Böcker utgivna av New Directions Publishing Corporation

Tancredo, a young hunchback, observes and participates in the rites at the Catholic church where he lives under the care of Father Almida. Also in residence are the sexton Celeste Machado, his goddaughter Sabina Cruz, and three widows known collectively as the Lilias, who do the cooking and cleaning and provide charity meals for the local poor and needy. One Thursday, Father Almida and the sexton must rush off to meet the parish's principal benefactor, Don Justiniano. It will be the first time in forty years Father Almida has not said mass. Eventually they find a replacement: Father Matamoros, a drunkard with a beautiful voice whose sung mass is spellbinding to all. The Lilias prepare a sumptuous meal for Father Matamoros, who persuades them to drink with him. Over the course of the long night the women and Tancredo lose their inhibitions and confess their sins and stories to this strange priest, and in the process re- veal lives crippled by hypocrisy.

Michael Palmer's new collection is structured in two parts, "What I Did Not Say" and "Thread," subtitled "Stanzas in Counterlight." It begins with a beautiful suite of poems featuring The Master of Shadows (first glimpsed in his 2006 collection The Company of Moths). The counterlight of the title section shines in shafts of Palmer's ever-surprising ironic wit, which is given to sidelong parallel leaps. Several poems in Thread directly address our endless wars, yet even in sorrow and rage the poems still glow with wonder. In multiphonic passages, voices speak from a decentered place, yet are grounded in the central rootedness of the whole history of poetry and culture that has gone before. In his new poems, signature palimpsests create complex cycles of thought, "returning and returning" via echoes to what he has called "the layering process, the process of accretion and the process of emergence."      Say / that whatever comes / goes. / /      The Shadow knows / nothing / such / /      His calling. / Round his / listing / /      House / the bindweed / grows.

The year 2011 marks the seventy-fifth anniversary of New Directions, and what better way to celebrate than to dive into the diversity of its poets reveling in the wonders and joys of nature. Arranged chronologically by each poet's birth, Birds, Beasts, and Seas showcases the work of over one hundred and twenty poets from the U.S. and abroad, culled from the New Directions library. Beginning with ancient Chinese, Greek, Roman, Inuit, Japanese, Indian, and Persian poets, then dipping into the Troubadours and the Renaissance, the collection gradually blossoms into a constellation of poets from the nineteenth and twentieth centuries, and into our present. Sappho, Neruda, Baudelaire, Rimbaud, and Lorca mix with Anne Carson, Inger Christensen, Coral Bracho, and Gu Cheng. Poems cross cultures, link, and converse in paeans to nature and its elegies; in nature's dangers, mutabilities, and sanctuary; in its myths and scientific revelations. Also highlighted are translations by such luminaries as Samuel Beckett, John Dos Passos, T. S. Eliot, and Robert Lowell. Hidden jewels of nature await your discovery.

Translations of substantial works by three important European poets-Erik Lindegren (Sweden), Cesare Pavese (Italy) and Roberto Sanesi (Italy)-are among the highlights of this 1969 New Directions Annual.Also, there appear works by other well known poets such as William Bronk, Lawrence Ferlinghetti, Anselm Hollo (England), W. S. Merwin, Edouard Roditi, and Mark Strand.Emmett Jarrett, whose long poem, Design for the City of Man: A Vision, is an exciting discovery.The prose section includes Thomas Merton's satire on Negro segregation, Plessy vs. Ferguson: Theme and Variations, and a group of stories by Sanford Chernoff, Marvin Cohen, James B. Hall, James Purdy, Mia Raffel and Margaret Randall, which illustrate the rich diversity, both in technique and subject matter, of the short story form from the late sixties. There is also, in translation from the Flemish, the work of an important but too-little-known precursor of the modern movement, Paul van Ostaijen's Ika Loch's Brothel.Trim Bissel: THE REUNION Besmilr Brigham: SONGS FROM THE THIRTEENTH MASK William Bronk: SIX POEMS Sanford Chernoff: NOT MY ANIMAL Marvin Cohen: LOVE BY PROXY OF SOLITUDE Lawrence Ferlinghetti: THE THIRD WORLD Mitchell Goodman: EIGHT POEMS James B. Hall: TRIUMPH OF THE OMOPHAGISTS Walter Hamady: PLUM-FOOT POEMS Anselm Hollo: THE COHERENCES Emmet Jarret: DESIGN: A VISION Erik Lindegren: THE MAN WITHOUT A WAY Thomas Merton: PLESSY VS. FERGUSON: THEME AND VARIATION W. S. Mervin: TWO POEMS Paul van Ostaijen: IKA LOCH'S BROTHEL Cesare Pavese: DEATH WILL COME AND WILL HAVE YOUR EYES James Purdy: MR. EVENING Mia Raffel: SNAILSFEET Margaret Randall: THE IMPOSSIBLE FILM STRIP OR, HISTORY OF MARRIAGE Edouard Roditi: MEDITATION ON BOOKS Roberto Sanesi: INFORMATION REPORT Mark Strand: THE WAY IT IS

An Empty Room is the first book by the celebrated Chinese writer Mu Xin to appear in English. A cycle of thirteen tenderly evocative stories written while Mu Xin was living in exile, this collection is reminiscent of the structural beauty of Hemingway's In Our Time and the imagistic power of Kawabata's palm-of-the-hand stories. From the ordinary (a bus accident) to the unusual (Buddhist halos) to the wise (Goethe, Lao Zi), Mu Xin's wandering "I" interweaves plots with philosophical grace and spiritual profundity. A small blue bowl becomes a symbol of vanishing childhood; a painter in a race against fading memory scribbles notes in an underground prison during the Cultural Revolution; an abandoned temple room holds a dark mystery. An Empty Room is a soul-stirring page turner, a Sebaldian reverie of passing time, loss, and humanity regained.

Here are portraits of American life during the Great Depression and after, populated by a hopelessly hopeful chorus girl, a munitions manufacturer ensnared in a love triangle, a rural family that deals "justice" on its children, an overconfident mob dandy, a poor couple who quarrel to vanquish despair, a young "spinster" enthralled by the impulse of rebellion, and, in "The Magic Tower," a passionate artist and his wife whose youth and optimism are not enough to protect their "dream marriage." This new volume gathers some of Williams's most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas: "The Pretty Trap," a cheerful take on The Glass Menagerie, and "Interior: Panic," a stunning precursor to A Streetcar Named Desire.The plays include:     . At Liberty     . The Magic Tower     . Me, Vashya     . Curtains for the Gentleman     . In Our Profession     . Every Twenty Minutes     . Honor the Living     . The Case of the Crushed Petunias     . Moony's Kid Don't Cry     . The Dark Room     . The Pretty Trap     . Interior: Panic     . Kingdom of Earth     . I Never Get Dressed Till After Dark on Sundays     . Some Problems for The Moose Lodge

In the beginning of the winter thaw, Lars Lennart Westin has learned that he has cancer and will not live through spring. Told through the journals of this schoolteacher turned apiarist, The Death of a Beekeeper, is his gentle, courageous, and sometimes comic meditation on living with pain. Westin has refused to surrender the time left him to the impersonation of a hospital, preferring to take his fate upon himself, to continue solitary, reflective life in the Swedish countryside. "I took little walks and noticed that in the last months the pain had actually colored the landscape in a peculiar way. Here and there is a tree where it really hurt, here and there is a fence against whose post I struck my hand in passing." His inner landscape is also re-forming: "This constant concern with an indefinite dangerous secret in one's own body, this feeling that some dramatic change is taking place, without one's being able to have any clarity about what really is... reminds me of prepuberty. I even recognize this gentle feeling of shame again." The relentlessly intimate burning in his gut provides a point of psychic detachment, rendering his survival "a unique art form whose level of difficulty is so high that no one exists who can practice it." Yet he insists, "We begin again. We never give up."

For the first time in paperback-Levertov's recent poetry, showing her at the height of her literary powers. Sands of the Well, first published in hardcover in 1996, shows the poet at the height of her considerable powers, as she addresses the natural beauty of the Pacific Northwest coastal landscape in terms of music, memory, aging, doubt, and faith.

The legacy of cultural imperialism, the consequences of gender, and the marginalization of the conquered are themes that combine and comment, one on the other, in Rosmarie Waldrop's remarkable new work, A Key into the Language of America. As "formally adventurous" (A.L. Nielson, Washington Review) as ever, German-born Waldrop has based her new collection on Rhode Island founder Roger Williams's 1643 guide (of the same name) to Narragansett Indian language and lore.

In her sixteenth collection of new poetry from New Directions, Denise Levertov displays what The Village Voice has called all her "virtues of musicality, mystery, and directness." A Door in the Hive addresses paintings, music, landscapes, terror in El Salvador, but the emphasis again--as in her recent Breathing the Water--is on the contemplative. Her dialogue between "the eager inward gaze and the vast enigma" deepens. Meditative, the poems are at the same time informed by a keenly felt urgency: "Extremities, we are in/unacknowledged extremis./We feel only/a chill as the pulse of life/recedes."

It Must Be a Misunderstanding is the acclaimed Mexican poet Coral Bracho's most personal and emotive collection to date, dedicated to her mother who died of complications from Alzheimer's. Remarkably, Bracho, author and daughter, seems to disappear into her own empathic observations as her mother comes clear to us not as a tragic figure, but as a fiery and independent personality. The chemistry between them is vivid, poignant, and unforgettable. As the translator Forrest Gander explains in his introduction, the book's force "builds as the poems cycle through their sequences"- from early to late Alzheimer's-"with non-judgmental affection and compassionate watchfulness."

"Reading Kilito has always been, for me, an adventure. Kilito dares the reader to travel with him, riding over the frontiers between fiction and reality, between literary criticism and storytelling. He is a writer with his own personal library; a reader who invents an imaginary present out of fragments drawn from the past. The Clash of Images is a marvelous book, a mysterious alchemy of tale and teller. This student of Roland Barthes proves the French master's point: every critic could be a novelist in disguise."-Elias Khoury, author of Gate of the SunAbdelfattah Kilito's The Clash of Images is an enchanting collection of linked stories set in a coastal city of memories. It is a time when the old Arabic world of texts and oral traditions is making way for something new-the modern era of the image, the comic book, photo IDs, and the cinema. Together, the stories form a kaleidoscopic memoir of growing up in two worlds, a brilliant mixture of cultural and family history. Here are tales of first kisses and first reads, Tintin and the Prophet Muhammad, fantasies of the Wild West, the inferno of the bathhouse, and the lost paradises of childhood. The Clash of Images is a magic lantern of a book, a celebration of storytelling and all its pleasures that is beautifully translated by Robyn Creswell, who won a PEN Translation Fund Award for this collection.

Bird Lovers, Backyard continues Thalia Field's interrogation of the act of storytelling and her experimentation with literary genre. Field's illuminating essays, or stories, in poetic form, place scientists, philosophers, animals, even the military, in real and imagined events. Her open questioning brings in subjects as diverse as pigeons, chat rooms, nuclear testing, the building of the Kennedy Space Center, the development of seaside beaches, Konrad Lorenz, the American author and animal trainer Vicki Hearne, and the Swiss zoologist Heini Hediger. Throughout, she intermingles fact and fiction, probing the porous boundaries between human and animal, calling into question "what we are willing to do with words," and spinning a world where life is haunted by echoes. Story and event survive through daring language, and the elegies of history.

The three fates-now three Vietnamese "princesses" in France-were spirited away as little children by their powerful grandmother when Saigon fell to the communists. Now the two sisters and their cousin await the arrival of their father and uncle, still marooned in his little blue house in the old country. "Leave King Lear alone, I'd told my cousins," our principal narrator (an intellectual who has lost a hand) informs us: "They had neglected him for twenty years and now they were conspiring like a pair of Cordelias to bestow one last joy on the old monarch: he hadn't asked for it." From a luxurious home in the French countryside, his two daughters (the elder, very pregnant and restlessly cooking and eating, kept company by her long-legged and icy younger sister) plot to drag their father halfway around the world - away from his poverty and from his only friend and the grilled eels they happily devour together - to flaunt their success. Scathingly unsentimental, The Three Fates transposes Shakespearean tragedy into a contemporary idiom and a decidedly different culture. A sharply vivacious book about "the bitch of fate," The Three Fates-like a witches' pot on the boil-brews up from displaced lives a darkly funny and agitated concatenation.

In my house praying was considered a weakness,like making love.And like making loveit was followed by a long nightof fear,so alone with the body.         -Luljeta LleshanakuLleshanaku belongs to the first "post-totalitarian" generation of Albanian poets. Child of Nature is her second poetry collection in English. Here she turns to the fallout of her country's past and its relation to herself and her family. Through intense, powerful lyrics, she explores how these histories intertwine and influence her childhood memories and the retelling of her family's stories. Sorrow, death, imprisonment, and desire are some of the themes that echo deeply in Lleshanaku's beautiful poems, poems that Peter Constantine has called "contemporary classics of world literature." Of her work, Albanian novelist Ridvan Dibra writes, "When you close her book, the images don't leave you. They cleave you open like a leopard's paw, and enter into you. Once inside they create their own life, a second life, vastly different from the original. What more can we expect from real poetry, from true art?"

Many of the twenty-eight essays in Oranges & Peanuts for Sale have appeared in translation in seventeen countries; some have never been published in English before. They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White's New York. Another section is a continuation of Weinberger's celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to "What I Heard About Iraq," which the Guardian called the only antiwar "classic" of the Iraq War. A new installment of his magnificent linked "serial essay," An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.

Never before available in English, The Halfway House is a trip to the darkest corners of the human condition. Humiliations, filth, stench, and physical abuse comprise the asphyxiating atmosphere of a halfway house for indigents in Miami where, in a shaken mental state, the writer William Figueras lives after his exile from Cuba. He claims to have gone crazy after the Cuban government judged his first novel "morose, pornographic, and also irreverent, because it dealt harshly with the Communist Party," and prohibited its publication. By the time he arrives in Miami twenty years later, he is a "toothless, skinny, frightened guy who had to be admitted to a psychiatric ward that very day" instead of the ready-for-success exile his relatives expected to welcome and receive among them. Placed in a halfway house, with its trapped bestial inhabitants and abusive overseers, he enters a hell. Romance appears in the form of Frances, a mentally fragile woman and an angel, with whom he tries to escape in this apocalyptic classic of Cuban literature."Behind the hardly one hundred pages," Canarias Diario stated, "is the work of a tireless fabulist, a writer who delights in language, extracting verbs and adjectives which are powerful enough to stop the reader in his tracks."

For most of his Broadway plays Tennessee Williams composed an essay, most often for The New York Times, to be published just prior to opening-something to whet the theatergoers' appetites and to get the critics thinking. Many of these were collected in the 1978 volume Where I Live, which is now expanded by noted Williams scholar John S. Bak to include all of Williams' theater essays, biographical pieces, introductions and reviews. This volume also includes a few occasional pieces, program notes, and a discreet selection of juvenilia such as his 1927 essay published in Smart Set, which answers the question "Can a good wife be a good sport?"Wonderful and candid stories abound in these essays-from erudite observations on the theater to veneration for great actresses. In "Five Fiery Ladies" Williams describes his fascinated, deep appreciation of Vivien Leigh, Geraldine Page, Anna Magnani, Katharine Hepburn, and Elizabeth Taylor, all of whom created roles in stage or film versions of his plays. There are two tributes to his great friend Carson McCullers; reviews of Cocteau's film Orpheus and of two novels by Paul Bowles; a portrait of Williams' longtime agent Audrey Wood; a salute to Tallulah Bankhead; a political statement from 1972, "We Are Dissenters Now"; some hilarious stories in response to Elia Kazan's frequent admonition, "Tennessee, Never Talk to An Actress"; and Williams' most moving and astute autobiographical essay, "The Man in the Overstuffed Chair."Theater critic and essayist John Lahr has provided a terrific foreword which sheds further light on Tennessee Williams' writing process, always fueled by Williams' self-deprecating humor and his empathy for life's nonconformists.

This exciting new collection, My Floating Mother, City, contains poems from Kazuko Shiraishi's most recent books published in Japan, including The Running of the Full Moon (2004) and My Floating Mother, City (2003), which received the Bansui Poetry Award and a Cultural Award from the Emperor of Japan. Also included here are three amazing long sequences including "Sendai Metro, Greece Street," translated into English for the first time.

Pluriverse: New and Selected Poems charts the life-work of the celebrated poet Ernesto Cardenal-"one of the world's major poets" (Choice) and "the preeminent poet of Central America today" (Library Journal). Follow Cardenal's poetic development across six decades, from the early exteriorismo poems and romantic epigrams of the early 1950s, to the increasingly spiritual and political verse he wrote as priest and activist (including his classic revolutionary documentary poem "Zero Hour") to the shorter victory and ecology poems, and elegies to fallen Sandinistas, and on to the cosmic-mystical-scientific dimensions of his later work. "Here they are-" editor Jonathan Cohen writes in his Introduction, "to gladden your heart and enrich your soul."

Roberto Bolaño (1953-2003) has caught on like a house on fire, and The Romantic Dogs, a bilingual collection of forty-four poems, offers American readers their first chance to encounter this literary phenomenon as a poet: his own first and strongest literary persona. These poems, wide-ranging in forms and length, have appeared in magazines such as Harper's, Threepenny Review, The Believer, Boston Review, Soft Targets, Tin House, The Nation, Circumference, A Public Space, and Conduit. Bolaño's poetic voice is like no other's: "At that time, I'd reached the age of twenty/and I was crazy. /I'd lost a country/but won a dream./Long as I had that dream/nothing else mattered...."

Nathaniel Tarn's newest collection of poems, Ins and Outs of the Forest Rivers, dives deep into the spiritual and physical sufferings of our global age. After a moving overture, the book unfolds in five sections: "Of the Perfected Angels," with its lucid meditation on Issenheim altarpiece by Matthias Grünewald; "Dying Trees," written out of the horrible loss of hundreds of thousands of trees throughout the American West in recent years; "War Stills," an engagement with the ongoing atrocities in Iraq; "Movement / North of the Java Sea," taking flight from Maui to Bali to Papua New Guinea; and the final section "Sarawak," snaking its way through the river and indigenous anguish of Borneo, where Tarn as poet-anthropologist surveyed the loss of forest lands and its effects on tribal peoples.