Search results for ""new directions publishing corporation""

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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Fabulous letters from the vagabond Beat poet to his friendsamong them Allen Ginsberg and Lawrence Ferlinghetti. For all his charm and intelligence poet Gregory Corso lived a vagabond life. He never held down a regular job. He rarely stayed very long under the same roof. He spent long stretchessome as long as four or five yearsabroad. Many of his letters came from EuropeFrance, England, Germany, Italy, Sweden, Greeceas he kept in touch with his circle of friendsamong them his best friend Allen Ginsberg and a steady supporter, Lawrence Ferlinghetti. He left (or was left by) a number of girlfriends and he fathered five children along the way. He was apt to raise a bit of a ruckus at poetry readings and other public events. No one could be sure what he might do next except that he would write poetry and get it published and that it would be widely read. When the idea of a book of selected letters was first proposed, Gregory had some reservations about it. Would the book reveal too much of his private life? But then with typical hubris he said the equivalent of "let it all hang out" and "all" does hang out in An Accidental Autobiography. The book is indeed the next thing to an unplanned self-portrait and gives a lively sense of the life Gregory Corso led, marching to his own drummer and leaving in his wake such marvelous books of Beat poetry as The Happy Birthday of Death, Elegiac Feelings American, Long Live Man, and Herald of the Autochthonic Spirit. Bill Morgan, who is extremely conversant with the Beats, has done an admirable job collecting letters from libraries and various individuals across the country and then selecting and organizing them in a progression that spans Corso's lifetime. In addition to Morgan's introduction and commentary, the book includes a special foreword by poet and rock star Patti Smith as well as a number of photographs.

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A powerful, surreal novel, in the tradition of Gogol, about the chaotic events surrounding the arrival of a circus in a small Hungarian town. The Melancholy of Resistance, László Krasznahorkai's magisterial, surreal novel, depicts a chain of mysterious events in a small Hungarian town. A circus, promising to display the stuffed body of the largest whale in the world, arrives in the dead of winter, prompting bizarre rumors. Word spreads that the circus folk have a sinister purpose in mind, and the frightened citizens cling to any manifestation of order they can find music, cosmology, fascism. The novel's characters are unforgettable: the evil Mrs. Eszter, plotting her takeover of the town; her weakling husband; and Valuska, our hapless hero with his head in the clouds, who is the tender center of the book, the only pure and noble soul to be found. Compact, powerful and intense, The Melancholy of Resistance, as its enormously gifted translator George Szirtes puts it, "is a slow lava flow of narrative, a vast black river of type." And yet, miraculously, the novel, in the words of The Guardian, "lifts the reader along in lunar leaps and bounds."

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Selected from New Directions' collections of Saroyan's early stories (The Man With the Heart In the Highlands) and his later work (Madness In the Family), Fresno Stories spans his whole remarkable career.

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In Curve Away from Stillness, John Allman affirms the connections between poetry and science. They are, he says, as "old as the ones between poetry and cosmology, beauty and knowledge, pleasure and speculation." In reading this collection of "Science Poems," we are reminded of a philosophical tradition in literature that, with Lucretius, sees in the power of love the binding force of the universe. Allman's poems, however—meditations on "Physics," "Chemistry," "Biology," essential "Principles," the "Planets"—are grounded in the science of our time, in all its elegance and awesomeness. Curve Away from Stillness is Allman's fourth book of poetry, his third with New Directions. His previous publications include Scenarios for a Mixed Landscape (1986), speculative reflections on art and nature; the "historical epiphanies" of Clio's Children (1985); and Walking Four Ways in the Wind (Princeton University Press, 1979).

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Edouard Roditi's critical study of Oscar Wilde, originally published in 1947 in New Directions' Makers of Modern Literature Series, was a pioneering attempt to evaluate a literary reputation long distorted by the journalistic appetite for scandal. Relegating biography to a back seat, Roditi addressed the important of Wilde's ingenious, imaginative, and dialectical thought in his own time and showed how his poetry, novels, plays, and critical writings were a key influence in the shift of English and American literature away from established and aging Romanticism toward Modernism. For this first paperbound edition of his perceptive and erudite study of Wilde, Roditi has added three additional chapters touching on new material about Wilde as well as the new public attitudes about homosexuality that have evolved since the book was first published. An American long resident in Paris, Edouard Roditi is an internationally known linguist, scholar, art critic, and author and translator of a considerable number of works of fiction and poetry, criticism and biography. A collection of his witty and exotic short stories, The Delights of Turkey, is available under the New Directions imprint.

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Reality and fantasy are interwoven with terrifying power as two actors on tour—brother and sister—find themselves deserted by the trope in a decrepit "state theatre in an unknown state." Faced (perhaps) by an audience expecting a performance, they enact "The Two-Character Play"—an illusions within an illusion, and "out cry" from isolation, panic and fear. "I think it is my most beautiful play since Streetcar," Tennessee Williams said, "and I've never stopped working on it....It is a cri de coeur, but then all creative work,all life, in a sense is a cri de coeur." In the course of its evolution, several earlier versions of The Two-Character Play have been produced. The first of them was presented in 1967 in London and Chicago and brought out in 1969 by New Directions in a signed limited edition. The next, staged in 1973 in New York under the title Out Cry, was published by New Directions in 1973 The third version (New York, 1975), again titled The Two-Character Play, is the one Tennessee Williams wished to include in New Directions' The Theatre of Tennessee Williams series. It is this version which is presented in this ND paperback.

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Written between 1920 and 1932, all five were first published in small editions, three of them in France. These are pivotal and seminal works, books in which a great writer was charting the course he later would follow, experimenting freely, boldly searching for a new kind of prose style to express "the power of the imagination to hold human beings to life and propel them onward.” The prose-poem improvisations (Kora in Hell) . . . the interweaving of prose and poetry in alternating passages (Spring and All and The Descent of Winter) . . . an antinovel whose subject is the impossibility of writing "The Great American Novel" in America . . . automatic writing (A Novelette) . . . these are the challenges which Williams accepted and brilliantly met in his early work.

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William Carlos Williams’s medical practice and his literary career formed an undivided life. For forty years he was a busy doctor in the town of Rutherford, New Jersey, and yet he was able to write more than thirty books. One of the finest chapters in the Autobiography tells how each of his two roles stimulated and supported the other.

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Sartre's study of Baudelaire is one of the more brilliant achievements of modern criticism. We may often disagree with his interpretations of the poet's personality, but we cannot fail to wonder at the mastery with which he presents his case. It is the case, quite patently, of an Existentialist who wishes to psychoanalyze a paramount literary figure in terms of his own beliefs. Perhaps Sartre's greatest contribution to Existentialism has been his own personality. He made it a living philosophy, giving it his exotic imagination, his penchant for controversy, and above all his daring. He turned abstractions like Existence and Being, Freedom and Nature, into a theory of psychoanalysis, grounded in man's creativity and opposed to Freudian determinism. Then he put the theory into practice in this book on Baudelaire. Baudelaire, man of shadows, opium-addict, dandy, frigid disciple of volupté; and then the greatest lyric poet of the age. Sartre lays bare the "lunar landscape of this distressed soul." We see Baudelaire, with anguished intelligence, selecting and arranging his own evil destiny, juggling the values of a world at the turning point of modern times.

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"To all those who have for several years sought to discredit the new American literature, Lawrence Ferlinghetti has just dealt a most powerful blow," wrote French critic Pierre Lepape in 1961 when Her was published in France as La Quatrieme Personne du Singulier. Calling it "a masterpiece of the young American novel," Lepape declared it was "the confirmation of a great American writer who, in the hall of American literary glories, takes the place left vacant by the death of Hemingway." Lepape went on to speak of the "incredible verbal virtuosity" by which the reader is led through this "laby-reve," and it is this image of the "labyrinth-dream" which relates Her to the anti-novels of the young French school of Robbe-Grillet and Butor. Being thus very far from the kind of novels produced by Ferlinghetti's immediate contemporaries (whether Beat or academic) this book has met with little but bafflement among American critics. With well over 50,000 now in print Her nevertheless continues to make its own way.

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Ferlinghetti’s A Coney Island of the Mind has become a modern classic. It has been translated into nine languages and there are now three-quarters of a million copies in print.

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When Guillaume Apollinaire died in 1918 at the age of thirty-eight, as the result of a war wound, he was already known as one of the most original and important poets of his time. He had led the migration of Bohemian Paris across the city from Montmartre to Montparnasse; he had helped formulate the principles of Cubism, having written one of the first books on the subject, and coined the word "Surrealist"; and he had demonstrated in his own work those innovations we have come to associate with the most vital investigations of the avant-garde. This bilingual, illustrated edition of The Selected Writings of Apollinaire, the only representative collection in English translation, begins with a comprehensive critical Introduction by the translator, Roger Shattuck. The next section is devoted to poetry. Included here are almost half of Apollinaire’s two best-known volumes, Alcools and Calligrammes, as well as a selection from five other books, and the long love poem La Chanson du Mal-Aimé in its entirety. The prose section leads off with "L’Esprit Nouveau et les Poetes", a seminal discussion of modern poetry that anticipates such movements as Dada and Futurism. This is followed by Apollinaire’s almost unobtainable "Introduction to Baudelaire and Oneirocriticism", an early experimental work composed in a style prophetic of Surrealist automatic writing. There are, in addition, two stories, a passage from Anecdotiques, and a section from the novel Le Poete Assassiné.

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Each of the thirty-nine tales of Alexander Kluge's Cinema Stories combines fact and fiction, and they revolve around movie-making. The book compresses a lifetime of feeling, thought, and practice: Kluge—considered the father of New German Cinema—is an inventive wellspring of narrative notions. "The power of his pros," as Small Press noted, "exudes the sort of pregnant richness one might find in the brief scenarios of unknown films." Cinema Stories is a treasure trove of strikingly original writing and cinematic lore.

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Part of our revived "Poetry Pamphlet Series", Sorting Facts is Susan Howe’s masterful meditation on the filmmaker Chris Marker, whose film stills are interspersed throughout. An excerpt: Sorting word-facts I only know an apparition. Scribble grammar has no neighbor. In the name of reason I need to record something because I am a survivor in this ocean.

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Tennessee Williams knew how to tell a good tale, and this steamy, wrenching play about a faded movie star, Alexandra Del Lago, and about the lost innocence and corruption of Chance Wayne, reveals the dark side of the American dreams of youth and fame. Distinguished American playwright Lanford Wilson has written an insightful Introduction for this edition. Also included are Williams’ original Foreword to the play; the one-act play The Enemy: Time—the germ for the full-length version, published here for the first time; an essay by Tennessee Williams scholar, Colby H. Kullman; and a chronology of the author’s life.

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The one-eyed singer, songwriter, and knight errant Oswald von Wolkenstein (surname literally “Cloud-Stone”) was among the last of the great troubadours. A contemporary of Villon, versed in Petrarch, and a Knight of the Holy Sepulchre, Wolkenstein was lost to history until scholarship in the 1970s recognized him as the German language’s first genuinely autobiographical lyric voice. In the hands of the magician-translator Richard Sieburth, working in the spirited tradition of Ezra Pound and Paul Blackburn, Wolkenstein’s verse rises from the page like a medieval Bob Dylan. Facsimiles of Wolkenstein’s musical compositions are included.

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Jenny Erpenbeck (the author of Go, Went, Gone and Visitation) is an epic storyteller and arguably the most powerful voice in contemporary German literature. Erpenbeck’s new novel Kairos—an unforgettably compelling masterpiece—tells the story of the romance begun in East Berlin at the end of the 1980s when nineteen-year-old Katharina meets by chance a married writer in his fifties named Hans. Their passionate yet difficult long-running affair takes place against the background of the declining GDR, through the upheavals wrought by its dissolution in 1989 and then what comes after. In her unmistakable style and with enormous sweep, Erpenbeck describes the path of two lovers, as Katharina grows up and tries to come to terms with a not always ideal romance, even as a whole world with its own ideology disappears. As the Times Literary Supplement writes: “The weight of history, the particular experiences of East and West, and the ways in which cultural and subjective memory shape individual identity has always been present in Erpenbeck’s work. She knows that no one is all bad, no state all rotten, and she masterfully captures the existential bewilderment of this period between states and ideologies.” In the opinion of her superbly gifted translator Michael Hofmann, Kairos is the great post-Unification novel. And, as The New Republic has commented on his work as a translator: “Hofmann’s translation is invaluable—it achieves what translations are supposedly unable to do: it is at once ‘loyal’ and ‘beautiful.’”

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A great mind and a formidable personality, Brahe is also the world’s most illustrious noseless man of his time. Told by Brahe and his assistants—a filthy cast of characters—Sublunar is both novel and almanac. Alongside sexual deviancy, spankings, ruminations on a new nose—flesh, wood, or gold?—Brahe (a choleric and capricious character) and his peculiar helpers (“I would rather watch her globes tonight than icy stars”) take painstainking measurements that will revolutionize astronomy, long before the invention of the telescope. Meanwhile the plague rages in Europe... The second in Voetmann’s triptych of historical novels, Sublunar is as visceral, absurd, and tragic as its predecessor Awake, but with a special nocturnal glow and a lunatic-edged gaze trained on the moon and the stars.

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After getting a haircut in London and a few new outfits (“she bought two pairs of shoes and began to enjoy herself”), Millie, the neglected American wife of an academic pill, is transformed—and, upon arrival in Africa, falls into the perfect affair. Binstead’s Safari unfolds the fractured fairy tale of the rebirth of a drab, insecure woman as a fiercely alive, fearless beauty. “Life was too short to waste time trying to find excuses for not doing the things you really wanted to do,” Millie realizes, helping herself to love and joy. The husband is astonished—everyone adores the new Millie. She can’t put a foot wrong, and as they move deeper into Africa in search of lion myths for his book, “excitement and pleasure carried her upwards as on a tide.” Mysteries abound, but in the hands of Rachel Ingalls, the ultimate master of the curveball, Millie’s resurrection seems perfectly natural: caterpillar to butterfly. “Only now had she found her life”—and also her destiny, which may, this being Ingalls, take the form of a Lion God.

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Set in a Mexican prison in the late 1960s, The Hole follows three inmates as they plot to sneak in drugs under the noses of their ape-like guards. The inmates desperately need to secure their next fix, and hatch a plan that involves convincing one of their mothers to bring the drugs into the prison, inside her person. But everything about their plan is doomed from the beginning, doomed to end in violence… Unfolding in a single paragraph, The Hole is a verbal torrent, a prison inside a prison, and an ominous parable about how deformed and wretched institutions create even more deformed and wretched individuals.

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Japan, after suffering from a massive irreparable disaster, cuts itself off from the world. Children are so weak they can barely stand or walk: the only people with any get-go are the elderly. Mumei lives with his grandfather Yoshiro, who worries about him constantly. They carry on a day-to-day routine in what could be viewed as a post-Fukushima time, with all the children born ancient—frail and gray-haired, yet incredibly compassionate and wise. Mumei may be enfeebled and feverish, but he is a beacon of hope, full of wit and free of self-pity and pessimism. Yoshiro concentrates on nourishing Mumei, a strangely wonderful boy who offers “the beauty of the time that is yet to come.” A delightful, irrepressibly funny book, The Emissary is filled with light. Yoko Tawada, deftly turning inside-out “the curse,” defies gravity and creates a playful joyous novel out of a dystopian one, with a legerdemain uniquely her own.

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Published in 1917 by The Four Seas Press, Al Que Quiere! was William Carlos Williams’s breakthrough book and contains some of his best-loved poems (“Tract,” “Apology,” “El Hombre,” “Danse Russe,” “January Morning,” and “Smell!”), as well as a Whitmanesque concluding long poem, “The Wanderer,” that anticipates his epic masterpiece Paterson. Al Que Quiere! is the culmination of an experimental period for Williams that included his translations from Spanish. The Spanish epigraph of Al Que Quiere! is from the short story “El hombre que parecía un caballo” (“The Man Who Resembled a Horse”), by the Guatemalan author Rafael Arévalo Martínez. This centennial edition contains Williams’s translation of the story, as well as his commentary from a book of conversations, I Wanted to Write a Poem, on the individual poems of Al Que Quiere!

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Ranging from the seventeenth century to the present, and crossing multiple continents, Counternarratives draws upon memoirs, newspaper accounts, detective stories, and interrogation transcripts to create new and strange perspectives on our past and present. “An Outtake” chronicles an escaped slave’s take on liberty and the American Revolution; “The Strange History of Our Lady of the Sorrows” presents a bizarre series of events that unfold in Haiti and a nineteenth-century Kentucky convent; “The Aeronauts” soars between bustling Philadelphia, still-rustic Washington, and the theater of the U. S. Civil War; “Rivers” portrays a free Jim meeting up decades later with his former raftmate Huckleberry Finn; and in “Acrobatique,” the subject of a famous Edgar Degas painting talks back.

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Written in 1975 in Buenos Aires when Ferreira Gullar was in political exile from the Brazilian dictatorship, Dirty Poem is an epic poem that amid life events traces the author’s political and artistic evolution and is by most accounts the most important long poem of contemporary Brazilian literature. Scholar and critic Otto Maria Carpeaux wrote: “Dirty Poem deserves to be called ‘National Poem’ because it embodies all of the experiences, victories, defeats, and hopes in the life of the Brazilian citizen.” It is a hypnotic work that draws on the poet’s memory of adolescence in the seaside city of Sao Luís do Maranhao during World War II and deals openly with the “dirty” shamefulness of a socio-economic system that abuses its citizens with poverty, sexism, greed, and fear.

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A beautiful and elegant collection, with gorgeous full-color art reproductions, Looking at Pictures presents a little-known side of the eccentric Swiss genius: his great writings on art. His essays consider Van Gogh, Cezanne, Rembrandt, Cranach, Watteau, Fragonard, Brueghel and his own brother Karl and also discuss general topics such as the character of the artist and of the dilettante as well as the differences between painters and poets. Every piece is marked by Walser’s unique eye, his delicate sensitivity, and his very particular sensibilities—and all are touched by his magic screwball wit.

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Although a very prolific poet—and arguably America’s greatest—Emily Dickinson (1830–1886) published fewer than a dozen of her eighteen hundred poems. Instead, she created at home small handmade books. When, in her later years, she stopped producing these, she was still writing a great deal, and at her death she left behind many poems, drafts, and letters. It is among the makeshift and fragile manuscripts of Dickinson’s later writings that we find the envelope poems gathered here. These manuscripts on envelopes (recycled by the poet with marked New England thrift) were written with the full powers of her late, most radical period. Intensely alive, these envelope poems are charged with a special poignancy—addressed to no one and everyone at once. Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin’s pioneering transcriptions of Dickinson’s handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes).

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The Gorgeous Nothings — the first full-color facsimile edition of Emily Dickinson’s manuscripts ever to appear — is a deluxe edition of her late writings, presenting this crucially important, experimental late work exactly as she wrote it on scraps of envelopes. A never-before-possible glimpse into the process of one of our most important poets.The book presents all the envelope writings — 52 — reproduced life-size in full color both front and back, with an accompanying transcription to aid in the reading, allowing us to enjoy this little-known but important body of Dickinson’s writing. Envisioned by the artist Jen Bervin and made possible by the extensive research of the Dickinson scholar Marta L. Werner, this book offers a new understanding and appreciation of the genius of Emily Dickinson.

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A great book about becoming an artist, Woolgathering tells of a youngster finding herself as she learns the noble vocation of woolgathering, “a worthy calling that seemed a good job for me.” She discovers—often at night, often in nature—the pleasures of rescuing “a fleeting thought.” Deeply moving, Wool- gathering calls up our own memories, as the child “glimpses and gleans, piecing together a crazy quilt of truths.” Smith introduces us to her tribe, “a race of cloud dwellers,” and to the fierce, vital pleasures of cloud watching and stargazing and wandering. A radiant new autobiographical piece, “Two Worlds” (which was not in the original 1992 Hanuman edition of Woolgathering), and the author’s photographs and illustrations are also included. Woolgathering celebrates the sacred nature of creation with Smith’s beautiful style, acclaimed as “glorious” (NPR), “spellbinding” (Booklist), “rare and ferocious” (Salon), and “shockingly beautiful” (New York Magazine).

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It is the night before Christmas and devilry is afoot. The devil steals the moon and hides it in his pocket. He is thus free to run amok and inflicts all sorts of wicked mischief upon the village of Dikanka by unleashing a snowstorm. But the one he’d really like to torment is the town blacksmith, Vakula, who creates paintings of the devil being vanquished. Vakula is in love with Oksana, but she will have nothing to do with him. Vakula, however, is determined to win her over, even if it means battling the devil. Taken from Nikolai Gogol’s first successful work, the story collection Evenings on a Farm Near Dikanka, The Night Before Christmas is available here for the first time as a stand-alone novella and is a perfect introduction to the great Russian satirist.

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Paterson is both a place—the New Jersey city in whom the person (the poet's own life) and the public (the history of the region) are combined. Originally four books (published individually between 1946 and 1951), the structure of Paterson (in Dr. Williams' words) "follows the course of teh Passaic River" from above the great falls to its entrance into the sea. The unexpected Book Five, published in 1958, affirms the triumphant life of the imagination, in spite of age and death. This revised edition has been meticulously re-edited by Christopher MacGowan, who has supplied a wealth of notes and explanatory material.

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In the searing poems of his new collection, Twice Alive, the Pulitzer Prize–winner Forrest Gander addresses the exigencies of our historical moment and the intimacies, personal and environmental, that bind us to others and to the world. Drawing from his training in geology and his immersion in Sangam literary traditions, Gander invests these poems with an emotional intensity that illuminates our deep-tangled interrelations. While conducting fieldwork with a celebrated mycologist, Gander links human intimacy with the transformative collaborations between species that compose lichens. Throughout Twice Alive, Gander addresses personal and ecological trauma—several poems focus on the devastation wrought by wildfires in California where he lives—but his tone is overwhelmingly celebratory. Twice Alive is a book charged with exultation and tenderness.

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Virtually unknown in the English-speaking world, Girondo is one of the pioneers of Latin American literature. This selection offers a glimpse of a precise and playful writer who insisted that a poem “should be constructed like a watch and sold like a sausage.”

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How splendid and impressive to have a complete, clear, and unobstructed view of Denise Levertov. Covering more than six decades and including, chronologically, every poem she ever published, Levertov’s Collected Poems presents her marvelous, groundbreaking work in full. Born in England, Denise Levertov emigrated in 1948 to the United States, where she was acclaimed by Kenneth Rexroth in The New York Times as “the most subtly skillful poet of her generation, the most profound, the most modest, the most moving.” A staunch anti-war activist and environmentalist, and the winner of the Robert Frost Medal, the Shelley Memorial Award, and the Lannan Prize, Denise Levertov inspired generations of writers. New Directions is proud to publish this landmark collected poems of one of the twentieth century’s greatest poets.

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This gathering of all Dylan Thomas’s stories—ranging chronologically from the dark, almost surrealistic tales of Thomas’s youth to such gloriously rumbustious celebrations of life as “A Child’s Christmas in Wales” and “Adventures in the Skin Trade”—charts the progress of “The Rimbaud of Cwmdonkin Drive” toward his mastery of the comic idiom. Here, too, are stories originally written for radio and television and, in a short appendix, the schoolboy pieces first published in the Swansea Grammar School Magazine. A high point of the collection is Thomas’s “Portrait of the Artist as a Young Dog,” a vivid collage of memories from his Swansea childhood that combines the lyricism of his poetry with the sparkle and sly humor of Under Milk Wood. Also here is the fiction from Quite Early One Morning, a collection planned by Thomas shortly before his death. Altogether there are more than forty stories, providing a rich and varied literary feast and showing Dylan Thomas in all his intriguing variety–somber fantasist, joyous word-spinner, and irrepressible comedian of smalltown Wales.

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In the suburbs of Rio de Janeiro, one summer in the 1970s, a family—a husband and wife, their daughter, and their crippled teenage son Camilo—take in an orphan named Cosme. The boys unexpectedly fall in love, but an act of violence shatters their intimate world and changes their lives forever. Decades later, when Camilo returns to his hometown, he is haunted by his first love and the long shadow of Brazil’s military dictatorship. At once an incisive and unforgiving study of Brazilian society and a fluid, queer coming-of-age story, Victor Heringer’s exhilarating and moving novel is worthy of Machado de Assis.

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In her first book-length collection of poems to appear in the US, Lesley Harrison looks North to the sea, with the heat of the land at her back, to bring us meditations on whale hunts and lost children, Manhattan sky towers, and the sound of the gamelan in the Gulf of Bothnia. A poetry of spareness in multilayered depths, of textural silence and aural place, Kitchen Music plunges deep through the strata of language where “weather is body” and an Iceland poppy is “as delicate as birch.” In poems and sequences of poems, Harrison spins folktales into threads of family and gender, engages with the work of the artists Roni Horn and Marina Rees, transcribes John Cage and Johannes Kepler into song and litany, pens a hymnal of bees, and turns to storms, glaciers, and the lapwing life in a field of young barley. As the novelist Kirsty Gunn writes in the foreword, Harrison has “taken up the old white whale of the fixed and masculine narratives and made of its seas and weathers her own Moby Dick, a female poetry ‘in praises / repeated, repeating.’”

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A Leopard-Skin Hat may be the French writer Anne Serre’s most moving novel yet. Hailed in Le Point as a “masterpiece of simplicity, emotion and elegance,” it is the story of an intense friendship between “the Narrator” and his close childhood friend, Fanny, who suffers from profound psychological disorders. A series of short scenes paints the portrait of a strong-willed and tormented young woman battling many demons, and of the narrator’s loving and anguished attachment to her. Anne Serre poignantly depicts the bewildering back and forth between hope and despair involved in such a relationship, while playfully calling into question the very form of the novel. Written in the aftermath of the death of the author’s little sister, A Leopard-Skin Hat is both the celebration of a tragically foreshortened life and a valedictory farewell, written in Anne Serre’s signature style.

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