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Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus "for his brother who died in the Troad." Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated "book" creating a visual and reading experience so amazing as to open up our concept of poetry.

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

Black Mountain College had an explosive influence on American poetry, music, art, craft, dance, and thought; it's hard to imagine any other institution that was so utopian, rebellious, and experimental. Founded with the mission of creating rounded, complete people by balancing the arts and manual labor within a democratic, nonhierarchical structure, Black Mountain was a crucible of revolutionary literature. Although this artistic haven only existed from 1933 to 1956, Black Mountain helped inspire some of the most radical and significant midcentury American poets.This anthology begins with the well-known Black Mountain Poets-Charles Olson, Robert Creeley, Robert Duncan, and Denise Levertov-but also includes the artist Josef Albers and the musician John Cage, as well as the often overlooked women associated with the college, M. C. Richards and Hilda Morley.

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.

Mojave Ghost initiates an unusually tender bond with the reader as it chronicles an intimate relationship with arresting honesty and vividness. Moving through grief and loss towards a renewal that never sidesteps the wholeness of experience, Gander's new collection discovers an articulate language for the merging of exterior and interior landscapes. Gander, trained as a geologist, walked along much of the 800-mile San Andreas fault toward the desolate town of his birth, and found himself crossing permeable dimensions of time and space, correlating his emotions and the stricken landscape with other divisions: the fractures and folds underlying not only our country, but any self in its relationship with others. The result is this moving new collection that unforgettably describes a spiritual and physical journey. With its confidential tones and candid self-examination, Mojave Ghost is Gander's most inviting and poignant book yet.

In this thrilling chase narrative, a hunted being escapes certain death at breakneck speed-careening through Europe, heading blindly South. Faster and faster, escaping the assassins, our protagonist flies forward, blending into crowds, adjusting to terrains, hopping on and off ferries, always desperately trying to stay a step ahead of certain death: the past did not exist, only what was current existed-a prisoner of the instant, rushing into this instant, an instant that had no continuation ...      Krasznahorkai-celebrated for the exhilarating energy of his prose-outdoes himself in Chasing Homer. And this unique collaboration boasts beautiful full-color paintings by Max Neumann and-reaching out of the book proper-the wildly percussive music of Szilveszter Miklós scored for each chapter (to be accessed by the reader via QR codes).

Yoko Tawada-winner of the National Book Award-presents three terrific new ghost stories, each named after a street in Berlin

Poor, poor, hard-luck Herbert Sarkar: born into a fancy Calcutta family but cursed from birth (his philandering movie director father is killed in a car crash and his mother dies soon after, when he's still just a baby), he is taken as an orphan into his uncle's house, only to fall further and further down the family totem pole. Despite good looks ("Hollywood-ish, Leslie Howard-ish)" and native talents, he is scorned by all but his kind aunt. Poor Herbert: so lovable but so little loved. Cheated of his inheritance, living on the roof in cast-off clothing, he pines for love, but all is woe: his own nephews beat him up.        At twenty, however, he suddenly seems to possess the gift of speaking with the dead. Herbert is bathed in glory. From less than zero to starry heights-what an apotheosis. The wheel of fortune turns again, all too soon...        Legendary, scathingly satiric, wildly energetic, deeply tender, Herbert is an Indian masterwork.

The Blue Flowers follows two unlikely characters: Cidrolin, who alternates between drinking and napping on a barge parked along the Seine in the 1960s, and the Duke d'Auge as he rages through history-about 700 years of it-refusing to crusade, clobbering his king with a cannon, and dabbling in alchemy. But is it just a coincidence that the Duke appears only when Cidrolin is dozing? And vice versa? As Raymond Queneau explains: "There is an old Chinese saying: 'I dream that I am a butterfly and pray there is a butterfly dreaming he is me.' The same can be said of the characters in this novel-those who live in the past dream of those who live in the modern era-and those who live in the modern era dream of those who live in the past." Channeling Villon and Céline, Queneau attempts to bring the language of the French streets into common literary usage, and his mad wordplays, puns, bawdy jokes, and anachronistic wackiness have been kept amazingly and glitteringly intact by the incomparable translator Barbara Wright.

Now with an exciting new preface by Lou Reed (Delmore Schwartz's student at Syracuse), In Dreams Begin Responsibilities collects eight of Schwartz's finest delineations of New York's intellectuals in the 1930s and 1940s. As no other writer can, Schwartz captures the speech, the generational conflicts, the mocking self-analysis of educated, ambitious, Depression-stymied young people at odds with their immigrant parents. This is the unique American dilemma Irving Howe described as "that interesting point where intellectual children of immigrant Jews are finding their way into the larger world while casting uneasy, rueful glances over their backs." Afterwords by James Atlas and Irving Howe place the stories in their historical and cultural setting.

New Directions is proud to present Fleur Jaeggy's strange and mesmerizing essays about the writers Thomas De Quincey, John Keats, and Marcel Schwob. A renowned stylist ofhyper-brevity in fiction, Fleur Jaeggy proves herself an even more concise master of the essay form, albeit in a most peculiar and lapidary poetic vein. Of De Quincey's early nineteenth-century world we hear of the habits of writers: Charles Lamb "spoke of 'Lilliputian rabbits' when eating frog fricassse"; Henry Fuseli "ate a diet of raw meat in order to obtain splendid dreams"; "Hazlitt was perceptive about musculature and boxers"; and "Wordsworth used a buttery knife to cut the pages of a first-edition Burke." In a book of "blue devils" and night visions, the Keats essay opens: "In 1803, the guillotine was a common child's toy." And poor Schwob's end comes as he feels "like a 'dog cut open alive'": "His face colored slightly, turning into a mask of gold. His eyes stayed open imperiously. No one could shut his eyelids. The room smoked of grief." Fleur Jaeggy's essays-or are they prose poems?-smoke of necessity: the pages are on fire.

Revised twice since it first appeared, it has remained one of the most widely read and quoted works of literary analysis. Ambiguity, according to Empson, includes "any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language." From this definition, broad enough by his own admission sometimes to see "stretched absurdly far," he launches into a brilliant discussion, under seven classifications of differing complexity and depth, of such works, among others, as Shakespeare's plays and the poetry of Chaucer, Donne, Marvell, Pope, Wordsworth, Gerard Manley Hopkins, and T. S. Eliot.

Another gorgeous copublication with the Christine Burgin Gallery, Emily Dickinson's Envelope Poems is a compact clothbound gift book, a full-color selection from The Gorgeous Nothings.

Filled with devotion and lust, sensuality and eroticism, fevers and overtures, these poems showcase some of the most passionate verses in the French language. From the classic sixteenth-century love sonnets of Louise Labé and Maurice Sceve to the piercing lyricism of the Romantics and the dreamlike compositions of the Surrealists, French Love Poems is the perfect, seductive gift for anyone who makes your heart flutter.This collection includes poems by Guillaume Apollinaire, Charles Baudelaire, Claude Cahun, René Char, Marceline Desbordes-Valmore, Paul Éluard, Louise Labé, Stéphane Mallarmé, Anna de Noailles, Joyce Mansour, Arthur Rimbaud, Paul Verlaine, and many others; as well as translations by Mary Ann Caws, Robert Duncan, Lawrence Ferlinghetti, Denise Levertov, Ezra Pound, Kenneth Rexroth, Frederick Seidel, Richard Sieburth, and William Carlos Williams.

In The Midnight's amply illustrated five sections, three of poetry and two of prose, we find-swirling around the poet's mother-ghosts, family photographs, whispers, interjections, bed hangings, unfinished lace, the fly-leaves of old books, The Master of Ballantrae, the Yeats brothers, Emily Dickinson, Lewis Carroll, Lady Macbeth, Thomas Sheridan, Michael Drayton, Frederick Law Olmsted: a restless brood confronting, absorbing, and refracting history and language. With shades of wit, insomnia, and terror, The Midnight becomes a kind of dialogue in which the prose and poetry sections seem to be dreaming fitfully of each other.

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).

"Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster." Thus begins Vladimir Nabokov's Laughter in the Dark; this, the author tells us, is the whole story-except that he starts from here, with his characteristic dazzling skill and irony, and brilliantly turns a fable into a chilling, original novel of folly and destruction. Amidst a Weimar-era milieu of silent film stars, artists, and aspirants, Nabokov creates a merciless masterpiece as Albinus, an aging critic, falls prey to his own desires, to his teenage mistress, and to Axel Rex, the scheming rival for her affections who finds his greatest joy in the downfall of others.Published first in Russian as Kamera Obskura in 1932, this book appeared in Nabokov's own English translation six years later. This New Directions edition, based on the text as Nabokov revised it in 1960, features a new introduction by Booker Prize-winner John Banville.

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.

Crazy, funny and gorgeously dark, Kornél Esti sets into rollicking action a series of adventures about a man and his wicked dopplegänger, who breathes every forbidden idea of his childhood into his ear, and then reappears decades later.Part Gogol, part Chekhov, and all brilliance, Kosztolányi in his final book serves up his most magical, radical, and intoxicating work. Here is a novel which inquires: What if your id (loyally keeping your name) decides to strike out on its own, cuts a disreputable swath through the world, and then sends home to you all its unpaid bills and ruined maidens? And then: What if you and your alter ego decide to write a book together?

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."

Spring and All is a manifesto of the imagination - a hybrid of alternating sections of prose and free verse that coalesce in dramatic, energetic, and beautifully cryptic statements of how language re-creates the world. Spring and All contains some of Williams's best-known poetry, including Section I, which opens, "By the road to the contagious hospital," and Section XXII, where Williams penned his most famous poem, "The Red Wheelbarrow." Now, almost 90 years since its first publiction, New Directions publishes this facsimile of the original 1923 Contact Press edition, featuring a new introduction by C. D. Wright.

"What treasures of knowledge we cluster around." That This is a collection in three pieces. "Disappearance Approach," an essay about Howe's husband's sudden death-"land of darkness or darkness itself you shadow mouth"-begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, and elusive remnants. "Frolic Architecture," the second section-inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six photograms by James Welling-presents hauntingly lovely, oblique type-collages of Hannah Edwards Wetmore's diary entries that Howe (with scissors, "invisible" Scotch Tape, and a Canon copier) has twisted, flattened, and snipped into inscapes of force. The final section, "That This," delivers beautiful short squares of verse that might look at home in a hymnal, with their orderly appearance packing startling power:     That this book is a history of     a shadow that is a shadow of     Me mystically one in another     another another to subserve.

Nine of Yukio Mishima's finest stories were selected by Mishima himself for translation in this book; they represent his extraordinary ability to depict a wide variety of human beings in moments of significance. Often his characters are sophisticated modern Japanese who turn out to be not so liberated from the past as they had thought.

These Pulitzer Prize-winning poems and essays by the author of No Nature range from the lucid, lyrical, and mystical to the political. All, however, share a common vision: a rediscovery of North America and the ways by which we might become true natives of the land for the first time.