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A new collection of short fiction and nonfiction by a Russian master of bittersweet humor, dramatic irony, and poignant insights into contemporary life.The town of Tarusa lies 101 kilometers outside Moscow, far enough to have served, under Soviet rule, as a place where former political prisoners and other “undesirables” could legally settle. Lying between the center of power and the provinces, between the modern urban capital and the countryside, Tarusa is the perfect place from which to observe a Russia that, in Maxim Osipov’s words, “changes a lot [in the course of a decade], but in two centuries—not at all.” The stories and essays in this volume—a follow-up to his debut in English, Rock, Paper, Scissors—tackle major questions of modern life in and beyond Russia with Osipov’s trademark blend of daring and subtlety. Deceit, political pressure, ethnic discrimination, the urge to emigrate, and the fear of abandoning one’s home, as well as myriad generational debts and conflicts, are as complexly woven through these pieces as they are through the lives of Osipov’s fellow Russians and through our own. What binds the prose in this volume is not only a set of concerns, however, but also Osipov’s penetrating insights and fearless realism. “Dreams fall away, one after another,” he writes in the opening essay, “some because they come true, but most because they prove pointless.” Yet, as he reminds us in the final essay, when viewed from ground level, “life tends not towards depletion, towards zero, but, on the contrary, towards repletion, fullness.”

The experiences of womanhood are heightened and transformed in these eerie, fairy tale-like comics by a gifted artist-writer duo.Soon after the fall of the Berlin Wall, the West German-born Katrin de Vries read a magazine featuring the drawings of the East German-born Anke Feuchtenberger. De Vries wrote to ask Feuchtenberger if she might want to collaborate, and together they've produced some of the most striking German comics of the last thirty years, most notably W the Whore.Collected here in English for the first time, W the Whore, W the Whore Makes Her Tracks, and W the Whore Throws the Glove present the shared vision of de Vries and Feuchtenberger at its most ambitious. The titular heroine, W the Whore, drawn in a shifting guise by Feuchtenberger, navigates the tedious rituals of womanhood, the unsettling mysteries of male desire, and the strangeness of motherhood, all while moving through a familiar but hostile everyday landscape of houses, factories, rail yards, and other ominous structures. An intimate and captivating work of comics, W the Whore is a testament to the challenges of existing in the bodies that we have been fated to inhabit, and what we do to persevere.

Colette''s celebrated novels about an older courtesan and her young lover, now in a new translation and published in one volume.Colette’s Chéri (1920) and its sequel, The End of Chéri (1926), are widely considered her masterpieces. In sensuous, elegant prose, the two novels explore the evolving inner lives and the intimate relationship of an unlikely couple: Léa de Lonval, a middle-aged former courtesan, and Fred Peloux, twenty-five years her junior, known as Chéri. The two have been involved for years, and it is time for Chéri to get on with life, to make something of himself, but he, the personification of male beauty and vanity, doesn’t know how to go about it. It is time, too, for Léa to let go ofChéri and the sensual life that has been hers, and yet this is more easily resolved than done. Chéri marries, but once married he is restless and is inevitably drawn back to his mistress, as she is to him. And yet to reprise their relationship is only to realize even more the inevitability of its end. That end will come when Chéri, back from World War I, encounters a world that the war has changed through and through. Lost in his memories of time past, he is irremediably lost to the busy present. Paul Eprile’s new translation of these two celebrated novels brings out a vivid sensuality and acute intelligence that past translations have failed to capture.

In post-WWII South America, a struggling writer embarks on a murderous thought experiment to help kickstart his career in this next tale of longing from the author of Zama. The Silentiary takes place in a nameless Latin American city during the early 1950s. A young man employed in mid-level management entertains an ambition to write a book of some sort. But first he must establish the necessary precondition, which the crowded and noisily industrialized city always denies him, however often he and his mother and wife move in search of it. He thinks of embarking on his writing career with something simple, a detective novel, and ponders the possibility of choosing a victim among the people he knows and planning a crime as if he himself were the killer. That way, he hopes, his book might finally begin to take shape.This is the second of the three novels by Antonio Di Benedetto that have come to be known as the Trilogy of Expectation, after the dedication "To the victims of expectation" in the first volume, Zama. Together these three works constitute, in Juan José Saer's words, "one of the culminating moments of twentieth-century narrative fiction in Spanish."

A fresh, provocative look at the link between poetry and Christianity, both as it relates to the Bible itself as well as to Christian and religious life, by an accomplished scholar. The Bible is full of poems. It includes the Psalms and the Song of Songs of course, but poetry also plays an immense part in the Prophets and shows up in the books of the Old Testament. The New Testament, for its part, reverberates with allusions to the poetry of the Old Testament and concludes with Revelation, a visionary poem, while Jesus, seeking to open his listener's eyes to the kingdom of heaven, describes it with the poetic epithet of "a treasure hid in a field," while the son of God is the "true vine," "the light of the world," "the good shepherd," "the way, the truth, and the life." The Bible, in other words, asks to be read poetically throughout, and yet readers have rarely considered the implications of that, much less heeded its call. In The Bible and Poetry, the poet and scholar Michael Edwards seeks to transform how the Bible and Christianity are understood, arguing that poetry is not an ornamental or accidental feature of the Bible but is central to its meaning. The creative use of words that is poetry is the necessary medium of the Creator's word, and belief emerges not from precepts and propositions but out of the lived experience-this is what the Bible offers above of all-of the power of that word.

A tale of high adventure and lyrical celebration, tenderness and violence, generosity and ruthlessness, Memed, My Hawk is the defining achievement of one of the greatest and most beloved of living writers, Yashar Kemal. It is reissued here with a new introduction by the author on the fiftieth anniversary of its first publication.Memed, a high-spirited, kindhearted boy, grows up in a desperately poor mountain village whose inhabitants are kept in virtual slavery by the local landlord. Determined to escape from the life of toil and humiliation to which he has been born, he flees but is caught, tortured, and nearly killed. When at last he does get away, it is to set up as a roving brigand, celebrated in song, who could be a liberator to his people—unless, like the thistles that cover the mountain slopes of his native region, his character has taken an irremediably harsh and unforgiving form.

Baroness Maria Ignatievna Zakrevskaya Benckendorff Budberg hailed from the Russian aristocracy and lived in the lap of luxury—until the Bolshevik Revolution forced her to live by her wits. Thereafter her existence was a story of connivance and stratagem, a succession of unlikely twists and turns. Intimately involved in the mysterious Lockhart affair, a conspiracy which almost brought down the fledgling Soviet state, mistress to Maxim Gorky and then to H.G. Wells, Moura was a woman of enormous energy, intelligence, and charm whose deepest passion was undoubtedly the mythologization of her own life.Recognized as one of the great masters of Russian twentieth-century fiction, Nina Berberova here proves again that she is the unsurpassed chronicler of the lives of Soviet émigrés. In Moura Budberg, a woman who shrouded the facts of her life in fiction, Berberova finds the ideal material from which to craft a triumph of literary portraiture, a book as engaging and as full of life and incident as any one of her celebrated novels.

For two years before and after the 1948 Communist Revolution, David Kidd lived in Peking, where he married the daughter of an aristocratic Chinese family. "I used to hope," he writes, "that some bright young scholar on a research grant would write about us and our Chinese friends before it was too late and we were all dead and gone, folding into the darkness the wonder that had been our lives." Here Kidd himself brings that wonder to life.

At once truly appalling and appallingly funny, Blaise Cendrars's Moravagine bears comparison with Naked Lunch—except that it's a lot more entertaining to read. Heir to an immense aristocratic fortune, mental and physical mutant Moravagine is a monster, a man in pursuit of a theorem that will justify his every desire. Released from a hospital for the criminally insane by his starstruck psychiatrist (the narrator of the book), who foresees a companionship in crime that will also be an unprecedented scientific collaboration, Moravagine travels from Moscow to San Antonio to deepest Amazonia, engaged in schemes and scams as, among other things, terrorist, speculator, gold prospector, and pilot. He also enjoys a busy sideline in rape and murder. At last, the two friends return to Europe—just in time for World War I, when "the whole world was doing a Moravagine."This new edition of Cendrars's underground classic is the first in English to include the author's afterword, "How I Wrote Moravagine."

Searingly hot in the summer, bitterly cold in the winter, the ancestral estate of the Golovlyov family is the end of the road. There Anna Petrovna rules with an iron hand over her servants and family-until she loses power to the relentless scheming of her hypocritical son Judas.One of the great books of Russian literature, The Golovlyov Family is a vivid picture of a condemned and isolated outpost of civilization that, for contemporary readers, will recall the otherwordly reality of Macondo in Gabriel García Márquez's One Hundred Years of Solitude.

In the warring, neo-feudal society of this cross-genre novel for fans of Cormac McCarthy and William Gibson, the greatest treasure is a dose of tellurium—a magical drug administered by a spike through the brain.Telluria is set in the future, when a devastating holy war between Europe and Islam has succeeded in returning the world to the torpor and disorganization of the Middle Ages. Europe, China, and Russia have all broken up. The people of the world now live in an array of little nations that are like puzzle pieces, each cultivating its own ideology or identity, a neo-feudal world of fads and feuds, in which no one power dominates. What does, however, travel everywhere is the appetite for the special substance tellurium. A spike of tellurium, driven into the brain by an expert hand, offers a transforming experience of bliss; incorrectly administered, it means death.The fifty chapters of Telluria map out this brave new world from fifty different angles, as Vladimir Sorokin, always a virtuoso of the word, introduces us to, among many other figures, partisans and princes, peasants and party leaders, a new Knights Templar, a harem of phalluses, and a dog-headed poet and philosopher who feasts on carrion from the battlefield. The book is an immense and sumptuous tapestry of the word, carnivalesque and cruel, and Max Lawton, Sorokin’s gifted translator, has captured it in an English that carries the charge of Cormac McCarthy and William Gibson.

A centenary edition of E. E. Cummings's antic autobiographical novel about his imprisonment in a French military detention camp during World War I.In 1917, after the entry of America into World War I, E. E. Cummings, a recent graduate of Harvard College, volunteered to serve on an ambulance corps in France. He arrived in Paris with a new friend, William Slater Brown, and they set about living it up in the big city before heading off to their assignment. Once in the field, they wrote irreverent letters about their experiences, which attracted the attention of the censors and ultimately led to their arrest. They were held for months in a military detention camp, sharing a single large room with a host of fellow detainees. It is this experience that Cummings relates in lightly fictionalized form in The Enormous Room, a book in which a tale of woe becomes an occasion of exuberant mischief. A free-spirited novel that displays the same formal swagger as his poems, a stinging denunciation of the stupidity of military authority, and a precursor to later books like Catch-22 and MASH, Cummings’s novel is an audacious, uninhibited, lyrical, and lasting contribution to American literature.

A new translation of the best and most provocative work by France's infamous rebel poet, in a bilingual editionPoet, prodigy, precursor, punk: the short, precocious, uncompromisingly rebellious career of the poet Arthur Rimbaud is one of the legends of modern literature. By the time he was twenty, Rimbaud had written a series of poems that are not only masterpieces in themselves but that forever transformed the idea of what poetry is. Without him, surrealism is inconceivable, and his influence is palpable in artists as diverse as Henry Miller, John Ashbery, Bob Dylan, and Patti Smith. In this essential volume, renowned translator Mark Polizzotti offers authoritative and inspired new versions of Rimbaud’s major poems and letters, including generous selection of Illuminations and the entirety of his lacerating confession A Season in Hell—capturing as never before not only the meaning but also the daredevil attitudes and incantatory rhythms that make Rimbaud’s works among the most perpetually modern of his or any other generation.

In this warm and vibrant work of memoir and criticism, a young writer forges a friendship with Philip Guston, one of the most influential and controversial painters of the twentieth century and the subject of Philip Guston Now, a much-discussed retrospective upcoming in several major museums.The late paintings of Philip Guston have had a profound influence on painters today; only the altogether different work of Andy Warhol can be said to have had a comparable impact. As time has passed and Guston's star has risen, it has been forgotten how scandalous and crude these paintings, with their cartoonish imagery and curiously faltering application of paint, were initially deemed to be. The 1970 show at the Marlborough Gallery in which Guston, abandoning the delicate abstract expressionist style for which he was known, revealed his new style was critically savaged and even led to a rift between Guston and his best friend, the composer Morton Feldman, that was never fully mended. In the aftermath of this drubbing, Guston retreated to his studio in Woodstock, New York-in part to nurse his wounds, but more importantly, to go on painting exactly as he saw fit. Ross Feld, a young poet, novelist, and critic, was one of the few reviewers of Guston's show to write favorably about it. Guston responded with a grateful note-"I felt . . . as if we knew each other and had many discussions about painting and literature. In a word-I felt recognition"-and a new friendship was soon born. Feld became an inveterate visitor to the painter's studio-the two would sit up late at night hashing over what Guston had or hadn't achieved-and an inspiration to his work. Guston in Time, written not long before Feld's early death from cancer, is a portrait of Guston the man, of his wife Musa, a major figure not only in the artist's life but in his work, and a reckoning with his supremely individual achievement as an artist. Feld's slim and resonant book is a work of art in its own right. A retrospective of Guston's work, Philip Guston Now, will be on view at the Museum of Fine Arts Boston from May 1-Sept. 11, 2022; at the Museum of Fine Arts Houston from Oct. 23, 2022 to Jan. 15, 2023; at the National Gallery of Art, DC, from Feb. 26-Aug. 27, 2023; and at the Tate Modern, London, from Oct. 3, 2023 to February 4, 2024.

In the spirit of his highly acclaimed and influential book Reality Hunger, David Shields has composed a mordantly funny, relentlessly self-questioning self-portrait based on questions that interviewers have asked him over forty years.David Shields decided to gather every interview he's ever given, going back nearly forty years. If it was on the radio or TV or a podcast, he transcribed it. He wasn't sure what he was looking for, but he knew he wasn't interested in any of his own answers. The questions interested him-approximately 2,700, which he condensed and collated to form twenty-two chapters focused on such subjects as Process, Childhood, Failure, Capitalism, Suicide, and Comedy. Then, according to Shields, "the real work began: rewriting and editing and remixing the questions and finding a through-line."The result is a lacerating self-demolition in which the author-in this case, a late-middle-aged white man-is strangely, thrillingly absent. As Chuck Klosterman says, "The Very Last Interview is David Shields doing what he has done dazzlingly for the past twenty-five years: interrogating his own intellectual experience by changing the meaning of what seems both obviously straightforward and obviously wrong."Shields's new book is a sequel of sorts to his seminal Reality Hunger: A Manifesto, which Literary Hub recently named one of the most important books of the last decade. According to Kenneth Goldsmith, "Just when you think Shields couldn't rethink and reinvent literature any further, he does it again. The Very Last Interview confirms Shields as the most dangerously important American writer since Burroughs."

Valmiki's Ramayana provides the inspiration for this vibrant collection of poems, each of which acts as a persuasive encounter between English poetry and Indian myth. After is a collection of poems inspired by Valmiki's Ramayana, one of Asia's foundational epic poems and a story-cycle of formative historical importance all across South and Southeast Asia. On the Indian subcontinent, the Ramayana is not only central to religion and folklore but to the conduct of life. People take its characters as models of vice and virtue, courage and devotion, and politicians have been known to take advantage of the veneration in which the book is held. In the West, too, the Ramayana has long been recognized as one of the essential classics of world literature, on par with the Epic of Gilgamesh, the Homeric epics, Virgil, and Dante, even as its stories remain comparatively unfamiliar. In After Vivek Narayanan brings the resources of contemporary English poetry to bear on Valmiki's Ramayana. In a work that bears comparison with Christopher Logue and Alice Oswald's distinctive reshapings of Homer, and Anne Carson's Autobigraphy of Red, Narayanan allows the ancient voice of the poem to confront and engage with modern experience, initiating a transformative conversation across time.

A wondrously written book of literary criticism and philosophy that maps the relationship between poetry and natural history, connecting verse from poets such as Shakespeare and Rainer Maria Rilke to the work of scientists and theorists like Francis Bacon and Michael Polanyi.Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.

Newly translated, unfinished works about power, class conflict, and artistic inspiration by Russia's greatest poet.Alexander Pushkin, Russia’s foundational writer, was constantly experimenting with new genres, and this fresh selection ushers readers into his creative laboratory. Politics and history weighed heavily on Pushkin’s imagination, and in “Peter the Great’s African” he depicts the Tsar through the eyes of one of his closest confidantes, Ibrahim, a former slave, modeled on Pushkin’s maternal great-grandfather. At once outsider and insider, Ibrahim offers a sympathetic yet questioning view of Peter’s attempt to integrate his vast, archaic empire into Europe. In the witty “History of the Village of Goriukhino” Pushkin employs parody and self-parody to explore problems of writing history, while “Dubrovsky” is both a gripping adventure story and a vivid picture of provincial Russia in the late eighteenth century, with its class conflicts ready to boil over in violence. “The Egyptian Nights,” an effervescent mixture of prose and poetry, reflects on the nature of artistic inspiration and the problem of the poet’s place in a rapidly changing and ever more commercialized society.

Set in 1970s Japan, this tender and poetic novel about a young, single mother struggling to find her place in the world is an early triumph by a modern Japanese master.Alone at dawn, in the heat of midsummer, a young woman named Takiko Odaka departs on foot for the hospital to give birth to a baby boy. Her pregnancy, the result of a brief affair with a married man, is a source of sorrow and shame to her abusive parents. For Takiko, however, it is a cause for reverie. Her baby, she imagines, will be hers and hers alone, a challenge that she also hopes will free her. Takiko’s first year as a mother is filled with the intense bodily pleasures and pains that come from caring for a newborn. At first she seeks refuge in the company of other women—in the hospital, in her son’s nursery—but as the baby grows, her life becomes less circumscribed as she explores Tokyo, then ventures beyond the city into the countryside, toward a mountain that captures her imagination and desire for a wilder freedom.

This brutally gripping novel about the African-American Great Migration follows the three Moss brothers, who flee the rural South to work in industries up North. Delivered by day into the searing inferno of the steel mills, by night they encounter a world of surreal devastation, crowded with dogfighters, whores, cripples, strikers, and scabs. Keenly sensitive to character, prophetic in its depiction of environmental degradation and globalized labor, Attaway''s novel is an unprecedneted confrontation with the realities of American life, offering an apocalyptic vision of the melting pot not as an icon of hope but as an instrument of destruction. Blood on the Forge was first published in 1941, when it attracted the admiring attention of Richard Wright and Ralph Ellison. It is an indispensable account of a major turning point in black history, as well as a triumph of individual style, charged with the concentrated power and poignance of the blues.

The first volume of a titanic masterpiece of twentieth-century literature, named one of the best books of 2019 by The New York Times critics.It is August 1967, and Gesine Cresspahl, born in Germany the year that Hitler came to power, a survivor of war, of Soviet occupation, and of East German Communism, has been living with her ten-year-old daughter, Marie, in New York City for six years. Mother and daughter find themselves caught up in the countless stories of the world around them: stories of work and school and their neighborhood, with its shifting and varied cast of characters, as well as the stories that Gesine reads in The New York Times every day--about Che Guevara, racial violence, the war in Vietnam, and the US elections to come. Now, with Marie growing up, Gesine has decided to tell her daughter the story of her own childhood in a small north German town in the 1930s and 1940s. Amidst memories of Germany's criminal and disastrous past and the daily barrage of news from a world in disarray, Gesine, conscientious, self-scrutinizing, with a sharp sense of humor, struggles to describe what she has learned over the years and what she hopes to pass on to Marie. Marie, articulate, quizzical, with a perspective that is very much her own, has plenty of questions too.Uwe Johnson's intimate portrait of a mother and daughter is also a panorama of past and present history and the world at large. Comparable in richness of invention and depth of feeling to Joyce's Ulysses and Proust's In Search of Lost Time, Anniversaries is one of the world's great novels.

A moving, posthumous collection of elegies and eclogues that meditate on nature, landscape, and history, by a great Hungarian poet.Szilárd Borbély spent his childhood in a tiny impoverished village in  northeastern Hungary, where the archaic peasant world of Eastern Europe  coexisted with the collectivist ideology of a new Communist state. Close to the Soviet border and far from any metropolitan center, the village was a world apart: life was harsh, monotonous, and often brutal, and the Borbélys, outsiders and “class enemies,” were shunned. In a Bucolic Land, Borbély’s final, posthumously published book of poems, combines autobiography, ethnography, classical mythology, and pastoral idyll in a remarkable central poetic sequence about the starkly precarious and yet strangely numinous liminal zone of his youth. This is framed by elegies for a teacher in which  the poet meditates on the nature of language and speech and on the adequacy of words to speak of and for the dead. Ottilie Mulzet’s English translation conveys the full power of a writer of whom László Krasznahorkai has said, “He was a poet—a great poet—who shatters us.”

A newly translated collection of fiction by the influential Italian modernist, continuing on his landmark work Zeno''s Conscience.A Very Old Man collects five linked stories, parts of an unfinished novel that the great Triestine Italo Svevo wrote at the end of his life, after the international success of Zeno’s Conscience in 1923. Here Svevo revisits with new vigor and agility themes that fascinated him from the start—aging, deceit, and self-deception, as well as the fragility, fecklessness, and plain foolishness of the bourgeois paterfamilias—even as memories of the recent, terrible slaughter of World War I and the contemporary rise of Italian fascism also cast a shadow over the book’s pages. It opens with “The Contract,” in which Zeno’s manager, the hardheaded young Olivi, expresses, like the war veterans who were Mussolini’s early followers, a sense of entitlement born of fighting in the trenches. Zeno, by contrast, embodies the confusion and paralysis of the more decorous, although sleepy, way of life associated with the onetime Austro-Hungarian Empire which for so long ruled over Trieste but has now been swept away. As always, Svevo is attracted to the theme of how people fail to fit in. It is they, he suggests, who offer a recognizably human countenance in a world ravaged by the ambitions and fantasies of its true believers.

A biography of a Jewish woman, a writer who hosted a literary and political salon in late eighteenth- and early nineteenth-century Germany, written by one of the twentieth century''s most prominent intellectuals, Hannah Arendt.Rahel Varnhagen: The Life of a Jewish Woman was Hannah Arendt’s first book, largely completed when she went into exile from Germany in 1933, though not published until the 1950s. It is the biography of a remarkable, complicated, passionate woman, and an important figure in German romanticism. Rahel Varnhagen also bore the burdens of being an unusual woman in a man’s world and an assimilated Jew in Germany.She was, Arendt writes, “neither beautiful nor attractive . . . and possessed no talents with which to employ her extraordinary intelligence and passionate originality.” Arendt sets out to tell the story of Rahel’s life as Rahel might have told it and, in doing so, to reveal the way in which assimilation defined one person’s destiny. On her deathbed Rahel is reported to have said, “The thing which all my life seemed to me the greatest shame, which was the misery and misfortune of my life—having been born a Jewess—this I should on no account now wish to have missed.” Only because she had remained both a Jew and a pariah, Arendt observes, “did she find a place in the history of European humanity.”

A moving family biography in which the poet traces her family history back through Jim Crow, the slave trade, and all the way to the women of the Dahomey people in West Africa. Buffalo, New York. A father's funeral. Memory. In Generations, Lucille Clifton's formidable poetic gift emerges in prose, giving us a memoir of stark and profound beauty. Her story focuses on the lives of the Sayles family: Caroline, "born among the Dahomey people in 1822," who walked north from New Orleans to Virginia in 1830 when she was eight years old; Lucy, the first black woman to be hanged in Virginia; and Gene, born with a withered arm, the son of a carpetbagger and the author's grandmother. Clifton tells us about the life of an African American family through slavery and hard times and beyond, the death of her father and grandmother, but also all the life and love and triumph that came before and remains even now. Generations is a powerful work of determination and affirmation. "I look at my husband," Clifton writes, "and my children and I feel the Dahomey women gathering in my bones."