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An outstanding novel about a young Russian woman's life in exile after the Russian Revolution. The Book of Happiness is one of the outstanding novels the great Russian writer Nina Berberova wrote during the years she lived in Paris, and the most autobiographical. "All Berberova's characters live raw, unfurnished lives, in poverty, on the edge of cities, with little sense of belongingexcept in moments of epiphanyto their time and in life itself" (The Observer). Such a character is Vera, the protagonist of The Book of Happiness. At the novel's opening, Vera is summoned to the scene of a suicide, that of her childhood companion, Sam Adler, whose family left Russia in the early days of the revolution and whom Vera has not seen in many years. His death reduces Vera to a flood of tears and memories of the times before Sam's departure, and thoughts about how her life has gone sinceher move to Paris where she lives tied to a brilliant but demanding invalid husband. Berberova spins the story with a wonderful unsentimental poignancy, making it a beautiful testament to the indestructibility of happiness.

Never before translated into English, the wonderfully comic novel A House in Istria concerns marriage, a man's desperate desire to acquire the house next door, and what can happen when West meets East. In formerly communist Eastern Europe, there are many empty houses. Inhabited in turn by very different familiesJews, fascists, communiststhe houses now stand empty, decaying, the objects of countless lawsuits. Richard Swartz's quirky and marvelous first novel revolves around one such house and the Western European man obsessed with it. Narrated by his wife, the action takes place over just seven blazing hot days in Istria, formerly Yugoslavia. His obsession drags his poor wife, a native of Istria, into long burlesque conversations with lawyers and owners; her out-of-control husband (who doesn't speak the language) involves them in surreal scenes with nearly insane characters. Since everything the husband knows (and everything the reader knows) must be channeled through the wife, we enter a world in which nothing is directly intelligibleand everything is skewed. The unusual, antic, hilarious style calls Capek, Gogol, and Kafka all to mind.

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.

Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here. At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.

The drama takes it form from the shifting scenes of memory, and Williams's surrogate self invites us to focus, in turn, on the various inhabitants or his dilapidated rooming house in the Vieux Carré: the comically desperate landlady, Mrs. Wire; Jane, a properly brought-up young woman from New York making at last grab at pleasure with Tye, the vulgar but appealing strip-joint barker; two decayed gentlewomen politely starving in the garret; and the dying painter Nightingale, who tries to teach the young writer something about love--both of the body and of the heart. This is a play about the education of the artist, and education in loneliness and despair, in giving and not giving, but most of all in seeing, hearing, feeling, and learning that "writers are shameless spies," who pay dearly for their knowledge and who cannot forget. Building on two decades of Williams scholarship since Vieux Carré was originally published, Robert Bray, editor of The Tennessee Williams Annual Review, has provided a new introduction for this edition, giving the most authoritative account yet of its background and genesis.

Few poets have possessed so great a gift or so great a body of work-when she died at 74, she had been a published poet for more than half a century. The poems themselves shine with the artistry of a writer at the height of her powers.

New poetry by the internationally acclaimed Chinese poet-in-exile. Bei Dao, the internationally acclaimed Chinese poet, has been the poetic conscience of the dissident movements in his country for over twenty years. He has been in exile since the Tiananmen Square massacre of 1989. Unlock presents forty-nine new poems written in the United States, and may well be Bei Dao's most powerful work to date. Complex, full of startling and sometimes surreal imagery, sudden transitions, and oblique political references, and often embedding bits of bureaucratic speech and unexpected slang, his poetry has been compared to that of Paul Celan and Cesar Vallejo: poets who invented a new poetry and a new language in the attempt to speak of the enormity of their times. The sixth book of Bei Dao's work published by New Directions, Unlock has been translated by Eliot Weinberger, the distinguished essayist and critically acclaimed translator of Octavio Paz and Jorge Luis Borges, in collaboration with the historian Iona Man-Cheong and the poet himself.

James Laughlin-poet, ladies' man, heir to a steel fortune, and the founder of New Directions-was still at work on his autobiography when he died at 83. He left behind personal files crammed with memories and memorabilia: in "M" he is taking Marianne Moore to Yankee games (outings captured here in charming snapshots) to discuss "arcane mammals," and in "N" nearly plunging off a mountain, hunting butterflies with Nabokov ("Volya was a doll in a very severe upper-crust Russian way").With an accent on humor, The Way It Wasn't is a scrapbook loaded with ephemera-letters and memories, clippings and photographs. This richly illustrated album glitters like a magpie's nest, if a magpie could have known Tennessee Williams, W.C. Williams, Merton, Miller, Stein, and Pound. In "C": "I wish that nice Jean Cocteau were still around. He took me to lunch at the Grand Véfours in the Palais-Royal and explained all about flying saucers. He understood mechanical things. He would advise me." In "P": "There was not much 'gracious living' in Pittsburgh, where at one house, the butler passed chewing gum on a silver salver after coffee." And: "The world is full of a large number of irritating people." In "H" there's Lillian Hellman: "What a raspy character. When I knocked at her door to try to borrow one of her books (hoping to butter her up) she only opened her door four inches and said words to the effect: 'Fuck off, you rapist.'" Marketing in "M": "I think it's important to get the 'troubadours' into the title. That's a 'buy-me' word." In "G": "Olga asked Allen Ginsberg if he was also buying Pound Conference T-shirts for his grandchildren. She was most lovable throughout." In "L": "Wyndham Lewis wrote 'Why don't you stop New Directions, your books are crap.'" And we find love in "L": "Cicero noted that an old love pinches like a crab." But in The Way It Wasn't James Laughlin's love of the crazy world and his crazier authors does not pinch a bit: it glows with wit and enlarges our feeling for the late great twentieth century.

it is the masterwork by Danish poet Inger Christensen ("a true singer of the syllables," said C. D. Wright), often cited as a Nobel contender and one of Europe's most revered poets. On its publication in 1969, it took Denmark by storm, winning critical praise and becoming a huge popular favorite. Translated into many languages, it won international acclaim and is now a classic of modern Scandinavian poetry.it is both a collection of poems and a single poetic epic, forming a philosophical statement on the nature of language, perception, and reality. The subject matter, though, is down to earth: amoebas, stones, and factories; fear, sea urchins, and mental institutions; sand, sexuality, and song. The words and images of it recur in ways reminiscent of Christensen's other works, but here is a younger poetry, wilder, and crackling with energy. The marvelous and complex use of mathematical structure in it is faithfully captured in Susanna Nied's English translation, which won a 2005 PEN Translation Fund Award.

Kanthapura is the story of how Gandhi's struggle for independence from the British came to a typical village, Kanthapura, in South India. Young Moorthy, back from the city with "new ideas," cuts across the ancient barriers of caste to unite the villagers in non-violent action--which is met with violence by landlords and police. The dramatic tale unfolds in a poetic, almost mythical style which conveys as never before the rich textures of Indian rural life. The narrator is an old woman, imbued with the legendary history of the region, who knows the past of all the characters and comments on their actions with sharp-eyed wisdom. Her narrative, and the way she tells it, evokes the spirit of India's traditional folk-epics. This edition includes extensive notes on Indian myths, religion, social customs, and the Independence movement (given at the end of the book) which fill out the background for the American reader's more complete understanding and enjoyment.

This is a short biography. Its subject, François Marie Arouet de Voltaire (1694-1778), would not have objected--he was careful to point out that "the surest way of being a bore is to tell everything." What Wayne Andrews's Voltaire may lack in laundry lists is made up in wit, learning, and an elegance of style eminently appropriate for an appreciation of a man who was never so ruthless as when eliminating the last trace of dust from his own writing. Indeed, Voltaire was the most successful writer of the eighteenth century. It matters little that his plays are today a lost cause, as is his poetry--the author of Candide and the Age of Louis XIV will always have his audience. His irreverence guarantees his immortality. While stressing Voltaire's eternal campaign against Christianity and his monumental efforts to effect justice in an autocratic era, Andrews maintains that his primary loyalty was always to himself. The fervent anti-Christian had his firm friends in the Church. The social philosopher courted Catherine the Great with near servility. But, in Victor Hugo's words: "His smile put an end to violence, his sarcasm put an end to despotism, his irony put an end to infallibility, his perseverance put an end to stubbornness, and the truth he proclaimed put an end to ignorance."

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.

"A surreal semi-autobiographical blackbook record of a semi-mad period of my life, in that mindless, timeless state most romantics pass through, confusing flesh madonnas with spiritual ones." This is how the author describes this extraordinary expatriate novel.

A novel of awesome beauty and power by the Hungarian master, Laszla Krasznahorkai. Winner of a 2005 PEN Translation Fund Award.War and War, Laszla Krasznahorkai's second novel in English from New Directions, begins at a point of danger: on a dark train platform Korim is on the verge of being attacked by thuggish teenagers and robbed; and from here, we are carried along by the insistent voice of this nervous clerk. Desperate, at times almost mad, but also keenly empathic, Korim has discovered in a small Hungarian town's archives an antique manuscript of startling beauty: it narrates the epic tale of brothers-in-arms struggling to return home from a disastrous war. Korim is determined to do away with himself, but before he can commit suicide, he feels he must escape to New York with the precious manuscript and commit it to eternity by typing it all on the world-wide web. Following Korim with obsessive realism through the streets of New York (from his landing in a Bowery flophouse to his moving far uptown with a mad interpreter), War and War relates his encounters with a fascinating range of humanity, a world torn between viciousness and mysterious beauty. Following the eight chapters of War and War is a short "prequel acting as a sequel," "Isaiah," which brings us to a dark bar, years before in Hungary, where Korim rants against the world and threatens suicide. Written like nothing else (turning single sentences into chapters), War and War affirms W. G. Sebald's comment that Krasznahorkai's prose "far surpasses all the lesser concerns of contemporary writing."

Against the Forgetting presents the work of an important twentieth-century Dutch poet, Hans Faverey. The first extensive selection of his poetry in English, this collection brings together poems from his eight published volumes of poetry spanning the years 1968 to 1990-the last volume, Default, he received only two days before his death. In addition, a selection of poems from a posthumous collection, Spring Foxes, first published in Holland in 2000, is also included. The translator Francis Jones writes, "Hans Faverey left behind a poetic structure of uniquely subtle richness and beauty, made from so little-a few words, surrounded by silence." Filled with a precision and arresting musicality comparable to the hermetic poems of Celan and Bronk, and as mysterious as the writings of Heraclitus and the German mystic Meister Eckhart, Faverey's poems, like Lichtenberg's lightning frozen in time, lash out, splintering systems and syntax-enlightening.

His eyes "shine with a glimmer of perpetual amusement"; his sartorial taste is impeccable; Ossama is "a thief, not a legitimated thief, such as a minister, banker, or real-estate developer; he is a modest thief." He knows "that by dressing with the same elegance as the licensed robbers of the people, he could elude the mistrustful gaze of the police," and so he glides lazily around the cafe¿s of Cairo, seeking his prey. His country may be a disaster, but he's a hedonist convinced that "nothing on this earth is tragic for an intelligent man."One fat victim ("everything about him oozed opulence and theft on a grand scale") is relieved of his crocodile wallet. In it Ossama finds not just a gratifying amount of cash, but also a letter - a letter from the Ministry of Public Works, cutting off its ties to the fat man. A source of rich bribes heretofore, the fat man is now too hot to handle; he's a fabulously wealthy real-estate developer, lately much in the news because one of his cheap buildings has just collapsed, killing 50 tenants. Ossama "by some divine decree has become the repository of a scandal" of epic proportions. And so he decides he must act. . . .Among the books to be treasured by the utterly singular Albert Cossery, his last, hilarious novel, The Colors of Infamy, is a particular jewel.

In an ancient Mediterranean city, a tradition is maintained: every ten years an archaic game of human chess is staged, the players (visitors versus locals) bearing weapons. This archaic game, the central event of The Garden of the Departed Cats, may prove as fatal as the deadly attraction our narrator feels for the local man who is the Vizier, or Captain, of the home team. Their "romance" (which, though inconclusive, magnetizes our protagonist to accept the Vizier's challenge to play) provides the skeletal structure of this experimental novel. Each of their brief interactions works as a single chapter. And interleaved between their chapters are a dozen fable-like stories. The folk tale might concern a 13th-century herbal that identifies a kind of tulip, a "red salamander," which dooms anyone who eats it to never tell a lie ever again. Or the tale might be an ancient story of a terrible stoat-like creature that feeds for years on the body of whomever it sinks its claws into, like guilt. These strange fables work independently of the main narrative but, in curious and unpredictable ways, (and reminiscent of Primo Levi's The Periodic Table), they echo and double its chief themes: love, its recalcitrance, its cat-like finickiness, and its refusal to be rushed.With many strata to mine, The Garden of the Departed Cats is a work of peculiar beauty and strangeness, the whole layered and shiny like a piece of mica.

A spellbinding short novel set in post-revolutionary Russia about a young girl's jealousy. The fifth book of Nina Berberova to be published by New Directions, The Accompanist, written in 1936, proved to be a literary phenomenon in Europe where it was first published. A spellbinding, short novel set in post-revolutionary RussiaThe Accompanist portrays with extraordinary sensitivity the entangled relationships of three intriguing characters. Sonechka is a talented but shy young pianist hired by a beautiful soprano (Maria Nikolaevna) and her devoted, bourgeois husband. Maria is everything Sonechka is notglamorous and flamboyant. Her voice brings with it "something immortal and indisputable, something which gives reality to the human being's dream of having wings." Doomed to live in her mentor's shadow, the young girl secretly schemes to expose the singer's infidelities. But as she awaits her chance, the diva's husband takes matters into his own hands, bringing events to a surprising resolution. This intense and beautiful little novel was published in America almost fifty years after it was written; sadly out of print for a number of years, it is a wonderfully compelling and crucial addition to Nina Berberova's growing number of published fictional works.

Tennessee Williams had a distinct talent for writing short plays and, not surprisingly, this remarkable new collection of never-before-published one-acts includes some of his most poignant and hilarious characters: the indefatigable, witty and tough drag queens of And Tell Sad Stories of the Deaths of Queens...; the strange little man behind the nom de plume Mister Paradise; and the extravagant mistress who cheats on her married man in The Pink Bedroom. Most were written in the 1930s and early 1940s when Williams was already flexing his theatrical imagination. Chosen from over seventy unpublished one-acts, these are some of Williams's finest; several have premiered recently at The Hartford Stage Co., The Kennedy Center, the Manhattan Theatre Club and the Tennessee Williams/New Orleans Literary Festival. Included in this volume:These Are the Stairs You Got to WatchMister ParadiseThe PalookaEscapeWhy Do You Smoke So Much, Lily?Summer At the LakeThe Big GameThe Pink BedroomThe Fat Man's WifeThank You, Kind SpiritThe Municipal AbattoirAdam and Eve on a FerryAnd Tell Sad Stories of the Deaths of Queens...Long associated with Williams, acclaimed stage and film actors Eli Wallach and Anne Jackson provide a fresh and challenging foreword for actors, directors, and readers.

A landmark book in the studies of Freud, H.D., modernism, gender, and sexuality. The poet H.D. (1886-1961) was in psychoanalysis with Sigmund Freud in Vienna during the spring of 1933 and again in the fall of 1934. She visited him daily at his study at 19 Berggasse, while outside Nazi thugs and militia bullied their way through the streets. Freud was old, and fragile. H.D. was forty-six and despairing of her writing life, which seemed to have reached a dead end, for all her success. Her sessions with Freud proved to be the point of transition, the funnel into which were poured her memories of the past and associations in the presentand from which she emerged reborn. H.D. came to Freud at the urging of her companion, the novelist Bryher (1884-1983), the daughter of a wealthy British shipping magnate. Freud welcomed H.D. as a creative spirit whose work he respected, but he did ask her not to prepare for their sessions, write about them in her journal, or talk about them with her friends, especially Bryher, who remained home in England. H.D.'s letters from Vienna filled the gap. Breezy, informal, irreverent, vibrant with detail, they revolve around her hours with Freud, making her correspondence unique in the spectrum of reminiscences, journals, memoirs, and biographies swirling around the legacy of the "Professor" and the movement he founded. The volume includes H.D. and Bryher's letters, as well as letters by Freud to H.D. and Bryher, most of them published for the first time. In addition, the book includes H.D. and Bryher's letters to and from Havelock Ellis, Kenneth MacPherson, Robert McAlmon, Ezra Pound, and Anna Freud, among others. Fully annotated with Index and Photographs

A skillful portrayal of the cruelty and emptiness of bourgeois life, Anna Édes was first published in 1926 and enthusiastically received by the intellectual coffee-house society through which it circulated. The novel was later acknowledged by authors such as Thomas Mann as a model of language and form, and in turn established Dezso Kosztolanyi as one of the most significant writers of Eastern European fiction. Anna is the hard-working and long-suffering heroine, the unhappy maid destroyed by her pitiless employers. Her tragic relationship with them is played out against the political turbulence in Budapest following the First World War. Yet her endurance and revenge are depicted with keen psychological as well as historical insight, becoming, in the words of the translator, "not merely an argument about social conditions but raised to genuine tragedy."

The radiant subway. The wall that clears up, endless. A thundering prayer of steel that fastens together the days, a brush of cloud hanging upon it, O beginning, it is there-your nest. Thus the keynotes of Hiraide's utterly original book-length poem unfold-a mix of narrative, autobiography, minute scientific observations, poetics, rhetorical experiments, hyper-realistic images, and playful linguistic subversions-all scored with the precision of a mathematical-musical structure.

Freud was old and fragile. H.D. was forty-six and despairing of her writing life, which, for all her success, seemed to have reached a dead end. Her sessions with Freud proved to be the point of transition, the funnel into which she poured her memories of the past and associations in the present and from which she emerged reborn. Breezy, informal, irreverent, vibrant in detail, H.D.'s letters to her companion, the novelist Bryher, revolve around her hours with Freud. This volume includes H.D.'s and Bryher's letters, as well as letters by Freud to H.D. and Bryher, most of them published here for the first time. In addition, the book includes H.D.'s and Bryher's letters to and from Havelock Ellis, Kenneth MacPherson, Robert McAlmon, Ezra Pound, and Anna Freud, among others.

This biography begins with Gogol's death and ends with his birth, an inverted structure typical of both Gogol and Nabokov. The biographer proceeds to establish the relationship between Gogol and his novels, especially with regard to "nose-consciousness", a peculiar feature of Russian life and letters, which finds its apotheosis in Gogol's own life and prose. There are more expressions and proverbs concerning the nose in Russian than in any other language in the world. Nabokov's style in this biography is comic, but as always leads to serious issues-in this case, an appreciation of the distinctive "sense of the physical" inherent in Gogol's work. Nabokov describes how Gogol's life and literature mingled, and explains the structure and style of Gogol's prose in terms of the novelist's life.

The river is the Ganges, where a group of Japanese tourists converge: Isobe, grieving the death of the wife he ignored in life; Kiguchi, haunted by war-time memories of the Highway of Death in Burma; Numada, recovering from a critical illness; Mitsuko, a cynical woman struggling with inner emptiness; and, the butt of her cruel interest, Otsu, a failed seminarian for whom the figure on the cross is a god of many faces. In this novel, the renowned Japanese writer Shusaku Endo reaches his ultimate religious vision.

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.

In his great triptych "The Millennium," Bosch used oranges and other fruits to symbolize the delights of Paradise.

So that readers could more fully understand the extent of Williams' radical simplicity, all of his published poetry, excluding Paterson, was reissued in two definite volumes, of which this is the first.

Playing on Zola's famous letter denouncing the anti-Semitism of the French government throughout the Dreyfus affair, Aharon Shabtai's title can be taken literally: it charges his government and his people with crimes against the humanity of their neighbors. Here we find snipers shooting children, spin-masters trying to whitewash blood baths, ammunition "distributed like bars of chocolate," and "technicians of slaughter" for whom morality is merely "a pain in the ass."With a splendid lyrical physicality that accentuates Shabtai's terse immediacy and matter-of-fact scorn, the poems cover a period of six yearsfrom the 1996 election of Netanyahu as prime minister through the curfews, lynchings, riots, sieges, and bombings of the second intifada. But at the heart of J'Accuse is the fate of the ethical Hebrew culture in which the poet was raised: Shabtai refuses to abandon his belief in the moral underpinnings of Israeli society or to be silent before the barbaric and brutal. He witnesses, he protests, he warns. Above all, he holds up a mirror to his nation.