Search results for ""New Directions""

"On a building site of a new, luxury apartment building, visitors looked up at the strange, irregular form of the water tank that crowned the edifice, and the big parabolic dish that would supply television images to all the floors. On the edge of the dish, a sharp metallic edge on which no bird would have dared to perch, three completely naked men were sitting, with their faces turned up to the midday sun; no one saw them, of course." — from Ghosts Ghosts is about a construction worker's family squatting on a building site. They all see large and handsome ghosts around their quarters, but the teenage daughter is the most curious. Her questions about them become more and more heartfelt until the story reaches a critical, chilling moment when the mother realizes that her daughter's life hangs in the balance.

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A Los Angeles Times Favorite Book of the Year for 2005. Gregory Rabassa's influence as a translator is tremendous. His translations of Gabriel Garcia Marquez's One Hundred Years of Solitude and Julio Cortazar's Hopscotch have helped make these some of the the most widely read and respected works in world literature. (Garcia Marquez was known to say that the English translation of One Hundred Years was better than the Spanish original.) In If This Be Treason: Translation and Its Dyscontents, Rabassa offers a cool- headed and humorous defense of translation, laying out his views on the translator's art. Anecdotal and always illuminating, Rabassa traces his career from a boyhood on a New Hampshire farm, his school days "collecting" languages, the two and a half years he spent overseas during WWII, and his South American travels, until one day "I signed a contract to do my first translation of a long work [Cortazar's Hopscotch] for a commercial publisher." Additionally, Rabassa offers us his "rap sheet," a consideration of the various authors and the over 40 works he has translated. This long-awaited memoir is a joy to read, an instrumental guide to translating, and a look at the life of one of its great practitioners.

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What is the power of art in the face of death? In The Art Lover Carole Maso has created an elegant and moving narrative about a woman experiencing (and reliving) the most painful transitions of her life. Caroline, the novel's protagonist, returns to New York after the death of her fatherostensibly to wrap things up and take care of necessary "business"where her memory and imagination conspire to lay before her all her griefs and joys in a rebellious progression. In different voices, employing a collage-like fragmentation, Maso gently unfolds The Art Lover in much the same way the fragile and prehistoric fiddlehead fern unfolds throughout the novel, bringing with subtle grace the ever-entangled feelings of grief and love into full and tender view. Various illustrations throughout.

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Cat on a Hot Tin Roof first heated up Broadway in 1955 with its gothic American story of brothers vying for their dying father's inheritance amid a whirlwind of sexuality, untethered in the person of Maggie the Cat. The play also daringly showcased the burden of sexuality repressed in the agony of her husband, Brick Pollitt. In spite of the public controversy Cat stirred up, it was awarded the Pulitzer Prize and the Drama Critics Circle Award for that year. Williams, as he so often did with his plays, rewrote Cat on a Hot Tin Roof for many years—the present version was originally produced at the American Shakespeare Festival in 1974 with all the changes that made Williams finally declare the text to be definitive, and was most recently produced on Broadway in the 2003-04 season. This definitive edition also includes Williams' essay "Person-to-Person," Williams' notes on the various endings, and a short chronology of the author's life. One of America's greatest living playwrights, as well as a friend and colleague of Williams, Edward Albee has written a concise introduction to the play from a playwright's perspective, examining the candor, sensuality, power, and impact of Cat on a Hot Tin Roof then and now.

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"Real seriousness," Nicanor Parra, the antipoet of Chile, has said, rests in "the comic." And read in that light, this newest collection of his work is very serious indeed. It is an abundant offering of his signature mocking humor, subverting received conventions and pretensions in both poetry and everyday life, public and private, ingeniously and wittily rendered into English in an antitranslation (the word is Parra's) by Liz Werner. Of the fifty-eight pieces in Antipoems, the first twenty-three are taken from Parra's 1985 collection, Hojas de Parra ("Vine Leaves" or "Leaves of Parra"), two others appeared in his Paginas en Blanco ("Blank Pages," 2001), while the rest come straight out of his notebooks and have never been published before, either in Spanish or English. The book itself is divided into two sections, "Antipoems" (im)proper and a selection of Parra's most recent incarnation of the antipoem, the hand-drawn images of his "Visual Artefactos." As his anti-translator Liz Werner explains in her Introduction, Parra's scientific training infuses his work. "Viewed through the lens of antimatter," she writes, "antipoetry mirrors poetry, not as its adversary but as its perfect complement."

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Mircea Cartarescu, born in 1956, is one of Romania's leading novelists and poets. This translation of his 1989 novel Nostalgia, writes Andrei Codrescu, "introduces to English a writer who has always had a place reserved for him in a constellation that includes the Brothers Grimm, Franz Kafka, Jorge Luis Borges, Bruno Schulz, Julio Cortazar, Gabriel Garcia Marquez, Milan Kundera, and Milorad Pavic, to mention just a few." Like most of his literary contemporaries of the avant-garde Eighties Generation, his major work has been translated into several European languages, with the notable exception, until now, of English. Readers opening the pages of Nostalgia should brace themselves for a verbal tidal wave of the imagination that will wash away previous ideas of what a novel is or ought to be. Although each of its five chapters is separate and stands alone, a thematic, even mesmeric harmony finds itself in children's games, the music of the spheres, humankind's primordial myth-making, the origins of the universe, and in the dilapidated tenement blocks of an apocalyptic Bucharest during the years of communist dictatorship.

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Twenty essays about Bei Dao's life in exile since Tiananmen Square. "Knowledge of death is the only key that can open midnight's gate."Bei Dao Bei Dao has gained international acclaim over the last decade for his haunting interior poetic landscapes; his poetry is translated and published in some twenty-five languages around the world. Now, in Midnight's Gate, Bei Dao redefines the essay form with the same elliptical precision of his poetry, but with an openness and humor that complements the complexity of his poems. The twenty essays of Midnight's Gate form a travelogue of a poet who has lived in some seven countries since his exile from China in 1989. The work carries us from Palestine to Sacramento. At one point we are led into a basement in Paris for a production of Gorky's Lower Depths, the next moment we are in the mountains of China where Bei Dao worked for eleven years as a concrete mixer and ironworker. The subjective experience deepens and multiplies in these essays, filled with the stories of ordinary Chinese immigrants, as well as those of literary, artistic, and political figures. And it all coheres with a poet's observations, meditations, and memories.

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Everyone in Cape Verde knew Senhor da Silva Araújo. Successful entrepeneur, owner of the island’s first automobile, a most serious, upright, and self-made businessman, Senhor da Silva Araújo was the local success story. Born an orphan, he never married, he never splurged—one good suit was good enough for him—and he never wandered from the straight and narrow. Or so everyone thought.But when his 387-page Last Will and Testament is read aloud—a marathon task on a hot afternoon which exhausts reader after reader—there is shocking news, and not just for the smug nephew so certain of inheriting all of Senhor da Silva Araújo’s property.In his will, Senhor da Silva Araújo has left a memoir that is a touching web of elaborate self-deceptions. He desired so ardently to prosper, to be taken seriously, and to join (perhaps, if they would have him) the exclusive Grémio country club. But most of all, he wanted to be a good man. And yet, shady deals, twists of fate, an illegitimate child: such is the lot of poor, self-critical Senhor da Silva Araújo. A bit like Calvino’s Mr. Palomar in his attention to protocol and in his terror of life’s passions; a bit like Svevo’s Zeno (a little pompous, a little old-fashioned, and often hapless), Senhor da Silva Araújo moves along a deliciously blurry line between farce and tragedy: a self-important buffoon becomes fully human, even tragic, figure in the arc of this wonderful novel—translated into Spanish, German, French, Italian, Dutch Norwegian, and Swedish, and now, at last, English.

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I aim to startle as well as please," Muriel Spark has said, and in these eight marvelous ghost stories she manages to do both to the highest degree. As with all matters in the hands of Dame Muriel her spooks are entirely original. A ghost in her pantheon can be plaintive or a bit vengeful, or perhaps may not even be aware of being a ghost at all. One in fact is the ghost of a man who isn't even dead yet. Another takes the bus home from work, believing she is still alive, though she is haunted by an odious tune stuck in her head (which her murderer had been relentlessly humming), and distressed by a "feeling of incompletion." And a reflective ghost recalls her mortal days of enjoying "the glory of the world, as if it would never pass. Spark has a flair for confiding ghosts: "I must explain that I departed this life nearly five years ago. But I did not altogether depart this world. There were those odd things still to be done which one's executors can never do properly." In her case the odd things include cheerily hailing her murderer, "Hallo George!" and driving him mad. The remarkably nonchalant stories here include some of her most wicked and famous"The Seraph and the Zambesi," "The Hanging Judge," and "The Portobello Road"and they all gleam with that special Spark sheen, the quality The Times Literary Supplement has hailed as "gloriously witty and polished."

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During the last decade of his life, living as a recluse high in the mountains of southeast China, he initiated a tradition of "rivers-and-mountains" (shan-shui) poetry that stretches across the millennia in China, a tradition that represents the earliest and most extensive literary engagement with "the wild" in human history. These poems were hugely popular in Hsieh's own time and established him as one of the most innovative and influential poets in the history of Chinese poetry as well as a founder of Ch'an (Zen) Buddhism. Once again David Hinton, a recipient of fellowships from The National Endowment for the Arts and The National Endowment for the Humanities and the winner of a Harold Morton Landon Translation Award from The Academy of American Poets, has produced a fluid and supple translation that does full justice to the rivers-and-mountains of Hsieh Ling-yün's inspiration.

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The greatest collection by one of the great Russian writers is now back in print. First published in Europe in the 1930s and '40s, these searing, evocative stories by the late emigre writer Nina Berberova (1901-1993) are portraits of the lives of Russian exiles in Paris on the eve of World War II. The protagonists range from housekeepers and waiters to shabby-genteel aristocrats and intellectualsbut all are united in a haunting displacement from their pasts, and all share a troubling uncertainty about the future.

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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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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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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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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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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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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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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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“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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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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