same.”

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Conversation of the Three Wayfarers is a tale overheard, rather than told directly. Abel, Babel, and Cabel, the wayfarers, carry on a three-sided monologue, each reporting curious incidents—the effect is of three capers rolled into one: a steeplechase performed on a floating pontoon. But are they really three distinct individuals? Why do their lives blend in such a fantastic manner? Weiss’s strikingly original prose has an impossibly contained quality, with each sentence doing a perfect double-double backflip before neatly landing. This essential rediscovered work, from the masterful and acclaimed German modernist Peter Weiss, will be a delightful discovery for readers of Kafka, Musil, and Gombrowicz.

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Álvaro de Campos is one of the most influential heteronyms created by Portugal’s great modernist writer Fernando Pessoa. According to Pessoa, Campos was born in Tavira (Algarve) in 1890 and studied mechanical engineering in Glasgow, although he never managed to complete his degree. In his own day, Campos was celebrated—and slandered—for his vociferous poetry imbued with a Whitman-inspired free verse, his praise of the rise of technology and his polemical views that appeared in manifestos, interviews and essays. Here in Margaret Jull Costa and Patricio Ferrari’s translations are the complete poems of Campos. This edition is based on the Portuguese Tinta-da-china edition and includes an illuminating introduction about Campos by the Portuguese editors Jerónimo Pizarro and Antonio Cardiello, facsimiles of original manuscripts and a generous selection of Campos’s prose texts.

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In this witty “how-to” guide, Wislawa Szymborska has nothing but sympathy for the labors of would-be writers generally: “I myself started out with rotten poetry and stories,” she confesses in this collection of pieces culled from the advice she gave—anonymously—for many years in the well-known Polish journal Literary Life. She returns time and again to the mundane business of writing poetry properly, that is to say, painstakingly and sparingly. “I sigh to be a poet,” Miss A. P. from Bialogard exclaims. “I groan to be an editor,” Szymborska responds. Szymborska stubbornly insists on poetry’s “prosaic side”: “Let’s take the wings off and try writing on foot, shall we?” This delightful compilation, translated by the peerless Clare Cavanagh, will delight readers and writers alike. Perhaps you could learn to love in prose.

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The always astonishing Yoko Tawada here takes a walk on the supernatural side of the street. In "Kollwitzstrasse," as the narrator muses on former East Berlin's new bourgeois health food stores, so popular with wealthy young people, a ghost boy begs her to buy him the old-fashioned sweets he craves. She worries that sugar's still sugar—but why lecture him, since he's already dead? Then white feathers fall from her head and she seems to be turning into a crane . . . Pure white kittens and a great Russian poet haunt "Majakowskiring": the narrator who reveres Mayakovsky's work is delighted to meet his ghost. And finally, in "Pushkin Allee," a huge Soviet-era memorial of soldiers comes to life—and, "for a scene of carnage everything was awfully well-ordered." Each of these stories opens up into new dimensions the work of this magisterial writer.

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Milkweed Smithereens gathers lively, wickedly smart, intimate, and indelible Bernadette Mayer poems: the volume ranges from brand-new nature poems, pastiches, sequences, epigrams, and excerpts from her Covid Diary and Second World of Nature to early poems and sonnets found in the attic or rooted out in the UC San Diego archive. The world of nature and the pandemic loom large, as in her “The Lobelias of Fear”: …but how will we, still alive, socialize in the winter? wrapped in bear skins we’ll sit around pot-bellied stoves eating the lobelias of fear left over from desperation, last summer’s woodland sunflowers and bee balm remind us of black cherries eaten in a hurry while the yard grows in the moonlight shrinking like a salary …

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For sheer unpredictable brilliance, Gogol may come to mind, but no author alive today takes a reader as far as Helen DeWitt into the funniest, most far-reaching dimensions of possibility. Her jumping-off points might be statistics, romance, the art world’s piranha tank, games of chance and games of skill, the travails of publishing, or success. “Look,” a character begins to explain, laying out some gambit reasonably enough, even in the face of situations spinning out to their utmost logical extremes, where things prove “more complicated than they had first appeared” and “at 3 a.m. the circumstances seem to attenuate.” In various ways, each tale carries DeWitt’s signature poker-face lament regarding the near-impossibility of the life of the mind when one is made to pay to have the time for it, in a world so sadly “taken up with all sorts of paraphernalia superfluous, not to say impedimental, to ratiocination.”

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Tu Fu (712–770 C.E.) has for a millennium been widely considered the greatest poet in the Chinese tradition, and Hinton’s original translation played a key role in developing that reputation in America. Most of Tu Fu’s best poems were written in the last decade of his life, as an impoverished refugee fleeing the devastation of civil war. In the midst of these challenges, his always personal poems manage to combine a remarkable range of possibilities: elegant simplicity and great complexity, everyday life and grand historical drama, private philosophical depth and social engagement in a world consumed by war. Through it all, his is a wisdom that can only be called elemental, and his poems sound remarkably contemporary.

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The American poet Robert Lax belongs to the generation of Thomas Merton, Beat poetry, Abstract Expressionism, and the compositions of John Cage. Yet he stands out as this era’s most intriguing minimalist poet, gaining this reputation through a constant questioning of the universe and our idea about it. His poetry varies from fables and parables to clear-cut columns of words, from his account of a day at the circus as a vision of creation to his own insistent and mystical search for truth. 33 Poems presents the quintessential gathering of Lax’s work, including Sea & Sky and The Circus of the Sun, “perhaps the greatest English-language poem of this century” (The New York Times).

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New Directions is proud to present one of the most spellbinding novels you will read this year, and certainly the weirdest. First published in 1931, Unclay glows with an unworldly light—Death has come to the small village of Dodder to deliver a parchment with the names of two local mortals and the fatal word unclay upon it. When he loses the precious sheet, he is at a loss, and also free of his errand. Hungry to taste the sweet fruits of human life, Mr. John Death, as he is now known, takes a holiday in Dorsetshire and rests from his reaping. The village teems with the old virtues (love, kindness, patience) and the old sins (lust, avarice, greed). What unfolds is a witty, earthy, metaphysical, and delicious novel of enormous moral force and astonishing beauty.

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Winner of the 2020 Helen and Kurt Wolff Translation Prize The Fox and Dr. Shimamura toothsomely encompasses East and West, memory and reality, fox-possession myths, and psychiatric mythmaking. As an outstanding young Japanese medical student at the end of the nineteenth century, Dr. Shimamura is sent—to his dismay—to the provinces: he is asked to cure scores of young women afflicted by an epidemic of fox possession. Believing it’s all a hoax, he considers the assignment an insulting joke, until he sees a fox moving under the skin of a young beauty... Next he travels to Europe and works with such luminaries as Charcot, Breuer and Freud—whose methods, Dr. Shimamura concludes, are incompatible with Japanese politeness. The ironic parallels between Charcot’s theories of female hysteria and ancient Japanese fox myths—when it comes to beautiful, writhing young women—are handled with a lightly sardonic touch by Christine Wunnicke, whose flavor-packed, inventive language is a delight.

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The Rings of Saturn—with its curious archive of photographs—records a walking tour of the eastern coast of England. A few of the things which cross the path and mind of its narrator (who both is and is not Sebald) are lonely eccentrics, Sir Thomas Browne’s skull, a matchstick model of the Temple of Jerusalem, recession-hit seaside towns, wooded hills, Joseph Conrad, Rembrandt’s "Anatomy Lesson," the natural history of the herring, the massive bombings of WWII, the dowager Empress Tzu Hsi, and the silk industry in Norwich. W.G. Sebald’s The Emigrants (New Directions, 1996) was hailed by Susan Sontag as an "astonishing masterpiece perfect while being unlike any book one has ever read." It was "one of the great books of the last few years," noted Michael Ondaatje, who now acclaims The Rings of Saturn "an even more inventive work than its predecessor, The Emigrants."

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“When I walked through the large iron gate of the hospital, I must have still been alive…” So begins Ahmed Bouanani’s arresting, hallucinatory 1989 novel The Hospital, appearing for the first time in English translation. Based on Bouanani’s own experiences as a tuberculosis patient, the hospital begins to feel increasingly like a prison or a strange nightmare: the living resemble the dead; bureaucratic angels of death descend to direct traffic, claiming the lives of a motley cast of inmates one by one; childhood memories and fantasies of resurrection flash in and out of the narrator’s consciousness as the hospital transforms before his eyes into an eerie, metaphorical space. Somewhere along the way, the hospital’s iron gate disappears. Like Sadegh Hedayat’s The Blind Owl, the works of Franz Kafka—or perhaps like Mann’s The Magic Mountain thrown into a meat-grinder—The Hospital is a nosedive into the realms of the imagination, in which a journey to nowhere in particular leads to the most shocking places.

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An expatriate professor, Vega, returns from exile in Canada to El Salvador for his mother’s funeral. A sensitive idealist and an aggrieved motor mouth, he sits at a bar with the author, Castellanos Moya, from five to seven in the evening, telling his tale and ranting against everything his country has to offer. Written in a single paragraph and alive with a fury as astringent as the wrath of Thomas Bernhard, Revulsion was first published in 1997 and earned its author death threats. Roberto Bolano called Revulsion Castellanos Moya’s darkest book and perhaps his best: “A parody of certain works by Bernhard and the kind of book that makes you laugh out loud.”

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The Trace is a masterful, poetic novel about a journey through Mexico taken by a couple recovering from a world shattered. Driving through the Chihuahua Desert, they retrace the route of nineteenth-century American writer Ambrose Bierce (who disappeared during the Mexican Revolution) and try to piece together their lives after a devastating incident involving their adolescent son. With tenderness and precision, Gander explores the intimacies of their relationship as they travel through Mexican towns, through picturesque canyons and desertcapes, on a journey through the the heart of the Mexican landscape. Taking a shortcut through the brutally hot desert home, their car overheats miles from nowhere, the novel spinning out of control, with devastating consequences. . . . Poet Forrest Gander’s first novel As a Friend was acclaimed as “profound and relentlessly beautiful (Rikki Ducornet). With The Trace, Gander has accomplished another brilliant work, containing unforgettable poetic descriptions of Mexico and a story both violent and tender.

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Along the Mediterranean coastline of Spain, real-estate developers scramble to transform the once pastoral landscape into tourist resorts, nightclubs, and beachfront properties with lavish bars and pools. The booming post-Franco years have left everything up for grabs. Cremation opens with the death of Matías, a paterfamilias who had rejected all of these changes and whose passing sets off a chain reaction, uncovering a past that had been buried for years, and leading those closest to him to question the paths they’ve chosen. In a rich mosaic narrative, filled with a hypnotic chorus of voices, Cremation explores the coked-up champagne fizz of luxurious parties shadowed by underworlds of political corruption, prostitution, and ruthless financial speculation. The novel enters that melancholy ouroboros of capitalist greed that led to the financial crash and captures something essential about our values, our choices, and our all too human mistakes. Like William Faulkner or Francis Bacon, Chirbes stares, clear-eyed, into the abyss, and portrays us as we really are.

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Wang An-shih (1021-1086 C.E.) was a remarkable figure—not only one of the great Sung Dynasty poets, but also the most influential and controversial statesman of his time. Although Wang had little interest in the grandeur of high office and political power, he took the responsibility of serving the people seriously. He rose to become prime minister, and in this position he instituted a controversial system of radically egalitarian social reforms to improve the lives of China’s peasants. Once those reforms were securely in place, Wang retired to a reclusive life of artistic and spiritual self-cultivation. It was after his retirement, practicing Ch'an (Zen) Buddhism and wandering the mountains around his home, that Wang An-shih wrote the poems that made his reputation. Short and plainspoken, these late poems contain profound multitudes–the passing of time, rivers and mountains, silence and Buddhist emptiness. They won him wide acclaim in China and beyond across the centuries. And in Hinton's breathtaking translations, Wang feels like a major contemporary poet with deep ecological insight and a questioning spirit.

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Part of our revived "Poetry Pamphlet" series, Two American Scenes features two masters of the essay discussing "found material." Excerpts: It was given to me, in the nineteenth century, to spend a lifetime on this earth. Along with a few of the sorrows that are appointed unto men, I have had innumerable enjoyments; and the world has been to me, even from childhood,a great museum. — Lydia Davis Bad rapids. Bradley is knocked over the side; his foot catches under the seat and he is dragged, head under water. Camped on a sand beach, the wind blows a hurricane. Sand piles over us like a snow-drift. — Eliot Weinberge

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New Directions is pleased to announce the relaunch of the long-celebrated bilingual edition of Rimbaud’s A Season In Hell & The Drunken Boat — a personal poem of damnation as well as a plea to be released from “the examination of his own depths.” Rimbaud originally distributed A Season In Hell to friends as a self-published booklet, and soon afterward, at the age of nineteen, quit poetry altogether. New Directions’s edition was among the first to be published in the U.S., and it quickly became a classic. Rimbaud’s famous poem “The Drunken Boat” was subsequently added to the first paperbook printing. Allen Ginsberg proclaimed Arthur Rimbaud as “the first punk” — a visionary mentor to the Beats for both his recklessness and his fiery poetry. This new edition proudly dons the original Alvin Lustig–designed cover, and a introduction by another famous rebel — and now National Book Award–winner — Patti Smith.

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Laziness in the Fertile Valley is Albert Cossery’s biting social satire about a father, his three sons, and their uncle — slackers one and all. One brother has been sleeping for almost seven years, waking only to use the bathroom and eat a meal. Another savagely defends the household from women. Serag, the youngest, is the only member of the family interested in getting a job. But even he — try as he might — has a hard time resisting the call of laziness.

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Like the ancient colossus that stood over the harbor of Rhodes, Henry Miller’s The Colossus of Maroussi stands as a seminal classic in travel literature. It has preceded the footsteps of prominent travel writers such as Pico Iyer and Rolf Potts. The book Miller would later cite as his favorite began with a young woman’s seductive description of Greece. Miller headed out with his friend Lawrence Durrell to explore the Grecian countryside: a flock of sheep nearly tramples the two as they lie naked on a beach; the Greek poet Katsmbalis, the “colossus” of Miller’s book, stirs every rooster within earshot of the Acropolis with his own loud crowing; cold hard-boiled eggs are warmed in a village’s single stove, and they stay in hotels that “have seen better days, but which have an aroma of the past.”

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First published in 1933, Miss Lonelyhearts remains one of the most shocking works of 20th century American literature, as unnerving as a glob of black bile vomited up at a church social: empty, blasphemous, and horrific. Set in New York during the Depression and probably West's most powerful work, Miss Lonelyhearts concerns a nameless man assigned to produce a newspaper advice column — but as time passes he begins to break under the endless misery of those who write in, begging him for advice. Unable to find answers, and with his shaky Christianity ridiculed to razor-edged shards by his poisonous editor, he tumbles into alcoholism and a madness fueled by his own spiritual emptiness. During his years in Hollywood West wrote The Day of the Locust, a study of the fragility of illusion. Many critics consider it with F. Scott Fitzgerald's unfinished masterpiece The Last Tycoon (1941) among the best novels written about Hollywood. Set in Hollywood during the Depression, the narrator, Tod Hackett, comes to California in the hope of a career as a painter for movie backdrops but soon joins the disenchanted second-rate actors, technicians, laborers and other characters living on the fringes of the movie industry. Tod tries to seduce Faye Greener; she is seventeen. Her protector is an old man named Homer Simpson. Tod finds work on a film called prophetically “The Burning of Los Angeles,” and the dark comic tale ends in an apocalyptic mob riot outside a Hollywood premiere, as the system runs out of control.

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Céline’s masterpiece—colloquial, polemic, hyper realistic—boils over with bitter humor and revulsion at society’s idiocy and hypocrisy: Journey to the End of the Night is a literary symphony of cruelty and violence that hurtles through the improbable travels of the petit bourgeois (and largely autobiographical) antihero, Bardamu: from the trenches of WWI, to the African jungle, to New York, to the Ford Factory in Detroit, and finally to life in Paris as a failed doctor. Ralph Manheim’s pitch-perfect translation captures Céline’s savage energy, and a dynamic afterword by William T. Vollmann presents a fresh, furiously alive take on this astonishing novel.

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